Help me write an essay on the topic: man and his spiritual values in ancient Russian literature. An essay on the topic of man and his spiritual values of ancient Russian literature. Man and his values of ancient Russian literature.
For an Orthodox person, a hero of ancient Russian literature, the most important thing is spiritual, inner life. The Russian people were convinced that it was internal, spiritual qualities that determined the degree of perfection to which one should strive. By asserting that the internal, spiritual determines the external, Orthodoxy thereby builds a certain system of values in which the spiritual is more important than the physical.
Russian Orthodoxy oriented people toward spiritual transformation and stimulated the desire for self-improvement and closer approach to Christian ideals. This contributed to the spread and establishment of spirituality. Its main basis: unceasing prayer, peace and concentration - gathering the soul.
Sergius of Radonezh established the standard of morality in Russian life. At a turning point in the history of our people, when their national identity was being formed, Saint Sergius became the inspirer of state and cultural construction, a spiritual teacher, and a symbol of Russia.
“For his friends and for the Russian land” Prince Alexander Nevsky performed a great spiritual feat of humility, sacrificing “earthly vanity to power” for the sake of his country and its people. Being a Great Commander who won many valiant victories, he took the oath to the khans of the Golden Horde in order to save at least the remnants of the people for future revival. Thus, he showed himself not only to be a great warrior, but also a wise politician and diplomat.
The left side is a mirror image of the right. The sounds are dissonant, the graphics of the letters resemble shackles and prison bars in their design. This side is the path of spiritual fall. Therefore, it ends with the words: “Beginninglessly empty... thieves; drunkards... accept your bitter share...” The Fall of Buki the Empty Letters Words Nicknames Buki (0) Countless spawn, rootless, violent. Buki the Empty Shebarsha is an empty bastard, an empty talker. A whisperer is a scoundrel, a sneaker. Shui - left. Shuinitsa - left hand. Shkota - damage, laziness. Pinching and flaunting. Shcha - spare, spare; mercilessly, mercilessly - cruelly, mercilessly. “And they are given over to cruel deaths without mercy.” ShkodnikType "Gon" - Filthy spawn Era - a rogue, a swindler, a thief. Eryga is a connecting rod, a reveler, a drunkard. Erik is a renegade; heretic - an apostate, a sorcerer who imposes Bonds - chains, shackles, shackles; bridle, knot, knots - knit. Convict Prison - jail, prison, dungeon. Prisoner A special kind - Ardent enemy - Prisoner - imprisonment. Scabby\Beheading - death penalty, end. Ugly corpse Demon spawn
The books of ancient Rus' introduced the virtues that a person should possess. Virtue means regular, constant doing of good, which becomes a habit, a good skill. 7 cardinal virtues: 1 Abstinence (from excess). 2.Chastity (storage of feelings, modesty, purity). 3. Non-covetousness (satisfaction with what is necessary). 4. Meekness (avoidance of rage and anger, gentleness, patience). 5. Sobriety (zeal for every good deed, keeping oneself from laziness). 6. Humility (silence before those who offend, fear of God) 7. Love (towards the Lord and neighbors).
The beloved Russian saints Boris and Gleb were distinguished by humility, meekness, and obedience. Boris and Gleb are the first Russian saints. They were the youngest sons of Prince Vladimir. They were born before the baptism of Rus', but were raised in Christian piety. The brothers imitated their father in everything, who was responsive to the poor, sick and disadvantaged.
Family values always play a big role for a person. Peter and Fevronia of Murom are spouses, saints, the brightest personalities of Holy Rus', who with their lives reflected its spiritual values and ideals. They revealed to pious hearts the beauty and height of the Orthodox family.
And the couple began to live and live well and make good money. Peter and Fevronia made good money not in their chests, but in their souls they built crystal castles. Human envy does not tolerate other people's happiness. But the faithful spouses endured the slander with meekness and humility. Princess Fevronia consoled and supported her husband, Prince Peter took care of his wife. They loved each other with Christian love, they were one flesh, a worthy example of a true Christian family. And when the end of their earthly life came, they left it in one day.
In family life, much attention was paid to the worthy upbringing of children. The Great Russian Duke Vladimir Monomakh wrote “Instruction”, wanting to protect his children from mistakes, to help them realize the power and value of the only path worthy of a person. What is the prince calling for?
The prince teaches children the rules of relationships with people: “Don’t let a person pass without greeting him, and say a kind word to him. Visit the patient. Give drink and food to the one who asks. Don't forget the poor, give to the orphans. Honor the old as your father, and the young as your brothers. Honor the guest above all else; if you cannot honor him with a gift, then treat him with food and drink.”
Old Russian literature is not only a wonderful monument of antiquity, but also the foundation on which the spirituality of Russian people was built. By reading works of ancient Russian literature, we have the opportunity to get acquainted with the events of the ancient history of our homeland, compare our assessments of life with the wise assessments of writers of that distant time, learn complex concepts about a person’s place in life, his goals and aspirations, and become convinced of the truth of spiritual and moral values of the Russian people.
CREATION
SCHOOL ESSAYS
Portrayal of a hero in ancient Russian literature
“The first historical works allow the people to realize themselves in the historical process, think about their role in world history, understand the roots of modern events and their responsibility to the future.”
Academician D. S. Likhachev
Old Russian literature, which includes epics, fairy tales, lives of saints and (later) stories, is not just a cultural monument. This is a unique opportunity to get acquainted with the life, everyday life, spiritual world and moral principles of our distant ancestors, a kind of bridge connecting modernity and antiquity.
So, what is he like, the ancient Russian hero of literature?
The first thing that should be noted is that the depiction of man in general in ancient Russian literature is very peculiar. The author deliberately avoids precision, certainty, and detail that indicate a specific character. Professional activity or belonging to a certain social category determines personality. If we have a monk in front of us, his monastic qualities are important, if a prince - princely, if a hero - heroic. The life of the saints is depicted specifically outside of time and space, being a standard of ethical standards.
The character of the hero of the story is revealed through a description of his actions (deeds, exploits). The author does not pay attention to the reasons that prompted the hero to this or that action; the motivation remains behind the scenes.
The Old Russian hero is an integral and uncompromising personality who lives by the principle: “I see the goal, I don’t notice the obstacles, I believe in myself.” His image seems to be carved out of a granite monolith; his actions are based on unshakable confidence in the rightness of his cause. His activities are aimed at the benefit of his native land, for the benefit of his fellow citizens. The epic hero, for example, is a collective image of the defender of the Motherland, albeit endowed with certain supernatural abilities, a model of civil behavior.
Whoever the hero is, he is courageous, honest, kind, generous, devoted to his homeland and people, never seeks his own benefit, an Orthodox Christian. This is a strong, proud and unusually stubborn man. Obviously, this fantastic stubbornness, so superbly described by N.V. Gogol in the story “Taras Bulba,” allows a person to achieve the task he has defined for himself. For example, St. Sergius of Radonezh flatly refuses to become a metropolitan, Fevronia, despite her social status, becomes a princess, Ilya of Muromets not only defends Kyiv, but in his own way destroys the enemies of the Russian land.
A characteristic feature of the hero of ancient Russian literature is the absence of chauvinism, a humane attitude towards people of different nationalities. Despite all the patriotism, there is no aggressiveness. Thus, in “The Tale of Igor’s Campaign,” the fight against the Polovtsy is seen as the defense of the Russian people from unexpected predatory raids. In the epic “The Tale of the March of the Kyiv Heroes to Constantinople” “...they release the young Tugarin to Constantinople and teach him to conjure so that they will not come to Rus' for centuries.”
Saint Sergius of Radonezh, blessing Prince Dmitry for the battle with Mamai, says: “Go against the barbarians, rejecting great doubt, and God will help you. You will defeat your enemies and return healthy to your fatherland.”
Female images of ancient Russian literature convey creativity, the warmth of the family hearth, love and fidelity. These are unusually subtle and intelligent representatives of the fair half of humanity, who know how to achieve their goals not by force, but by reason.
The man of ancient Rus' is inextricably linked with the nature around him. And even though in ancient Russian literature there is no description of the landscape in the familiar understanding of this word to modern people, the presence of living, animate forests and fields, rivers and lakes, flowers and herbs, animals and birds create the impression of an inextricable connection between people and the living world around them.
The description of nature is most clearly expressed in “The Lay...”, where natural phenomena and the animal world empathize with the hero:
"...The night has passed, and the bloody dawns
They announce disaster in the morning.
A cloud is moving in from the sea
For four princely tents....."
In all other works, the landscape is drawn extremely poorly, sometimes there is almost no landscape at all.
However, St. Sergius seeks solitude among virgin forests, and Fevronia turns tree stumps into large trees with branches and foliage.
In general, we understand the language in which ancient Russian works of literature were written, because, although it is ancient, it is still Russian!
There are certainly outdated words there (guni - outerwear, eliko - only, monk - monk, adamant - diamond, span - measure of length, incense - incense), the meaning of which is difficult to guess right away, but in the context of the work you can understand their meaning (prayer - worship, zegzica - cuckoo). Old Russian literature uses very bright, lively and figurative language. There is a lot of dialogic speech, and colloquial vocabulary is used accordingly, making these works unusually folk. In ancient Russian literature there are many epithets (silver shores, pearly soul) and comparisons (galloped like an ermine, swam like a white goldeneye, flew like a falcon, ran like a wolf like a cuckoo, calls to the Jurassic). Literary works are melodious, musical and unhurried due to the large number of vowels and sonorous sounds.
It is worth mentioning that the author does not use such an important thing as a portrait, without which we cannot imagine modern literature. Perhaps in those days the idea of a particular hero was general, and there was no need to describe his appearance, since it (the idea) was unspoken.
Also, a means of artistic expression is epic hyperbolization and idealization.
The technique of hyperbolization is widely used in epics; the capabilities of many heroes and objects are exaggerated, enlivening and emphasizing events. (For example, the description of Idol Skoropeevich in “The Heroic Word”:
"And he is tall, not according to custom,
Between his eyes the arrow goes well,
Between his shoulders there is a large fathom,
His eyes are like bowls
And his head is like a beer cauldron.)
The technique of idealization is a method of artistic generalization that allows the author to create an image based on his ideas about what he should be (saints are ideal, family values are unshakable).
All elements of the composition (Prologue => Plot of action => Development of action => Climax => Denouement => Epilogue) are present only in “The Tale of Igor’s Campaign”, and in epics, stories and lives there is no prologue, and the starting point of the action is the plot.
The spiritual values defended by the heroes of ancient Russian literature are still relevant today, almost a thousand years later. National independence, cohesion and unity of the nation, family values, Christian values (= universal human values) are close and understandable to every citizen of Russia. The connection of times is obvious.
The first moral works, socio-political works, clarify social norms of behavior, allow the ideas of everyone’s responsibility for the fate of the people and the country to be more widely disseminated, and cultivate patriotism and at the same time respect for other peoples.
The richness of the Russian language is the result of almost a thousand years of development of Russian literature.
In Ancient Rus' there was beauty of moral depth, moral subtlety and at the same time moral power.
To become familiar with ancient Russian literature is great happiness and great joy.
Bibliography:
B.A. Rybakov "World of History" 1984
D.S. Likhachev "Anthology of Old Russian Literature"
The basis of national values, spiritual and moral guidelines is our thousand-year-old culture. It is the embodiment of the Christian ideals of our ancestors that are the majestic temples, iconography, and ancient literature. Currently, it is especially important to attract the younger generation to domestic spiritual traditions.
A responsible role in this is given to literature lessons, where the problem of “spiritual and moral education” is solved, which is understood as the process of promoting the spiritual and moral formation of a person, the formation of his moral feelings, moral character, moral position, moral behavior. Every literature creates its own world, embodying the world of ideas of its contemporary society. Let's try to restore the world of ancient Russian literature. What is this single and huge building, on the construction of which dozens of generations of Russian scribes worked for seven hundred years - unknown or known to us only by their modest names and about whom almost no biographical data has been preserved, and not even autographs remain?
The feeling of the significance of what is happening, the significance of everything temporary, the significance of the history of human existence did not leave the ancient Russian man either in life, or in art, or in literature. A person, living in the world, remembered the world as a whole as a huge unity, and felt his place in this world. His house was located at a red corner to the east.
Upon death, he was placed in the grave with his head facing west, so that his face met the sun. His churches were turned with altars towards the emerging day. The paintings in the temple recalled the events of the Old and New Testaments and gathered a world of holiness around it. The church was a microcosm, and at the same time it was a macro person. Big world and small, universe and man!
Everything is interconnected, everything is significant, everything reminds a person of the meaning of his existence, the greatness of the world, the significance of human destiny in it. It is no coincidence that the apocrypha about the creation of Adam tells that his body was created from the earth, bones from stones, blood from the sea (not from water, but from the sea), eyes from the sun, thoughts from clouds, the light in the eyes from the light of the universe, breath from the wind, body heat from the fire. Man is a microcosm, a “small world,” as some ancient Russian works call it. Man felt himself to be an insignificant particle in the big world and yet a participant in world history.
In this world, everything is significant, full of hidden meaning... Old Russian literature can be considered as literature of one theme and one plot. This plot is world history, and this theme is the meaning of human life...
Literature is not a natural science theory, not a teaching, and not an ideology. Literature teaches us to live by depicting. She teaches to see, to see the world and man. This means that ancient Russian literature taught to see a person capable of good, taught to see the world as a place for the application of human kindness, as a world that can change for the better.
Morality is the same in all ages and for all people. By reading about obsolescence in detail, we can find a lot for ourselves.
D.S. Likhachev
Spirituality and morality are the most important, basic characteristics of a person. Spirituality in the most general sense is the totality of manifestations of the spirit in the world and in man. The process of learning spirituality is associated with a systematic understanding of significant truths in all spheres of culture: in science, in philosophy, in education, in religions, and in art. Moreover, the principles of openness, honesty, freedom, equality, collectivism are the basis and environment for the creation and preservation of spirituality. Spirituality is the unity of truth, goodness and beauty. Spirituality is what contributes to the development of man and humanity.
Morality is a set of general principles of human behavior in relation to each other and society. In this regard, the modern humanistic ideal actualizes such personal qualities as patriotism, citizenship, service to the Fatherland, and family traditions. The concepts of “spirituality” and “morality” are universal human values.
They say that Russia is the soul of the world, and the literature of Rus' reflects the internal potential that the Russian people have. Without knowing the history of ancient Russian literature, we will not understand the full depth of the work of A. S. Pushkin, the spiritual essence of the work of N. V. Gogol, the moral quest of L. N. Tolstoy, the philosophical depth of F. M. Dostoevsky.
Old Russian literature carries within itself a very great moral force. Good and evil, love for the Motherland, the ability to sacrifice everything for a good cause, family values are the main ideas of ancient Russian literature. Old Russian literature is the focus of Russian spirituality and morality. In addition, one of the main leitmotifs of these works is faith in God, which supports the heroes in all trials.
Works of ancient Russian literature reveal complex ideological concepts about a person’s place in life, his goals and aspirations, and provide an opportunity to gain experience in moral assessment of events and phenomena in the world around us. This is especially true in our time, when Russia is experiencing profound transformations, accompanied by serious spiritual losses. The revival of spirituality and education in spirituality is what we need today.
Many Soviet and Russian scientists considered the works of ancient Russian literature in the context of educating spiritual and moral values. It is not easy for a modern person to understand the works of Old Russian literature, therefore the school curriculum includes works of Old Russian literature for studying: The Tale of Bygone Years (fragments), The Tale of Igor's Campaign, the Tale of the Devastation of Ryazan by Batu (fragments), The Life of Boris and Gleb, The Teachings of Vladimir Monomakh, The Legend about Peter and Fevronia of Murom, Venerable Sergius of Radonezh, Life of Archpriest Avvakum.
Spiritual and moral values in the works of ancient Russian literature are the leitmotif and basis of the plot, and therefore today it is necessary to turn to these works in the process of education and upbringing both in the family and at school due to their enduring significance.
The emergence of Old Russian literature is associated with the emergence of the state, writing and is based on book Christian culture and developed forms of oral poetic creativity. Literature often perceived plots, artistic images, and visual means of folk art. The adoption of Christianity also played a positive role in the development of ancient Russian literature. The fact that the new religion came from Byzantium, the center of Christian culture, had a great positive significance for the culture of Ancient Rus'.
Speaking about the features of Old Russian literature, it is worth highlighting several of its main characteristics: 1) it religious literature, the main value for a person in Ancient Rus' was his faith; 2) handwritten character its existence and distribution; Moreover, this or that work did not exist in the form of a separate, independent manuscript, but was part of various collections that pursued certain practical goals, it means that all her works were a kind of instructions on HOW to live righteously; 3) anonymity, impersonality of her works(at best, we know the names of individual authors, “writers” of books, who modestly put their name either at the end of the manuscript, or in its margins, or in the title of the work); 4) connection with church and business writing, On the one side, and oral poetic folk art- with another; 5) historicism: its heroes are mainly historical figures, it almost does not allow fiction and strictly follows the fact.
The main themes of ancient Russian literature are inextricably linked with the history of the development of the Russian state, the Russian people, and therefore are imbued with heroic and patriotic pathos. It contains a sharp voice of condemnation of the policies of the princes, who sowed bloody feudal strife and weakened the political and military power of the state. Literature glorifies the moral beauty of the Russian person, capable of sacrificing what is most precious for the sake of the common good - life. It expresses deep faith in the power and ultimate triumph of good, in man's ability to elevate his spirit and defeat evil. I would like to end the conversation about the uniqueness of ancient Russian literature with the words of D.S. Likhachev: “Literature rose above Russia like a huge protective dome - it became a shield of its unity, a moral shield.”
Genre They call a historically established type of literary work, an abstract sample on the basis of which the texts of specific literary works are created. Old Russian genres are closely related to the way of life, everyday life, and differ in what they are intended for. The main thing for the genres of ancient Russian literature was the “practical purpose” for which this or that work was intended.
Therefore, it presented following genres: 1) Life: the genre of hagiography was borrowed from Byzantium. This is the most widespread and beloved genre of ancient Russian literature. Life was always created after the death of a person. It did huge educational function, because the life of the saint was perceived as an example of a righteous life that must be imitated; 2) Old Russian eloquence: this genre was borrowed by ancient Russian literature from Byzantium, where eloquence was a form of oratory; 3) Lesson: This is a type of genre of ancient Russian eloquence. Teaching is a genre in which ancient Russian chroniclers tried to present model of behavior for any Old Russian person: both for the prince and for the commoner; 4) Word: is a type of genre of ancient Russian eloquence. There are a lot of traditional elements in the word oral folk art, symbols, there is a clear influence of a fairy tale, epic; 5) Story: this is the text epic character, telling about princes, military exploits, princely crimes; 6) Chronicle: a narrative of historical events. This is the most ancient genre of ancient Russian literature. In Ancient Rus', the chronicle played a very important role; it not only reported on historical events of the past, but was also a political and legal document, indicating how to act in certain situations.
Thus, considering the specifics of various genres, it should be noted that, despite the uniqueness of each genre of ancient Russian literature, they are all based on spiritual and moral sources - righteousness, morality, patriotism.
Don't look at my outer, look at my inner.
From the prayer of Daniil Zatochnik
Dmitry Sergeevich Likhachev emphasized the important mission of ancient Russian literature and noted the moral basis of these works, reflecting the cultural, historical and spiritual and moral path of many generations of our ancestors. The paths of “Good” have eternal guidelines, the same for all times, and, one might say, tested not only by time, but by eternity itself.
Let us analyze three works of ancient Russian literature from the point of view of the paths of “Good”.
1. “Teaching” of Vladimir Monomakh"
Justice is above all, but mercy is above justice.
Olga Brileva
The “Instruction” unites three different works of Monomakh, among which, in addition to the “Instruction” itself, there is also the autobiography of the prince himself and his letter to his enemy Prince Oleg Svyatoslavich for the great grief that he brought with his fratricidal wars to the Russian land. It is addressed to the princes - the children and grandchildren of Monomakh and, in general, to all Russian princes. An important feature of the “Teaching” is its humanistic orientation, its appeal to Man, his spiritual world, which is closely related to the humanistic nature of the author’s worldview. In its content, it is highly patriotic and partial to the fate of the Russian land as a whole and each person individually, be it a prince, a clergyman or any layman.
Citing excerpts from Christian holy books, Vladimir Monomakh suggests that all Russian princes, in order to improve their situation and achieve peaceful success, first of all, learn justice, compassion, and even “compliance”: “Eat and drink without great noise, ... listen to the wise, obey your elders, ... do not be fierce with your words, ... keep your eyes down, and your soul up ... do not place universal honor at anything.”
In it you can also find advice on how to live as a Christian in the world. A lot is written in Christian literature about monastic life, but one rarely comes across teachings on how to be saved outside of monasteries. Monomakh writes: “Just as a father, loving his child, beats him and again draws him to himself, so our Lord showed us victory over our enemies, how to get rid of them and defeat them with three good deeds: repentance, tears and almsgiving.”
Moreover, based on these three good deeds - repentance, tears and alms, the author develops the doctrine of small things good deeds. He says that the Lord does not require great feats from us, because many people, seeing the burden of such labor, do nothing at all. The Lord only needs our heart. Monomakh directly advises princes (hereditary warriors and rulers!) to be meek, not to strive to seize other people’s estates, to be content with little and to seek success and prosperity not through force and violence over others, but through a righteous life: “What is better and more beautiful than to live brothers together... The devil quarrels with us because he does not want good for the human race.”
“The autobiography of Monomakh,” notes Likhachev, “is subject to the same idea of peace. In the chronicle of his campaigns, Vladimir Monomakh gives an expressive example of the prince’s love of peace.” His voluntary compliance with his sworn enemy, Prince Oleg Ryazansky, is also indicative. But Monomakh’s own “Letter” to the same Oleg Ryazansky, the murderer of the son of Vladimir Monomakh, who at that time was defeated and fled outside of Rus', embodies the ideal of the “Teaching” even more strongly. This letter shocked the researcher with its moral force. Monomakh forgives the murderer of his son (!). Moreover, he consoles him. He invites him to return to the Russian land and receive the principality due to inheritance, asks him to forget the grievances. .
When the princes came to Monomakh, he stood with all his heart against the new internecine wars: “Don’t forget the poor, but, as far as possible, feed the orphans as much as you can, and don’t let the strong destroy a person. Kill neither the right nor the guilty, and do not command him to be killed; even if you are guilty of death, then do not destroy any Christian soul.”
And having begun to write his “Teaching” to children and “others who will hear it,” Vladimir Monomakh constantly quotes the Psalter as the basis of spiritual and moral laws. So, for example, the answer to the proposals of warlike princes: “Do not compete with the evil ones, do not envy those who do lawlessness, for the evil ones will be destroyed, but those who obey the Lord will rule the earth.” During your campaigns, you need to water and feed the beggars who will meet along the way, to honor the guest, no matter where he comes from: he is a commoner, a noble or an ambassador. At the same time, it is also taken into account that such actions acquire a good name for a person.
The author especially rebels against laziness, which destroys all good undertakings, and calls for hard work: Laziness is the mother of everything: “what someone knows how to do, he will forget, and what he doesn’t know how to do, he will not learn. When doing good, do not be lazy about anything good, first of all to the church: don’t let the sun find you in bed.”
So, the origins of the “Teaching” are the following values on the path of “Good”: Faith in God, patriotism, love for one's neighbor, humanism, peacefulness, righteousness, good deeds, spiritual and moral education of descendants. Therefore, the personal and the universal are intertwined in the “Instruction” so closely, which makes it a brilliant human document that can excite the soul even today.
2. “The Tale of Peter and Fevronia of Murom”
Only the heart is vigilant. You can't see the most important thing with your eyes
Antoine de Saint-Exupery
“The Tale of Peter and Fevronia of Murom” was a favorite reading of the Russian people from tsars to commoners, and now this work is called “the pearl of ancient Russian literature.” Let's try to figure out why this story was so popular in Rus'.
Peter and Fevronia of Murom are Orthodox patrons of family and marriage, whose marital union is considered a model of Christian marriage. The spouses turn to Prince Peter of Murom and his wife Fevronia with prayers for family happiness. The blessed Prince Peter was the second son of Murom Prince Yuri Vladimirovich. He ascended the Murom throne in 1203. Several years earlier, Peter fell ill with leprosy. In a sleepy vision, it was revealed to the prince that he could be healed by the daughter of the “tree climber”, a beekeeper who extracted wild honey, Fevronia, a peasant woman from the village of Laskovoy in the Ryazan land.
Virgin Fevronia was wise, wild animals obeyed her, she knew the properties of herbs and knew how to treat ailments, she was a beautiful, pious and kind girl. D.S. was undoubtedly right. Likhachev, calling the main feature of Fevronia’s character “psychological tranquility” and drawing a parallel between her image and the faces of A. Rublev’s saints, who carried within themselves the “quiet” light of contemplation, the highest moral principle, and the ideal of self-sacrifice. Convincing parallels between Rublev’s art and “The Tale of Peter and Fevronia of Murom” are drawn by Dmitry Sergeevich in the fifth chapter of his book “Man in the Literature of Ancient Rus'.
One of the highest cultural achievements of Ancient Rus' was the ideal of man, created in the paintings of Andrei Rublev and artists of his circle, and Academician Likhachev compares Fevronia with Rublev’s quiet angels. But she is ready for a feat.
The first appearance in the story of the girl Fevronia is captured in a visually distinct image. She is found in a simple peasant hut by an envoy of the Murom prince Peter, who fell ill from the poisonous blood of the snake he killed. In a poor peasant dress, Fevronia sat at the loom and was engaged in a “quiet” task - weaving linen, and a hare was jumping in front of her, as if symbolizing her merging with nature. Her questions and answers, her quiet and wise conversation clearly show that “Rublev’s thoughtfulness” is not thoughtless. She amazes the messenger with her prophetic answers and promises to help the prince. The prince promised to marry her after healing. Fevronia healed the prince, but he did not keep his word. The illness resumed, Fevronia cured him again and married him.
When he inherited the reign after his brother, the boyars did not want to have a princess of simple rank, telling him: “Either let go of your wife, who insults noble ladies with her origin, or leave her as Murom.” The prince took Fevronia, got into a boat with her and sailed along the Oka. They began to live as simple people, rejoicing in being together, and God helped them. “Peter did not want to break God’s commandments…. After all, it is said that if someone drives away his wife, who is not accused of adultery, and marries another, he himself commits adultery.”
In Murom, unrest began, many began to seek the vacated throne, and murders began. Then the boyars came to their senses, gathered a council and decided to call Prince Peter back. The prince and princess returned, and Fevronia managed to earn the love of the townspeople. “They had equal love for everyone... they did not love corruptible wealth, but grew rich in God's wealth... And they ruled the city with justice and meekness, and not with rage. They welcomed the stranger, fed the hungry, clothed the naked, and delivered the poor from misfortune.”
In their old age, having taken monastic vows in different monasteries, they prayed to God so that they would die on the same day. They died on the same day and hour (June 25 (July 8 according to the new style) 1228).
Thus, the spiritual and moral source of this story is the example Christian family values and commandments as milestones on the path of “Good”: faith in God, kindness, self-denial in the name of love, mercy, devotion, spiritual and moral education.
3. “The Life of Alexander Nevsky”
Patriotism does not mean only love for one’s homeland. It's much more than that. This is the consciousness of one’s inalienability from the homeland and an integral experience with it of its happy and unhappy days.
Tolstoy A. N.
Alexander Nevsky is the second son of the Pereyaslavl prince Yaroslav Vsevolodovich. In 1240, on June 15, in a battle with Swedish knights with a small squad, Prince Alexander won a brilliant victory. Hence Alexander’s nickname - Nevsky. To this day, the name of Alexander Nevsky is a symbol of unity, part of a common national idea.
It is generally accepted that the work was written no later than the 80s of the 13th century in the Monastery of the Nativity of the Virgin Mary in Vladimir, where Prince Alexander Nevsky was buried. The author of the story was probably, according to researchers, a scribe from the circle of Vladimir Metropolitan Kirill, who came from Galicia-Volyn Rus' in 1246.
“Life” highlights the main points of Alexander’s biography, connecting them with victorious battles, and biblical memories are combined here with Russian historical tradition, literary traditions with real observations of the battle. According to I.P. Eremina, Alexander appears before us in the image of either a king-military leader of biblical antiquity, or a brave knight of a book epic, or an iconographic “righteous man”. This is another enthusiastic tribute to the blessed memory of the late prince.
Alexander's courage was admired not only by his comrades, but also by his enemies. One day Batu ordered the prince to come to him if he wanted to save Rus' from submission. The king was sure that Alexander would be afraid, but he arrived. And Batu said to his nobles: “They told me the truth, there is no prince like him in his fatherland.” And he released him with great honor."
Having chosen to describe two victorious battles of the Russian army under the command of Alexander - a picture of the battles of the Russians with the Swedes on the Neva River and with the German knights on the ice of Lake Peipus, the author tried to present the descendants of the Grand Duke and his army as endowed with heroism, dedication and perseverance in the name of the interests of the Russian people of mythical warriors - heroes. The exaltation of the Russian people, the development of a sense of patriotism and hatred of enemies, and the maintenance of the authority of military leaders will echo throughout the history of Russia right up to the present day.
He is full of church virtues - quiet, meek, humble, at the same time - a courageous and invincible warrior, swift in battle, selfless and merciless towards the enemy. This is how the ideal of a wise prince, ruler and brave commander is created. “There was great violence then from the filthy pagans: they drove Christians away, ordering them to go on campaigns with them. Grand Duke Alexander went to the king to pray people out of trouble.”
One of the episodes of the fight against enemies is described as follows: the prince had a small squad before the battle with the Swedes, and there was nowhere to expect help from. But there was a strong faith in God’s help. The main book of Alexander's childhood was the Bible. He knew it well, and much later he retold it and quoted it. Alexander went to the Church of St. Sophia, “fell on his knee before the altar and began to pray to God with tears... He remembered the psalm song and said: “Judge, Lord, and judge my quarrel with those who offend me, overcome those who fight with me.” Having finished the prayer and received the blessing of Archbishop Spiridon, the prince, strengthened in spirit, went out to his squad. Encouraging her, instilling courage in her and infecting her with his own example, Alexander told the Russians: “God is not in power, but in truth.” With a small squad, Prince Alexander met the enemy, fought fearlessly, knowing that he was fighting for a just cause, defending his native land.
So, the spiritual and moral sources of the “Life” are the following values : faith in God, patriotism, sense of duty to the Motherland, heroism, selflessness, perseverance, mercy.
Let's present a comparative table reflecting the general and special in three works:
|
Work |
Main characters |
|
|
"The Tale" about Peter and Fevronia of Murom |
Peter and Fevronia Muromsky |
Faith in God, family as a Christian value, affirmation of love as a great all-conquering feeling; family traditions, spiritual and moral education, devotion, dedication and trust in marriage, kindness, self-denial in the name of love, mercy, devotion, spiritual and moral education |
|
"Life" of Alexander Nevsky |
Alexander |
Faith in God, patriotism, sense of duty to the Motherland, heroism, selflessness, perseverance, kindness, good deeds, mercy |
|
"Teaching" by Vladimir Monomakh |
Vladimir |
Faith in God, patriotism, love for one’s neighbor, humanism, peacefulness, righteousness, good deeds, spiritual and moral education of descendants: “don’t be lazy”, “give water and feed the one who asks”, “do not kill the right or the wrong”, “do not have pride in the heart and in the mind”, “honor the old as a father”, “visit the sick” (and so on) |
It was interesting to trace the differences between two works - “Teaching” by Vladimir Monomakh and “Life” by Alexander Nevsky. Both of them were commanders, both defended their native land, both were merciful. Although, reading the Life, it may seem (sometimes) that Alexander supposedly simply wanted to conquer foreign lands and win, but this is not so. "Life" tells about Alexander as a commander and warrior, ruler and diplomat. It opens with the “glory” of the hero, which is likened to the glory of all the world-famous heroes of antiquity. Prince Alexander, on the one hand, was a glorious commander, on the other, a righteous (living in truth, fulfilling Christian commandments) ruler. Despite his youth, as it is written in the Life, Prince Alexander “won everywhere, was invincible.” This speaks of him as a skillful, brave commander. And one more interesting detail - Alexander, while fighting his enemies, was still a merciful man: “...the same ones came again from the western country and built a city in the land of Alexandrova. Grand Duke Alexander immediately went against them, razed the city to the ground, beat some, brought others with him, and pardoned others and released them, for he was merciful beyond measure.”
So you can let down result: These works, despite the originality of various genres and literary features, are interconnected by themes that reveal the spiritual beauty and moral strength of the hero, that is, commonality of their content is as follows: faith in God, patriotism and a sense of duty to the Motherland; fortitude and mercy, selflessness and love, kindness and good deeds.
Peculiarity: 1) family and family values are the main source in “The Tale of Peter and Fevronya of Murom”, but it seems that this is also common in the sense that the Motherland is like a big family, and love for the Motherland is also in the other two works is a shared value; 2) in Monomakh’s “Instruction” much attention is paid to the education and instruction of the young. But this can also be attributed to the general content of three different works, since the actions themselves of both Monomakh and Alexander represent a role model, and there is no need to give verbal instructions to the readers, that is, education by personal example, and this is the basis of spiritual moral education.
In these works of ancient Russian literature, common values are identified for all three works: 1) faith in God; 2) patriotism and sense of duty to the Motherland; 3) fortitude and mercy; 3) family values; 4) kindness and good deeds; 5) dedication and love.
In conclusion, I would like to note that ancient Russian literature provides a chance to understand life values in the modern world and compare them with the priorities of people from the times of Ancient Rus'. This allows us to conclude that the works of ancient Russian literature are the source of spiritual and moral development for any person and, moreover, for humanity as a whole, since they are based: on high moral ideals, on faith in man in the possibilities of his limitless moral improvement, on faith in the power of the word and its ability to transform a person’s inner world. Therefore, their ideals remain relevant today.
I would like to finish the work with the words “Teaching”: “What you can do well, don’t forget; what you can’t do, learn.” Read ancient Russian literature, find in it the origins of our soul!
Bibliography:
1 . Eremin I.P. Life of Alexander Nevsky / I.P. Eremin. Lectures and articles on the history of ancient Russian literature. - Leningrad: Leningrad University Publishing House, 1987. - pp. 141-143. .
2. Ermolai-Erasmus. The Tale of Peter and Fevronia of Murom (translation by L. Dmitriev) / Old Russian literature / Comp., preface. and comment. M.P. Odessa. - M.: SLOVO / Slovo, 2004. - P.508-518.
3. Life of Alexander Nevsky (translation by I.P. Eremin) / Old Russian literature. - M.: Olimp; LLC Publishing House AST-LTD, 1997. - P.140-147.
4 .Kuskov V.V. History of Old Russian Literature: http://sbiblio.com/biblio/archive/kuskov_istorija/00.asp (access date 01/11/2014).
5 . Likhachev D.S. Great legacy. Classic works of literature. M., 1975.
6. Likhachev D.S. Chapter 5. Psychological peace. XV century /Likhachev D.S. Man in the literature of Ancient Rus'. : http://www.lihachev.ru/nauka/istoriya/biblio/1859/ (date accessed 12/12/2013).
7 . Likhachev D.S. Russian culture. M.: “Iskusstvo”, 2000.
8 . Teachings of Vladimir Monomakh (translation by D. Likhachev) / Old Russian literature / Comp., preface. and comment. M.P. Odessa. - M.: SLOVO / Slovo, 2004. - P. 213-223.
There are enough reasons to talk about ancient Russian literature today. Russian literature is more than a thousand years old. This is one of the most ancient literatures in Europe. Of this great millennium, more than seven hundred years belong to the period that is commonly called “Old Russian literature.” However, the artistic value of ancient Russian literature has not yet been truly determined. The literature of Ancient Rus' needs to be seriously studied at school.
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Yatskina E.A., teacher of Russian language and literature, Municipal Educational Institution “Butyrskaya School”, Valuysky District, Belgorod Region.
Speech at the conference “Our Russia”
Old Russian literature is the focus of Russian spirituality and patriotism
There are enough reasons to talk about ancient Russian literature today.
Russian literature is more than a thousand years old. This is one of the most ancient literatures in Europe. Of this great millennium, more than seven hundred years belong to the period that is commonly called “Old Russian literature.”
However, the artistic value of ancient Russian literature has not yet been truly determined. Ancient Russian painting has been discovered: icons, frescoes, mosaics, ancient Russian architecture delights connoisseurs, the urban planning art of Ancient Rus' surprises, the curtain has been lifted on the art of ancient Russian sewing, and ancient Russian sculpture has begun to be “noticed.”
Ancient Russian art is making a victorious march throughout the world. The Museum of Old Russian Icons is open in Recklinghausen (Germany), and special departments of Russian icons are in the museums of Stockholm, Oslo, Bergen, New York, Berlin and many other cities.
But ancient Russian literature is still silent, although more and more works about it are appearing in different countries. She is silent because, according to D.S. Likhachev, most researchers, especially in the West, do not look for aesthetic values in it, not literature as such, but only a means for revealing the secrets of the “mysterious” Russian soul, a document of Russian history. It was D.S. Likhachev reveals the spiritual, moral, artistic, aesthetic, and educational value of ancient Russian literature.
According to D.S. Likhachev, “literature was unique. The journalistic nature, the moral demands of literature, the richness of the language of the literary works of Ancient Rus' are amazing.”
The literature of Ancient Rus' is given a very modest place in the school curriculum. Only “The Lay of Igor’s Campaign” is studied in detail. Several lines are devoted to “The Tale of Bygone Years”, “The Tale of the Ruin of Ryazan by Batu”, “Zadonshchina”, “Teaching” by Vladimir Monomakh. Seven or eight works – is this really all that was created before the 17th century? Academician D.S. Likhachev wrote about this: “I am surprised how little time is spent at school on studying ancient Russian culture.” “Due to insufficient familiarity with Russian culture, there is a widespread opinion among young people that everything Russian is uninteresting, secondary, borrowed, superficial. The systematic teaching of literature is intended to destroy this misconception.”
So, the literature of Ancient Rus' needs to be seriously studied at school. Firstly, works of ancient Russian literature make it possible to cultivate a person’s moral qualities, to form national pride, national dignity and a tolerant attitude towards other peoples and other cultures. Secondly, and no less important, ancient Russian literature is wonderful material for studying literary theory.
Over the past few years, they have been talking so often about the national idea. As soon as it is not formulated! And it was formulated a long time ago - in the works of ancient Russian literature. This is how D.S. talks about it. Likhacheva: “Common destinies connected our cultures, our ideas about life, everyday life, beauty. In epics, the main cities of the Russian land remain Kyiv, Chernigov, Murom, Karela... And the people remembered and remember many other things in epics and historical songs. In his heart he keeps beauty, above the local - some kind of supra-local, lofty, united... And these “ideas of beauty” and spiritual height are common despite all the many miles of disunity. Yes, disunity, but always calling for connection. And this feeling of unity arose a long time ago. Indeed, the very legend about the calling of the three Varangian brothers reflected the idea, as I have long argued, of the brotherhood of tribes that descended their princely families from their ancestor brothers. And who, according to the chronicle legend, called upon the Varangians: Rus', Chud (the ancestors of future Estonians), Slovenes, Krivichi and all (Vepsians) - Slavic and Finno-Ugric tribes, therefore, according to the ideas of the chronicler of the 11th century, these tribes lived a single life, were between connected. How did you go on trips to Tsar Grad? Again, tribal unions. According to the chronicle story, Oleg took with him on a campaign many Varangians, and Slovens, and Chuds, and Krivichs, and Meryas, and Drevlyans, and Radimichis, and Polyans, and Severtsev, and Vyatichi, and Croats, and Dulebs, and Tiverts.. ."
It is important to note that ancient Russian literature was initially moral, humane, highly spiritual, since it arose as a consequence of the adoption of Christianity.
Writing was known in Rus' even before the adoption of Christianity, but it was used exclusively for business purposes (agreements, letters, wills), possibly also in personal correspondence. It seemed completely inappropriate to write down texts that were known to everyone and heard repeatedly in everyday life on expensive parchment. Records of folklore begin only in the 17th century.
But after the adoption of Christianity, for the functioning of the church, books with texts of the Holy Scriptures, prayers, hymns in honor of saints or solemn words pronounced on church holidays, etc. were required.
Books for home reading also contained texts of the Holy Scriptures, theological works, moral sermons, expositions of world history and church history, and the lives of saints. The literature of the first decades of its existence was translated: Christianity came to Rus' with its literature. But already a few decades after Christianization, Rus' possessed not just a “sum of books” dispersed among churches, monasteries, princely and boyar mansions; literature was born, which is a system of genres, each of which was embodied in many dozens of works that spread throughout Rus' in dozens and hundreds of lists. Secular monuments – translated and original – will appear later. Initially, literature served exclusively the purposes of religious education and enlightenment. Translated literature brought to Rus' the high (for its time) culture of Byzantium, which in turn absorbed the richest traditions and achievements of ancient science, philosophy, and the art of rhetoric. So, answering the question about the emergence of literature in Rus', we will come to the conclusion about the inextricable connection between Russian literature and European literature, about the origins of morality (literature was born as an instrument of education, not entertainment) and the high quality of literary monuments of Ancient Rus' (literature is educational, spiritual, not could be low-grade).
Genre features of ancient Russian literature
Biblical texts played a huge role in the book culture of Ancient Rus'. But in the middle of the 11th century, original works of ancient Russian authors appeared - “The Sermon on Law and Grace” by Metropolitan Hilarion, and later the first Russian lives (Antony of Pechersk, Theodosius of Pechersk, Boris and Gleb), teachings on moral topics. However, the most interesting and significant work of the first centuries of Russian literature is, of course, the Russian chronicle.
The chronicle - that is, the presentation of events by year - is a specifically Russian form of historical narration. It is thanks to the chronicle that we know our history, sometimes in the smallest detail. At the same time, the chronicle was not a dry list of events - it was at the same time a highly artistic literary work. It was about the chronicle that D.S. Likhachev spoke, developing his idea about the need for Old Russian literature in school: “Old Russian literature, unlike the literature of the 19th century, has, as it were, a child’s consciousness... And this ability is, as it were, akin to a young school consciousness.”
Folk legends about the first Russian princes - Oleg, Igor, Svyatoslav, Princess Olga, included by the chronicler in his text, were honed in the process of repeated oral reproduction, and therefore are surprisingly figurative and poetic. It is not for nothing that A.S. Pushkin used the plot of one of these stories in his “Song of the Prophetic Oleg.” And if we turn to other chronicle stories, we will see their enormous moral and patriotic wealth. Dramatic pages of Russian history will unfold before us, warriors and politicians, heroes of battles and heroes of the spirit will pass by... But the main thing is that the chronicler speaks about all this in a vivid language of images, often resorting to the stylistics and figurative system of oral epic tales. D.S. Likhachev approached the chronicle not only as a historian, but also as a literary critic. He studied the growth and change in the methods of chronicle writing themselves, their originality and close connection with the Russian historical process. (“History of Russian literature” - 1945, “Russian chronicles and their cultural and historical significance” - 1947). Academician Likhachev presented the connection between the chronicles of the 11th and 12th centuries with folk poetry and the living Russian language; As part of the chronicles, he identified a special genre of “stories about feudal crimes”; showed the interconnection of individual spheres of Russian culture in the 15th – 16th centuries. with the historical situation of that time and with the struggle to build a centralized Russian state. The series of works by D.S. Likhachev dedicated to Russian chronicle writing is valuable, primarily because they explore the artistic elements of chronicle writing; and the chronicles are finally recognized not only as a historical document, but also as a literary monument. Dmitry Sergeevich notes such a feature of ancient Russian literature as the “choral” principle, “the height of which in epic and lyric poetry is undeniable.” In the works of Russian culture, the share of the lyrical element, the author’s own attitude to the subject or object of creativity, is very large. One might ask: how can this be combined with the “choral” beginning that was just mentioned? It goes together... “Take the Old Russian period, the first seven centuries of Russian culture,” writes D.S. Likhachev. - “What a huge number of messages from one to another, letters, sermons, and in historical works how frequent appeals to readers, how much polemics! True, it is a rare author who strives to express himself, but it turns out that he expresses...” And in the 18th century, how often does Russian classical literature turn to letters, diaries, notes, and first-person narratives. Poetry in all nations lives by the self-expression of the individual, but Dmitry Sergeevich names prose works: “The Journey...” by Radishchev, “The Captain’s Daughter” by Pushkin, “A Hero of Our Time” by Lermontov, “Sevastopol Stories” by Tolstoy, “My Universities” by Gorky, “Life Arsenyev" Bunin. Even Dostoevsky (with the possible exception of “Crime and Punishment”), according to Likhachev, always narrates on behalf of the chronicler, an outside observer, has in mind someone from whose face the narrative flows. This domesticity, intimacy and confessionalism of Russian literature is its outstanding feature.
In addition, a thorough study of the features of the chronicle narrative allowed Dmitry Sergeevich to develop the question of forms of creativity bordering on literature - about military speeches, about business forms of writing, about the symbolism of etiquette, which arises in everyday life, but significantly influences literature.
For example, “The Sermon on Law and Grace” by Hilarion. D.S. Likhachev calls it “an exceptional work, because Byzantium did not know such theological and political speeches. There are only theological sermons, but here is a historiosophical political speech affirming the existence of Rus', its connection with world history, its place in world history.” He says this is an amazing phenomenon. Then the works of Theodosius of Pechersk, then Vladimir Monomakh himself, in his “Teaching” combining high Christianity with military pagan ideals. Thus, ancient Russian literature poses not only moral issues. But also political and philosophical problems.
No less interesting is another genre of ancient Russian literature - the lives of saints. D.S. Likhachev notes here such features of ancient Russian literature as instructiveness and at the same time confessionality: “Literature throughout its entire length retains its “educational” character. Literature is a platform from which the author does not thunder, no, but still addresses moral questions to the reader. Moral and worldview.
Perhaps the impression of one thing and at the same time something completely different arises because the author does not feel superior to the reader. Habakkuk does not so much instruct in his “Life” as encourage himself. He does not teach, but explains, does not preach, but cries. His “Life” is a cry for oneself, mourning one’s life on the eve of its inevitable end.”
Anticipating the publication of a number of Russian hagiographies in the weekly magazine “Family” in 1988 – 1989, D.S. Likhachev writes: “Not a single lesson from hagiography literature can be perceived by us directly, but if we take into account that morality is ultimately the same for all centuries and for all people, then by reading about what is obsolete in detail, we can find a lot for ourselves in general.”And the scientist lists those moral qualities that the lives glorified and that we so need today: honesty, conscientiousness in work, love for the homeland, indifference to material wealth and concern for the public economy.
We all know the name of the great Kyiv prince Vladimir Monomakh.Vladimir Monomakh, Grand Duke of Kiev, was the son of Vladimir Yaroslavich and a Byzantine princess, daughter of Emperor Constantine Monomakh. The works of Vladimir Monomakh were written in the 11th – early 12th centuries and are known under the name “Instruction”. They are part of the Laurentian Chronicle. “Instruction” is a unique collection of the prince’s works, including the Instruction itself, an autobiography and a letter from Monomakh to Prince Oleg Svyatoslavich. The teaching was the political and moral testament of the prince, addressed not only to his sons, but also to a wide circle of readers.
Monomakh, like all literate people then, was brought up on the Holy Scriptures, Patristic and everyday literature, which, of course, is also manifested in the “Teaching”. He always had the psalter with him, and even took it on the road. Deeply lamenting the civil strife of the princes, he decides to turn to his children, so that they, or those who happen to read his instruction, accept it with all their hearts and rush to good deeds.
At the beginning of the “Teaching,” Monomakh gives a number of moral instructions: do not forget God, do not have pride in your heart and mind, respect old people, “when you go to war, do not be lazy, beware of lies, give drink and food to those who ask... Do not forget the poor, give "For the orphan and the widow, judge for yourself, and do not let the strong destroy a person. Honor the old as fathers, and the young as brothers. Most of all, honor the guest. Do not let a person pass without greeting him, and say a kind word to him." a man who embodied the ideal of a prince who cared about the glory and honor of his native land.
Before us are moral instructions, high moral covenants that have lasting significance and are valuable to this day. They make us think about relationships between people and improve our moral principles. But the “Instruction” is not only a set of everyday moral advice, but also the political testament of the prince. It goes beyond the narrow framework of a family document and acquires great social significance.
Vladimir Monomakh puts forward tasks of a national order, considering it the duty of the prince to take care of the welfare of the state and its unity. Internecine strife undermines the economic and political power of the state; only peace leads to the prosperity of the country. Therefore, it is the responsibility of the ruler to maintain peace.
The author of the "Instructions" appears before us as a highly educated, bookish person, erudite, well versed in the literature of his time, as can be seen from the numerous quotes that he gives.
Yes, Russian literature began with “educational”, preaching works, but later Russian literature unfolded before its readers more complex compositions, in which this or that author’s behavior was offered to the reader as material for reflection. This material also included various moral issues. Problems of morality were posed as artistic problems, especially by Dostoevsky and Leskov.
The artistic method of ancient Russian literature
So, by studying the works of ancient Russian literature, we get acquainted with the original Russian genres of literature and have the opportunity to trace their further development or influence on the literature of subsequent eras. It is in lessons on ancient Russian literature that we must understand that this layer of our Russian literature is valuable in itself, has its own laws of development, and at the same time is the basis for all Russian literature of the 19th and 20th centuries. We need to see the connection between the works of A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol, I.S. Turgenev, I.A. Goncharov, F.M. Dostoevsky, A.N. Ostrovsky, N.A. .Nekrasov, M.E. Saltykov-Shchedrin, L.N. Tolstoy, N.S. Leskov, many authors of the 20th century with ancient Russian literature. We see this connection in A. Blok’s poem “The Twelve”, in the works of S. Yesenin, M. Tsvetaeva, M. Bulgakov, in some poems by V. Mayakovsky, therefore, for effective work on literature it is simply necessary to have a deeper understanding of the literature of Ancient Rus' .Many traditional national images, symbols, techniques and means of expression originate in ancient literature and folklore, undergo changes, develop, and receive new meaning.
Understanding the meaning and poetics of great works will undoubtedly be deeper if we trace the inextricable connection and continuity in the formation of creative styles, trends, and systems. D.S. Likhachev worked a lot on the problem of the genre system of ancient Russian literature. He explored in all its complexity the diversity, hierarchy, and close interdependence of genres and stylistic devices in ancient Russian literature. Dmitry Sergeevich writes that it is necessary to study not only individual genres, but also the principles on the basis of which genre division occurs, the relationship of literary genres with folklore, and the connections of literature with other types of arts.
When studying ancient Russian literature, it is necessary to talk about a unique “artistic method” and its subsequent development. In the artistic method of ancient Russian writers, D.S. Likhachev primarily noted the ways of depicting a person - his character and inner world. The scientist especially highlighted this feature and spoke about its further development in the literature of the 18th century. In his works “The Problem of Character in Historical Works of the Early 17th Century.” (1951) and “Man in the Literature of Ancient Rus'” (1958) he reflected the historical development of such basic concepts as character, type, literary fiction. He clearly showed what a difficult path Russian literature went through before turning to depicting the inner world of a person, his character, i.e. to artistic generalization, leading from idealization to typification.
“Protective dome over the entire Russian land”
In one of his interviews D.S. Likhachev says: “Literature suddenly rose like a huge protective dome over the entire Russian land, covering it all - from sea to sea, from the Baltic to the Black, and from the Carpathians to the Volga.
I mean the appearance of such works as the “Sermon on Law and Grace” by Metropolitan Hilarion, the “Initial Chronicle” with a different range of works included in it, such as the “Teachings” of Theodosius of Pechersk, the “Teachings” of Prince Vladimir Monomakh, “The Lives of Boris and Gleb", "Life of Theodosius of Pechersk", etc.
But indeed, all these works are marked by high historical, political and national self-awareness, the consciousness of the unity of the people, which was especially valuable during the period when in political life the fragmentation of Rus' into principalities had already begun, “when Rus' began to be torn apart by the internecine wars of the princes.” It was during this period of political disunity that literature declares that the princes are not in a “bad” and not in an unknown land of princes, literature is trying to clarify the question of “where did the Russian land come from?” calls for unity. Moreover, it is important that works are created not in one center, but throughout the entire space of the Russian land - chronicles, sermons, the “Kiev-Pechersk Patericon” are compiled, correspondence between Vladimir Monomakh and Oleg Gorislavich is conducted, etc., etc. “In Literary creativity surprisingly quickly attracted numerous Russian cities and monasteries: in addition to Kiev - Novgorod the Great, both cities of Vladimir at different ends of the Russian land - Vladimir Volynsky and Vladimir Suzdal, Rostov, Smolensk and even small Turov. Everywhere writers and especially chroniclers take advantage of the labor of their brothers from the most remote places of the East Slavic plain, correspondence arises everywhere, writers move from one principality to another.”
At a time of decline, political disunity and military weakening, literature replaced the state. Hence, from the very beginning and throughout all centuries, the highest social responsibility of our literatures - Russian, Ukrainian and Belarusian.
That's why D.S. Likhachev described the great function of ancient Russian literature as follows: it “rose over Russia with a huge protective dome - it became a shield of its unity, a moral shield.”
Without being familiar with the development of Russian literature, we will not be able to fully embrace the path that great Russian literature has traversed, evaluate the achievements and discoveries made by Russian writers, and we will remain indifferent to the fragmentary information that the school curriculum gives us. After all, based on it, Russian literature appeared out of nowhere: there, in the west, there was Dante, there was Shakespeare, but here, until the 18th century, there was emptiness, and only somewhere there, in the darkness of centuries, “The Tale of Igor’s Campaign” barely glows. The literature of Ancient Rus' is necessary in school so that we finally realize our usefulness.
The works of ancient Russian literature reveal a special, national ideal of beauty. First of all, this is spiritual, inner beauty, the beauty of a Christian merciful and loving soul. It is especially important that in the literature of Ancient Rus' there is no place for hatred and contempt for other peoples (which is usual for many other works of the Middle Ages); it fosters not only patriotism, but, in modern terms, internationalism.
The cultural horizon of the world is constantly expanding, and in modern society there is a decline in morals. The desire to switch to a Western perception of the world destroys the national worldview system and leads to the forgetting of traditions based on spirituality. Fashionable imitation of the West is destructive for Russian society, and, therefore, needs “treatment” through history. Thanks to her, the unity of the world becomes more and more tangible. Distances between cultures are shrinking, and there is less and less room for national enmity. This is the greatest merit of the humanities. One of the urgent tasks is to introduce into the circle of reading and understanding of the modern reader the monuments of the verbal art of Ancient Rus', in the great and unique culture of which fine art and literature, humanistic and material culture, broad international connections and a clearly expressed national identity are closely intertwined. If we preserve our culture and everything that contributes to its development - libraries, museums, schools, universities - if we preserve our unspoiled, rich language, literature, art, then we, of course, are a great nation.
Literature
- Likhachev D. S. Image of people in the chronicles of the 12th–13th centuries // Proceedings of the Department of Old Russian Literature. /D.S. Likhachev. - M.; L., 1954. T. 10.
- Likhachev D.S. Poetics of Old Russian Literature. D.S. Likhachev. - L., 1967.
- Likhachev D.S. Man in the literature of Ancient Rus'. D.S. Likhachev. - M., 1970.
- Likhachev D.S. Development of Russian literature of the X–XVII centuries: Epochs and styles. / D.S. Likhachev. - L., Science. 1973.
- Likhachev D.S. “The Tale of Igor’s Campaign” and the culture of its time. D.S. Likhachev. - L., 1985.
- Likhachev D.S. The past is for the future. Articles and essays. /D.S. Likhachev. - L., 1985.
- Likhachev D.S. Book of worries. Articles, conversations, memories / D.S. Likhachev. – M.: Publishing House “Novosti”, 1991.
- Likhachev D.S. "Russian culture". /D.S. Likhachev. – Art, M.: 2000.
- Likhachev D.S. “Thoughts about Russia”, / D.S. Likhachev. - Logos, M.: 2006.
- Likhachev D.S. "Memories". /D.S. Likhachev. – Vagri us, 2007.