Lotman lectures on Russian culture. YU

CH PFDEMSHOSCHI RPYGYSI, CHUEZDB SCHMSAEYIUS YULMAYUEOYEN YJ RTBCHYMB, NPTsOP ZPCHPTYFSH P LHMSHFHTE PDOPZP YuEMPCHELB. OP FPZDB UMEDHEF KhFPYUOIFSH, YuFP NSCH YNEEN DEMP U LPMMELFYCHPN, UPUFPSEIN JPDOPC MYUOPUFY. хЦЭ ФП, УФП ьФБ MYУОПУФШ OEYЪVETSOP VХDEF RPMSHЪПЧБФШУС СЪШЛПН, ЦШЧУФХРБС ПДОПЧТНИООП ЛБЛ ЗПЧПТЦЭИК И UMKHYBAEIK, UFBCHYF EE CH RPЪYGYA LPMMELFYCHB. fBL, OBRTYNET, TPNBOFILY YUBUFP ZPCHPTYMY P RTEDEMSHOPK YODYCHYDHBMSHOPUFY UCHPEK LHMSHFHTSCH, P FPN, YuFP CH UPJDBCHBENSHI YNY FELUFBI UBN BCHFPT SCHMSEFUS, CH YDEBME, EDY OUFCHOOOSCHN UCHPYN UMKHYBFEMEN (YUYFBFEMEN). pDOBLP Y CH LFK UYFKHBGYY TPMY ZPCHPTSEEZP Y UMKHYBAEEZP, UCHSCHCHBAEIK YI SJSHL OE KHOYUFPTSBAFUS, B LBL VSH RETEOPUSFUS CHOKHTSH PFDEMSHOPK MYUOPUFY: “h HNE UCHPEN S UPЪDBM NYT YOPK // th PVTBЪPCH YOSHI UKHEEUFCHPCHBOSHE" (metNPOFPCH n. a. uPYu. Ch 6- FY F. N.; M., 1954, F. 1, U. 34).

gYFBFSCH RTYCHPDSFUS RP YJDBOYSN, YNEAEINUS CH VYVMYPFELE BCHFPTB, U UPITBOOYEN PTZHPZTBZHYY RHOLFKHBGYY YUFPYUOILB.

pTYZIOBMSHOSCHK FELUF YNEEF RTYNEYUBOYS, UPDETSBEYEUS CH LPOGE LOYZY Y RTPOKHNETPCHBOOSCH RP ZMBCHBN, B FBLCE RPDUFTPUOSCH UOPUL PVPOBYOOSCH ЪCHEDPYULBNY. dMS KHDPVUFCHB CHPURTYSFYS CH OBYEN UMKHYUBE RPUFTBOYUOSHE UPULY RPMKHYUYMY ULCHPYOKHA, OP PFDEMSHOKHA OHNETBGYA. rPUFTBOYUOSCH UPULY, PVPOBYOOOSCH LOYZE PRTEDEMEOOSCHN LPMYUEUFCHPN ЪCHEDPYUEL, ЪDEUSH YNEAF RPTSDLPCHSHCHK OPNET UP ЪCHEDPYULPK (OBRTYNET, 1*, 2* Y F.D.). – TEDBLGYS ry "pFLTSCHFSHCHK FELUF"

RHYLYO b. u. rPMO. UPVT. UPYU. Ch 16-FY F. [n.; m. ], 1937-1949, F. 11, U. 40. dBMEE CHUE UUSCHMLY ABOUT LFP YJDBOYE DBAFUS CH FELUFE UPLTBEEOOOP: RHYLYO, FPN, LOIZB, UFTBOYGB. UUSCHMLY ABOUT "ECHZEOYS POEZYOB" DBAFUS CH FELUFE, U KHLBBOYEN ZMBCHSHCH (BTBVULPK GYZhTPK) Y UFTPZHSC (TYNULPK).

OEUNPFTS ABOUT CHTBTSDEVOPE PFOPYEOYE L RPRSHFLBN GETLPCHOSHI DESFEMEK CHMYSFSH ABOUT ZPUKHDBTUFCHOOKHA CHMBUFSH, ABOUT YJCHEUFOSCH UMHYUBY LPEHOUFCHB, REFT FEBFEMSHOP UPVMADBM RTBCHPUMBCHOSHE PVTSDSH. dBTSE OETBURPMPTSEOOSCHK L OENKH DYRMPNBF AUF AMSH CHSHCHOKHTSDEO VSCHM RTYOBFSH, SFP "GBTSH VMBZPYUEUFYCH", B DTHZPK UCHYDEFEMSH, ZHTBOGKH m-zhPTF Ch 1721 ZPDH PFNEYUBM, SFP "G BTSH ZPCHEM VPMEE FEBFEMSHOP, YUEN PVSHYUOP, U NEB culpa (RPLBSOYEN. - a.m. .),LPMEOPRTELMPOOYEN Y NOPZPLTBFOSCHN GEMPCHBOYEN YENMY".

CH OBTPDOYUEULYI LTHZBI Y CH PLTHTSEOYY b. y. zETGEOB UKHEEUFCHPCHBMB FEODEOGYS CHYDEFSH CH UFBTPPVTSDGBI CHSTBYFEMEK NOEOYK CHUEZP OBTPDB Y ABOUT LFPN PUOPCHBOY LPOUFTKHYTPCHBFSH PFOPYEOYE LTEUFSHSOUFCHB L REFTKH. h DBMSHOEKYEN bfkh FPYULH ЪTEOYS KHUCHPYMY TKHUULYE UYNCHPMYUFSH - d.u. NETETSLPCHULIK Y DT., PFPTSDEUFCHMSCHYE UELFBOFPCH Y RTEDUFBCHYFEMEK TBULPMB UP CHUEN OBTPDPN. chPRTPU LFPF OHTSDBEFUS CH DBMSHOEKYEN VEURTYUFTBUFOPN YUUMEDPCHBOYY. pFNEFYN MYYSH, YuFP FBLYE, UDEMBCHYYEUS HCE RTYCHSHCHYUOSCHNY KHFCHETTSDEOYS, LBL NOOOYE YJCHEUFOPZP YUUMEDPCHBFEMS MHVLB d. MY" Y TSD MYUFPCH ABOUT FENH "UFBTYL Y CHEDSHNB" SCHMSAFUS UBFYTBNY ABOUT REFTB, ABOUT RPCHETLH PLBSCHCHBAFUS OH ABOUT YUEN OE PUOPCHBOOSCHNY.

CHRPUMEDUFCHYY, PUPVEOOOP RTY OYLPMBE I, RPMPTSEOYE NEOSMPUSH CH UFPTPOH CHUE VPMSHYEZP RTECHTBEEOOYS DCHPTSOUFCHB CH ЪBNLOKHFHA LBUFKH. hTPCHEOSH YUYOB, RTY LPFPTPN OEDCHPTSOYO RPMKHYUBM DCHPTSOUFChP, CHUE CHTENS RPCHSHCHYBMUS.

RTEDRPYUFEOYE, DBCHBENPE CHYOULPK UMKHTSVE, PFTBYMPUSH CH RPMOPN ЪБЗМБЧй ЪБЛПОБ: “fBVEMSH P TBOOZBI CHUEI YUYOPCH, CHYOULYI, UFBFULYI Y RTDCHPTOSHI, LPFPTSHCHE CH L PFPTPPN LMBUUE YYOSCH; Y LPFPTSCHE CH PDOPN LMBUUE, FE YNEAF RP UFBTYOUFCHCH CHTENEY CHUFKHRMEOYS CH YUYO NETSDH UPVPA, PDOBLPTs CHYOULYE CHCHIE RTPFUYI, IPFS V Y UFBTEE LFP CH FPN LMBUUE RPTsBMPCHBO V ShchM". iBTBLFETOP Y DTHZPE: OBYUYCH CHYOULYE YYOSCH I LMBUUB (ZEOETBM-ZHEMSHDNBTYBM CH UHIPRKHFOSHY ZEOETBM-BDNYTBM CH NPTULYI CHPKULBI), REFT PUFBCHYM RKHUFSHNY NEUFB I LMBUUB CH UFBFULPK Y RTYDCHPTOPK UMKHTSVE. mYYSH KHLBBOYE UEOBFB, YuFP LFP RPUFBCHYF THUULYI DYRMPNBFPCH RTY UOPYEOYSI U YOPUFTBOOSCHNY DCHPTBNY CH OETBCHOPE RPMPTSEOYE, KHVEDIMP EZP CH OEPVIPDYNPUFY I LMBUUB Y DMS U FBFULPK UMKhTSVSHCH (YN UFBM LBOGMET). rTYDCHPTOBS CE UMHTSVB FBL Y PUFBMBUSH VEJ CHUYEZP HSE.

YOFETEUOP, YuFP DChPTSOUFChP, VSHUFTP TBPTSCHIYEUS Ch 1830-1840-e ZPDSH, FPTSE CHOUMP BLFYCHOSCHK CHLMBD CH ZHPTNYTPCHBOIE TKHUULPK YOFEMMYZEOGYY. rTPZHEUYPOBMSHOPE DPTEZHTNEOOPE YUYOPCHOYUEUFCHP PLBBBMPUSH Y ЪDEUSH OBYUYFEMSHOP NEOO BLFYCHOSCHN.

TENPOF MPYBDEK - FEIOYUUEULYK FETNYO CH LBCHBMETYY, POBYUBAEIK RPRPMOOYE Y PVOPCHMEOYE LPOULZP UPUFBCHB. DMS ЪБЛХРЛІ МПYБДЭК ПжІГОП У ЛБЪООШНЯ УХНННБНY ПНННБНИ ПНБОПДІПЧБМUS ABOUT PDOKH Ъ VPMSHYI ETSEPDOSCHI LPOULYI STNBTPL. rPULPMSHLH MPYBDY RPLHRBMYUSH X RPNEEYLPCH - MYG YUBUFOSHCHI, RTPCHETLY UKHNNSH TEBMSHOP YUFTBYOOOSCHI DEOEZ ZHBLFYUEULY OE VSHMP. zBTBOFYSNY TEBMSHOPUFY UKHNNSH DEOETSOSHI FTBF VSHMY, U PDOPK UFPTPOSCH, DPCHETYE L LPNBODYTPCHBOOPNH PZHYGETH, B U DTHZPK - PRSCHFOPUFSH RPMLPCHPZP OYUBMSHUFCHB, TBVYTBCH EZPUS CH UFPYNPUFY MPYBDEC.

OBDP ULBBFSH, YuFP UMKhTSVB VEJ TsBMPCHBOSHS VShchMB DPChPMSHOP YBUFSHCHN SCHMEOYEN, B b. neoyylpch ch 1726 ZPDH CHPPVEE PFNEOIM TsBMPCHBOSHE NEMLYN YUYOPCHOILBN, ZPCHPTS, YuFP POY Y FBL VETHF NOPZP CHUSFPL.

CH VSHFPRYUBOYSI XVIII UFPMEFYS YJCHEUFEO UMKHYUBK, LPZDB OELYK ZPUFSH UPTPL MEF TEZKHMSTOP RPSCHMSMUS ABOUT PVEDBI X PDOPZP CHEMSHNPTSY. pDOBLP, LPZDB LFPF YUEMPCHEL HNET, PLBBBMPUSH, YuFP OILFP, CHLMAYUBS IPЪSYOB, OE OBBM, LFP ON FBLPK Y LBLPCHP EZP YNS.

CHUE ЪBLPOSH GYFYTHAFUS RP YЪDBOYA: rPMOPE UPVTBOYE ЪBLPOPCH tPUUYKULPK YNRETYY, RPCHEMEOYEN ZPUKHDBTS OYLPMBS rBCHMPCHYUB UPUFBCHMEOOPE. (1649 -1825). f. 1 -45. urV., 1830.

UFBTSHCHK RTYOGYR, PDOBLP, OE VShchM DP LPOGB KHOYUFPTSEO. bFP PFTTBTSBMPUSH CH FPN, YuFP RETYPDYUEULY CH UYUFENKH PTDEOPCH CHTSCHCHBMYUSH OE HUMPCHOSCH, B NBFETYBMSHOSCH GEOOPUFY. fBL, PTDEOULBS ЪCHEDB U VTYMMYBOFBNY YNEMB OBYUEOYE PUVPK UFEREOY PFMYYUYS

PZHYGBMSHOPE OBCHBOIE - PTDEO UC. yPBOOB yETHUBMYNULPZP. lBL YJCHEUFOP, rBCHEM I CHSM RPD RPLTPCHYFEMSHUFCHP PUFTPC nBMSHFH Y CH DELBVTE 1798 Z. PVIASCHYM UEWS CHEMILINE NBZYUFTPN nBMSHFYKULPZP PTDEOB. lPOYUOP, LFP VSHMP UPCHETYOOOP OECHPNPTSOSCHN: LBCHMETSH nBMSHFYKULPZP PTDEOB DBCHBMY PVEF VEJVTBUYS, B rBCHEM VSHM HCE CHFPTYYUOP TSEOBF; LTPNE FPZP, nBMSHFYKULYK PTDEO - LBFPMYUEULYK, B TKHUULYK GBTSH, TBHNEEFUS, VSHM RTBCHPUMBCHOSCHN. OP rBCHEM I UYYFBM, UFP BY CHUE NPTsEF (DBCE MYFKHTZYA PFUMKHTSYM PDOBTDSCH!); CHUE, YuFP NPTsEF vPZ, RPD UYMKH Y TKHUULPNKH YNRETBFPTH.

UT. RPЪDOAKEYE YTPOYUUEULPE YUFPMLPCHBOYE UENBOFYLY UMPCHB "UMKHTSYFSH" CH TEYU DCHPTSOOB Y TBOPYUYOGB-RPRPCHYUB: "BI, RPJCHPMSHFE, CHBYB ZHBNYMYSNOE OBLPNB - ts ЪБОПЧ. dB, FERTSH WITH RPNOA. NSHCH U CHBYN VBFAYLPK CHNEUFE UMKHTSYMY".. uFP TSE CHSHCHU OIN, CHUEOPEOKHA YMY PVEDOA UMKHTSYMY?" - URTPUYM tSBOPCH.. fP EUFSH LBL?" - "s OE OBA, LBL. dPMTSOP VSHFSH, UPVPTOE. b FP LBL TSE EEE?" rPUTEDOIL U OEDPHNEOYEN UNPFTEM ABOUT TSBOPCHB:. dB TBCHE CHBY VBFAYLB OE UMKHTSYM CH ZTPDOEOULYI ZHUBTBI?" - oEF; PO VPMSHYE CH UEMBY RTEUCHYFETPN UMKHTSYM"" (umERGPCH ch. b. uPYu. Ch 2-I F. n., 1957, F. 2, U. 58).

YJCHEUFOBS OBLMPOOPUFSH KHRPFTEVMSFSH CHSHCHUPLYE UMPCHB CH UOTSEOOOP-YTPOYUEULYI OBYOOYSI LPUOKHMBUSH RPPTSE Y CHSTBTTSEOYS “UMKHTTSYFSH YYUEUFY”. pOP OBYUBMP PVPOBYUBFSH FTBLFYTOHA RTYUMKHZKH, OE RPMKHYUBAEKHA PF IPЪSYOB TsBMPCHBOSHS Y UMKHTSBEKHA ЪB YUBECHSHCHE. uT. CHSTBTTSEOYE CH “prBUOPN UPUEDE” ch. m. ., 1971, U. 670).

FBN TSE, F. 5, U. 16, UP UUSCHMLPK ABOUT: tBVYOPCHYU n. d. - h LO.: tPUUYS CH RETYPD TEZHPTN rEFTB I. n., 1973, U 171; vKhZBOPCH h.y., rTEPVTBTSEOULYK b. b., fYIPOPCH a. b. ьChPMAGYS ZHEPDBMYNB CH tPUUYY. UPGYBMSHOP-LPOPNYUEULYE RTPVMENSHCH. n., 1980, U. 241.

FPMSHLP CH RTYDCHPTOPK UMHTSVE TSEOOEYOSCH UBNY YNEMY YYOSCH. h fBVEMY P TBOZBI OBIPDN: “dBNSH Y DECHYGSH RTY DCHPTE, DEKUFCHYFEMSHOP CH YUYOBY PVTEFBAEYEUS, YNEAF UMEDHAEYE TBOZY...” (rBNSFOLY TKHUULPZP RTBCHB. chShchR. 8, U. 186) - DBMEE UMEDPCHBMP YI RETEYUMEOYE.

UN.: UENEOPCHB m.o. PYUETLY YUFPTYY VSHFB Y LHMSHFKHTOPK TSYYOY tPUUYY: RETCHBS RPMPCHYOB XVIII CHELB m., 1982, U. 114-115; rETERYULB LOSZJOY e.r. xTHUPCHPK UP UCHPYNY DEFSHNY. - h LO.: uFBTYOB Y OPCHYOB. lO. 20. n., 1916; yuBUFOBS RETERYULB LOSS REFTB yCHBOPCHYUB iPCBOULPZP, EZP UENSHYY TPDUFCHEOILCH. - h LO. FBN CE, LO. 10; zTBNPFLY XVII - OBYUBMB XVIII CHELB. n., 1969.

UTEDOECHLPCHBS LOYZB VSHMB THLPRYUOPK. LOYZB XIX CHELB - LBL RTBCHYMP, REYUBFOPK (EUMY OE ZPCHPTYFSH P ЪBRTEEEOOOPK MYFETBFKHTE, P LHMSHFKHTE GETLPCHOPK Y OE KHYUFSHCHBFSH OELPFPTSCHI DTHZYI UREGYBMSHOSHI UMKHYUBECH). XVIII CHEL ЪBOYNBEF PUPVPE RPMPTSEOYE: THLPRYUOSCHE REYUBFOSCH LOYZY UKHEEUFCHHAF PDOPCHTEENOOOP, YOPZDB - LBL UPAYOILY, RPTPC - LBL UPRETOILY.

UN. CH “rHFEYUFCHYYY REFETVHTZB CH nPULCHH” b. O. tBDYEECHB, CH ZMBCHE “oPChZPTPD”, RPTFTEF TSEOSCH LHRGB: “rTBULPCHS DEOYUPCHOB, EZP OPCHPVTBUOBS UHRTKHZB, VEMB Y THNSOB. ъХВШЧ ЛБЛ ХЗПМШ. vTPCHY CH OYFLH, YUETOEE UBTSY.”

tPNBO LMBUUYUEULYK, UFBTYOOSHCHK,

pFNEOOOP DMYOOSHCHK, DMYOOSHCHK, DMYOOSHCHK,

OTBCHPHYUFEMSHOSHCHK Y YYOOOSCHK,

VE TPNBOFYUEULYI ЪBFEK.

ZETPYOS RPNSCH - oBFBMYS rBCHMPCHOB YUYFBMB FBLYE TPNBOSH EEE CH OBYUBME XIX CHELB: CH RTPCHYOGYY POY UBDETSBMYUSH, OP CH UFPMYGBI YI CHSHCHFEUOYM TPNBOFYYN, RETENEOYCHYK YUFBF EMSHULYE CHLHUSCH. uT. CH "ECHZEOYY POEZYOE":

b OSHHOYUE CHUE KHNSCH CH FKHNBOE,

nPTBMSH ABOUT OBU OBCHPDYF UPO,

rPTPL MAVEYEO - Y CH TPNBOE,

th FBN HC FPTCEUFCHHEF PA. (3, XII))

RPCHEUFSH H. M. lBTBNYOB “tShCHGBTSH OBUYEZP CHTENEOY”, ABOUT LPFPTPK NSCH CH DBOOPN UMHYUBE PUOPCHCHCHBENUS, - IHDPTSEUFCHEOPE RTPY'CHEDEOYE, B OE DPLHNEOF. pDOBLP NPTsOP RPMBZBFSH, YuFP YNEOOP CH FYI CHPRTPUBI lBTBNYO VMYPL L VYPZTBZHYUEULPK TEBMSHOPUFY.

ZHTBOGKHULPE RYUSHNP ZPUKHDBTA YMY CHCHUYN UBOPCHOILBN, OBRYUBOPE NHTSYUYOPK, VSHMP VSC CHPURTYOSFP LBL DET'PUFSH: RPDDBOOSCHK PVSBO VSHM RYUBFSH RP-TKHUULY Y FPYUOP UMEDHS KH FBOPCHMEOOOPK ZhPTNE. dBNB VSHMB YЪVBCHMEOB PF LFPZP TYFKHBMB. ZhTBOGKHULYK SJSHL UPJDBCHBM NETSDH OEA Y ZPUKHDBTEN PFOPYEOYS, RPDPVOSHCHN TYFKHBMSHOSCHN UCHSSN TSCHGBTS Y DBNSHCH. ZhTBOGKHULYK LPTPMSH MADPCHYL XIV, RPchedeoye LPFPTPZP CHUE EEE VSHMP YDEBMPN DMS CHUEI LPTPMEK echTPRSCH, DENPOUFTBFYCHOP RP-TSCHGBTULY PVTBBEBMUS U TsEOYOBNY MAVPZP PE ЪТБУФБ И UPGYBMSHOPZP RPMPTSEOOYS.

YoFETEUOP PFNEFYFSH, YuFP ATYYUUEULY UFEREOSH UPGYBMSHOPK ЪBEEEOOOPUFY, LPFPTPK TBURPMBZBMB TKHUULBS TSEOOYOB-DCHPTSOLB CH OILPMBECHULHA URPIKH, NPTsEF VSHCHFSH UPRPUFBCHMEOB U ЪBEEEOOOPUFSHA RPUEFYCHYEZP tPUUYA YOPUFTBOGB. UPCHRBDEOYE LFP OE UFPMSH HC UMKHYUBKOP: CH YUYOPCHOP-VATPLTBFYUEULPN NYTE TBOZB Y NHODYTB CHUSLYK, LFP FBL YMY YOBYUE CHSCHIPDYF ЪB EZP RTEDEMSHCH, - “YOPUFTBOEG”.

RTBCHDB, CH PFMYYUYE PF UEO-rTE YЪ "ОПЧПК ьМПЪШЧ", ЦХЛПЧУЛИК - ДЧПЦОО. pDOBLP DCHPTSOUFChP EZP UPNOYFEMSHOP: CHUE PLTHTSBAEYE OBAF, UFP PO OEBLPOOSCHK USCHO U ZHYLFYCHOP DPVSCHFSHN DCHPTSOUFCHPN (UN.: rPTFOPCHB y. y., zPNYO o. l. deMP P DHPT SOUFCHE tsKHLPCHULPZP. - h LO.: tsKHLPCHULIK Y TKHULBS LHMSHFHTB. m., 1987, U. 346-350).

FBL OBSCHCHBMY PVSHYUOP LOYZH “rMHFBTIB IETPOEKULPZP p DEFPCHPDUFCHE, YMY CHPURYFBOY DEFEC OBUFBCHMEOYE. RETECHEDEOOPE U EMMYOP-ZTEYUULPZP SJSCHLB u[FERBOPN] r[YUBTECHCHN].” urV., 1771.

CHPNPTsOP, YuFP CHOYNBOYE tBDYEECHB L LFPNH RYYPDH CHSHCHBOP UPVCHFYEN, RTSNP RTEDYUFCHPCHBCHYYN OBRYUBOYA FELUFB. rPUMEDOYE SLPVYOGSH - TsYMSHVET tPNN Y EZP EDYOPNSCHYMEOOYL, PVPDTSS DTHZ DTHZB, YJVETSBMY LBJOY, FBL LBL ЪBLPMMYUSH PDOYN LYOTSBMPN, LPFPTSCHK POY RETEDBCHBMY DTH Z DTHZH YЪ THL CH THLY (DBFYTPCHLH RPNSHCH 1795—1796 ZZ. UN.: tBDYEECH b.o. uFYIPFCHPTEOYS. m ., 1975, U. 244-245).

YuFPVSH PGEOIFSH LFPF YBZ DPCHPMSHOP PUFPPTPTsOPZP rMEFOECHB, UMEDHEF HYUEUFSH, YuFP OBUYOBS U 1830-ZP ZPDB ChPLTHZ PGEOLY FCPTTYUEUFCHB rHYLYOB YMB PUFTBS RPMENYILB Y BCHFPTYFEF EZP VSHHM RPLPMEVMEO DBTSE CH UPUBOBOY OBYVPMEE VMYOLYI L OENKH RPFPCH (OBRTYNET, e. vBTBFSCHOULPZP). h PZHYGYPOSCHI TSE LTHZBI DYULTEDYFYTPCHBFSH RPYYA RHYLYOB UDEMBMPUSH H FY ZPDSH UCHPEZP TPDB PVSHCHUBEN.

UHNBTPLPCH b. R. yЪVT. RTPY'CHEDEOYS. m., 1957, U. 307. pVTBEEOYE RPNFB L CHPURYFBOOYGBN uNPMSHOPZP YOUFYFKHFB OBRPNYOBEF, Y CHYDYNP OE UMKHYUBKOP, YYCHEUFOSHCHE UFTPLY n. mPNPOPUPCHB: “p CHSCH, LPFPTSCHI PTSIDBEF // pFEYUEUFCHP YЪ OEDT UCHPYI...” pDOBLP mPNPOPUPCH PVTBEBEFUS L TKHUULPNH AOPYEUFCHH VEJ LBLPZP-MYVP KHLBBOYS ABOUT UPUMPCHYE , CHEUSH TSE UNSHUM RPUMBOYS UKHNBTPLPCHB UPUFPYF CH UPDBOY RTPZTBNNSH DMS CHPURYFBOYS TKHULPK DCHPTSOULPK DECHKHYLY.

RETCHPE CHPURYFBFEMSHOPE ЪBCHEDEOYE DMS DECHKHYEL CHPЪOILMP CH DETRFE, ЪBDPMZP DP uNPMSHOPZP YOUFYFKhFB, CH 50th ZPDSH XVIII CHELB. rTERPDBCHBOIE FBN CHEMPUSH ABOUT OENEGLPN SJSCHL.

RTYNEY. rHYLYOB: “oEFPYOOPUFSH. — about VBMBI LBCHBMETZBTD<УЛЙЕ>PZHYGETSCH SCHMSAFUS FBL CE, LBL Y RTPYUYE ZPUFY, CH CHYG NHODITE, CH VBYNBLBI. ъBNEYUBOYE PUOPCHBFEMSHOPE, OP CH YRPTBI EUFSH OYuFP RPFFYUEULPE. uUSCHMBAUSH ABOUT NOOOYE b. y. V. "(VI, 528).

[rEFTPCHULIK m.] rTBCHYMB DMS VMBZPTPDODOSHI PVEEUFCHEOOSCHI FBOGECH, YIDBOOSCHE KHYFEMEN FBOGECHBOSHS RTY uMPVPDULP-HLTBYOULPK ZYNOBYY MADPCHYLPN reftpchulyn. iBTSHLPCH, 1825, U. 13-14.

N. b. OBTSCHYLYOB - MAVPCHOYGB, BOE TSEOB YNRETBFPTB, RPFPNH OE NPTsEF PFLTSCHBFSH VBM CH RETCHPK RBTE, KH RKHYLYOB TSE "mBMMB-tHL" YDEF CH RETCHPK RBTE U bMELUBODTPN I.

ЪBRYULY village. n. oECHETPCHB. - tHUULBS UFBTYOB, 1883, F. XI (GYF. RP: rPNEEYUSHS tPUUYS, U. 148). rBTBDPLUBMSHOPE UPCHRBDEOOYE OBIPDN CH UFYIPFCHPTEOYY CHUECHPMPDB tPTsDEUFCHEOULZP, UPJDBAEEZP PVTB VEUFHTSECHB-nBTMYOULPZP, VETSBCHYEZP CH ZPTSH Y DELMBNYTHAEE ZP UMEDHAEIK PHELUF:

mYYSH ABOUT UETDGE FPMSHLP OBMSCEF FPULB

th OEVP RPLBCEPHUS KHLYN,

CHUA OPYUSH EK CH ZBTENE YUYFBA “GSHCHZBO”,

CHUE RMBUKH, RPA RP-ZHTBOGKHULY.

chPPVTBTTSEOYE RPNFB UFTBOOP RPCHFPTSMP ZHBOFBIYY RPNEAILB DBCHOYI RPT.

PFPTSDEUFCHMEOYE UMPC "IBN" Y "TBV" RPMKHYYYMP PDOP MAVPRSCHFOPE RTDDPMTSEOYE. DELBVTYUF OYLPMBK fHTZEOECH, LPFPTSCHK, RP UMPCHBN RKHYLYOB, "GERY TBVUFCHB OEOOBCHYDEM", YURPMSHЪPCHBM UMPChP "IBN" CH UREGYZHYYUEULPN OBYUEOYY. BY UYUFBM, UFP IKHDIYNYY TBVBNY SCHMSAFUS ЪBEYFOILY TBVUFCHB - RTPRPCHEDOYLY LTERPUFOPZP RTBCHB. DMS OYI PO YURPMSHЪPCHBM CH UCHPYI DOECHOILBI Y RYUSHNBI UMPPE "IBN", RTECHTBFYCH EZP CH RPMYFYUEULYK FETNYO.

UN. PV LFPN CH LO.: lBTRPCHYU e.r. ъBNEYUBFEMSHOSH VPZBFUFCHB YUBUFOSCHI MYG CH TPUUYY. urV., 1874, U. 259-263; B FBLCE: mPFNBO a. n. tPNBO b. u. RKHYLYOB "ECHZEOYK poEZYO". lPNNEOFBTYK. M., 1980, U. 36-42.

UT. CH FPN TSE YUFPYUOYLE PRYUBOIE PVTSDB UCHBFPCHUFCHB: “uFPM VSHM OBLTSCHF YUEMPCHEL ABOUT UPTPL. ABOUT UFPME UFPSMYUEFSHCHTE PLPTPPLB Y VEMSHK VPMSHYPK, LTHZMSCHK, UMBDLYK RYTPZ U TBOSCHNY KHLTBYEOYSNY Y ZHYZKHTBNY.”

RPDЪBZPMPCHPL "pFTSHCHPL YЪ RYUSHNB ATsOPZP TsYFEMS" - OE FPMSHLP OBNEL ABOUT VYPZTBZHYUEULYE PVUFPSFEMSHUFCHB BCHFPTB, OP Y DENPOUFTBFYCHOPE RTPFPYCHPRPUFBCHMEOYE EUVS "RE FETVHTZULPK» FPYULE ЪTEOYS.

FP EUFSH "LBYUEMY CHYDE CHTBEBAYEZPUS CHBMB U RTPDEFSHNY ULCHPSH OEZP VTHUSHSNY, ABOUT LPPTTSCHI RPDCHEYOSCH SAILY U UYDEOSHSNY" (UMPCHBTSH SYSTHLB rHYLYOB. ch 4-I F. n., 1956 -1961, F. 2, U. 309). lBL MAVYNPE OBTPDOPE TBCHMEYUEOYE, LFY LBYUEMY PRYUBOSCH VSCHMY RKHFEYUFCHEOILPN pMEBTYEN (UN.: pMEBTYK bDBN. prYUBOYE RKhFEYUFCHYS CH nPULPCHYA... level., 1806, U. 218 —219), LPFPTSCHK RTYCHEM Y YI TYUHOPL.

ЪBTS YMY ЪPTS - CHYD FTBCHSHCH, UYYFBCHYEKUS CH OBTDOPK NEDYGYOE GEMEVOPK "chP CHTENS FTPYGLPZP NMEVOBO DECHKHYLY, UFPSEYE UMECHB PF BMFBTS, DPMTSOSCH KHTPOYFSH OEULPMSHLP UMEY OPL ABOUT RHUPL NEMLYI VETEIPCHSHCHI CHEFPL (CH DTHZYI TBKPOBI tPUUYY RMBLBMMY ABOUT RHUPL UBTY YMY ABOUT DTHZYI GCHEFSHCH. - a. m.). ьФПФ RХУПЛ FEBFEMSHOP UVETEZBEFUS RPUME Y UYUYFBEFUS ЪBMPZPN FPZP, YuFP CH LFP MEFP OE VHDEF ЪBUKHIY" (ETOPCHB b.v. nBFETYBMSH RP UEMSHULPIPSKUFCHOOOPK NBZYY Ch d NYFTPCHULPN LTBE. - uPCHEFULBS LFOPZTBZHYS, 1932, 3, U. 30).

P EDYOPN UCHBDEVOPN PVTSDE CH HUMPCHYSI LTERPUFOPZP VSHFB ZPCHPTYFSH OEMSH. lTERPUFOPE RTYOKHTSDEOOYE Y OEEEFB URPUPVUFCHPCHBMY TBTHYEOYA PVTSDPPCHPK UFTHLFHTSCH. fBL, CH "YUFPTYY UEMB zPTAIOB" OEBDBYUMYCHSHCHK BCHFPT zPTAIYO RPMBZBEF, YuFP PRYUSCHCHBEF RPIPPTPOOSCHK PVTSD, LPZDB UCHYDEFEMSHUFCHHEF, YuFP CH EZP CHILDREN'S RPLPKOYLPCH ЪBTSHCHBMY CH ЪENMA (YOPZDB PYYVPYUOP) UTBЪХ RPUME LPOYUSHCH, "DBVSH NETFCHSHCHK CH YЪVE MYYOEZP NEUFB OE ЪBOINBM". nsch VETEN RTYNET YY TSYY PUEOSH VPZBFSCHI LTERPUFOSCHI LTEUFSHSO - RTBUPMPCH Y FPTZPCHGECH, FBL LBL ЪDEUSH PVTSD UPITBOYMUS CH OETTBTHYEOOPN CHYDE.

YЪ RTYNEYUBOYK L SRPOULPNH FELUFKH CHYDOP, YuFP TKHULPE UMPP "CHEOGSH" OE PYUEOSH FPYUOP RETEDBEF UPDETSBOYE. UMPChP CH PTYZYOBME POBYUBEF “DYBDENKH ABOUT UFBFKHE VKhDDSHCH” (U. 360). iBTBLFETOP, YuFP YOZHPTNBFPT PFPTSDEUFCHMSEF OPChPVTBUOSCHY OE U ENOCHNY CHMBUFFEMSNY, B U VPZBNY.

OBRPNOYN HCE PFNEYUBCHYHAUS OBNY MAVPRSHFOKHA DEFBMSH. TEYUSH YDEF PV LRPIE EMYBCHEFSH REFTPCHOSCH. OP LPZDB eETVBFPCH ZPCHPTYF P OEK LBL P YUEMPCHELE, BY KHRPFTEVMSEF TSEOULHA ZHPTNKH: “ZPUKHDBTSHCHOS”, LPZDB TSE P EE ZPUKHDBTUFCHEOOPK DESFEMSHOPUFY - NHTSULKHA: “ZPUKHDBTSH”.

ЪDEUSH TEYUSH YDEF PV BOZMYKULPK NHTSULPK NPDE: ZHTBOGKHULYE TSEOULYE Y NHTSULYE NPDSCH UFTPYMYUSH LBL CHBYNOP UPPFCHEFUFCHEOOSCH - H BOZMYY LBTSDBS YЪ OYI TBYCHBM BUSH RP UPWUFCHEOOSCHN ЪBLPOBN.

"PUFTYTSEO RP RPUMEDOEK NPDE" Y "LBL DEODY MPODPOULYK PDEF" FBLCE poezyo. ьФПНХ RTPFPYCHPRPUFBCHMEOSCH "LKhDTY YUETOSHCH DP RMEYU" meOULPZP. “lTYLHO, NSFETSoil Y RPPF”, LBL IBTBLFETYYHEFUS mEOULYK CH YUETOPCHPN CHBTYBOFE, PO, LBL Y DTHZIE OENEGLYE UFKhDEOFSHCH, OPUYM DMYOOSHCH CHPMPUSH CH OBBL MYVETBMYIN B, J RPDTBTSBOYS LBTVPOBTYSN.

CHRETCHSCHE UPRPUFBCHMEOYE UATSEFPCH LFYI RTPY'CHEDEOYK UN.: yFEKO u. RHYLYO Y ZPZHNBO. uTBCHOYFEMSHOPE YUFPTYLP-MYFETBFHTOPE YUUMEDPCHBOYE. dETRF, 1927, U. 275.

OEUNPFTS ABOUT FP, UFP TBCHPD Y OPCHSHCHK VTBL VSCHMY ЪBLPOPDBFEMSHOP PZHTTNMEOSCH, PVEEUFChP PFLBSCHCHBMPUSH RTYOBFSH ULBODBMSHOSCHK RTPYZTSCHY TSEOSCH, Y VEDOBS ZTBZHYOS TB KHNPCHULBS VSHMB RPDCHETZOHFB PUFTBLYNH. CHSHCHPD YJ RPMPTSEOYS U RTYUKHEIN ENKH DTSEOFMSHNEOUFCHPN OBUYEM bMELUBODT I, RTYZMBUYCH VSHCHYKHA LOSZYOA ABOUT FBOEG Y OBCHBCH ITS RTY LFPN “ZTBZJOEK”. pVEEUFCHEOOSCHK UFBFKHU, FBLYN PVTBBPN, VShchM CHPUUFBOPCHMEO.

UN.: melPNGECHB n. y., KHUREOULIK v. b. PRYUBOIE PDOPK UYUFENSCH U RTPUFSHCHN UYOFBLUYUPN; ePHR c. and. rTPUFEKYE UENIPFYUEULYE UYUFENSCH Y FYRPMPZYS UATSEFPCH. - fTHDSCH RP OBLPCHSHCHN UYUFENBN. hShchR. R. fBTFKh, 1965.

RPCHEUFY, YЪDBOOSH bMELUBODTPN rHYLYOSCHN. urV., 1834, U. 187. h BLBDENYUUEULPN YЪDBOY RKHYLYOB, OUNPFTS ABOUT KHLBBOYE, YuFP FELUF REYUBFBEFUS RP YЪDBOYA “rPCHEUFEK” 1834 ZPDB, h YUBUFY FYTBTSB RYY ZTBZH PRHEEO, IPFS LFP PVUFPSFEMSHUFCHP OYZDE CH YDBOY OE PZPCHPTEOP.

FBL, r. b. chSENULYK RYYEF P «NYTOPK, FBL OBSCCHBENPK LPNNETYUEULPK YZTE, P LBTFPYuOPN CHTENSRTTPCHPTSDEOOY, UCHPKUFCHEOOPN H OBU CHUEN CHPTBUFBN, CHUEN ЪChBOYSN Y PVPYN RPMBN. pDOB TKHULBS VBTSHCHOS ZPCHPTYMB CH CHEOEGYY: „lPOYUOP, LMYNBF ЪDEUSH IPTPY; OP TsBMSH, YuFP OE ULEN UTBYFSHUS CH RTEZHETBOUYL." dTKHZPK OBU UPPFEYUEFCHEOOIL, LPFPTSCHK RTPCHEM YINKH CH RBTYCE, PFCHEYUBM ABOUT CHPRTPU, LBL DPChPMEO ON RBTYTSEN: "PYUEOSH DPCH PMEO, KH OBU LBTSDSCHK CHYUET VSHMB UCHPS RBTFYS" (chSENULYK r. uFBTBS ЪBRYUOBS LOYTSLB. m., 1929, U. 85-86).

UFTBIHR o. RETERYULB NPDSCH, UPDETSBEBS RYUSHNB VETKHLYI NPD, TBNSCHIMEOYS OEPDHYECHMEOOOSCHI OBTSDPCH, TBZPCHPTSH VEUUMPCHEUOSHI YUERGPCH, YUKHCHUFChPCHBOYS NEVEMEK, LBTEF, ЪBRYUOSCHI LOITZEL, RKhZPCHYG Y UFBTPUBCHEFOSHI NBOEL, LHOFBIEK, YMBZHPTPCH, FEMPZTEK Y RT. OTBCHUFCHOOPE Y LTYFYUUEULPE UPYUYOOYE, CH LPEN U YUFYOOOPK UFPTPPOSH PFLTSCHFSCH OTBCHSHCH, PVTB CYYOY TBOSCHS UNEYOSCHS Y CHBTSOSHCHS UGEOSCH NPDOPZP CHELB. n., 1791, U. 31-32.

UN. X OPCHYLPCHB: “rPDTSD MAVPCHOYLPCH L RTEUFBTEMPK LPLEFLE... NOPZYN OBYN ZPURPDYUILBN CHULTHTSYM ZPMPCHSHCH... IPFSF ULBLBFSH ABOUT RPYUFPCHSHHI MPYBDSI CH REFETVHTZ, YuFPVSH FBLPZP RPMEЪ OPZP VHI OYI OE RTPRKHUFYFSH UMKHYUBS" (ubFYYUEULYE TSHTOBMSH o. y. oPCHYLPCHB. n.; m ., 1951, U. 105. r. zOPN yPT CH "rPUFE DHIPCH" lTSCHMPCHB RYYEF nBMYLHMSHNHMSHLH: "with RTYOSM CHYD NPMPPDZP Y RTYZPTSEZP YuEMPCHELB, RPFPNH YuFP GCHEFHEBS NMPPDPUFSH, RTYSFOPUFY Y LTBUPFB CH OSHCHOEYOEEE CHTENS FBLCE CH CHEUSHNB OENBMPN KHCHBTSEOYY RTY OELPFPTSCHI UMHYUBSI, LBL ULBSCCHBAF, RTPYCHPDSF CHEMILYE YUKHDEUB" (lTSCHMPCH y.b. rPMO. UPVT. UPYu., F. I, U. 43), UT.:

dB, YUEN TSE FSH, TsHTSKH, CH UMHYUBK RPRBM,

VEUUYMEO VSHCHYY FBL Y NBM... (FBN CE, F. 3, U. 170).

CH DBOOPN UMHYUBE DMS OBU OECHBTTSOP FP PVUFPSFEMSHUFChP, YuFP CH RSHUE ZPZPMS "NPMPPDK YUEMPCHEL" PLBYSHCHBEFUS UPCHUEN OE "MEZLPCHETOSCHN", B FBLCE SCHMSEFUS KHYUBUFOILPN YKHMETULPK YBKLY.

EHH ZPFPCHYFSH YuEUFOSHCHK ZTPV,

th FYIP GEMYFSH CH VMEDOSHCHK MPV

about VMBZPTPDOPN TBUUFPSOSHY.

"vMBZPTPDOPE TBUUFPSOYE" ЪDEUSH - HFCHETTSDEOOPE RTBCHYMBNY DKHMY. h TBCHOPK UFEREOY KHYKUFCHP ABOUT DKHMY IBTBLFETYYHEFUS LBL "YUEUFOPE".

“rPTPYLPCHSHCHE” - ZhBMSHYYCHCHCHE LBTFSHCH (PF YEUFETLY DP DEUSFLY). lBTFSCH OBLMEYCHBAFUS PDOB ABOUT DTKHZHA, OBRTYNET, EYUFETLB ABOUT UENETLH, ZHYZHTB NBUFY CHSTEBEFUS, OBUSHRBOOSHCHK VEMSCHK RPTPYPL DEMBEF LFP OEBNEFOSCHN. ykhmet ch ipde yztsch chshchftsiychbef RPTPYPL, RTECHTBEBBS YEUFETLKH CH UENETLKH Y F. D.

CH IPDE BIBTFOSCHI YZT FTEVPCHBMPUSH RPTPC VPMSHYPE LPMYUEUFChP LPMPD. rTY YZTE CH ZHBTBPO VBOLPNEF Y LBTSDSCHK YЪ RPOFETPCH (B YI NPZMP VSHFSH VPMEE DEUSFLB) DPMTSEO VSHM YNEFSH PFDEMSHOHA LPMPDH. lTPNE FPZP, OEKHDBYUMYCHSHCHE YZTPLY TCHBMY Y TBVTBUSHCHBMY LPMPDSH, LBL LFP PRYUBOP, OBRTYNET, CH TPNBOE d.o. VEZYUECHB "UENEKUFChP iPMNULYI". yURPMSHЪPCHBOOBS (“RTPRPOFYTPCHBOOBS”) LPMPDB FHF CE VTPUBMBUSH RPD ufpm. fY TBVTPUBOOSCH, YBUFP CH PZTPNOPN LPMYUEUFCHE, RPD UFPMBNY LBTFSH RPJCE, LBL RTBCHYMP, UPVYTBMYUSH UMHZBNY Y RTDDBCHBMYUSH NEEBOBN DMS YZTSHCH DKHTBLB Y RPDP VOSCH TBCHMELBFEMSHOSH YZTSHCH. yuBUFP CH LFK LHUE LBTF ABOUT RPMKH CHBMSMYUSH Y KHRBCHYE DEOSHZY, LBL LFP, OBRTYNET, YNEMP NEUFP PE CHTENS LTHROSHYYZT, LPFPTSHCHE BBTFOP THAN o. oELTBUPCH. rPDSHNBFSH YFY DEOSHZY YUYFBMPUSH OERTYMYYUOSCHN, Y SING DPUFBCHBMYUSH RPFPN MBLESN CHNEUFE U LBTFBNY. h YHFMYCHSHCHI MEZEODBY, PLTHTSBCHYI DTHTSVKH fPMUFPZP Y ZHEFB, RPCHFPTSMUS BOELDPF P FPN, LBL ZHEF PE CHTENS LBTFPYUOPK YZTSH OBZOKHMUS, YuFPVSH RPDOSFSH U RPMB KHRBCHYKHA OEVP MSHYKHA BUUYZOBGYA, B fPMUFPK, ЪBRBMYCH H UCHEYUY UPFEOOKHA, RPUCHEFYM ENKH, YUFPVSH PVMEZUYFSH RPYULY.

YUFPLY LFPPZP RPCHEDEOYS ЪBNEFOSCH HCE CH REFETVHTZE CH 1818—1820 ZPDSH. pDOBLP UETSHESHI RPEDYOLPCH X RHYLYOB CH LFPF RETYPD EEE OE PFNEUEOP. DKHMSH U LAIEMSHVELETPN OE CHPURTYOINBMBUSH RKHYLYOSCHN CHUETSHE. pVYDECHYYUSH ABOUT RKHYLYOB ЪБ ъРИЗТБННХ “ъБ ХЦЪПН ПВЯЭМУС...” (1819), LAIEMSHVELET CHSHCHBM EZP ABOUT DKHMSH. RHYLYO RTYOSM CHSHCHPCH, OP CHSHCHUFTEMYM CH CHPDHI, RPUME YUESP DTHYSHS RTYNYTYMYUSH. rTEDRPMPTSEOYE CE CHM. oBVPLPCHB P DHMY U TSHMEECHSHCHN CHUE EEE PUFBEFUS RPFYUEULPK ZYRPFEЪPK.

FBMMENBO DE TEP TSEDEPO. ъBOINBFEMSHOSH YUFPTYY. M., 1974, F. 1, U. 159. uN. PV LFPN: mPFNBO a. fTY ЪBNEFLY L RTPVMENE: “rKHYLYO Y ZHTBOGKHULBS LHMSHFKHTB.” — rTPVMENSH RHYLYOPCHEDEOYS. TYZB, 1983.

CH RTEDYUFCHHAEYI TBVPFBI P "eCHZEOYY POZYOE" NO RTYIPDYMPUSH RPMENYYUEULY CHSHCHULBSHCHBFSHUS P LOYSE vPTYUB yCHBOPCHB (CHPNPTSOP, RUECHDPOYN; RPDMYOOBS ZHBNYMYS BCHFP TB, LBL Y LBLYE VSHCH FP OU VSHMP UCHEDEOYS P OEN, NOE OEYCHEUFOSCH). UN: mPFNBO a. "dBMSH UChPVPDOPZP TPNBOB." n, 1959. uPITBOSS UKHEOPUFSH UCHPYI LTYFYUEUULYI OBNEYUBOIK P OBNSCHUME FPK LOYZY, S UYYFBA UCHPEK PVSBOOPUFSH RTYOBFSH YI PDOPUFPTPOOPUFSH. noe UMEDPCHBMP PFNEFYFSH, YuFP BCHFPT RTPSCHYM IPTPYEE OBOYE VShchFB RHYLYOULPK BPPIY Y UPEDYOYM PVEYK UFTBOOSCHK UBNSCHUEM U TSDPN YOFETEUOSHI OBVMADEOYK, UCHYDEFEMSHUFCHHA EEYI PV PVIYTOPK PUCHEDPNMEOOPUFY. TELPUFSH NPYI CHSHCHULBSHCHBOYK, P LPFPTPK CH OBUFPSEE CHTENS S UPTSBMEA, VSHMB RTDPDYLPCHBOB MPZYLPK RPMENYLY.

RP DTHZYN RTBCHYMBN, RPUME FPZP, LBL PDYO YHYUBUFOYLPCH DKHMY CHSHCHUFTEMYM, CHFPTPK NPZ RTDPDPMTSBFSH DCHYTSEOYE, B FBLCE RPFTEVPCHBFSH RTPFPYCHOILB L VBTSHETKH. eFYN RPMSHЪPCHBMYUSH VTEFETSH.

UT. CH “ZETPE OBEZP READING”: “nShch DBChOP Khts ChBU PTSIDBEN”, — ULBJBM DTBZHOULIK LBRYFBO U YTPOYUEULPK KHMSHVLPK. ZP YUBUSCH KHIPDSF".

UNSCHUM ьRYЪPDB - CH UMEDHAEEN: DTBZHOULYK LBRYFBO, KHVETSDEOOOSCHK, YFP reYUPTIO "RETCHSHCHK FTKHU", LPUCHEOOP PVCHYOSEF EZP CH TSEMBOYY, PRPЪDBCH, UPTCHBFSH DKHMSH.

KHYUBUFYE CH DHMY, DBCE CH LBYUEUFCHE UELKHODBOFB, CHMELMP ЪB UPVPK OEYYVETSOSCHE OERTYSFOSHE RPUMEDUFCHYS: DMS PZHYGETB LFP, LBL RTBCHYMP, VSHMP TBTSBMPCHBOYE Y USCHMLB ABOUT LBCHLB Kommersant (RTBCHDB, TBTSBMPCHBOOSCHN ЪB DKHMSH OBYUBMSHUFChP PVSHHLOPCHOOOP RPLTPCHYFEMSHUFCHPCHBMP). ьФП UPЪDBCHBMP YЪCHEUFOSCH FTKHDOPUFY RTY CHSHCHVPTE UELKHODBOFPCH: LBL MYGP, CH THLY LPFPTPZP RETEDBAFUS TSYOSH YUEUFSH, UELKHODBOF, PRFYNBMSHOP, DPMTSEO VSHM VSHCHFSH VMY JLINE DTHZPN. oP LFPNH RTPFPYCHPTEYUMP OETSEMBOYE CHCHMELBFSH DTHZB CH OERTYSFOKHA YUFPTYA, MPNBS ENKH LBTSHETKH. UP UCHPEK UFPTPOSCH, UELKHODBOF FBLCE PLBYSHCHBMUS CH FTHDOPN RPMPTSEOYY. YOFETEUSCH DTHTSVSHY YUEUFY FTEVVPCHBMY RTYOSFSH RTYZMBYEOYE HYUBUFCHPCHBFSH CH DKHMY LBL MEUFOSHCHK OBBL DPCHETYS, B UMHTSVSHCH Y LBTSHETSH - CHYDEFSH CH LFPN PRBUOKHA KHZTP ЪХ YURPTFYFSH RTDPDCHYTSEOYE YMY DBTSE CHSHCHBFSH MYYUOKHA OERTYYOSH ЪMPRBNSFOPZP ZPUKHDBTS.

OBRPNOYN RTBCHYMP DKHMY: “uFTEMSFSH CH CHPDHI YNEEF RTBChP FPMSHLP RTPFYCHOIL, UFTEMSAEYK CHFPTSCHN. rTPFYCHOIL, CHSHCHUFTEMYCHYK RETCHSHCHN CH CHPDKHI, EUMY EZP RTPPHYCHOIL OE PFCHEFYM ABOUT CHSHCHUFTEM YMY FBLCE CHSHCHUFTEMYM CH CHPDKHI, UYUYFBEFUS KHLMPOYCHYYNUS PF DKHMY... "(dHTB UPC dKHMSHOSCHK LPDELU, 1908, U. 104). rTBCHYMP LFP UCHSBOP U FEN, YUFP CHSHCHUFTEM CH CHP'DKHI RETCHPZP YЪ RTPFYCHOYLPCH NPTBMSHOP PVS'SHCHBEF CHFPTPZP L CHEMILPDKHYA, KHKHTRYTHS EZP RTBChP UBNPNH PRTEDEMSFSH U CHPE RPCHEDEOYE YUEUFY.

VEUFHTSECH (nBTMYOULYK) b. b. OPYUSH ABOUT LPTBWME. RPCHEUFYY TBUULBSHCH. n., 1988, U. 20. rPMSHKHENUS DBOOSCHN YDBOYEN LBL FELUFPMPZYUEULY OBYVPMEE DPUFPCHETOSCHN.

RTPVMENB BCHFPNBFYNB CHEUSHNB CHPMOPCHBMB rKHYLYOB; UN.: sLPVUPO t. - h LO.: sLPVUPO t. tBVPFSH RP RPFYLE. n., 1987, U. 145-180.

UN: mPFNBO a. n. fENB LBTF Y LBTFPUOPK YZTSHCH THUULPK MYFETBFKHTE OBYUBMB XIX CHELB. — xYUEO. ЪBR. fBTFHULPZP ZPU. HO-FB, 1975. hShchR. 365. fTHDSCH RP OBLPCHSHCHN UYUFENBN, F. VII.

VSHCHBMY Y VPMEE TSEUFLYE HUMPCHYS. fBL, yuETOPCH (UN. U. 167), NUFS ЪB YUEUFSH UEUFTSH, FTEVPCHBM RPEDYOLB ABOUT TBUUFPSOY CH FTY (!) YBZB. h RTEDUNETFOPK ЪBRYULE (DPYMB Ch LPRYY THLPK b. VEUFKhTSECHB) BY RYUBM: “uFTEMSAUSH ABOUT FTY YBZB, LBL ЪB DEM UENEKUFCHEOOPE; YVP, ЪOBS VTBFSHECH NPYI, IPUH LPOYUYFSH UPVPA ABOUT OEN, ABOUT LFPN PULPTVYFEME NPEZP UENEKUFCHB, LPFPTSCHK DMS RKHUFSHI FPMLPCH EEE RKHUFEKYI MADEK RTEUFKHRIM CHUE ЪBLPOSH YUE UFY, PVEEUFCHB Y YuEMPCHYUEUFCHB" (DECHSFOBDGBFSHCHK CHEL. LO. 1. n., 1872, U. 334 ). rP OBUFPSOYA UELKHODBOFPCH DKHMSH RTPYUIPDYMB ABOUT TBUUFPSOY CH CHPUENSH YBZPCH, Y CHUE TBCHOP PVB KHUBUFOILB ITS RPZYVMY.

PVSHYUOSCHK NEIBOYN DKHMSHOPZP RYUFPMEFB FTEVHEF DCHPKOPZP OBTSYNB ABOUT URHULPCHPK LTAYUPL, YuFP RTEDPITBOSEF PF UMHYUBKOPZP CHSHCHUFTEMB. yOOEMMETPN OBSCHBMPUSH KHUFTPKUFChP, PFNEOSAEE RTEDCHBTYFEMSHOSHCHK OBTSYN. h TEЪKHMSHFBFE KHYMYCHBMBUSH ULPTPUFTEMSHOPUFSH, OP ЪBFP TEILLP RPCHSHCHYBMBUSH CHPNPTSOPUFSH UMHYUBKOSCHI CHSHCHUFTEMPCH.

RPDPVOSHK LPOFTBUF YURPMSHЪPCHBO n. VKHMZBLPCHSHCHN "nBUFFET Y nBTZBTYFE". ABOUT VBMKH, UTEDY RSCHYOP OBTTSEOOSCHI ZPUFEK, RPDYUETLOKHFBS OEVTETSOPUFSH PDETSDSCH CHPMBODB CHSHCHDEMSEF EZP TPMSH iPSYOB. rTPUFPFB NHODYTB OBRPMEPOB UTEDY RSCHYOPZP DCHPTB YNEMB FPF TSE UNSHUM. RSHCHYOPUFSH PDETSDSCH UCHYDEFEMSHUFCHHEF PV PTYEOFBGYY ABOUT FPYULH ЪTEOYS CHOEYOEZP OBVMADBFEMS. DMS chPMBODB OEF FBLPZP "CHOEYOEZP" OBVMADBFEMS. OBRPMEPO LHMSHFYCHYTHEF FH CE RPYGYA, PDOBLP CH VPMEE UMPTSOPN CHBTYBOFE: chPMBODH CH UBNPN DEME VETTBMYUOP, LBL PO CHSHZMSDYF, obrPMEPO YЪPVTBTSBEF FPZP, LPNH VE TBMYUOP, LBL ON CHSHZMSDYF.

ZHEPBZHBOB rTPLPRRPCHYUB, BTIYERYULPRB CHEMYLPZP OPCZPTPDB Y CHEMILYI MHL, UCHSFEKYEZP RTBCHYFEMSHUFCHHAEEZP UYOPDB CHYGE-RTEYDEOFB... UMChB Y TEYUY, Yu. 1, 1760, U 158.

FBL, DPUKHZY CHEMILYI LOSJEK, VTBFSHHECH bMELUBODTTB Y OILPMBS RBCMPCHYUEK - lPOUFBOFYOB Y NYIBYMB TEILLP LPOFTBUFYTPCHBMY U NHODYTOPK UFSOHFPUFSHHA YI PZHYYBMSHOPZP RP CHEDEOYS. lPOUFBOFYO CH LPNRBOY RSHSOSCHI UPVKhFSHMSHOYLPCH DPYEM DP FPZP, YuFP YЪOBUYMPCHBM CH LPNRBOY (TSETFCHB ULPOYUBMBUSH) DBNH, UMKHYUBKOP ЪBVTEDYKHA CH EZP YUBUFSH DCHPTGB Y RPMPCHYOSCH nBTYY ZHEDPTPCHOSCH. yNRETBFPT bMELUBODT CHSCHOKHTSDEO VSHM PVYASCHYFSH, YFP RTEUFKHROL, EUMY EZP OBKDHF, VHDEF OBLBBBO RP CHUEK UFTPZPUFY ЪBLPOB. TBKHNEEFUS, RTEUFKhROIL OBKDEO OE VShchM.

p FSCH, YuFP CH ZPTEUFY OBRTBUOP

about VPZB TPREEYSH, YUEMPCHEL,

ChoyNBK, LPMSH CH TECHOPUFY KhTsBUOP

po L yPCHH YY FHYUY TEL!

ULCHPЪSH DPTSDSH, ULCHPЪSH CHYITSH, ULCHPЪSH ZTBD VMYUFBS

th ZMBUPN ZTPNSCH RTETSCHBS,

UMPCHBNY OEVP LPMEVBM

th FBL EZP ABOUT TBURTA JCHBM. yFYVMEFSH LBL ZHTNB CHPEOOOPK PDETSDSCH VSHCHMY CHCHEDEOSH rBCHMPN RP RTHUULPNH PVTBIGH. ьURBOFPO - LPTPFLBS RYLB, CHCHEDOOBS RTY rBCHME CH PZHYGETULHA ZHTNKH.

CHUE OIFY ЪБЗПЧПТБ ВШХМИ ОБУФПМШЛП UPUTEDPFPYUEOSCH CH THLBI YNRETBFPTB, YuFP DBTSE OBYVPMEE BLFYCHOSHE KHUBUFOILY ЪBZPChPTTB RTPFPYCH URETBOULZP: OBCHBOOSCHK CHCHYE s. DE UBOZMEO Y ZEOETBM-BDYAAFBOF b. d. vBMBYPCH, RTYOBDMETSBCHYYK L OBYVPMEE VMYOLYN L YNRETBFPTH MYGBN, — RPUMBOOSCH DPNPK L URETBOULPNH U FEN, YUFPVSH ЪBVTBFSH EZP, LPZDB ON CHETOEFUS YЪ DCHPTGB RPUME BH DYEOGYH GBTS, U ZTKHUFOSCHN OEDPHNEOYEN RTYOBMYUSH DTHZ DTHZH CH FPN, YuFP OE KHCHETEOSHCH, RTYDEFUS MY YN BTEUFPCHCHBFSH URETBOULZP YMY BY RPMKHUIF X YNRETBFPTB TBURPTTSEOYE BTEUFPCHBFSH YI. h FYI KHUMPCHYSI PUECHYDOP, YuFP bMELUBODT OE KHUFKHRBM OYUSHENH DBCHMEOYA, B DEMBM CHYD, YuFP KHUFKHRBEF, ABOUT UBNPN DEM FCHETDP RTPCHPDS YЪVTBOOSCHK YN LHTU, OP, LBL CHUEZDB, MHLBCHS, NEOSS NBULY Y RPDZPFBCHMYCHBS PYUETEDOSHI LPMCH PFRHEEOYS.

GYF. RP: iTEUFPNBFYS RP YUFPTYY ЪBRBDOPPECHTPREKULPZP FEBFTB. n., 1955, F. 2, U. 1029. h NENKHBTBI BLFETB ZOBUFB-NMBDYEZP UPDETSYFUS KHRPNYOBOIE P FPN, YuFP, LPZDB ABOUT TEREFYYY NBYYOUF CHSHCHUFBCHYM ZPMPCHH YЪ-ЪB LKHMYU, “ FPFYUBU CE zЈFE RTPZTENEM: „zPURPDYO z"OBUF, KHVETYFE БФХ ОЭРПДИПДСЭХА ЗПМПЧХ Ъ-ЪБ RETCHPK LKHMYUSCH URTBCHB: POB CHFPTZBEFUS CH TBNLKH NPEK LBTFYOSCH"" (FBN CE, U. 1037).

BTBRPCH r. MEFPRYUSH TKHUULPZP FEBFTB. urV., 1861, U. 310. yBIPCHULPK YURPMSHЪPCHBM FEBFTBMSHOSCHK YZHZHELF YCHEUFOPZP CH FH RPTH BOELDPFB, UT. CH UFYIPFCHPTEOYY h. m. rKHYLYOB “l LOSYA r. b. hSENULLPNKH" (1815):

ABOUT FTHD IKHDPTSOILB UCHPY VTPUBAF CHPTSHCH,

“rPTFTEF, — THEYMYMY CHUE, — OE UFPYF OYUEZP:

rTSNPK HTPD, bpr, OPU DMYOOSHCHK, MPV U TPZBNY!

th DPMZ IPSYOB RTEDBFSH PZOA EZP!” —

"NPK DPMZ OE KhChBTsBFSH FBLYNY OBFPPLBNY

(p YUKhDP! ZPCHPTYF LBTFYOB YN CH PFCHEF):

rTED CHBNY, ZPURPDB, S UBN, B OE RPTFTEF!”

(rPFSH 1790-1810-I ZPDHR, U. 680.)

ABOUT YZHZHELF OEPTSYDBOOPZP UFPMLOPCHEOYS OERPDCHYTSOPUFY DCHYTSEOYS RPUFTPEOSCH UATSEFSH U PTSYCHBAEINY UFBFHSNY, PF TSDB CHBTYBGYK ABOUT FENKH P zBMBFEE - UFBFHE, PTSYCHMEOOOPK CH DPIOPCHEOYEN IHDPTSOILB (UACEF LFPF, LPFPTPNH RPUCHSEEO "ulHMSHRFPT" vBTBFSCHOULPZP, VSHM YYTPL RTEDUFBCHMEO PE ZHTBOGKHULPN VBMEFE XVIII CHELB), DP "lbNEOOOPZP ZPUFS" rKHYLYOB Y TBTBVBFSHCHBCHYI LFH TSE FENKH RTPY'CHEDEOYK nPMSHETB Y nPGBTFB.

ITEUFPNBFYS RP YUFPTYY ЪBRBDOPECHTPRECULPZP FEBFTB, F. 2, U. 1026. tBURPMPTSEOYE RTBCHPZP Y MECHPZP FBLCE TPDOIF UGEOH U LBTFYOPK: RTBCHSHCHN UYFBEFUS RTBCH PE RP PFOPYEOYA L BLFETH, RPCHETOHFPNH MYGPN L RHVMYLE, Y OBPVPTPF.

UN. CH "rHFEYUFCHYYY REFETVHTZB CH NPULCH" ZMBCHH "edTPChP": "s UYA RPYUFEOOHA NBFSH U BUKHYUEOOOSCHNY THLBCHBNY UB LCHBYOOEA YMY U RPDPKOILPN RPDME LPTPCHSHCH UTBCHOYCH BM U ZPTPDULINY NBFETSNY.”

“CHSCKDEN... DBDYN DSDE KHNETEFSH YUFPTYUEULY” (ZHTBOG.). nPULCHIFSOYO, 1854, 6, PFD. IV, U. II. R. vBTFEOECH UPPVEBEF DTHZHA CHETUYA: “about BN RETEDBCHBMY UPCHTENEOOILY, UFP, KHUMSHCHYBCH LFY UMPCHB PF KHNYTBAEEZP chBUYMYS mSHCHPCHYUB, rHYLYO OBRTBCHYMUS ABOUT GSHRPYULBI L DCHETY YYEROKHM UPVTTBCHYYNUS TPDOSCHN Y DTHYSHSN EZP: “zPURPDB, CHCHKDENFE, RKhFSH LFP VKHDHF EZP RPUMEDOYE UMPCHB” (tHUULYK BTIICH , 1870, U. 1369).

UT. H "bMShVPNE" poezYOB: "h lPTBOE NOPZP NSCHUMEK ЪDTTBCHSHCHI, // chPF OBRTYNET: RTED LBIJDSCHN UOPN // nPMYUSH - VEZY RHFEK MHLBCHSHCHI // YuFY vPZB Y OE URPTSH U ZMKHRGPN." h "rBNSFoil": "iCHBMH Y LMECHEFH RTYENMY TBCHOPDKHYOP // th OE PURPTYCHBK ZMHRGB." DETTSBCHYO, OBRPNYOBS YUFBFEMA UCHPA PDH "vPZ", UNSZYUM CHSHCHUPLPPE Y OE UPCHUEN VEKHRTEYUOPE, U FPYULY ЪTEOYS GETLPCHOPK PTFPDPLUBMSHOPUFY, UPDETSBOYE LFPP UFYIPFCHPTEOYS ZHPTNKHMPK: “... RETCHSHCHK WITH DETIOKHM... // h UETDEYUOPK RTPUFPFE VUEEDPCHBFSH P vPZE.” h LFPN LPOFELUFE PVTBEEOYE L NHJE (IPFS UMPChP Y OBRYUBOP U RTPRYUOPK VHLCHSHCH) NPZMP CHPURTYOINBFSHUS LBL RPFYUEULBS HUMPCHOPUFSH. ъOBYUYFEMSHOP VPMEE DETLINE VSHMP TEYEOYE RKHYLYOB: “CHEMEOSHA vPTsYA, P nHЪB, VHDSH RPUMKHYOB.” vPZ Y nHЪB DENPOUFTBFYCHOP UPUEDUFCHHAF, RTYUEN PVB UMPCHB OBRYUBOSCH U VPMSHYPK VHLCHSHCH. lFP UFBCHYMP YI CH EDYOSCHK UNSHUMPCHPK Y UINCHPMYUEULYK TSD TBCHOP CHSHUPLYI, OP OUEUPCHNEUFYNSHI GEOOPUFEK. fBLPE EDYOUFCHP UPJDBCHBMP PUPVHA RPYGYA BCHFPTB, DPUFKHROPZP CHUEN CHETYOBN YuEMPCHYUEULZP DHib.

RETED rPMFBCHULPK VYFCHPK rEFT I, RP RTEDBOYA, ULBUBM: “chPYOSCH! chPF RTYYEM YUBU, LPFPTSCHK TEYBEF UHDSHVH pFEYUEUFCHB. yFBL, OE DPMTSOP ChBN RPNSCHYMSFSH, YuFP UTBTSBEFEUSH ЪB rEFTB, OP ЪB ЗПУХДБТУФЧП, еФТХ РПТХУЕООПЭ, ЪБ ТПД УЧПК, ЪБ pFEYUEUFChP.” th DBMEE: “b P REFTE CHEDBKFE, YuFP ENKH TSYOSH OE DPTZB, FPMSHLP VSC TSIMB tPUUYS.” ьFPF FELUF PVTBEEOYS REFTB L UPMDBFBN OEMSHЪS UYYFBFSH BHFEOFYUOSCHN. FELUF VSHM CH RETCHPN EZP CHBTYBOFE UPUFBCHMEO ZHEPZHBOPN rTPLPRPCHYUEN (CHPNPTSOP, ABOUT PUOPCH LBLYI-FP KHUFOSHHI MEZEOD) Y RPFPN RPDCHETZBMUS PVTBVPFLBN (UN.: fTHDSCH YNR. TH UUL CHPEOOP-YUFPTYUEULPZP PVEEUFCHB, F. III, U. 274—276; VKHNBZY REFTB CHEMYLPZP, F. IX, ChShchR. 1, 3251, RTYNEYU. 1, U. 217-219; ChShchR. 2, U. 980-983). FP, YuFP CH TEKHMSHFBFE TSDB RETEDEMPL YUFPTYYUEULBS DPUFPCHETOPUFSH FELUFB UFBMB VPMEE YuEN UPNOYFEMSHOPK, U OBEK FPYULY UTEOYS RBTBDPLUBMSHOP RPCHSHCHYBEF EZP YOFETEU, FBL LBL RTEDEMSHOP PVOBTSBEF RTEDUFBCHMEOYE P FPN, YuFP DPMTSEO VSHM ULBJBFSH REFT I CH FBLPK UIFKHBGYY, B BFP DMS YUFPTYLB OE NOOEE YOFETEUOP, YUEN EZP RPDMYOOSHE UMPCHB. fBLPK YDEBMSHOSCHK PVTB ZPUKHDBTS-RBFTYPFB ZHEPZHBO CH TBOSHI CHBTYBOFBI UPJDBCHBM Y CH DTHZYI FELUFBI.

Z. b. zKHLPCHULIK, B ЪB OIN Y DTHZIE LPNNEOFBFPTSCH RPMBZBAF, YuFP "UMPChP KHNYTBAEEZP lBFPOB" - PFUSCHMLB L rMHFBTIKH (UN.: tBDYEECH b. o. rPMY. UPVT. UPYU., F. 1, U 295, 485). vPMEE CHETPSFOP RTEDRPMPTSEOYE, YuFP tBDYEECH YNEEF CH CHYDH NPOPMPZ LBFPOB YЪ PDOPNOOOPK FTBZEDYY dDDYUPOB, RTPPGYFYTPCHBOOPK YN CH FPN TSE RTPY'chedeoYY, CH ZMBCHE "vTPOYGSHCH" "(FBN CE, U. 269).

FY UMPCHB UCHYDEFEMSHUFCHHAF, YuFP IPFS prPYUYOYO YNEM VTBFSHECH, TsIM PO HEJYOOOP Y VSHM EDYOUFCHEOOSCHN, EUMY OE UYYFBFSH LTERPUFOSCHI UMKHZ, PVYFBFEMEN UCHPEZP PDYOPLPZP DETECHEOULPZP TSYMYEB, ЪBRPMOOOPZP LOYZBNY.

CH DBOOPN UMKHYUBE NSCH YNEEN RTBCHP ZPCHPTYFSH YNEOOP P FChPTYUEFCHE: BOBMY RPLBYUSCHBEF, YuFP lBTBNYO REYUBFBM FPMSHLP FKH RETECHPDOHA MYFETBFKHTH, LPFPTBS UPPFCHEFU FChPChBMB EZP UPVUFCHOOOPK RTPZTBNNE, Y OE UFEUOSMUS RETEDEMSHCHBFSH Y DBCE KHUFTBOSFSH FP, YuFP OE UPCHRBDBMP U EZP CHZMSDBNY.

YNEEFUS CH CHYDH YJCHEUFOSCHK CH 1812 Z. BRPLTYZHYUEULYK TBUULB P LTEUFSHSOYOE, LPFPTSCHK PFTKHVYM UEVE THLKH, YUFPVSH OE YDFY CH OBRPMEPOPCHULHA BTNYA (UT. ULHMSH RFHTH rYNEOPCHB "tHUULYK UGECHPMB").

YUFPTYS LPOGERGYK UNETFY CH THUULPK LHMSHFHTE OE YNEEF GEMPUFOPZP PUCHEEEOYS. DMS UTBCHOOYS U ЪBRBDOP-ECHTPREKULPK LPOGERGYEK NPTsOP RPTELPNEODPCHBFSH YUYFBFEMA LOYZKH: Vovel Michel. La mort et l"Occident de 1300 à nos jours.< Paris >, Gallimard, 1983

BY RTYIPDIYMUS TPDUFCHEOILPN FPNKH NPULPCHULPNKH ZMBCHOPLPNBODHAEENKH, LOSYA b. b. rТПЪПТПЧУЛПНХ, ЛПФПТШЧК РПЪЦе ​​У ЦEUФПЛПУФША RTEUMEDПЧБМ о. OPCYLPCHB Y NPULPCHULYI NBTFYOYUFPCH Y P LPFPTPN rPFENLYO ULBJBM ELBFETYOE, YuFP POB CHSCCHYOKHMB YJ UCHPEZP BTUEOBMB "UBNHA UFBTHA RHYLKH", LPFPTBS OERTENE OOP VKhDEF UFTEMSFSH CH GEMSH YNRETBFTYGSHCH, RPFPNH YFP UCHPEK OE YNEEF. pDOBLP BY CHSHCHULBBM PRBUEOYE, YUFPVSH rTPIPTPCHULIK OE EBRSFOBM CH ZMBBI RPFPNUFCHB YNS ELBFETYOSCH LTPCHSHA. rPFENLYO PLBBBMUS RTPCHYDGEN.

ZBMETB - CHPEOOOSCHK LPTBVMSH ABOUT CHUMBI. lPNBODB ZBMETSH UPUFPYF YYYFBFB NPTULYI PZHYGETPCH, HOFET-PZHYGETPCH Y UPMDBF-BTFYMMETYUFPCH, NPTSLPC Y RTYLPCHBOOSCHI GERSNY LBFPTTSOILPC ABOUT CHUMBI. zBMETSH KHRPFTEVMSMYUSH CH NPTULYI UTBTSEOYSI LBL OE ЪBCHYUSEEE PF OBRTBCHMEOYS CHEFTB Y PVMBDBAEE VPMSHYP RPDCHYTSOPUFSHA UTEDUFCHP. rEFT I RTYDBChBM VPMSHYPE OBYUEOYE TBCHYFYA ZBMETOPZP ZHMPFB. UMHTSVB ABOUT ZBMETBI UYFBMBUSH PUPVEOOOP FSCEMPK.

CH LFPN NEUFE CH RHVMYLBGYY ZPMYLPCHB TEYUSH REFTB DBOB CH VPMEE RTPUFTBOOPN CHYDE; UOYUIPDYFEMSHOPUFSH rEFTB EEE VPMEE RPDYUETLOKHFB: “fsch CHUETB VSHM CH ZPUFSI; B NEOS UEZPDOS ЪCHBMY ABOUT TPDYOSCH; RPEDEN UP NOPA.”

CH NENKHBTBI OERMAECH TYUHEF LTBUPYUOSCH LBTFYOSCH LFPC DTBNBFYUEULPK UIFKHBGYY: “... TsBMES TSEOH NPA Y DEFEC, FBLCE Y UMKHTSYFEMEK, CH RTEDNEUFYK H gBTSHZTBDB, YNEOHENPN vKHALDETE, ЪBRETUS CH PUPVHA LPNOBFH Y RPMKHYUBM RTPRYFBOYE CH PLOP, OYLPZP L UEVE OE DPRHULBS; TSEOB NPS ETSEYUBUOP KH DCHETEK P FPN UP UMEBNY RTPUYMB NEOS” (U. 124). MEYUMUS ON "RTJOINBOYEN IYOSCH U CHPDK" (FBN CE).

UMPChP "IHDPCEUFChP" POBYUBMP CH FH RPTH RPOSFYE, RETEDBCHBENPE OBNY FERETSH UMPCHPP "TENEUMP". n. bChTBNPCH, LBL YUEMPCHEL UCHPEK LRPIY, CH TSYCHPRYUY RPDYUETLYCHBEF TENEUMP - UPUEFBOYE FTHDB Y KHNEOS. DMS MADEK REFTPCHULPK URPIY UMPCHB "TENEUMP", "HNEOYE" ЪCHHYUBMY FPTCEUFCHOOEE Y DBCE RPYUOOEE, YUEN UMPChP "FBMBOF". lFPF RBZhPU RPTSE PFTBTTSEO Ch UMPCHBI b. and. netЪMSLPCHB "UCSFBS TBVPFB" P RPYYY; CH UMPCHBI (RPCHFPTSAEYI l rBCHMPCHH) n. GCHEFBECHPK "TENEUMEOIL, S OBA TENEUMP" Y BOOSCH BINBFPCHPK "UCHSFPE TENEUMP".

UN.: PRYUBOYE YDBOYK ZTBTSDBOULPK REYUBFY. 1708 - SOCHBTSH 1725. n.; M., 1955, U. 125-126; UN. FBLCE: PRYUBOYE YIDBOYK, OBREYUBFBOOSCHI RTY REFTE I. UCHPDOSCHK LBFBMPZ. m., 1972.

UNSHUM LFYI UMPC PVASUOSEFUS RTPPHYCHPRPUFBCHMEOYEN YTPLLPZP RHFY, CHEDHEEZP CH BD, Y KHLPZP, “FEUOPZP”, CHEDHEEEZP CH TBK. uT. UMPChB RTPFPRPRB bChChBLKHNB P "FEUOPN" RHFY CH TBK. TEBMYYHS NEFBZHPTKH, bChChBLKHN ZPCHPTYM, YuFP FPMUFSHCHE, "VTAIBFSHCHE" OILPOIBOYE CH TBK OE RPRBDHF.

RP LBRTY'OPNH RETERMEFEOYA UATSEFPCH Y UKHDEV, YNEOOOP PE CHTENS UMEDUFCHYS RP DEMH GBTECHYUB bMELUES ​​DPUFYZMB BRPZES LBTSHETB z. h. ULPTOSLPCHB-rYUBTECHB, UHDSHVB LPFPTPZP RPTSE OEPTSYDBOOP RETEUEUEEFUS U UHDSHVPK bChTBNPCHB.

NPTsOP UPNOECHBFSHUS Y CH FPN, YuFP TPNBOFYUEULYK VTBL oEECHPMPDPCHB U YUETLEYEOLPK RPMKHYUM GETLPCHOPE VMBZPUMPCHEOYE. RETECHPD UACEFB "LBCHLBULPZP RMEOOILB" ABOUT SJSHL VShchFPChPK TEBMSHOPUFY UCHSBO VSHM U OELPFPTSCHNY FTKHDOPUFSNY.

FBL, OBRTYNET, CH Y'DBOY EZP ATYYUYUEULYI UPYYOOYEOYK y. dKHYYYULYOPK VSHMY PVOBTHTSEOSH UPFOY FELUFPMPZYUEULYI PYYVPL ABOUT OEULPMSHLYI DEUSFLBI UFTBOIG; RPULPMSHLH OELPFPTSHCHE UFTBOYGSCH Y'DBOYS DBAF ZHPFPFYYUEULPE CHPURTPYCHEDEOYE THLPRYUEK, MAVPRSCHFOSCHK YUFBFEMSH, UPRPUFBCHMSS YI U FHF CE RTYCHEDEOOSCHNY REYUBFOSCHNY UFT BOYGBNY, NPTSEF PVOBTHTSYFSH RTPRKHULY GEMSHHI UFTPL Y DTHZIE RMPDSCH VEPFCHEFUFCHOOPUFY Y OECHETSEUFCHB.

UN. ZMBCHH "tPMSH tBDYEECHB CH URMPUEOYY RTPZTEUYCHOSHI UYM." - h LO.: vBVLYO d.u. b. O. TBDYEECH. mYFETBFHTOP-PVEEUFCHEOOBS DESFEMSHOPUFSH. n.; m., 1966.

DMS RTPUCHEFYFEMS OBTPD - RPOSFYE VPMEE YTPLPE, YUEN FB YMY JOBS UPGYBMSHOBS ZTHRRRB. TBDYEECH, LPOYUOP, Y CH HNE OE NPZ RTEDUFBCHYFSH OERPUTEDUFCHOOOPK TEBLGYY LTEUFSHSOYOB ABOUT EZP LOYZKH. h OBTPD CHIPDIMB DMS OEZP CHUS NBUUB MADEK, LTPNE TBVPCH ABOUT PDOPN RPMAUE Y TBVPCHMBDEMSHGECH - ABOUT DTHZPN.

FBN TSE, F. 2, U. 292-293, 295. yNEEFUS CH CHYDH NPOPMPZ lBFPOB CH PDOPPYNEOOOPK FTBZEDYY bDDYUPOB, ZDE lBFPO IBTBLFETYYKHEF UBNPKHVYKUFCHP LBL LTBKOAA UYMKH FPTCEUF ChB UCHPVPDSH OBD TBVUFCHPN.

LBTBNYO, LBL NPTsOP UKhDYFSH, VSHM CHCHPMOPCHBO UBNPHVYKUFCHPN tBDYEECHB Y PRBUBMUS ChPDEKUFCHYS LFPZP RPUFHRLB ABOUT UPCHTEENOOILPC. ьFYN, CHYDYNP, PVYASUOSEFUS FP, YuFP BCHFPT, DP LFPZP U UPYUKHCHUFCHYEN PRYUBCHYIK GEMHA GERSH UBNPKHVYKUFCH PF OYUBUFMYCHPK MAVCHY YMY RTEUMEDPCHBOYK RTEDTBUUKHDLPCH, CH LFP CHTENS CH TSDE UFBFEK Y RPCHEUFEK CHCHUFKHRIM U PUKhTSDEOYEN RTBCHB YUEMPCHELB UBNPCHPMSHOP LPOYUBFSH UCHPA TSYOSH.

OEYCHEUFOP, U RPNPESH LBLYI UTEDUFCH, - NPTsEF VShchFSH, RPFPNH, YUFP CH DBMELPK uyvity DEOSHZY CHSHZMSDEMY KHVEDYFEMSHOEE, YUEN UFPMYUOSCH ЪBRTEFSCH, - Y PO, CHYDYNP, PZHTNYM LF PF VTBL Y GETLPCHOSCHN TYFHBMPN. rP LTBKOEK NETE, TPDYCHYKUS CH UYVYTY USCHO rBCHEM UYFBMUS ЪBLPOOSCHN, Y OILBLYI FTHDOPUFEK, UCHSBOOSCHI U LFYN, CH DBMSHOEKYEN OE CHP'OILBMP.

YOFETEUHAEEE OBU UEKYUBU RYUSHNP CH PTYZYOBME OBRYUBOP RP-ZHTBOGHULY. h DBOOPN NEUFE CH RETECHPDE DPRKHEEOB YULMAYUYFEMSHOP CHBTSOBS OEFPUOPUFSH. zhTBOGKH'ULPE "une irréligion" (FBN CE, U. 118) RETECHEDEOP LBL "VECHETYE". ABOUT UBNPN DEME TEYUSH IDEF OE P VECHETYY, HRTELBFSH CH LPFPTPN tHUUP VSHMP VSC BMENEOFBTOPK PYYVLPK, B P DEYUFYUEULPN UFTENMEOYY RPUFBCHYFSH CHETCH CHCHYE PFDEMSHOSCHI TEMYZYK

RPUMEDOYE UMChB PE ZHTBOGKHULPN RYUSHNE UKhChPTPCB RTEDUFBCHMSAF UPVPK "TKHUULYK" FELUF, OBRYUBOOSHCHK MBFYOYGEK, RTETYFEMSHOSHCHK CHPMSRAL, RETEDTBOOCHBAEIK ZHTBOGKH'ULKHA TEYUSH TKHUULYI DCHPTSO.

UKhChPTPCH KHRPFTEVMSEF CHSTBTSEOYE “loi naturelle”. h GYFYTHENPN YJDBOY POP RETECHEDEOP LBL “ЪBLPO RTYTPDSCH”, YuFP RPMOPUFSHA YULBTSBEF EZP UNSHUM. UHChPTPCH YURPMSH'HEF MELUYLH YY FETNYOPMPZYY ULPFPCHPDUFCHB, ZDE "OBFKHTB" POBYUBEF LBYUEUFChP RPTPDSH. RETECHPD UMPCHPN "EUFEUFCHEOOSCHK" CH DBOOPN YIDBOY PYYVPYUEO.

UN.: rBOYUEOLP b. n. uNEI LBL ЪTEMYEE. - h LO.: uNEI CH DTECHOEK TKHUI. M., 1984, U. 72-153. ZHLU e. urV., 1900, U. 20-21.

YZTB UHDSHVSH RTYCHEMB CH DBMSHOEKYEN e. yFPF OEBNEFOSCHK YUEMPCHEL RPOAIBM CH UCPEK TSYJOY RPTPIB, Y EUMY PO OE VSHM LTYFYUEULYN YUFPTYLPN, FP ЪBFP RYUBM P FPN, YUFP UBN CHYDEM Y RETETSYM.

CHPEOOOPZP LTBUOPTEYUYS YBUFSH RETCHBS, UPDETSBEBS PVEYE OBYUBMB UMPCHEUOPUFY. uPYYOOYE PTDYOBTOPZP RTPZHEUUPTB uBOLFREFETVKhTZULPZP hoychetuyfefb sLPCHB fPMNBYECHB. urV., 1825, U. 47. pTYZYOBMSHOBS UFYMYUFYLB LFPPZP RYUSHNB, CHYDYNP, YPLYTPCHBMB CHPEOOSCHI YUFPTYLPCH PF e. WITH DPLKHNEOPCH" 1950-1952 ZZ. Y h.u. mPRBFYOB (1987). OY CH PDOP YY FYI YDBOYK RYUSHNP OE VSHMP CHLMAYUEOP. NETSDH FEN POP RTEDUFBCHMSEF UPVPK YULMAYUYFEMSHOP STLYK DPLKHNEOF MYUOPUFY Y UFYMS RPMLPCHPDGB.

X ukhchptpchb YNEMUS FBLCE USCHO bTLBDYK, OP ZHEMSHDNBTYBM VSHM ZPTBJDP VPMEE RTYCHSBO L DPUETY. bTLBDYK DPTSYM MYYSH DP DCHBDGBFY UENY MEF Y RPZYV, HFPOKHCH CH FPN UBNPN TSCHNOYLE, ЪB RPVEDH ABOUT LPFPTPN PFEG EZP RPMHYUM FYFHM TSCHNOYULLPZP.

NHODYT Y PTDEO CH LFPN LHMSHFKHTOPN LPOFELUFE CHSHCHUFHRBAF LBL UYOPOUNSCH: OBZTBDB NPZMB CHSTBTSBFSHUS LBL CH ZHTNE PTDEOB, FBL Y CH CHYDE OPCHPZP YuYOB, YuFP PFTBTsBMPUSH CH NHODYTE .

RP ьФПНХ ЦЭ ДЭМХ ВШМ БТЭУФПЧКО й ъББЛМАУЕО Х reftprbchmpchulha lterpufsh etnpmpch. rPUME KHVYKUFCHB YNRETBFPTB ON VSHHM PUCHPVPTSDEOO Y U OEPRTBCHDBCHYYNUS PRFYNYYNPN OBRYUBM ABOUT DCHETSI UCHPEK LBNETSH: “OBCHUEZDB UCHPVPDOB PF RPUFPS.” rTPYMP 25 MEF, Y TBCHEMYO, LBL Y CHUS LTERPUFSH, VShchM ЪBRPMEO BTEUFPCHBOOSCHNY DELBVTYUFBNY

HVPTOBS - LPNOBFB DMS RETEPDECHBOYS Y KHFTEOOYI FHBMEFPCH CH DOECHOPE RMBFSHE, B FBLCE DMS RTYUEUUSCHBOYS Y UPCHETYEOYS NBLYSTSB. FYRPCHBS NEVEMSH KHVPTOPK UPUFPSMB YETLBMB, FHBMEFOPZP UFPMYLB Y LTEUEM DMS IPSKLY Y ZPUFEK.

ЪBRYULY DALB MYTYKULPZP... RPUMB LPTPMS yURBOULPZP, 1727—1730 ZPDHR. rV., 1847, U. 192-193. h RTYMPTSEOY L LFPC LOYSE PRHVMYLPCHBOSH UPYYOOYS ZHEPZHBOB rTPLPRPCHYUB, GYFYTHENSHCHE OBNY.

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Author: Lotman Yuri
Title: Conversations about Russian culture
Performer: Evgeniy Ternovsky
Genre: historical. Life and traditions of the Russian nobility of the 18th and early 19th centuries
Publisher: Can't buy it anywhere
Year of publication: 2015
Read from the publication: St. Petersburg: Art - St. Petersburg, 1994
Cleared by: knigofil
Processed by: knigofil
Cover: Vasya from Mars
Quality: mp3, 96 kbps, 44 kHz, Mono
Duration: 24:39:15

Description:
The author is an outstanding theorist and cultural historian, founder of the Tartu-Moscow semiotic school. Its readership is huge - from specialists to whom works on the typology of culture are addressed, to schoolchildren who have picked up the “Commentary” to “Eugene Onegin”. The book was created on the basis of a series of television lectures telling about the culture of the Russian nobility. The past era is presented through the realities of everyday life, brilliantly recreated in the chapters “Duel”, “Card Game”, “Ball”, etc. The book is populated by heroes of Russian literature and historical figures - among them Peter I, Suvorov, Alexander I, the Decembrists. The actual novelty and wide range of literary associations, the fundamentality and liveliness of the presentation make it a most valuable publication in which any reader will find something interesting and useful for themselves.
For students, the book will be a necessary addition to the course of Russian history and literature.

The publication was published with the assistance of the Federal Target Program for Book Publishing of Russia and the International Foundation “Cultural Initiative”.
“Conversations about Russian Culture” belongs to the pen of the brilliant researcher of Russian culture Yu. M. Lotman. At one time, the author responded with interest to the proposal of “Arts - SPB” to prepare a publication based on a series of lectures that he gave on television. He carried out the work with great responsibility - the composition was specified, the chapters were expanded, and new versions appeared. The author signed the book for inclusion, but did not see it published - on October 28, 1993, Yu. M. Lotman died. His living word, addressed to an audience of millions, was preserved in this book. It immerses the reader in the world of everyday life of a Russian nobility XVIII- beginning of the 19th century. We see people of a distant era in the nursery and in the ballroom, on the battlefield and at the card table, we can examine in detail the hairstyle, the cut of the dress, the gesture, the demeanor. At the same time, everyday life for the author is a historical-psychological category, a sign system, that is, a kind of text. He teaches to read and understand this text, where the everyday and the existential are inseparable.
“A collection of motley chapters”, the heroes of which were outstanding historical figures, reigning persons, ordinary people of the era, poets, literary characters, is connected together by the thought of the continuity of the cultural and historical process, the intellectual and spiritual connection of generations.
In a special issue of the Tartu “Russian Newspaper” dedicated to the death of Yu. M. Lotman, among his statements recorded and saved by colleagues and students, we find words that contain the quintessence of his last book: “History passes through a person’s House, through his private life. It is not titles, orders or royal favor, but the “independence of a person” that turns him into a historical figure.”
The publishing house thanks the State Hermitage and the State Russian Museum, which provided engravings stored in their collections free of charge for reproduction in this publication.

INTRODUCTION: Life and culture
PART ONE
People and ranks
Women's World
Women's education in the 18th - early 19th centuries
PART TWO
Ball
Matchmaking. Marriage. Divorce
Russian dandyism
Card game
Duel
The Art of Living
Summary of the journey
PART THREE
"Chicks of Petrov's Nest"
Ivan Ivanovich Neplyuev - reform apologist
Mikhail Petrovich Avramov - critic of the reform
Age of heroes
A. N. Radishchev
A. V. Suvorov
Two women
People of 1812
Decembrist in everyday life
INSTEAD OF CONCLUSION: “Between the double abyss...”

We associate the ball only with a holiday. In fact, it had a complex structure - dances, conversations, customs.

The ball was contrasted with everyday life, service and, on the other hand, a military parade. And the ball itself was contrasted with other ways to spend time - for example, drinking parties and masquerades. All this is discussed in the book of a famous culturologist.
Of course, we were unable to edit the text of a well-known monograph. But we allowed ourselves to make subheadings (from Lotman’s text) for ease of reading on the screen. And the editor's comments were added.

Part two

Now we have something wrong in the subject:

We better hurry to the ball,

Where to headlong in a Yamsk carriage

My Onegin has already galloped.

In front of the faded houses

Along the sleepy street in rows

Double carriage lights

Cheerful ones pour out light...

Here our hero drove up to the entryway;

He passes the doorman with an arrow

He flew up the marble steps,

I straightened my hair with my hand,

Has entered. The hall is full of people;

The music is already tired of thundering;

The crowd is busy with the mazurka;

There is noise and crowding all around;

The cavalry guard's spurs are jingling*;

The legs of lovely ladies are flying;

In their captivating footsteps

Fiery eyes fly.

And drowned out by the roar of violins

Jealous whispers of fashionable wives.

(“Eugene Onegin”, chapter 1, XXVII-XXVIII)

Note Pushkin: “Inaccuracy. - At balls, cavalry officers appear in the same way as other guests, in a uniform and boots. It's a valid point, but there's something poetic about Spurs. I refer to the opinion of A.I.V.” (VI, 528).

Dancing was an important structural element of noble life. Their role was significantly different from both the function of dances in the folk life of that time and from the modern one.

In the life of a Russian metropolitan nobleman of the 18th - early 19th centuries, time was divided into two halves: staying at home was devoted to family and economic concerns, here the nobleman acted as a private person; the other half was occupied by service - military or civil, in which the nobleman acted as a loyal subject, serving the sovereign and the state, as a representative of the nobility in the face of other classes.

The contrast between these two forms of behavior was filmed in the “meeting” that crowned the day - at a ball or evening party. Here the social life of a nobleman was realized: he was neither a private person in private life, nor a serving man in public service; he was a nobleman in an assembly of nobles, a man of his class among his own.

Thus, the ball turned out, on the one hand, to be an area opposite to service - an area of ​​relaxed communication, social recreation, a place where the boundaries of the official hierarchy were weakened.

The presence of ladies, dancing, and social norms introduced extra-official value criteria, and a young lieutenant who danced deftly and knew how to make the ladies laugh could feel superior to an aging colonel who had been in battle.

(Editor's note: Well, nothing has changed in dancing since then).

On the other hand, the ball was an area of ​​public representation, a form of social organization, one of the few forms of collective life allowed in Russia at that time. In this sense Savor received the value of a public cause.

Catherine II’s answer to Fonvizin’s question is typical: “Why aren’t we ashamed of not doing anything?” - “...living in society is not doing nothing.”

Assembly. The author of the event was very flattered. And at first the interiors were simpler, and the ladies with their gentlemen, taken out of caftans and sundresses into uniforms (okay, a German caftan is almost a uniform) and corsets with a neckline (but this is horror) behaved more constrained. Peter's documents on ballroom etiquette are very clearly written - just a pleasure to read.

Since the time of Peter the Great's assemblies, the question of organizational forms of secular life has also become acute.

Forms of recreation, youth communication, and calendar ritual, which were basically common to both the people and the boyar-noble milieu, had to give way to a specifically noble structure of life.

The internal organization of the ball was made a task of exceptional cultural importance, as it was intended to give forms of communication between “gentlemen” and “ladies” and to determine the type of social behavior within the culture of the nobility. This entailed the ritualization of the ball, the creation of a strict sequence of parts, and the identification of stable and obligatory elements.

The grammar of the ball arose, and it itself developed into some kind of holistic theatrical performance, in which each element (from entering the hall to leaving) corresponded to typical emotions, fixed meanings, and styles of behavior.

However, the strict ritual that brought the ball closer to the parade made all the more significant possible deviations, “ballroom liberties,” which compositionally increased towards its finale, building the ball as a struggle between “order” and “freedom.”

The main element of the ball as a social and aesthetic event was dancing.

They served as the organizing core of the evening, setting the type and style of conversation. “Mazur chat” required superficial, shallow topics, but also entertaining and sharp conversation, and the ability to quickly respond epigrammatically.

The ballroom conversation was far from that play of intellectual forces, “the fascinating conversation of the highest education” (Pushkin, VIII (1), 151), which was cultivated in the literary salons of Paris in the 18th century and the absence of which Pushkin complained about in Russia. Nevertheless, it had its own charm - the liveliness, freedom and ease of conversation between a man and a woman, who were simultaneously in the center noisy celebration, and in otherwise impossible proximity (“Rather, there is no room for confessions…” - 1, XXIX).

Dance training began early - from the age of five or six.

For example, Pushkin began to study dancing already in 1808. Until the summer of 1811, he and his sister attended dance evenings with the Trubetskoys, Buturlins and Sushkovs, and on Thursdays children’s balls with the Moscow dance master Yogel.

Yogel's balls are described in the memoirs of choreographer A.P. Glushkovsky. Early dance training was painful and reminiscent of the harsh training of an athlete or the training of a recruit by a diligent sergeant major.

The compiler of the “Rules”, published in 1825, L. Petrovsky, himself an experienced dance master, describes some of the methods of initial training as follows, condemning not the method itself, but only its too harsh application:

“The teacher must pay attention to ensure that students do not suffer from severe stress to their health. Someone told me that the teacher considered it an indispensable rule that the student, despite his natural inability, should keep his legs to the side, like him, in a parallel line.

As a student, he was 22 years old, fairly tall, and had considerable legs, albeit defective ones; then the teacher, unable to do anything himself, considered it his duty to use four people, two of whom twisted their legs, and two held their knees. No matter how much he screamed, they just laughed and didn’t want to hear about the pain - until his leg finally cracked, and then the tormentors left him.

I considered it my duty to tell this incident to warn others. It is not known who invented the leg machines; and machines with screws for the legs, knees and back: a very good invention! However, it can also become harmless from excess stress.”

Long-term training gave the young man not only dexterity during dancing, but also confidence in movements, freedom and ease in posing his figure, which in a certain way. also influenced the mental structure of a person: in the conventional world of social communication, he felt confident and free, like an experienced actor on stage. Grace, reflected in the precision of movements, was a sign good upbringing.

L. N. Tolstoy, describing in the novel “Decembrists” (Editor's note: Tolstoy’s unfinished novel, on which he worked in 1860-1861 and from which he moved on to write the novel “War and Peace”), the wife of a Decembrist who returned from Siberia, emphasizes that, despite the many years she spent in the most difficult conditions of voluntary exile,

“It was impossible to imagine her otherwise than surrounded by respect and all the comforts of life. That she would ever be hungry and eat greedily, or that she would ever have dirty underwear on, or that she would trip, or forget to blow her nose - this could not happen to her. It was physically impossible.

Why this was so - I don’t know, but every movement she made was majesty, grace, mercy for all those who could take advantage of her appearance...”

It is characteristic that the ability to stumble here is associated not with external conditions, but with the character and upbringing of a person. Mental and physical grace are connected and exclude the possibility of inaccurate or ugly movements and gestures.

The aristocratic simplicity of the movements of people of “good society” both in life and in literature is opposed by the stiffness or excessive swagger (the result of the struggle with one’s own shyness) of the commoner’s gestures. A striking example Herzen's memoirs preserved this.

According to Herzen’s memoirs, “Belinsky was very shy and generally lost in unfamiliar society.”

Herzen describes a typical incident at one of the literary evenings with the prince. V.F. Odoevsky: “Belinsky was completely lost at these evenings between some Saxon envoy who did not understand a word of Russian and some official of the Third Department who understood even those words that were kept silent. He usually fell ill for two or three days and cursed the one who persuaded him to go.

Once on Saturday, on the eve of the New Year, the owner decided to cook a roast en petit comite, when the main guests had left. Belinsky would certainly have left, but a barricade of furniture prevented him; he somehow hid in a corner, and a small table with wine and glasses was placed in front of him. Zhukovsky, in white uniform pants with gold braid, sat down diagonally opposite him.

Belinsky endured it for a long time, but, not seeing any improvement in his fate, he began to move the table somewhat; The table at first gave way, then swayed and slammed to the ground, the bottle of Bordeaux began to pour seriously on Zhukovsky. He jumped up, red wine flowing down his trousers; there was a hubbub, a servant rushed with a napkin to stain the rest of his trousers with wine, another picked up broken glasses... During this commotion, Belinsky disappeared and, close to death, ran home on foot.”

The ball at the beginning of the 19th century began with a Polish (polonaise), which replaced the minuet in the ceremonial function of the first dance.

The minuet became a thing of the past along with royal France. “Since the changes that followed among Europeans both in clothing and in their way of thinking, news has appeared in dancing; and then the Polish, which has more freedom and is danced by an indefinite number of couples, and therefore frees from the excessive and strict restraint characteristic of the minuet, took the place of the original dance.”

One can probably associate with the polonaise the stanza of the eighth chapter, not included in the final text of Eugene Onegin, which introduces the Grand Duchess Alexandra Feodorovna into the scene of the St. Petersburg ball ( future empress); Pushkin calls her Lalla-Ruk after the masquerade costume of the heroine of T. Moore’s poem, which she wore during a masquerade in Berlin. After Zhukovsky’s poem “Lalla-Ruk” this name became the poetic nickname of Alexandra Fedorovna:

And in the hall bright and rich

When in a silent, tight circle,

Like a winged lily,

Lalla-Ruk enters hesitatingly

And above the drooping crowd

Shines with a royal head,

And quietly curls and glides

Star-Kharit between Harit,

And the gaze of mixed generations

Strives, with jealousy of grief,

Now at her, then at the king, -

For them, Evgenia is the only one without eyes.

I'm amazed by Tatiana alone,

He sees only Tatyana.

(Pushkin, VI, 637).

The ball does not appear in Pushkin as an official ceremonial celebration, and therefore the polonaise is not mentioned. In War and Peace, Tolstoy, describing Natasha’s first ball, contrasts the polonaise, which opens “the sovereign, smiling and leading the mistress of the house by the hand” (“followed by the owner with M.A. Naryshkina *, then ministers, various generals"), the second dance - the waltz, which becomes the moment of Natasha’s triumph.

L. Petrovsky believes that “it would be unnecessary to describe how M. A. Naryshkina is the mistress, and not the wife of the emperor, and therefore cannot open the ball in the first couple, while Pushkin’s “Lalla-Ruk” is in the first couple with Alexander I.

The second ballroom dance is the waltz.

Pushkin characterized him this way:

Monotonous and crazy

Like a young whirlwind of life,

A noisy whirlwind swirls around the waltz;

Couple flashes after couple.

The epithets “monotonous and crazy” have not only an emotional meaning.

“Monotonous” - because, unlike the mazurka, in which at that time they played a huge role solo dances and the invention of new figures, and even more so from the dance-game of the cotillion, the waltz consisted of the same constantly repeating movements. The feeling of monotony was also enhanced by the fact that “at that time the waltz was danced in two steps, and not in three steps, as now.”

The definition of the waltz as “crazy” has a different meaning: the waltz, despite its universal distribution, for there is almost not a single person who has not danced it himself or has not seen it danced), the waltz enjoyed a reputation in the 1820s for being obscene or, at least, an excessively free dance.

“This dance, in which, as is known, persons of both sexes turn and come together, requires due care so that they do not dance too close to each other, which would offend decency.”

(Editor's Note: Wow, we heard about the dream).

Janlis wrote even more clearly in the “Critical and Systematic Dictionary of Court Etiquette”: “A young lady, lightly dressed, throws herself into the arms of a young man who presses her to his chest, who carries her away with such swiftness that her heart involuntarily begins to pound and her head goes around! This is what this waltz is!..Modern youth is so natural that, putting sophistication at nothing, they dance waltzes with glorified simplicity and passion.”

Not only the boring moralist Janlis, but also the fiery Werther Goethe considered the waltz a dance so intimate that he swore that he would not allow his future wife dance it with no one but yourself.

The waltz created a particularly comfortable environment for gentle explanations: the proximity of the dancers contributed to intimacy, and the touching of hands made it possible to pass notes. The waltz was danced for a long time, you could interrupt it, sit down and then start again in the next round. Thus, the dance created the ideal conditions for gentle explanations:

On days of fun and desires

I was crazy about balls:

Or rather, there is no room for confessions

And for delivering a letter.

O you, honorable spouses!

I will offer you my services;

Please notice my speech:

I want to warn you.

You, mamas, are also stricter

Follow your daughters:

Hold your lorgnette straight!

However, Zhanlis’s words are also interesting in another respect: the waltz is contrasted classical dances as romantic; passionate, crazy, dangerous and close to nature, he opposes the etiquette dances of the old time.

The “common people” of the waltz was felt acutely: “Wiener Walz, consisting of two steps, which consist in stepping on the right and left foot and, moreover, danced as quickly as crazy; after which I leave it to the reader to judge whether it corresponds to a noble assembly or to some other.”

The waltz was admitted to European balls as a tribute to the new times. It was a fashionable and youth dance.

The sequence of dances during the ball formed a dynamic composition. Each dance, having its own intonation and tempo, set a certain style of not only movement, but also conversation.

In order to understand the essence of the ball, one must keep in mind that dancing was only the organizing core of it. The chain of dances also organized the sequence of moods. Each dance entailed topics of conversation suitable for him.

It should be borne in mind that conversation was no less a part of the dance than movement and music. The expression “mazurka chatter” was not disparaging. Involuntary jokes, tender confessions and decisive explanations were distributed throughout the composition of successive dances.

An interesting example of changing the topic of conversation in a sequence of dances is found in Anna Karenina.

“Vronsky and Kitty went through several rounds of the waltz.”

Tolstoy introduces us to a decisive moment in the life of Kitty, who is in love with Vronsky. She expects words of recognition from him that should decide her fate, but for an important conversation a corresponding moment in the dynamics of the ball is necessary. It is by no means possible to conduct it at any moment and not during any dance.

“During the quadrille nothing significant was said, there was intermittent conversation.” “But Kitty didn’t expect anything more from the quadrille. She waited with bated breath for the mazurka. It seemed to her that everything should be decided in the mazurka.”

The mazurka formed the center of the ball and marked its culmination. The Mazurka was danced with numerous fancy figures and a male solo that formed the climax of the dance. Both the soloist and the conductor of the mazurka had to show ingenuity and the ability to improvise.

“The chic of the mazurka is that the gentleman takes the lady on his chest, immediately hitting himself with his heel in the center de gravit (not to say the ass), flies to the other end of the hall and says: “Mazurechka, sir,” and the lady says to him: “ Mazurechka, sir." Then they rushed in pairs, and did not dance calmly, as they do now.”

Within the mazurka there were several distinct styles. The difference between the capital and the provinces was expressed in the contrast between the “exquisite” and “bravura” performance of the mazurka:

The Mazurka sounded. It happened

When the mazurka thunder roared,

Everything in the huge hall was shaking,

The parquet cracked under the heel,

The frames shook and rattled;

Now it’s not the same: we, like ladies,

We slide on the varnished boards.

“When horseshoes and high boots appeared, when taking steps, they began to knock mercilessly, so that when there were not too two hundred young males in one public meeting, the mazurka music began to play, and they raised such a clattering noise that the music was drowned out.”

But there was another contrast. The old “French” manner of performing the mazurka required the gentleman to easily jump, the so-called entrechat (Onegin, as the reader remembers, “danced the mazurka easily”).

Entrechat, according to one dance reference book, is “a jump in which one foot hits the other three times while the body is in the air.”

The French, “secular” and “amiable” style of mazurka in the 1820s began to be replaced by the English style associated with dandyism. The latter required the gentleman to make languid, lazy movements, emphasizing that he was bored with dancing and was doing it against his will. The gentleman refused the mazurka chatter and remained sullenly silent during the dance.

“...And in general, not a single fashionable gentleman dances now, it’s not supposed to. - Is that so? - Mr. Smith asked in surprise. “No, I swear on my honor, no!” muttered Mr. Ritson. “No, unless they walk in a quadrille or twirl in a waltz, no, to hell with dancing, it’s very vulgar!”

Smirnova-Rosset’s memoirs tell an episode of her first meeting with Pushkin: while still an institute, she invited him to a mazurka. ( Editor's note: SHE invited? Ooo!) Pushkin silently and lazily walked with her around the hall a couple of times.

The fact that Onegin “danced the mazurka easily” shows that his dandyism and fashionable disappointment were half fake in the first chapter of the “novel in verse.” For their sake, he could not refuse the pleasure of jumping in the mazurka.

The Decembrist and liberal of the 1820s adopted the “English” attitude towards dancing, bringing it to the point of completely abandoning it. In Pushkin’s “Novel in Letters,” Vladimir writes to a friend:

“Your speculative and important reasoning dates back to 1818. At that time, strict rules and political economy were in vogue. We showed up at balls without taking off our swords (you couldn’t dance with a sword, an officer who wanted to dance unfastened the sword and left it with the doorman. - Yu. L.) - it was indecent for us to dance and had no time to deal with the ladies” (VIII (1), 55 ).

Liprandi did not have dancing at serious friendly evenings. Decembrist N. I. Turgenev wrote to his brother Sergei on March 25, 1819 about the surprise that the news caused him that the latter danced at a ball in Paris (S. I. Turgenev was in France with the commander of the Russian expeditionary force, Count M. S. Vorontsov ): “I hear you dancing. His daughter wrote to Count Golovin that she danced with you. And so, with some surprise, I learned that now they also dance in France! Une ecossaise constitutionelle, indpendante, ou une contredanse monarchique ou une dansc contre-monarchique" (constitutional ecosession, independent ecosession, monarchical country dance or anti-monarchical dance - the play on words lies in the listing of political parties: constitutionalists, independents, monarchists - and the use of the prefix "contr" sometimes as a dance term, sometimes as a political term).

The complaint of Princess Tugoukhovskaya in “Woe from Wit” is connected with these same sentiments: “Dancers have become terribly rare!” The contrast between a person talking about Adam Smith and a person dancing a waltz or mazurka was emphasized by the remark after Chatsky’s program monologue: “He looks around, everyone is twirling in the waltz with the greatest zeal.”

Pushkin's poems:

Buyanov, my perky brother,

He brought us to our hero

Tatiana and Olga... (5, XLIII, XLIV)

they mean one of the mazurka figures: two ladies (or gentlemen) are brought to the gentleman (or lady) with a proposal to choose. Choosing a mate was perceived as a sign of interest, favor, or (as Lensky interpreted) love. Nicholas I reproached Smirnova-Rosset: “Why don’t you choose me?”

In some cases, the choice was associated with guessing the qualities envisioned by the dancers: “Three ladies who approached them with questions - oubli ou regret * - interrupted the conversation...” (Pushkin, VDI (1), 244).

Or in “After the Ball” by L. Tolstoy: “I danced the mazurka not with her. When we were brought to her and she did not guess my quality, she, giving her hand not to me, shrugged her thin shoulders and, as a sign of regret and consolation, smiled to me".

Cotillion - a type of quadrille, one of the dances that concludes the ball - was danced to the tune of a waltz and was a dance-game, the most relaxed, varied and playful dance. “...There they make a cross and a circle, and they seat the lady, triumphantly bringing the gentlemen to her so that she can choose with whom she wants to dance, and in other places they kneel before her; but in order to thank themselves in return, the men also sit down in order to choose the lady they like. Then come the figures with jokes, the presentation of cards, knots made from scarves, deception or bouncing off one another in a dance, jumping high over a scarf...”

The ball was not the only opportunity to have a fun and noisy night.

The alternative was

:...games of riotous youths, Thunderstorms of guard patrols..

(Pushkin, VI, 621)

single drinking bouts in the company of young revelers, bribery officers, famous “scamps” and drunkards.

The ball, as a decent and completely secular pastime, was contrasted with this revelry, which, although cultivated in certain guards circles, was generally perceived as a manifestation of “bad taste”, acceptable for a young man only within certain, moderate limits.

(Editor's note: Yes, as permitted, tell me. But about “hussarism” and “riot” there in another chapter).

M. D. Buturlin, prone to free and wild life, recalled that there was a moment when he “didn’t miss a single ball.” This, he writes, “made my mother very happy, as proof, que j’avais pris le gout de la bonne societe”**. However, Oblivion or Regret (French). that I loved being in good company (French). the taste for a reckless life took over:

“I had quite frequent lunches and dinners at my apartment. My guests were some of our officers and my civilian St. Petersburg acquaintances, mostly foreigners; here, of course, there was a sea of ​​champagne and burnt liquor on tap. But my main mistake was that after the first visits with my brother at the beginning of my visit to Princess Maria Vasilyevna Kochubey, Natalya Kirillovna Zagryazhskaya (who was very important at that time) and others in my family or previous acquaintance with our family, I stopped visiting this high society .

I remember how once, when leaving the French Kamennoostrovsky Theater, my old friend Elisaveta Mikhailovna Khitrova, recognizing me, exclaimed: Oh, Michel! And I, in order to avoid meeting and explicating her, rather than go down the stairs of the restyle where this scene took place, turned sharply to the right past the columns of the facade; but since there was no way out into the street, I flew headlong to the ground from a considerable height, risking breaking an arm or leg.

Unfortunately, the habits of a riotous and wide-open life in the circle of army comrades with late drinking in restaurants had taken root in me, and therefore trips to high-society salons burdened me, as a result of which a few months passed when the members of that society decided (and not without reason) that I’m a little guy, mired in the whirlpool of bad society.”

Late drinking sessions, starting in one of the St. Petersburg restaurants, ended somewhere in the “Red Zucchini”, which stood about seven miles along the Peterhof road and was a former favorite place for officers’ revelry. A brutal card game and noisy walks through the streets of St. Petersburg at night completed the picture. Noisy street adventures - “the thunderstorm of midnight watches” (Pushkin, VIII, 3) - were a common night activity for “naughty people”.

The nephew of the poet Delvig recalls: “... Pushkin and Delvig told us about the walks that they took on the streets of St. Petersburg after graduating from the Lyceum, and about their various pranks and mocked us, young men, who not only did not find fault with anyone, but even stopping others who are ten or more years older than us...

Having read the description of this walk, you might think that Pushkin, Delvig and all the other men walking with them, with the exception of brother Alexander and me, were drunk, but I can definitely certify that this was not the case, but they just wanted to shake the old fashioned and show it to us , to the younger generation, as if in reproach to our more serious and thoughtful behavior.”

In the same spirit, although somewhat later - at the very end of the 1820s, Buturlin and his friends tore off the scepter and orb from the double-headed eagle (pharmacy sign) and walked with them through the center of the city. This “prank” already had a rather dangerous political connotation: it gave rise to criminal charges of “lese majeste.” It is no coincidence that the acquaintance to whom they appeared in this form “could never remember without fear this night visit of ours.”

If he got away with this adventure, then for trying to feed a bust of the emperor with soup in a restaurant, punishment followed: Buturlin’s civilian friends were exiled to civil service in the Caucasus and Astrakhan, and he was transferred to a provincial army regiment. This is no coincidence: “crazy feasts”, youth revelry against the backdrop of the Arakcheevskaya (later Nikolaevskaya) capital inevitably took on oppositional tones (see the chapter “Decembrist in Everyday Life”).

The ball had a harmonious composition.

It was like some kind of festive whole, subordinated to the movement from the strict form of ceremonial ballet to variable forms of choreographic acting. However, in order to understand the meaning of the ball as a whole, it should be understood in contrast to the two extreme poles: the parade and the masquerade.

The parade in the form it received under the influence of the peculiar “creativity” of Paul I and the Pavlovichs: Alexander, Konstantin and Nicholas, was a unique, carefully thought out ritual. It was the opposite of fighting. And von Bock was right when he called it “the triumph of nothingness.” A battle required initiative, a parade required submission, turning the army into a ballet.

In relation to the parade, the ball acted as something exactly the opposite. The ball contrasted subordination, discipline, and erasure of personality with fun, freedom, and the harsh depression of a person with his joyful excitement. In this sense, the chronological course of the day from the parade or preparation for it - exercise, arena and other types of “kings of science” (Pushkin) - to ballet, holiday, ball represented a movement from subordination to freedom and from rigid monotony to fun and variety.

However, the ball was subject to strict laws. The degree of rigidity of this subordination varied: between balls of thousands in the Winter Palace, dedicated to especially solemn dates, and small balls in the houses of provincial landowners with dancing to the serf orchestra or even to the violin played by a German teacher, there was a long and multi-stage path. The degree of freedom was different at different stages of this path. And yet the fact that the ball presupposed composition and strict internal organization, limited the freedom within him.

This necessitated the need for another element that would play in this system the role of “organized disorganization,” planned and foreseen chaos. The masquerade took on this role.

Masquerade dressing, in principle, contradicted deep church traditions. In the Orthodox consciousness, this was one of the most stable signs of demonism. Dressing up and elements of masquerade in folk culture were allowed only in those ritual actions of the Christmas and spring cycles, which were supposed to imitate the exorcism of demons and in which the remnants of pagan ideas found refuge. Therefore, the European tradition of masquerade penetrated into the noble life of the 18th century with difficulty or merged with folkloric mummery.

As a form of noble celebration, the masquerade was a closed and almost secret fun. Elements of blasphemy and rebellion appeared in two characteristic episodes: both Elizaveta Petrovna and Catherine II, when carrying out coups d'etat, dressed up in men's guards uniforms and mounted horses like men.

Here, the mummering took on a symbolic character: a woman - a contender for the throne - turned into an emperor. One can compare with this Shcherbatov’s use of names in relation to one person - Elizabeth - in different situations, either in the masculine or in the feminine gender. One could also compare with this the custom for the empress to dress in the uniform of those guard regiments that are honored with a visit.

From military-state dressing up* the next step led to masquerade play. One might recall in this regard the projects of Catherine II. If such masquerade masquerades were held publicly as, for example, the famous carousel, to which Grigory Orlov and other participants appeared in knightly costumes, then in complete secrecy, in the closed premises of the Small Hermitage, Catherine found it amusing to hold completely different masquerades.

So, for example, with her own hand she wrote detailed plan a holiday in which separate rooms for changing clothes would be made for men and women, so that all the ladies would suddenly appear in men's suits, and all the gentlemen in ladies' suits (Catherine was not disinterested here: such a suit emphasized her slimness, and the huge guardsmen, of course , would look comical).

The masquerade that we encounter when reading Lermontov's play - the St. Petersburg masquerade in Engelhardt's house on the corner of Nevsky and Moika - had the exact opposite character. This was the first public masquerade in Russia. Anyone could visit it if they paid the entrance fee.

The fundamental mixing of visitors, social contrasts, permitted licentiousness of behavior, which turned Engelhardt's masquerades into the center of scandalous stories and rumors - all this created a spicy counterbalance to the severity of St. Petersburg balls.

Let us recall the joke that Pushkin put into the mouth of a foreigner, who said that in St. Petersburg morality is guaranteed by the fact that summer nights are bright and winter nights are cold. These obstacles did not exist for Engelhardt's balls.

Lermontov included a significant hint in “Masquerade”: Arbenin

It would be good for both you and me to scatter

After all, today is the holidays and, of course, a masquerade

At Engelhardt...

There are women there... it's a miracle...

And they even go there and say...

Let them talk, but what do we care?

Under the mask, all ranks are equal,

The mask has neither a soul nor a title; it has a body.

And if the features are hidden by a mask,

Then the mask from feelings is boldly torn off.

The role of the masquerade in the prim and uniformed St. Petersburg of Nicholas can be compared with how the jaded French courtiers of the Regency era, having exhausted all forms of refinement during the long night, went to some dirty tavern in a dubious area of ​​​​Paris and greedily devoured the fetid boiled unwashed intestines. It was the sharpness of the contrast that created here a refined and satiated experience.

To the words of the prince in the same drama by Lermontov: “All masks are stupid,” Arbenin responds with a monologue glorifying the surprise and unpredictability that the mask brings to a prim society:

Yes, there is no stupid mask:

She is silent... mysterious, but she will speak - so sweet.

You can put it into words

A smile, a look, whatever you want...

For example, take a look there -

How nobly he speaks

Tall Turkish woman... so plump

How her chest breathes both passionately and freely!

Do you know who she is?

Perhaps a proud countess or princess,

Diana in society...Venus in a masquerade,

And it may also be that this same beauty

He will come to you tomorrow evening for half an hour.

The parade and masquerade formed the brilliant frame of the picture, in the center of which was the ball.

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Examination on the discipline

"Culturology"

based on the book by Lotman Yu.M.

"Conversations about Russian culture"

Part 1

1.1 Biography of Yu.M. Lotman

1.2 Main works of Yu.M. Lotman

1.4 Contributions to the study of culture

Part 2. Brief abstract “Conversations about Russian culture”

Bibliography

Part 1

1.1 Yuri Mikhailovich Lotman

Yuri Mikhailovich Lotman was born on February 28, 1922 into a family of Petrograd intellectuals, in famous house at the beginning of Nevsky Prospekt, where the Wolf-Beranger confectionery was located in Pushkin's time. His father was a famous lawyer, then a legal adviser at a publishing house. Mother worked as a doctor. He was the youngest in the family; besides him there were three sisters. Everyone lived amicably, very poorly, but cheerfully. Yuri Lotman graduated with honors from the famous Peterschule in Petrograd, which was distinguished by a high level of humanitarian education

The literary circle of friends of Lydia’s older sister influenced her choice of profession. In 1939, Yuri Mikhailovich entered the philological faculty of Leningrad University, where famous professors and academicians then taught: G.A. Gukovsky read an introduction to literary criticism, M.K. Azadovsky - Russian folklore, A.S. Orlov - ancient Russian literature, I.I. Tolstoy - ancient literature. In the folklore seminar V.Ya. Proppa Lotman wrote his first term paper. Classes at the University continued in the Public Library, and this laid the foundation for Lotman’s colossal ability to work. In addition, there were student jobs, cargo work at the port, free chef lectures at enterprises, dates and parties.

In October 1940, Lotman was drafted into the army. The fact that he became a career military man even before the start of the Great Patriotic War may have saved his life. The unit in which Lotman served was transferred to the front line in the very first days and was in fierce battles for almost four years. Yuri Mikhailovich crossed the entire European part of the country with the retreating army, from Moldova to the Caucasus, and then advanced west, all the way to Berlin, and was in the most desperate situations. Under shelling and bombing, he received orders and medals for his bravery and perseverance in battle, but fate was surprisingly kind to him: he was not even wounded, only once severely shell-shocked.

At the end of 1946, Lotman was demobilized and continued his studies at Leningrad University. Most of all, the student who resumed his studies was attracted by the special courses and special seminars of N.I. Mordovchenko, who was then working on his doctoral dissertation on Russian literary criticism of the first quarter of the 19th century. Already in student years Yuri Mikhailovich made the first scientific discoveries. In the manuscript department of the State Public Library. M.E. Saltykov-Shchedrin. In the notebook of the freemason Maxim Nevzorov, he found a copy of the program document of one of the early Decembrist secret societies, the Union of Russian Knights, the founders of which were Count M.A. Dmitriev-Mamonov and M.F. Orlov. The found source had long been known by the title “Brief Instructions to Russian Knights”, it was mentioned in correspondence, appeared in the investigative files of the Decembrists, but researchers searched in vain for the text itself, the document was already considered lost. Lotman published an article about the find along with the found document in Vestnik Leningradskogo university."

In 1950, Lotman graduated from the university, but as a Jew his path to graduate school was closed. (an anti-Semitic campaign was rampant in the country). Yuri Mikhailovich managed to find work in Estonia, he became a teacher and then head of the department of Russian language and literature at the Tartu Teachers' Institute. Certain bodies that theoretically had nothing to do with science and pedagogy, but were in charge of almost everything, turned Lotman into a “restricted traveler” and blocked him from traveling abroad - but the scientist’s works still crossed the border. They were translated into dozens of languages ​​and made the author’s name world famous.

In 1952, Lotman defended his PhD thesis at Leningrad University on the creative relationship between Radishchev and Karamzin.

From 1954 until the end of his life, Yuri Mikhailovich worked at the University of Tartu. In 1961 he defended his doctoral dissertation. In 1960-1977 he headed the department of Russian literature at Tartu State University. The famous literary critic Zara Grigorievna Mints became Lotman’s wife, and children appeared in the family.

Yu.M. Lotman was distinguished by his incredible capacity for work; he managed to head the department, study the Estonian language, and prepare new special courses. Give lectures, write scientific papers, organize conferences. Lotman is the author of 800 scientific works, including many fundamental monographs. He was a world-famous scientist, Laureate of the Pushkin Prize of the Russian Academy of Sciences, corresponding member of the British Academy, academician of the Norwegian, Swedish, and Estonian academies. He was vice-president of the World Association of Semiotics. He had encyclopedic erudition combined with depth professional knowledge. Literature and history, cultural studies and semiotics are only the briefest description of those vast spaces to which the work, energy, abilities, intelligence, and feelings of this wonderful researcher and amazing person were applied.

Yu.M. Lotman made a great contribution to the study of the history of Russian culture. According to his books about A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol. N.M. Many generations of students studied at Karamzin. Each book represents a significant event in the history of culture, because it differs from other works on literary criticism in its original approach and depth of analysis, in its combination of cultural history and the history of the soul.

Released in last years from prohibitions and restrictions, Yuri Mikhailovich traveled almost the entire Western world, making presentations at various conferences and giving lectures at universities.

Confined to hospitals, having lost his sight, he studied until his last days. The last book, “Culture and Explosion,” was created under dictation - this is a kind of testament of the author.

1.2 Main works of Yu.M. Lotman

The article “Radishchev and Mabli” 1958 opened a large series of works by the scientist devoted to Russian-Western European cultural relations.

The complex of Karamzin's works by Lotman is one of the most significant in his heritage.

At the same time, Lotman studied the life and work of writers and public figures of the early 19th century.

In 1958, thanks to the rector of the University of Tartu F.D. Clement began to publish “Works on Russian and Slavic mythology” new series“Scientific Notes” which included many of Lotman’s works.

While working on his doctoral dissertation, Lotman began to thoroughly study the Decembrists, Pushkin, and Lermontov.

“The main stages in the development of Russian realism” 1960.

“The origins of the “Tolstovian movement” in Russian literature in 1830.” 1962

“Ideological structure of “The Captain's Daughter” 1962

The pinnacle of Lotman’s Pushkinianism are 3 books: “A novel in verse by Pushkin “Eugene Onegin” Special course. Introductory lectures to the study of text"

“Pushkin’s novel “Eugene Onegin” Commentary. Teacher's Manual"

"Alexander Sergeevich Pushkin. Biography of the writer. A manual for students"

"On the metalanguage of typological descriptions of culture"

“Simeotics of cinema and problems of film aesthetics.”

“Lectures on structural poetics. Issue 1. introduction, theory of verse"

"Structure of a literary text"

"Inside Thinking Worlds"

“Selected Articles” in 3 volumes, which collect scientific works on simeotics, typology of culture, on the text as a semiotic problem, on culture and behavioral programs, semiotic space, semiotics of various types of arts, the semiotic mechanism of cultural transmission.

1.3 Belonging to a scientific school

Lotman became interested in structuralism and semiotics very early, on the verge of 1950-1960. This interest was facilitated by his constant attraction to new methods, theoretical mindset and aversion to the vulgar sociological method (imposed from above)

Semiotics, the study of signs and sign systems, arose before World War II. IN different areas Theoretical superstructures began to be created: among linguists - metalinguistics, among philosophers - metatheory, among mathematicians - metamathematics. Human culture is filled with signs, the further it develops, the more complex signs it operates. The multi-story nature and complexity of sign systems gave rise to the birth of semiotics.

Structuralism is a branch of simeotics. Which studies the relationship between signs. The main stimulus for its development was the emergence of electronic computing technology - the need to create mathematical linguistics. Lotman is the creator of literary structuralism. He took the main methodological and methodological prerequisites of linguistic innovators: the division of the studied text into content and expression, and plans into a system of levels (syntactic, morphological phonetic) within the level - division into correlating and opposing elements, and studied the structure of the text in two aspects: syntagmatic and paradigmatic.

1.4 Contributions to the study of culture

Credit to Yu.M. Lotman is to reveal the sign-symbolic nature of culture and the mechanisms of its transmission based on the application of the semiotic method and information theory.

Semiotics of culture - the main direction of cultural studies

research. It promotes a deeper understanding of cultural texts and reveals the mechanisms of cultural continuity. Reveals the sign-symbolic nature of cultural languages, promotes dialogue between cultures different countries and peoples.

Hthere are2 . Brief abstract “Conversations about Russian culture. Life and traditions of the Russian nobility (18th - early 19th centuries)"

Introduction: Life and culture.

Culture has a communicative and symbolic nature. Culture is memory. A person changes, and in order to imagine the logic of the actions of a literary hero or people of the past, one must imagine how they lived, what kind of world surrounded them, what were their general ideas and moral ideas, their official duties, customs, clothes, why they acted this way, and not otherwise. This will be the topic of the proposed conversations.

Culture and everyday life: doesn’t the expression itself contain a contradiction, don’t these phenomena lie on different planes? What is everyday life?

Everyday life is the normal course of life in its real-practical forms. Seeing history in the mirror of everyday life, and illuminating small, isolated everyday details with the light of major historical events is the method offered to the reader in “Conversations on Russian Culture.”

Everyday life, in its symbolic sense, is part of culture. Things have memory, they are like words and notes that the past transmits to the future. On the other hand, things can powerfully dictate the gestures, style of behavior and, ultimately, the psychological attitude of their owners, since they create a certain cultural context around them.

However, everyday life is not only the life of things, it is also customs, the entire ritual of daily behavior, the structure of life that determines the daily routine, the time of various activities, the nature of work and leisure, forms of recreation, games, love ritual and funeral ritual.

History is bad at predicting the future, but good at explaining the present. The time of revolutions is ahistorical, and the time of reforms turns people to think about the roads of history. True, history has many facets, and we still remember the dates of major historical events and biographies of historical figures. But how did historical people live? But it is in this nameless space that the real story most often unfolds. Tolstoy was deeply right: without knowledge of simple life there is no understanding of history.

People act according to the motives and impulses of their era.

The 18th century is the time when the features of the new Russian culture, the culture of the new time, to which we also belong, were taking shape. !8 - early 19th century is a family album of our today's culture, its home archive.

History is not a menu where you can choose dishes to suit your taste. This requires knowledge and understanding. Not only to restore the continuity of culture, but also to penetrate the texts of Pushkin and Tolstoy.

We will be interested in the culture and life of the Russian nobility, the culture that gave rise to Fonvizin, Derzhavin, Radishchev, Novikov, Pushkin, Lermontov, Chaadaev...

Part 1.

People and ranks.

Among the various consequences of Peter's reforms, the creation of the nobility as the state and culturally dominant class is not the least important. Even earlier, the erasure of the differences between the estate and the patrimony began, and the decree of Tsar Fyodor Alekseevich in 1682, which heralded the destruction of localism, showed that the dominant force in the maturing state order would be the nobility.

The psychology of the service class was the foundation of the self-awareness of the nobleman of the 18th century. It was through service that he recognized himself as part of the class. Peter 1 in every possible way stimulated this feeling both by personal example and by a number of legislative acts. Their pinnacle was the Table of Ranks - it was the implementation of the general principle of Peter the Great’s new statehood - regularity. The Table divided all types of service into military, civil and court, all ranks were divided into 14 classes. Military service was in a privileged position, 14 classes in military service gave the right of hereditary nobility. Civil service was not considered noble for commoners. The Russian bureaucracy, being an important factor in state life, left almost no trace in spiritual life.

Russian emperors were military men and received military upbringing and education; they were accustomed from childhood to look at the army as an ideal organization. In the life of the nobility there was a “cult of the uniform.”

A person in Russia, if he did not belong to the tax-paying class, could not help but serve. Without service it was impossible to obtain a rank; when filling out the papers, it was necessary to indicate the rank; if there was none, they signed “Minor.” However, if the nobleman did not serve, his relatives arranged for him fictitious service and long-term leave. Simultaneously with the distribution of ranks, there was a distribution of benefits and honors. The place of rank in the service hierarchy was associated with the receipt of many real privileges.

The system of orders, which arose under Peter the Great, supplanted the previously existing types of royal awards - instead of an award-thing, an award-sign appeared. Later, a whole hierarchy of orders was created. In addition to the system of orders, one can name a hierarchy in in a certain sense opposed to ranks, formed by the system of nobility. The title of count and baron appeared.

The cultural paradox of the current situation in Russia was that the rights of the ruling class were formulated in the same terms that Enlightenment philosophers used to describe the ideal of human rights. This was at a time when peasants were practically reduced to the status of slaves.

Women's World.

The character of a woman correlates in a very unique way with the culture of the era. This is the most sensitive barometer public life. Women's influence is rarely seen in its own right historical problem. Of course, the women's world was very different from the men's, primarily in that it was excluded from the sphere of public service. A woman's rank was determined by the rank of her husband or father, if she was not a courtier.

By the end of the 18th century, a completely new concept appeared - a women's library. Remaining the same world of feelings, children's and household, the women's world becomes more spiritual. Women's life began to change rapidly in the era of Peter the Great. Peter 1 changed not only state life, but also the home way of life. Artificiality reigned in fashion. Women spent a lot of time changing their appearance. The ladies flirted and led an evening lifestyle. Floats on the face and games with a fan created a language of coquetry. Evening makeup required a lot of cosmetics. It was fashionable to have a lover. Family, farming, and raising children were in the background.

And suddenly important changes occurred - romanticism was born, it became accepted to strive for nature, the naturalness of morals and behavior. Paul! tried to stop fashion - simplicity of clothing was promoted by the era of the French Revolution. Dresses appeared that later became known as Onegin dresses. Pale has become a must feminine attractiveness- a sign of the depth of heartfelt feelings.

The world of women played a special role in the destinies of Russian romanticism. The Age of Enlightenment raised the issue of protecting women's rights.

Women's character at the end of the 18th century was shaped by literature. It is especially important that the woman constantly and actively assimilated the roles that poems and novels assigned her, so it is possible to evaluate the everyday and psychological reality of their lives through the prism of literature.

The end of the era that interests us created three types of female images: the image of an angel who accidentally visited the earth, a demonic character and a female heroine.

Feminine oeducation in the 18th and early 19th centuries

Knowledge has traditionally been considered the privilege of men - women's education has become a problem for her place in a society created by men. The need for female education and its nature became the subject of controversy and was associated with a general revision of the type of life, the type of way of life. As a result, it arose educational institution- Smolny Institute with a wide program. The training lasted 9 years in isolation. Education was superficial, with the exception of languages, dancing and handicrafts. Court toys were made from Smolyans. Smolyankas were famous for their sensitivity; their sentimental unpreparedness for life was evidence of their innocence. Exalted behavior was not a lack of sincerity - it was the language of the time.

The Smolny Institute was not the only women's scientific institution. Private boarding schools arose, they were foreign and the level of education was low. Languages ​​and dances were systematically taught. The third type of female education is home education. It was limited to languages, the ability to behave in society, dance, sing, play a musical instrument and draw, as well as the rudiments of history, geography and literature. With the start of going out into the world, training stopped.

The type of Russian educated woman began to take shape by the age of 30 in the 18th century. However, in general, women's education in the 18th and early 19th centuries did not have its own lyceum, nor Moscow or Dorpat universities. The type of highly spiritual Russian woman developed under the influence of Russian literature and culture of the era.

Part 2.

Dancing was an important structural element of noble life. In the life of a Russian metropolitan nobleman, time was divided into two halves: staying at home (as a private person) and in the assembly, where public life was realized.

The ball was an area opposite to service and an area of ​​public representation. The main element of the ball as a social and aesthetic event was dancing. Dance training began at the age of 5. Long-term training gave young people confidence in movements, freedom and ease in posing, which influenced the mental structure of a person. Grace was a sign of good upbringing. The ball began with a polonaise, the second ballroom dance was the waltz (in the 20s it had a reputation for being obscene), and the center of the ball was the mazurka. Cotillion is a type of quadrille, one of the dances that concludes the ball, a dance game. The ball had a harmonious composition, obeyed strict laws and was opposed to two extreme poles: a parade and a masquerade.

Matchmaking. Marriage. Divorce.

The ritual of marriage in noble society of the 18th and early 19th centuries bears traces of the same contradictions as all everyday life. Traditional Russian customs came into conflict with ideas about Europeanism. Violation of parental will and abduction of the bride were not part of the norms of European behavior, but were a common place in romantic plots. Family relationships in serf life are inseparable from the relationship between the landowner and the peasant woman; this is an obligatory background, without which the relationship between husband and wife becomes incomprehensible. One of the manifestations of the oddities of life of this era were serf harems.

The ever-increasing gap between the way of life of the nobility and the people causes a tragic attitude among the most thoughtful part of the nobles. If in the 18th century a cultured nobleman sought to distance himself from folk everyday behavior, then in the 19th century a counter-directional impulse arose.

Noble weddings retained a certain connection with the tradition of getting married in the fall, but translated it into the language of Europeanized mores.

One of the innovations of post-Petrine reality was divorce. For a divorce, a decision was required from the consistory - the spiritual office. A rare and scandalous form of divorce was often replaced by a practical divorce: the spouses separated, divided their possessions, after which the woman received her freedom.

The home life of an 18th century nobleman developed as a complex interweaving of customs approved folk tradition, religious rituals, philosophical freethinking, Westernism, influencing the break with the surrounding reality. This disorder, which took on the character of ideological and everyday chaos, also had a positive side. To a large extent, the youth of the culture, which had not yet exhausted its capabilities, was manifested here.

Russian dandyism.

Originating in England, dandyism included a national opposition to French fashions, which caused violent indignation among English patriots at the end of the 18th century. Dandyism took on the color of romantic rebellion. It was focused on extravagance of behavior, a demeanor offensive to society, swaggering gestures, demonstrative shocking - forms of destruction of secular prohibitions were perceived as poetic. Karamzin in 1803 described the curious phenomenon of the fusion of rebellion and cynicism, the transformation of egoism into a kind of religion and a mocking attitude towards the principles of vulgar morality in everything. In the prehistory of Russian dandyism, one can note the so-called Khripuns. Tightening the belt until it rivaled a woman's waist gave the military fashionista the appearance of a strangled man and justified his name as a wheezer. Glasses played a big role in the dandy’s behavior; the lorgnette was perceived as a sign of Anglomania. The decency of the 18th century in Russia forbade those younger in age or rank to look at their elders through glasses: this was perceived as impudence. Another characteristic sign of dandyism is a posture of disappointment and satiety. Dandyism is primarily a behavior, not a theory or ideology. Inseparable from individualism and dependent on observers, dandyism constantly oscillates between a claim to rebellion and various compromises with society. His limitations lie in the limitations and inconsistency of fashion, in the language of which he is forced to speak with his era.

Card game.

The card game has become a kind of life model. The function of a card game reveals its dual nature: cards are used for fortune telling (predictive, programming functions) and for playing, that is, it represents an image of a conflict situation. It is not comparable to other fashionable games of that time. A significant role here was played by the fact that the card game covers two different types of conflict situations - commercial and gambling.

The first are considered as decent, for respectable people, surrounded by an aura of comfort of family life, the poetry of innocent entertainment, the second - entailed an atmosphere of infernity, and are met with decisive moral condemnation. It is known that gambling in Russia at the end of the 18th century was formally prohibited as immoral, although it practically flourished, became a universal custom of noble society and was actually canonized. Card games and chess are, as it were, antipodes of the gaming world. Gambling games are structured in such a way that the player is forced to make a decision without actually having any information. Thus he plays with Chance. The intersection of the principles of regular statehood and arbitrariness creates a situation of unpredictability and the mechanism of a gambling card game becomes the image of statehood. In Russia the most common were Pharaoh and Stoss- games in which chance played the greatest role. The strict normalization that penetrated the private life of the people of the empire created a psychological need for explosions of unpredictability. It is no coincidence that desperate outbreaks of card games inevitably accompanied the eras of reaction: 1824, 25, 1830. Card terminology rapidly penetrated into other spheres of culture. The problem of the card game was made for contemporaries as a symbolic expression of the conflicts of the era. Cheating became almost an official profession and noble society regarded dishonest card playing, albeit with condemnation. But it is much more lenient than refusing to shoot in a duel, for example. Cards were a synonym for a duel and an antonym for a parade. These two poles delineated the border of the noble life of that era.

Duel.

A duel according to certain rules in order to restore honor. The assessment of the degree of insult - minor, bloody, fatal - must be correlated with the assessment from the social environment. The duel began with a challenge, after which the opponents were not supposed to enter into communication, the offended person discussed the severity of the offense inflicted on him with the seconds and a written challenge (cartel) was sent to the enemy. The seconds had to make every effort to reconcile, they also worked out the conditions of the duel and formalized them in writing . A duel in Russia was a criminal offense, became the subject of legal proceedings, the court sentenced duelists to death, which for officers was replaced by demotion to soldiers and transfer to the Caucasus.

The government had a negative attitude towards duels; in official literature, duels were persecuted as a manifestation of the love of freedom. Democratic thinkers criticized the duel, saw in it a manifestation of the class prejudice of the nobility and contrasted noble honor with human honor, based on Reason and Nature.

The art of living.

1. Art and non-artistic reality are not comparable. Classicism.

2. the second approach to the relationship between art and reality. Romanticism.

Art as a field of models and programs.

3. Life acts as an area of ​​modeling activity, creating patterns that art imitates. Can be compared with realism.

Theater played a special role in the culture of the early 19th century on a pan-European scale. Specific forms of stage performance leave the theater stage and take over life. The everyday behavior of a Russian nobleman of the late 18th and early 19th centuries is characterized by the attachment of the type of behavior to a specific stage area and a tendency towards intermission - a break during which the theatricality of behavior is reduced to a minimum. The distinction between everyday and theatrical behavior is characteristic. However, noble behavior as a system presupposed certain deviations from the norm, which were equivalent to intermissions. Behavior constrained by decency and a system of theatrical gestures gave rise to a desire for freedom: hussar behavior, attraction to a dirty life, breakthroughs into the world of gypsies. The more strictly life is organized, the more attractive the most extreme forms of everyday rebellion are. The soldier's stiffness under Nicholas 1 was compensated by wild revelry. An interesting indicator of the theatricality of everyday life is that amateur performances and home theaters were perceived as a departure from the world of insincere life of light into the world of genuine feelings. Indicative steady aspiration comprehend the laws of life through the prism of the most conventional forms theatrical performance- masquerade, puppet comedy, farce. Considering the spectacular culture of the early 19th century, one cannot ignore military actions and the antithesis of battle - the parade.

There are eras when art powerfully invades everyday life, aestheticizing the everyday flow of life. This invasion has many consequences. Only against the backdrop of the powerful invasion of poetry into the life of the Russian nobility at the beginning of the 19th century is the colossal phenomenon of Pushkin understandable and explainable. Driven by the laws of custom, the everyday life of an ordinary nobleman of the 18th century was plotless. The view of real life as a performance made it possible to choose the role of individual behavior and filled with anticipation of events. It was the model of theatrical behavior, turning a person into an actor, that freed him from the automatic power of group behavior and custom.

Theater and painting are two poles, mutually attractive and mutually repulsive. Opera gravitated more towards painting, drama towards emphasized theatricality, ballet was complexly located in this space. Different types of art created different realities, and life, which strived to become a copy of art, absorbed these differences. Only in conditions of a functional connection between painting and theater could such phenomena as, for example, the Yusupov theater (change of Gonzaga scenery to special music) and live paintings arise. A natural consequence of the rapprochement between theater and painting is the creation of a grammar of performing arts.

People realize themselves through the prism of painting, poetry, theater, cinema, circus and at the same time see in these arts the most complete, as if in focus, expression of reality itself. In such eras, art and life merge together without destroying the spontaneity of feeling and the sincerity of thought. Only by imagining a man of that time can we understand art and at the same time, only in the mirrors of art do we find the true face of a man of that time.

The summary of the journey.

Death takes the personality out of the space reserved for life: from the realm of the historical and social, the personality moves into the realm of the eternal. By the middle of the 18th century, death had become one of the leading literary themes. The Petrine era was marked by the idea of ​​group existence; human death seemed insignificant in the face of state life. For people of the pre-Petrine era, death was only the end of life, which was accepted as inevitable. The end of the 18th century reconsidered this issue and, as a consequence, an epidemic of suicides.

The theme of death - voluntary sacrifice on the altar of the fatherland - is increasingly heard in the statements of members of the secret society. The tragic turn of ethical issues in the last years before the Decembrist uprising changed the attitude in the duel. The post-Decembrist period significantly changed the concept of death in the cultural system. Death brought true scale to career and state values. The face of the era was also reflected in the image of death. Death gave freedom and it was sought in the Caucasian War, in a duel. Where death took over, the power of the emperor ended.

Part 3.

"Chicks of Petrov's Nest"

Ivan Ivanovich Neplyuev, an apologist for the reform, and Mikhail Petrovich Avramov, a critic of the reform, came from an old noble family and occupied high positions under Peter1. Neplyuev studied abroad, worked in the Admiralty, was an ambassador in Constantinople, in Turkey. After the death of Peter, he was persecuted and was assigned to Orenburg, where he developed vigorous activity. In the Elizabethan era - a senator, under Catherine he was very close to the reigning person. Until his last days he remained a man of the Petrine era.

Abramov entered the service of the Ambassadorial Prikaz for 10 years and was associated with it all his life. At 18 - secretary of the Russian ambassador in Holland. In 1712 - director of the St. Petersburg printing house, published Vedomosti and many useful books. Neplyuev was an example of a man of exceptional integrity, who did not know division and was never tormented by doubts. In full contact with the times, he devoted his life to practical government activities. Abramov's personality was deeply divided; his practical activity collided with utopian dreams. Having created an idealized image of antiquity in his imagination, he proposed innovative reforms, considering them to be a defense of tradition. After the death of Peter1 - exile to Kamchatka. For his projects he found himself in the Secret Chancellery more than once. Died in prison. He belonged to those who invented utopian projects for the future and utopian images of the past, just to avoid seeing the present. If they had gained power, they would have stained the country with the blood of their opponents, but in the real situation they would have shed their own blood.

The era of splitting people into dogmatists-dreamers and cynics-practitioners

Age of heroes.

People of the last third of the 18th century, with all the diversity of natures, were marked by one common feature - the desire for a special individual path, specific personal behavior. They amaze with the unexpectedness of their bright individuals. Time gave birth to heroes of selfless dedication and reckless adventurers.

A.N. Radishchev is one of the most mysterious figures in Russian history. He had extensive knowledge in law, geography, geology, and history. In Siberian exile, he inoculated local residents with smallpox. He was excellent with a sword, rode horseback, and was an excellent dancer. Serving at customs, he did not take bribes; in St. Petersburg he seemed like an eccentric. The “encyclopedist” was convinced that fate had made him a witness and participant in the new creation of the world. He believed that it was necessary to cultivate heroism and for this purpose all philosophical concepts that could be relied upon could be used. Radishchev developed a unique theory of the Russian revolution. Slavery is unnatural and the transition from slavery to freedom was conceived as an instantaneous nationwide action. From the publication of “Journeys from St. Petersburg to Moscow” he expected not literary, but historical events. Radishchev created neither a conspiracy nor a party; he placed all his hope in the truth. The thought arose about the blood of a philosopher preaching the truth. People will believe, Radishchev believed, those words for which they paid with their lives. Heroic suicide became the subject of Radishchev's thoughts. Readiness for death elevates a hero above a tyrant and carries a person over ordinary life into the world of historical events. In this light, his own suicide appears in an unconventional light.

The trial and exile found Radishchev a widower. Sister of E.A.'s wife Rubanovskaya was secretly in love with her sister’s husband. It was she who saved Radishchev from torture by bribing the executioner Sheshkovsky. Later she preceded the feat of the Decembrists and, although customs categorically prevented marriage with a close relative, she married Radishchev.

Radishchev strove to subordinate his entire life and even death to the doctrines of philosophers. He forced himself into the norms of philosophical life and at the same time, by force of will and self-education, made such a life a model and program for real life. lotman culture russian nobility

A.S. Suvorov is an extraordinary commander with high military qualities and the ability to control the souls of soldiers, a man of his era, the era of heroic individualism. Contradictory behavior was fundamental for Suvorov. In clashes with the enemy, he used it as a tactical technique. Starting to play, he began to play, his behavior had childish traits that were inconsistently combined with his behavior and thoughts

military theorist and philosopher. Some saw this as a behavioral tactic, others as barbarism and treachery in the character of the commander. Changing masks was one of the features of his behavior. It is known that Suvorov did not tolerate mirrors; his tactics included the glory of a person. Not reflected in mirrors. Suvorov’s actions did not imply spontaneous adherence to temperament and character, but their constant overcoming. From birth he was frail and in poor health. At the age of 45, by order of his father, he married the powerful, large and beautiful V.I. Prozorovskaya. After breaking up with his wife, Suvorov kept his daughter and then sent her to the Smolny Institute. He did not accept the French Revolution; until the end of his life he remained a man for whom the idea of ​​changing the political order was incompatible with a sense of patriotism.

Suvorov and Radishchev are people who belong, as it were, to the two poles of their era.

Two women.

Memoirs of Princess N.B. Dolgorukaya and A.E. Karamysheva - covers the period from the 30s to the 80s of the 18th century and illuminates the family life of the nobles. The life and tragedy of Princess Natalya Borisovna became a plot that worried many poets. From the Sheremetev family, Natalya married I.A. Dolgoruky, favorite of Peter 2. After the death of the Tsar, they were exiled to Siberia. In difficult conditions, Dolgorukaya’s noble character emerged; life made her wise, but did not break her. A deep religious feeling became the restrictive basis of life and everyday behavior. The loss of all the material values ​​of life gave rise to an intense outbreak of spirituality. In Siberia, Prince Ivan was tortured and quartered. Natalya was returned with her sons and, having raised the children, she became a nun.

Memoirs of A.E. Labzina (Karamysheva) - a naively photographic reproduction of reality. Karamyshev is an outstanding scientist, he taught at the Mining Academy, he is close to Potemkin, but his devotion to science led him to the White Sea, in difficult conditions everyday life, where he developed energetic activities in organizing mines. Anna Evdokimovna was raised by her husband in the spirit of the Enlightenment; he was helped by the writer Kheraskov. The experiment in natural education consisted of isolation, strict control of acquaintances, and reading. She wasn't even allowed to to my husband, besides he was always busy with work. But Karamysheva was convinced that he spent his time wallowing in debauchery. Karamyshev separated moral feeling from sexual desire and, having received a 13-year-old girl as his wife, did not perceive her for a long time. Karamyshev introduced his wife to freethinking and freethinking, but he did it with vigor. He suggested having a lover in order to introduce his wife to freedom - emphasizing that he loved her. With the same straightforwardness, he weaned her from fasting. His enlightenment was a sin for her; they were separated by the border of moral untranslatability. The conflict of mutual blindness of opposing cultures, the drama is that 2 people loved each other, separated by a wall of misunderstanding. Labzina's memoirs are an edifying play, following the canons of hagiographical stories.

People of 1812.

The Patriotic War blew up the lives of all classes of Russian society. However, the experience of these events was not uniform. A large number of Moscow residents fled to the provinces; those who had estates went there, and more often to provincial cities close to them. A distinctive feature of 1812 was the erasing of sharp contradictions between metropolitan and provincial life. Many, cut off from their estates occupied by the French, found themselves in dire straits. Many families found themselves scattered throughout Russia.

The rapprochement between the city and the province, so noticeable in Moscow. It had almost no effect on the life of St. Petersburg, but he was not separated from the experiences of this time. Protected by Wittgenstein's army, in relative safety he had the opportunity to comprehend events in some historical perspective. It was here that such epochally important ideological phenomena as the independent patriotic magazine “Son of the Fatherland” arose, which in the future became the main publication of the Decembrist movement. The first shoots of Decembrism took shape here, in the conversations of officers returning from military campaigns.

Decembrist in everyday life.

The Decembrists showed significant creative energy in creating a special type of Russian person. The specific behavior of a significant group of young people, unusual in the circle of the nobility, who, due to their talents, origin, family and personal connections and career prospects, were in the center of public attention, influenced an entire generation of Russian people. The ideological and political content of noble revolutionism gave rise to special character traits and a special type of behavior

The Decembrists were people of action. This reflected their focus on a practical change in the political existence of Russia. The Decembrists were characterized by a constant desire to express their opinion bluntly, without recognizing the established ritual and rules secular behavior. The emphasized non-secularism and tactless speech behavior was defined in circles close to the Decembrists as Spartan, Roman behavior. By his behavior, the Decembrist abolished the hierarchy and stylistic diversity of actions, the distinction between oral and written speech was abolished: the high orderliness and syntactic completeness of written speech were transferred to oral use. The Decembrists cultivated seriousness as a norm of behavior. Awareness of oneself as a historical figure forced one to evaluate one’s life as a chain of plots for future historians. It is characteristic that everyday behavior became one of the criteria for selecting candidates for society; on this basis, a kind of chivalry arose, which determined the moral charm of the Decembrist tradition in Russian culture and did a poor job in tragic conditions (the Decembrists were not psychologically prepared to act in conditions legalized meanness).The Decembrists were romantic heroes.

The feat of the Decembrists and its truly great significance for the spiritual history of Russian society are well known. The act of the Decembrists was an act of protest and challenge. It was Russian literature that was “to blame,” which created the idea of ​​a female equivalent of the heroic behavior of a citizen, and the moral norms of the Decembrist circle, which required a direct transfer of the behavior of literary heroes into life.

At the beginning of the 19th century, a special type of riotous behavior appeared, which was perceived not as the norm for military leisure, but as a variant of freethinking. The world of revelry became an independent sphere, immersion in which excluded service. Introducing to free-thinking was thought of as a holiday, and in a feast and even an orgy the realization of the ideal of freedom was seen. But there was another type of freedom-loving morality - the ideal of stoicism, Roman virtue, heroic asceticism. Abolishing the division of everyday life into areas of service and recreation, which was dominant in noble society, the liberalists wanted to turn all life into a holiday, the conspirators into service. All types of secular entertainment were severely condemned by the Decembrists as a sign of spiritual emptiness. The hermitage of the Decembrists was accompanied by an unambiguous and open contempt for the usual pastime of the nobleman. The cult of brotherhood based on the unity of spiritual ideals, the exaltation of friendship. The revolutionaries of the next stages often believed that the Decembrists talked more than they acted. However, the concept of action is historically changeable and the Decembrists can be called practitioners. The creation of a completely new type of person for Russia, the contribution of the Decembrists to Russian culture turned out to be enduring. The Decembrists introduced unity into human behavior, but not by rehabilitating life’s prose, but by passing life through the filters of heroic texts, and simply abolished what was not subject to inclusion in the tablets of history.

Instead of the conclusion: “Between the double abyss...”

We want to understand the history of the past and the works of fiction of previous eras, but at the same time we naively believe that it is enough to pick up a book that interests us, put a dictionary next to us, and understanding is guaranteed. But every message consists of two parts: what is said and what is not said, because it is already known. The second part is omitted. The contemporary reader easily restores it himself, based on his life experience... In past eras, without special study, we are aliens.

The history reflected in one person, in his life, everyday life, gesture, is isomorphic with the history of humanity, they are reflected in each other and are known through each other.

Part 3.

“Conversations on Russian Culture” devoted to the study of the life and traditions of the Russian nobility of the 18th and early 19th centuries are of undoubted interest. This is the time when Russia embarked on the path of modernization and enlightened absolutism. This process began with the reforms of Peter I, which covered many areas of society. After the death of Peter 1, his reform course was continued by Catherine2. Under her, the educational reform was continued, science, literature and socio-political thought were further developed - the establishment of democratic traditions. Under Alexander1, a fairly large political opposition was formed in society for the first time. Secret societies emerge. Taking advantage of the death of Alexander1, the Decembrists decided to seize power on December 14, 1825 and proclaim the introduction of a constitution. The uprising was brutally suppressed. Already at the beginning of the century, Russian conservatism was emerging as a political movement. A distinctive feature of Nicholas's reign was the desire of the authorities to extinguish opposition sentiments with the help of the theory of official nationality. In the making national identity, national culture, a large role belongs to the best representatives of the nobility and the emerging intelligentsia. Yu.M. Lotman immerses the reader in the everyday life of this class, allowing him to see people of that era in the service, on military campaigns, to reproduce the rituals of matchmaking and marriage, to penetrate into the features of the female world and personal relationships, to understand the meaning of masquerades and card games, the rules of a duel and the concept of honor.

For a long time, noble culture remained outside of scientific research. Lotman sought to restore historical truth about the significance of noble culture, which gave Fonvizin and Derzhavin, Radishchev and Novikov, Pushkin and the Decembrists, Lermontov and Chaadaev, Tolstoy and Tyutchev. Belonging to the nobility had distinctive features: mandatory rules of behavior, principles of honor, cut of clothing, official and domestic activities, holidays and entertainment. The entire life of the nobility is permeated with symbols and signs. Revealing its symbolic nature, the thing enters into dialogue with modernity, discovers connections with history and becomes priceless. The history of culture must necessarily be connected with feelings, be visible, tangible, audible, then its values ​​enter the human world and are fixed in it for a long time.

Listliterature

1.Ikonnikova S.N. History of cultural theories: Textbook. In 3 hours. Part 3 History of cultural studies in persons / Ikonnikova S.N., St. Petersburg State University of Culture and Arts. - St. Petersburg, 2001. - 152 p.

2. Lotman Yu.M. Pushkin./ Yu.M. Lotman, introductory article B.F. Egorov, art. D.M. Plaksin.- St. Petersburg: Art- St. Petersburg, 1995.-847 p.

3. Lotman Yu.M. Conversations about Russian culture: Life and traditions of the Russian nobility (18th-early 19th centuries). - St. Petersburg: Art, 1996.-399 p.

4. The world of Russian culture. Encyclopedic dictionary / ed. A.N. Myachin.-M.: Veche, 1997.-624 p.

5. Radugin A.A. History of Russia: Textbook for Universities / comp. And responsible editor. A.A. Radugin.-M.: Center, 1998.-352 p.

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