Russian heroic epic Russian epic heroes. Russian folk epic
From the very beginning of its discovery, the epic was considered a purely book and not a folklore genre. In fact, researchers treated it as a recording of some ancient historical events that had come down to us: the study of, say, the Homeric epic has always been guided by the findings of everyday historical realities in it.
“The Homeric epic was perceived as a certain history of Ancient Greece in a certain period of its time. Actually, the subsequent discovery of the European epic - this is both the “Song of the Nibelungs” and “The Song of My Side” - was studied in a similar way. Not as folklore and only as a certain book culture.”
Nikita Petrov
The discovery of the oral, so-called living epic happened only in the 19th century - including in Russia. In the middle of the 19th century, the exiled ethnographer Pavel Nikolaevich Rybnikov found himself in the Russian North - near the shores of Lake Onega. There he recorded about a hundred stories featuring strange characters - Prince Vladimir, Ilya Muromets, Alyosha Popovich, Dobrynya Nikitich, Vaska Buslaev, Vaska the Drunkard and others.
“It was so surprising that this region was immediately called the Iceland of the Russian epic, since Icelandic sagas had recently been translated into Russian. But since the Icelandic sagas are still more history than folklore, the epics were perceived in a similar way.”
Nikita Petrov
To determine the genre of this find from the point of view of folkloristics, several things should be understood. Firstly, this is a fairly large epic, about a thousand lines, that you need to hold in your head. Secondly, the text is not told, but sung. And the third important aspect is the audience. The entire audience of the narrator knew the plot of the epic song and perceived it as a reliable event. It was this aspect—the audience and the focus on authenticity—that determined further trends in the study of the genre, which developed into the so-called historical school.
The followers of this school had a rather original approach to the study of epics: they tried to see in them echoes of ancient history, paying attention to the coincidence of toponyms, geographical names and names.
“No one will deny that in the epics there really is some kind of Kyiv. This Kyiv has streets and alleys. When Ilya Muromets beats an unfaithful force, he takes a club or an oak tree and puts down this very force. But he puts it in the streets and alleys. The understanding that the epic was created not in a peasant environment, but in an urban one, also led to the study of epics as a historical genre.”
Nikita Petrov
One example of the erroneous method of the historical school is an attempt to correlate the plot about the death of the giant hero Svyatogor with the funeral ritual of the Slavs, and his name with the specific burial place of a specific warrior who once existed.
“Svyatogor lies down in a huge tomb, and then it turns out that the coffin is just for him. A lid appears out of nowhere and slams shut. Ilya Muromets is trying to pull out his new brother-in-law, but nothing works - there are iron hoops around the coffin. It is important for us that Svyatogor died in the coffin intended for him. Scientists of the historical school, of course, are looking for the necessary details in this plot, they turn to archaeological data - and it turns out that in the 10th century in Rus' this type of log tombs was indeed very popular. And it is quite logical from the point of view of a historian who has archaeological skills and knowledge to assume that this plot is nothing more than a generalized reflection of the burial rite of the Rus in the 10th century.
Some go even further. They take a piece, such as the Svyatogorov cross, and find literal matches. That is, in one of the tombs there really is a skeleton, a horse and a pectoral cross. And they say that it was this one specific event that ended up in the epic. But here, of course, a number of questions arise. It is not very clear how this could happen? Why weren’t other specific burials included in the epic?”
Nikita Petrov
Comparative folkloristics interprets the plot completely differently and finds completely different coincidences. When different epic traditions are compared, the idea of a literal correlation between the plot and a specific historical event disappears. In fact, such coincidences have a deeper connection, which is more likely at the level of pro-epic. For example, other nations also have a story about a giant who lay down in the tomb intended for him.
“There is a hypothesis that the Indo-Europeans had some pro-epic forms. Or this is a general trend - this is how the epic genre developed. If there is a giant, then he will definitely put the hero in his pocket.”
Nikita Petrov
Abstract
The relationship of the Russian epic with the historical process is complex and ambiguous. It is impossible to separate one from the other. But it would be wrong to correlate the plots of epics with real historical events. The epic captures from history only those fragments of reality that correspond to its epic scheme. These may be names or echoes of real events. But this is not enough to talk about the historicity of the epic.
“As you remember from historical sources, Prince Vladimir did quite a lot, but the epic says nothing about his merits - only about how he walks around the upper room in Kiev, throws feasts, shakes his yellow curls and shakes his rings. And in this case, the epic captures from historical reality only the name Vladimir, which then allows us to correlate the epic with history.”
Nikita Petrov
There is a story about Dobrynya and the Snake, which stands out quite strongly from other epic stories. After a completely ordinary beginning, something strange begins: while fighting the Serpent, who attacked Dobrynya in the river, the hero finds a cap of Greek soil on the shore and throws it at the serpent. He runs away howling, promises not to rob anything anymore, not to fly to Rus', and so on. If we compare the names and details of this epic with the history of the Baptism of Rus', a very interesting thing emerges. Dobrynya is mentioned in the epic - the same name in the chronicles of Prince Vladimir’s uncle, who actually baptized Rus' together with his nephew. There is a river - this detail is also important, since baptism always takes place in water. There is a snake - a symbolic embodiment of the pagan enemy. And finally, the strangest and most incomprehensible detail is the cap of the Greek land, with the help of which this very pagan serpent is defeated.
“And these analogies suggest a seditious thought: what if there really is something historical in the epic? The most reliable way to check this is to turn to typological parallels. If we look at the folklore of the peoples of the world, we will see that the motif of snake fighting is found in almost all traditions.”
Nikita Petrov
A logical question arises: does the epic reflect the historical reality reflected in the chronicles, or, conversely, does the chronicler collect all known plots, facts and rumors and combine them into some kind of chronicle? Most likely, it is the chronicle that borrows details and fragments from more ancient epic stories, selecting them on the basis of historical accuracy. If we talk about the historical approach to the study of the epic, we should mention the famous archaeologist and historian Boris Rybakov. It was he who instilled attention to detail in the historical school of Russian folklore, bringing epics closer in people's minds to the real course of history.
“Rybakov took all the epic stories and all the chronicle events and identified one with the other. As a result, in the minds of not only the average schoolchild, but also a person with a humanities education, there is a clear identification of the epic with real history, which in fact has no correlation with the epic.”
Nikita Petrov
Abstract
It is important to understand that folklore and partly epic exist in a special form, separate from the rest of literature. A writer can create several versions of his work, but there is always a final edition; In folklore this, of course, is impossible. There is no one model that the epic is oriented towards; each plot is unique. At the moment the plot is transferred from mouth to mouth, some details remain in the memory of the storyteller, while others disappear forever, never reaching the next storyteller.
“For example, if a storyteller has visited Ukraine, he may include something Ukrainian in the epic, but the epic will reject it. It is called . Folklore will not absorb everything, it will not devour any details. He will learn only what corresponds to the spirit of this genre or the narrative scheme of a particular epic.”
Nikita Petrov
Sometimes in the Russian epic you can find references to historical events and geographical realities, but it is interesting that the feelings of the ancient Russian man, his love relationships are reflected in the epics of that time.
Love in epics is always tragic. Of course, there are many different motives, but one of them can be called especially remarkable. This motif in epic studies is called “The Three Sciences of the Good”: epic characters deal with unfaithful wives and brides in a certain way. The main character asks the question: “Have you hugged the wrong person?” The woman replies: “I was hugging.” “Did you press your legs together?” - “Cuddled.” “Did you kiss with your lips?” - “Kissed.” Then he takes a knife and cuts off her arms, legs, and then her lips in succession.
“But the heroic heart became enraged, there was nothing to do, and Danube Ivanovich kills his wife. And he evaporates from her womb a child whose arms are in silver and whose legs are in gold. And he also says to him: “If you had waited a little, then in two or three days your son would have been born, that is, I, who would have been the strongest and most powerful hero in Rus'.”
Danube Ivanovich commits suicide, falls on a dagger, and the Danube River flows from his blood. Here's the story. As you understand, it most likely has nothing in common with history - this is such an obviously mythologically beautiful plot with an etiological ending, when an event associated with some kind of landscape occurs. In this case, with the river.”
Nikita Petrov
It is obvious that the epics do not have any clear correspondence with the real life history of Russian peasants, especially with the history of their love relationships. In most stories, the hero does not manage to marry happily at all.
There is a version that the popularity of the “Three Sciences are Well Made” motif is associated with the bookish church culture of Rus', where a woman was described as a vessel of the devil, who always leads a man into temptation. And for this, of course, she should always be punished.
“Here arises the same love conflict that we are considering. When Dobrynya turns back into a hero, Marinka complains to him: “And now who will take me as a wife?” Dobrynya replies: “Okay, I’ll take it.” He takes her as his wife, and then the motif “The Three Sciences Are Well Made” begins. He cuts off her lips, arms and legs. And sometimes he ties two horses to the tails and pulls them apart. Well, this is quite a steppe custom.
Thus, tragic love in the epic ends before it begins. It's not very clear why this happens. The number of stories where the hero - a hero, a character from an epic - cannot have a happy marriage with a woman is indeed very large. Much more than those in which there is a happy marriage.”
Nikita Petrov
Abstract
The epic as a genre tends to select from history only those facts that correspond to a certain epic plot scheme. Almost always epics are built on the simple principle of opposition: heroes are divided into friends and foes. The main character always stands on the side of good, does what is right, defends the Russian land, while the enemy only brings destruction, being essentially the complete opposite of pure good. This obvious distinction helps build the image of the main character and popularize him in culture.
“The opposition “friend - foe” plus patriotic heroism - this is how the image of a character is constructed in folklore and in mass culture in general.”
Nikita Petrov
One of the common options for plot composition in epics is its construction around one character. This cyclization around an individual hero is called biographical by epic scholars. We see an almost complete biography of the epic character.
Let's take, for example, Ilya Muromets. One of the main characters of Russian epics - there are many stories dedicated to his biography - over time becomes a full-fledged historical figure. Without being a real hero, he enters history. It was this cyclization that allowed Ilya Muromets to enter the so-called media world, into another cultural space, into our contemporary reality.
“In 1914, Igor Sikorsky’s bomber plane was named after Ilya Muromets. A little later - an armored train, and before that - a sailing frigate. As you know, ships and planes are named after real people. The story with Ilya Muromets shows how the cyclization of a plot around one character makes it possible to make it historical and thereby fit it into the context of history. And of course, most children in modern schools believe that Ilya Muromets existed, not to mention the Orthodox people for whom he was canonized.”
Nikita Petrov
The epic strives for historicity, but at the same time they begin to see history in the epics. This confusion leads to the fact that sometimes the image of an epic hero can greatly influence the formation of other images in Russian culture. The epic, on the one hand, takes what it needs, and, on the other hand, it integrates itself into historical reality, inventing and constructing a new character.
“In 1643, more than 50 different saints were canonized, including Ilya Muromets. And how is his life structured? Well, of course, exclusively based on epic episodes. This is how the canonization of a character occurs, which has no real prototype. That is, indeed, in the Kiev-Pechersk Lavra there are some relics about which there were legends or, rather, even legends that it was a certain hero Chobotok. As a result, the image of Saint Elijah of Pechersk is built exclusively on the biography of the epic character.”
Nikita Petrov
Abstract
At the beginning of the 20th century, epics were still a fairly popular genre. The storytellers performed in Moscow and St. Petersburg and attracted huge audiences. This phenomenon did not go unnoticed by the Soviet authorities: folklorists were obliged to go to villages and record not only traditional folklore, but also songs about new, Soviet heroes.
Since Soviet folklore did not exist, it had to be created. This is how the pseudo-folklore, so-called “fakelore” genre of novelties appeared. They glorified the exploits and events of the heroic Soviet present. Specially trained folklorists visited village performers, showed them films, and carried out political work. Storytellers processed this material and created new works - those same novelties.
“Where the pines rustle giants,
Where mighty rivers flow
There are epics about Stalin the wise
The lumberjacks sing around the fires.”Karelian song about Stalin
Thus, the government tried to legitimize itself and its unprecedented exploits with the help of folklore tradition. Such activities at the beginning of the 20th century can easily be called propaganda.
“It was assumed that this epic would glorify the exploits of Soviet industry, the life of the leaders, and if it did not replace it, then it would stand next to the epics. But it didn’t work out that way, and the genre died in the 60s. It did not have any folklore characteristics - it was a one-time performance, few people adopted these texts further. But the phenomenon itself is very interesting.”
Nikita Petrov
Despite the efforts of folklorists (new stories were not only imposed, but also actively published), new tales did not take root. “Epics” about Stalin were replaced by songs of a different genre and format. The genre has outlived itself, since it included an ideology that is not characteristic of either epic or folklore.
“Epic is a genre that accumulates pseudo-historical events, passing them off as historical. The heroism and pathos of the epic can be used not by the bearers of folklore tradition, but, for example, by the state - for other, perhaps more important purposes. In addition, the epic allows us to consolidate what can be called Russianness. It is known that during the Great Patriotic War, novelties that storytellers wrote to soldiers at the front helped them go into battle. That is, they sang new songs and went to war.”
Nikita Petrov
If myths are sacred knowledge, then the heroic epic of the peoples of the world is important and reliable information about the development of the people, expressed in the form of poetic art. And although the epic develops from myths, it is not always as sacred, because along the path of transition changes occur in the content and structure; this is served by the heroic epic of the Middle Ages or the epics of Ancient Rus', expressing ideas glorifying Russian knights who protect the people, and glorifying outstanding people and the great events associated with them.
In fact, the Russian heroic epic began to be called epics only in the 19th century, and until then they were folk “old times” - poetic songs glorifying the life history of the Russian people. Some researchers attribute the time of their formation to the 10th-11th centuries - the period of Kievan Rus. Others believe that this is a later genre of folk art and dates back to the period of the Moscow State.
The Russian heroic epic embodies the ideals of courageous and loyal heroes fighting enemy hordes. Mythological sources include later epics describing such heroes as the Magus, Svyatogor and the Danube. Later, three heroes appeared - famous and beloved defenders of the Fatherland.
These are Dobrynya Nikitich, Ilya Muromets, Alyosha Popovich, who represent the heroic epic of the Kyiv period of the development of Rus'. These antiquities reflect the history of the formation of the city itself and the reign of Vladimir, to whom the heroes went to serve. In contrast, the Novgorod epics of this period are dedicated to blacksmiths and guslars, princes and noble farmers. Their heroes are amorous. They have a resourceful mind. This is Sadko, Mikula, who represent a bright and sunny world. Ilya Muromets stands at his outpost to protect him and conducts his patrol near the high mountains and dark forests. He fights evil forces for the sake of good on Russian soil.
Everyone has their own character trait. If the heroic epic gives Ilya Muromets enormous strength, similar to Svyatogor, then Dobrynya Nikitich, in addition to strength and fearlessness, is an extraordinary diplomat, capable of defeating the wise serpent. That is why Prince Vladimir entrusts him with diplomatic missions. In contrast, Alyosha Popovich is cunning and savvy. Where he lacks strength, there he uses cunning. Of course, the heroes are generalized.
The epics have a subtle rhythmic organization, and their language is melodious and solemn. There are epithets and comparisons here in terms of quality. The enemies are presented as ugly, and the Russian heroes as grandiose and sublime.
Folk epics do not have one single text. They were transmitted orally, so they varied. Each epic has several variants, reflecting specific subjects and motifs of the area. But miracles, characters and their reincarnations in different versions are preserved. Fantastic elements, werewolves, resurrected heroes are conveyed on the basis of the people's historical understanding of the world around them. It is clear that all epics were written during the times of independence and power of Rus', therefore the era of antiquity has a conventional time here.
Bylinas are a poetic heroic epic of Ancient Rus', reflecting the events of the historical life of the Russian people. The ancient name for epics in the Russian north is “old times”. The modern name of the genre – “epics” – was introduced in the first half of the 19th century by folklorist I.P. Sakharov on the basis of the well-known expression from “The Tale of Igor’s Campaign” - “epics of this time.”
The time of composition of epics is determined in different ways. Some scientists believe that this is an early genre that developed during the times of Kievan Rus (X-XI centuries), others - a late genre that arose in the Middle Ages, during the creation and strengthening of the Moscow centralized state. The genre of epics reached its greatest flourishing in the 17th–18th centuries, and by the 20th century it fell into oblivion.
Bylina, according to V.P. Anikin, these are “heroic songs that arose as an expression of the historical consciousness of the people in the East Slavic era and developed in the conditions of Ancient Rus'...”.
Bylinas reproduce the ideals of social justice and glorify Russian heroes as defenders of the people. They reveal social moral and aesthetic ideals, reflecting historical reality in images. In epics, the basis of life is combined with fiction. They have a solemn and pathetic tone, their style corresponds to the purpose of glorifying extraordinary people and majestic events of history.
The famous folklorist P.N. recalled the high emotional impact of epics on listeners. Rybnikov. For the first time he heard a live performance of the epic twelve kilometers from Petrozavodsk, on the island of Shui-Navolok. After a difficult swim on the spring, stormy Lake Onega, settling down for the night by the fire, Rybnikov imperceptibly fell asleep...
The main characters of epics are heroes. They embody the ideal of a courageous person devoted to his homeland and people. The hero fights alone against hordes of enemy forces. Among the epics, a group of the most ancient stands out. These are the so-called epics about “elder” heroes, associated with mythology. The heroes of these works are the personification of unknown forces of nature associated with mythology. Such are Svyatogor and Volkhv Vseslavevich, Danube and Mikhailo Potyk.
In the second period of their history, the ancient heroes were replaced by heroes of modern times - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich. These are the heroes of the so-called Kyiv cycle of epics. Cyclization refers to the unification of epic images and plots around individual characters and places of action. This is how the Kiev cycle of epics, associated with the city of Kiev, developed.
Most epics depict the world of Kievan Rus. The heroes go to Kyiv to serve Prince Vladimir, and they protect him from enemy hordes. The content of these epics is predominantly heroic and military in nature.
Another major center of the ancient Russian state was Novgorod. Epics of the Novgorod cycle - everyday, novelistic. The heroes of these epics were merchants, princes, peasants, guslars (Sadko, Volga, Mikula, Vasily Buslaev, Blud Khotenovich).
The world depicted in epics is the entire Russian land. So, Ilya Muromets from the Bogatyrskaya outpost sees high mountains, green meadows, dark forests. The epic world is “bright” and “sunny”, but it is threatened by enemy forces: dark clouds, fog, thunderstorms are approaching, the sun and stars are dimming from countless enemy hordes. This is a world of opposition between good and evil, light and dark forces. In it, heroes fight against the manifestation of evil and violence. Without this struggle, the epic peace is impossible.
Each hero has a certain, dominant character trait. Ilya Muromets personifies strength; he is the most powerful Russian hero after Svyatogor. Dobrynya is also a strong and brave warrior, a snake fighter, but also a hero-diplomat. Prince Vladimir sends him on special diplomatic missions. Alyosha Popovich personifies ingenuity and cunning. “He won’t take it by force, but by cunning,” they say about him in epics. Monumental images of heroes and grandiose achievements are the fruit of artistic generalization, the embodiment in one person of the abilities and strength of a people or social group, an exaggeration of what actually exists, that is, hyperbolization and idealization. The poetic language of epics is solemnly melodious and rhythmically organized. His special artistic means - comparisons, metaphors, epithets - reproduce pictures and images that are epically sublime, grandiose, and when depicting enemies - terrible, ugly.
In different epics, motifs and images, plot elements, identical scenes, lines and groups of lines are repeated. Thus, through all the epics of the Kyiv cycle there are images of Prince Vladimir, the city of Kyiv, and heroes. Bylinas, like other works of folk art, do not have a fixed text. Passed from mouth to mouth, they changed and varied. Each epic had an infinite number of variants.
In epics, fabulous miracles are performed: the reincarnation of characters, the revival of the dead, werewolves. They contain mythological images of enemies and fantastic elements, but the fantasy is different from that of a fairy tale. It is based on folk historical ideas. The famous folklorist of the 19th century A.F. Hilferding wrote:
“When a person doubts that a hero can carry a forty-pound club or kill an entire army on the spot, the epic poetry in him is killed. And many signs convinced me that the northern Russian peasant singing epics, and the vast majority of those who listen to him, certainly believe in the truth of the miracles that are depicted in the epic. The epic preserved historical memory. Miracles were perceived as history in the life of the people.”
There are many historically reliable signs in the epics: descriptions of details, ancient weapons of warriors (sword, shield, spear, helmet, chain mail). They glorify Kyiv-grad, Chernigov, Murom, Galich. Other ancient Russian cities are named. Events also unfold in Ancient Novgorod. They indicate the names of some historical figures: Prince Vladimir Svyatoslavich, Vladimir Vsevolodovich Monomakh. These princes were united in the popular imagination into one collective image of Prince Vladimir - “Red Sun”.
There is a lot of fantasy and fiction in epics. But fiction is poetic truth. The epics reflected the historical conditions of life of the Slavic people: the aggressive campaigns of the Pechenegs and Polovtsians in Rus', the destruction of villages full of women and children, the plunder of wealth. Later, in the 13th–14th centuries, Rus' was under the yoke of the Mongol-Tatars, which is also reflected in epics. During the years of people's trials, they instilled love for their native land. It is no coincidence that the epic is a heroic folk song about the feat of the defenders of the Russian land.
However, epics depict not only the heroic deeds of heroes, enemy invasions, battles, but also everyday human life in its social and everyday manifestations and historical conditions. This is reflected in the cycle of Novgorod epics. In them, the heroes are noticeably different from the epic heroes of the Russian epic. The epics about Sadko and Vasily Buslaev include not just new original themes and plots, but also new epic images, new types of heroes who do not know other epic cycles. Novgorod heroes, unlike the heroes of the heroic cycle, do not perform feats of arms. This is explained by the fact that Novgorod escaped the Horde invasion; Batu’s hordes did not reach the city. However, the Novgorodians could not only rebel (V. Buslaev) and play the gusli (Sadko), but also fight and win brilliant victories over the conquerors from the West.
Vasily Buslaev appears as the Novgorod hero. Two epics are dedicated to him. One of them talks about the political struggle in Novgorod, in which he takes part. Vaska Buslaev rebels against the townspeople, comes to feasts and starts quarrels with “rich merchants”, “men (men) of Novgorod”, enters into a duel with the “elder” Pilgrim - a representative of the church. With his squad he “fights and fights day until evening.” The townspeople “submitted and made peace” and pledged to pay “three thousand every year.” Thus, the epic depicts a clash between the rich Novgorod settlement, eminent men and those townspeople who defended the independence of the city.
The hero's rebellion is manifested even in his death. In the epic “How Vaska Buslaev Went to Pray,” he violates prohibitions even at the Holy Sepulcher in Jerusalem, swimming naked in the Jordan River. There he dies, remaining a sinner. V.G. Belinsky wrote that “Vasily’s death comes directly from his character, daring and violent, which seems to be asking for trouble and death.”
One of the most poetic and fabulous epics of the Novgorod cycle is the epic “Sadko”. V.G. Belinsky defined the epic “as one of the pearls of Russian folk poetry, the poetic apotheosis of Novgorod.” Sadko is a poor psaltery player who became rich thanks to skillful playing of the gusli and the patronage of the Sea King. As a hero, he expresses infinite strength and endless prowess. Sadko loves his land, his city, his family. Therefore, he refuses the countless riches offered to him and returns home.
So, epics are poetic, artistic works. They contain a lot of unexpected, surprising, incredible things. However, they are fundamentally truthful, conveying the people's understanding of history, the people's idea of duty, honor, and justice. At the same time, they are skillfully constructed, their language is unique.
Artistic originality of epics
The epics were created in tonic (also called epic, folk) verse. In works created in tonic verse, the poetic lines may have a different number of syllables, but there should be a relatively equal number of stresses. In epic verse, the first stress, as a rule, falls on the third syllable from the beginning, and the last stress on the third syllable from the end.
Epic tales are characterized by a combination of real images that have a clear historical meaning and are conditioned by reality (the image of Kyiv, the capital Prince Vladimir), with fantastic images (the Serpent Gorynych, the Nightingale the Robber). But the leading images in epics are those generated by historical reality.
Often an epic begins with a chorus. It is not related to the content of the epic, but represents an independent picture that precedes the main epic story. The outcome is the ending of the epic, a short conclusion, summing up, or a joke (“then the old days, then the deed,” “that’s where the old days ended”).
The epic usually begins with a beginning that determines the place and time of action. This is followed by an exposition in which the hero of the work is highlighted, most often using the technique of contrast.
The image of the hero is at the center of the entire narrative. The epic greatness of the image of the epic hero is created by revealing his noble feelings and experiences; the qualities of the hero are revealed in his actions.
Tripleness or trinity in epics is one of the main depiction techniques (there are three heroes at the heroic outpost, the hero makes three trips - “Three trips of Ilya”, Sadko is not invited to the feast three times by the Novgorod merchants, he casts lots three times, etc. .). All these elements (threefold persons, threefold action, verbal repetitions) are present in all epics. Hyperboles used to describe the hero and his feat also play a large role in them. The description of the enemies (Tugarin, Nightingale the Robber), as well as the description of the strength of the warrior-hero, are hyperbolic. There are fantastic elements in this.
In the main narrative part of the epic, the techniques of parallelism, stepwise narrowing of images, and antithesis are widely used.
The text of the epic is divided into permanent and transitional passages. Transitional passages are parts of the text created or improvised by narrators during performance; permanent places - stable, slightly changed, repeated in various epics (heroic battle, hero’s rides, saddling a horse, etc.). Storytellers usually assimilate and repeat them with greater or less accuracy as the action progresses. The narrator speaks transitional passages freely, changing the text and partially improvising it. The combination of permanent and transitional places in the singing of epics is one of the genre features of the Old Russian epic.
The work of the Saratov scientist A.P. is devoted to elucidating the artistic originality of Russian epics and their poetics. Skaftymov “Poetics and genesis of epics”. The researcher believed that “the epic knows how to create interest, knows how to excite the listener with anxiety of expectation, infect the listener with the delight of surprise and capture the winner with ambitious triumph.”
D.S. Likhachev in his book “The Poetics of Old Russian Literature” writes that the time of action in epics refers to the conventional era of the Russian past. For some epics it is the idealized era of Prince Vladimir of Kyiv, for others it is the era of Novgorod freedom. The action of the epics takes place in the era of Russian independence, glory and power of Rus'. In this era, Prince Vladimir reigns “forever”, the heroes live “forever”. In epics, the entire time of action is assigned to the conventional era of Russian antiquity.
Adilmambetova Liana
The main features of the Russian heroic epic were represented by epics.
Bylinas are a poetic heroic epic of Ancient Rus', reflecting the events of the historical life of the Russian people.
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50-gun sail-screw frigate "Ilya Muromets" and a drawing of its sails Tu-160 bomber "Ilya Muromets"
Ilya Muromets (armored train, 1941) Ilya Muromets is a three-deck river cruise ship.
Russia, Murom. Sculptor: V. Klykov. Opened in 1998. The height of the monument including the pedestal is 17 meters. In the Oka Garden, where the residents of Murom like to walk, there is a hero with a sword in his hand. And around there are centuries-old trees - oaks and elms. Far below you can see the Oka, looking like a smooth ribbon. Folk tales say that Ilya Muromets is an invincible warrior, ready to measure his heroic strength against any evil spirits. For his exploits, the great hero was canonized.
On May 29, a monument to Ilya Muromets was unveiled in Vladivostok. Konstantin Zimich was with the sculptor of the monument to Ilya Muromets.
Monument to Ilya Muromets in the city of Yekaterinburg.
Project of the monument “Ilya Muromets and the Nightingale the Robber”, Bryansk, 2010.
Painting Ilya Muromets - a character in Viktor Vasnetsov’s painting “Bogatyrs”, under the impression of the epic “Ilya Muromets and the Robbers”, he also painted the painting “The Knight at the Crossroads” “Ilya Muromets at a feast with Prince Vladimir” - painting by V.P. Vereshchagin, Ilya Muromets - painting by Nicholas Roerich, “Ilya Muromets frees the prisoners”, Ilya Muromets and Gol Kabatskaya, “Ilya Muromets in a quarrel with Prince Vladimir”, “The Gift of Svyatogor” - paintings by Konstantin Vasiliev.
Illustration for the epic “The Quarrel of Ilya Muromets with Prince Vladimir.”
Dobrynya Nikitich is the second most popular hero of the Russian folk epic after Ilya Muromets. He is often depicted as a serving hero under Prince Vladimir. Wife Nastasya, daughter of Mikula Selyaninovich. Epics often talk about his long court service, in which he showed his natural “knowledge.” Often the prince gives him instructions: to collect and transport tribute, to help out the prince’s niece, etc.; Often Dobrynya himself volunteers to carry out orders that other heroes refuse. Dobrynya is the hero closest to the prince and his family, carrying out their personal assignments and distinguished not only by his courage, but also by his diplomatic abilities. Dobrynya is sometimes called the prince, and sometimes the nephew of Vladimir the Red Sun. The historical prototype of Dobrynya Nikitich is considered to be the governor Dobrynya, the uncle and governor of Prince Vladimir, the brother of his mother Malusha. He is smart, educated and distinguished by a variety of talents: he is dexterous, quick on his feet, an excellent shooter, swims, plays tavlei, sings, plays the harp.
As a rule, the image of Dobrynya is outlined in epics clearly and definitely. He has courage and enormous physical strength (second only to Ilya Muromets in this regard). But in one respect Dobrynya is superior to all the heroes: he is distinguished by his “courtesy,” that is, by his courtesy and diplomacy. The listed studies of the plots attached to the name of Dobrynya Nikitich allow us to draw the following conclusions about the epic history of this hero. In the pre-Tatar period, there were legends and songs in which the relative and governor of Prince Vladimir I Svyatoslavich Dobrynya played a significant role. The most ancient motif attached to the name of Dobrynya Nikitich in epics is his role as a snake fighter and matchmaker. In both stories, some historical echoes can still be noted.
The first plot was processed into an epic, apparently in the north, in the Novgorod region, as evidenced by the Novgorod legend about the snake. Perhaps the main epic about Dobrynya Nikitich getting a wife (Rogneda) for Vladimir developed in the north and then entered the Kiev cycle. The epic about Dobrynya Nikitich on leave is nothing more than an oriental fairy tale attached to the name of Dobrynya; the unseemly role of Alyosha Popovich indicates a late time (not earlier than the 16th century) when this tale was introduced into the epic epic, when it entered the repertoire of buffoons.
The epic about Marina is a fairy-tale story about a sorceress wife converted into an epic. If Marina’s name is at the same time as the transformation of the fairy tale into an epic (which is quite probable, due to the lack of variants of the name and some details, for example, Marina turning into a magpie), then the epic may have been composed in the 17th century. Finally, the name of Dobrynya Nikitich is included in the unnamed song, which is not related to epics. This is a song about a good fellow and the Smorodina River. The motive for introducing the name of Dobrynya Nikitich (instead of the good fellow) was that Dobrynya in the epics is also in danger of drowning in the Puchai River.
According to S. N. Azbelev, who counts 53 plots of heroic epics, Dobrynya Nikitich is the main character of six of them (No. 14-19 according to the index compiled by Azbelev). 14. Dobrynya’s duel with Ilya Muromets 15. Dobrynya and the Serpent (in most versions, Dobrynya not only fights with the Serpent, but also frees Prince Vladimir’s niece Zabava Putyatichna from captivity) 16. Dobrynya and Marinka 17. Dobrynya and Nastasya 18. Dobrynya and Alyosha ( “Dobrynya is away”, “Dobrynya at his wife’s wedding”) 19. Dobrynya and Vasily Kazimirovich For some stories, the number of individual versions recorded from different storytellers is in the dozens (particularly popular are numbers 15, 18, 19, 24). Plots No. 16 and 17 are known in isolated records. Dobrynya Nikitich plays an important role in the epics about Danube Ivanovich (No. 23 and 24 according to the index compiled by Azbelev). 23. Duel of Danube Ivanovich with Dobrynya Nikitich 24. Danube Ivanovich - matchmaker (Danube and Dobrynya get a bride for Prince Vladimir)
Dobrynya Nikitich is an island in the Nordenskiöld archipelago. Dobrynya Nikitich (Rebunshiri) is a mountain of the Grozny ridge on the Iturup island of the Great Kuril Ridge. The name of the hero Dobrynya is associated with the origin of the name Dobrynina Island. Dobrynya Nikitich is a British-built Russian icebreaker. Port icebreaker of the Dobrynya Nikitich type - a project of Soviet ships. “Dobrynya Nikitich” is the former name of the river passenger ship “Prikamye”, belonging to the “Rodina” type. Fine arts Viktor Vasnetsov portrayed Dobrynya in his paintings “Bogatyrs” and “Fight of Dobrynya Nikitich with the seven-headed Serpent Gorynych” (1918). The artist V.P. Vereshchagin painted the painting “The Fight of Dobrynya with the Serpent Gorynych” for the palace of Grand Duke Vladimir Alexandrovich, now the House of Scientists in St. Petersburg. I. Ya. Bilibin created the paintings “Dobrynya’s Fight with the Snake”, “Dobrynya Nikitich liberates Zabava Putyatichna from the Snake Gorynych”. “The Battle of Dobrynya Nikitich with the Serpent” - painting by Konstantin Vasiliev.
Dobrynya Nikitich is an island in the Nordenskiöld archipelago. Administratively it belongs to the Taimyr region of the Krasnoyarsk Territory of Russia.
Dobrynya Nikitich (Rebunshiri) - mountain of the Grozny ridge on Iturup island of the Great Kuril ridge
Viktor Vasnetsov portrayed Dobrynya in his paintings “Bogatyrs” and “Fight of Dobrynya Nikitich with the seven-headed Serpent Gorynych” (1918). The artist V.P. Vereshchagin painted the painting “The Fight of Dobrynya with the Serpent Gorynych” for the palace of Grand Duke Vladimir Alexandrovich, now the House of Scientists in St. Petersburg. I. Ya. Bilibin created the paintings “Dobrynya’s Fight with the Snake”, “Dobrynya Nikitich liberates Zabava Putyatichna from the Snake Gorynych”. “The Battle of Dobrynya Nikitich with the Serpent” - painting by Konstantin Vasiliev.
In 1818, composers Caterino Cavos and Ferdinando Antonolini wrote the opera “Dobrynya Nikitich, or the Scary Castle.” A character from the farce opera by A.P. Borodin “Bogatyrs”. A character from Alexander Serov's opera “Rogneda” In 1901, composer Alexander Grechaninov wrote the opera “Dobrynya Nikitich”.
Episodic role in the film "Ilya Muromets". In 1965, the animated film “Dobrynya Nikitich” was created at the Soyuzmultfilm studio. The animation studio "Melnitsa" with the assistance of the STV film company produced full-length animated films "Dobrynya Nikitich and the Serpent Gorynych" (in 2006) and "Three Heroes and the Shamakhan Queen", humorously playing on images from Russian epics and fairy tales. In the cartoon "Prince Vladimir", there is the historical Dobrynya - Prince Vladimir's uncle. In 2011, the film “Real Fairy Tale” was released, where Dobrynya was played by Pavel Klimov.
Alyosha Popovich is a folklore collective image of a hero in the Russian epic epic. Alyosha Popovich, as the youngest, is the third in importance in the heroic trinity, along with Ilya Muromets and Dobrynya Nikitich. The character Alexy Popovich is also found in Ukrainian thoughts. there are only 53 plots of heroic epics, Alyosha Popovich is the main character of two of them. In addition, Alyosha plays an important role in the popular epic “Dobrynya at his wife’s wedding” (“Dobrynya is away”, “Dobrynya and Alyosha” - No. 18 according to Azbelev’s index) . Here Alyosha is a negative character. As a well-known person, Alyosha is often mentioned in other epics, usually with an indication of his shortcomings.
Alyosha Popovich is the son of the Rostov priest Leonty. Alyosha Popovich is also considered a fellow countryman in Piryatyn (Poltava region). According to local legend, he often visited Piryatinsky fairs, helped people and had heroic strength. Taras Shevchenko, on one of his visits to Piryatyn, wrote a thought about Alyosha Popovich. The image of Alyosha in Bylinas
Origin of the image
“Alyosha Popovich” was at one time the name of the Volodarsky steamship. Fiction In 1801, Nikolai Radishchev published the poem “Alyosha Popovich, a heroic song”. Ballad by A.K. Tolstoy “Alyosha Popovich” Fine arts Character in the painting “Bogatyrs” by Viktor Vasnetsov. “Alyosha Popovich” is a painting by Vasily Vereshchagin, painted for the palace of Grand Duke Vladimir Alexandrovich (now the House of Scientists in St. Petersburg). "Alyosha Popovich" - sketch by Ivan Bilibin. “Alyosha Popovich and the Beautiful Maiden” - painting by Konstantin Vasiliev. The popular print “The Strong Hero Alyosha Popovich” is dedicated to Alyosha Popovich
What distinguishes Alyosha Popovich is not his strength (sometimes his weakness is even emphasized, his lameness is pointed out, etc.). He is characterized by daring, pressure, sharpness, resourcefulness, and cunning. He knew how to play the harp. Alyosha is ready to deceive even his sworn brother Dobrynya, encroaching on his marital rights (Alyosha spreads a false rumor about Dobrynya’s death in order to marry his wife Nastasya Nikulina).
Sometimes traits characteristic of Volga Svyatoslavich are transferred to Alyosha: his birth is accompanied by thunder; Alyosha the baby asks to be swaddled not with swaddling clothes, but with chain mail; then he immediately asks his mother for a blessing to walk around the world: it turns out that he can already sit on a horse and wield it, use a spear and saber, etc.
The most archaic story associated with Alyosha Popovich is his fight with Tugarin. Alyosha Popovich defeats Tugarin on the way to Kyiv or in Kyiv (there is a known variant in which this fight occurs twice). Tugarin threatens Alyosha Popovich to choke him with smoke, cover him with sparks, burn him with fire-flames, shoot him with firebrands, or swallow him alive.
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The works of the famous professor at Leningrad University, specialist in Russian folklore Vladimir Yakovlevich Propp (1895-1970), created by him in the first half and mid-twentieth century, are considered one of the most significant contributions to the development of Russian folklore studies. I am a little interested in Russian folklore and I have long wanted to get acquainted with them. These fundamental studies are accessible even to readers without special philological training. They explore not only folklore, its genres and manifestations in rites and rituals, but also its meaning for the people, its poetics, its influence on modern culture. Book by V.Ya. Proppa VlRussian heroic epic "tAU" is the first and still remains the only monograph dedicated to Russian epics. It first appeared in 1955, the second revised edition was published in 1958. The works of the scientist “Morphology of a fairy tale” (1928) and “Historical roots of a fairy tale” (1946) have already seen the light, influencing the nature of this research. The author has examined all the varied plots, so it is possible to use the book as a reference book on the epic. Each thought is first formulated, and then developed and proven. The most important judgments are duplicated. Pedagogical experience allowed V.Ya. Propp organizes sections and topics most clearly, presents facts and their analysis in accessible and lively language. The reader is not tired of unnecessary details, but is not left without numerous references and explanations. The ordered material and the description of the methods for processing it convince us of the correctness of the conclusions made by the author. The monograph “VlRussian heroic epic” received the first university prize. In the future, it will be considered specifically; all references, except those specifically stated, will refer to the publication indicated in the list of references.
II. main part
II-1. VIEWS OF VARIOUS SCIENTISTS ON THE WORKS OF V.Ya. PROPPA
After the publication of the work VlRussian Heroic Epic, an impulse arose for polemics on many issues of epic studies. The main dispute among V.Ya. Proppa turned around with B.A. Rybakov, an influential supporter of the historical school in the folklore community (Rybakov B.A. Historical view of Russian epics // History of the USSR. 1961. No. 5. pp. 141-166; No. 6. pp. 80-96; Propp V.Ya. On the historicism of the Russian epic (response to academician B.A. Rybakov) // Russian literature. 1962. No. 11. pp. 98-111; see also: On the historicism of Russian folklore and methods of its study // Propp V.Ya. Poetics folklore. M., 1998. pp. 185-208). Scientists B.N. Putilov, Yu.I. Yudin and I.Ya. Froyanov developed and supplemented the ideas of V.Ya. Proppa. Subsequently, a tendency arose both to apply the scientist’s methodology in the analysis of the epic plot, and to identify the historical basis of the epic. When researching epics, modern folklorists conduct a scientific search, invariably using the achievements of V. Ya Propp.
II-2. METHODOLOGICAL PREREQUISITES FOR ANALYSIS
In his work “VlRussian heroic epic” V.Ya. Propp shows talent as a researcher and skills as a teacher. Before starting to consider the material, the author determines the subject of study itself. He considers the most decisive features of an epic to be, of course, the heroic nature of its content, as well as the musical form of performance, poetic and special metrical structures. It is important for him here to separate the heroic epic proper both from some prose genres, for example, fairy tales and some types of old stories, and in general from works of epic poetic size, such as epic spiritual poems, ballad and buffoon songs. Also, historical songs closely related to it are separated from the epic, and the author stands here in opposition to the historical and neo-historical schools dominant at that time [see: pp. 6-12]. Supporters of this trend sought to discover in the epic a reflection of a specific historical event and to find historical prototypes for its heroes. At the same time, the general concept of the song and its main idea were not taken into account. From here followed illegitimate and debunked attempts to deduce the epic characters from the chronicles, to correlate the appearance of the epic with the formation of Kievan Rus, to attribute the authorship of the epics not to the people, but to the elite elite. The author strongly objects to this. He himself stands on the fact that the epic, part of folklore, is an exclusively folk creation, expresses folk ideals and therefore is kept in the people's memory. From this point of view, the scientist successfully explains almost all epic plots, only in rare cases resorting to references to ideological or authorial influence.
After establishing the scope of consideration of V.Ya. Propp explores issues of epic methodology in pre-revolutionary and Soviet science. He shows the inconsistency of most of the directions, trying to focus attention on the need to study the epic without breaking away from the historical or artistic sides. Much attention is paid to the merits of Russian revolutionary democrats (N.A. Dobrolyubov, N.G. Chernyshevsky and, especially, V.G. Bellinsky, the author of many articles on folk poetry), as well as A.M. Gorky. This is undoubtedly due to the situation of the struggle against cosmopolitanism and the chauvinistic spread of ideas of the superiority and originality of everything Russian, characteristic of the time the monograph was created. Of course, the indisputable and mentioned at every opportunity opinions of K. Marx, F. Engels, V.I. Lenin and other social democrats are also not determined by the orientation of V.Ya. Propp, but the dominant ideology. The author himself insists on defining the ideas of epics, for which you need to understand them correctly and delve into all the details. He studies and compares various records to provide a complete picture of the plot. Here he does not compile a consolidated version and does not identify the most frequently encountered options, does not look for regional differences, but by analyzing the author’s additions and alterations introduced over time, he tries to reveal the meaning that was originally invested. The resulting picture may not be confirmed by any of the specific versions of the epic, but it always allows us to identify the collective plan of the people. Various entries in relation to this TAU plan are only particular artistic cases of its implementation. V.Ya. Propp sees the epic as reflecting the age-old ideals of the people; its creation dates back to all the centuries, during which it was polished and acquired new or lost old features. He denies the mythologization of the history of the people by the epic, because on the contrary, the epic in its development discards the remnants of mythology. He sees the process of relationship between epic and history as dependent not on events, but on different eras. It is in this direction that he conducts his research [see: pp. 12-28].
An undoubted advantage is the brief information included in the appendices about the analysis of each of the epics under consideration by other researchers [see: pp. 558-591]. In the event that there is too much literature on a given song to mention it all, the author selects the most significant works. He singles out works with which he completely disagrees, leaving the rest without comment.
II-3. FEATURES OF THE HEROIC EPIC OF DIFFERENT ERAS
Primitive communal system. V.Ya. Propp is convinced that the heroic epic began to take shape long before the start of feudal relations. Since there are no direct traces of the existence of such a phenomenon, he cites as an example the numerous peoples who inhabited the territory of the USSR, who were delayed in development at the level of decomposition of the primitive communal system. They all have heroic epics. Using the comparison method, the scientist reveals in the epic songs of the peoples of Siberia and the Far North the development of the epic from mythology; the transition of heroic deeds from the struggle for the family unit (lyrical feelings do not play a role) to the defense of the native people or battles against oppressors; transformation of elemental hosts into hostile monsters; common to all heroes is a high moral spirit and a willingness to forget their interests for the common good (often they are leaders); hyperbolic appearance and actions of heroes and their enemies. The epic testifies to the beginning of the struggle for a new social order: the family is a factor that destroys tribal relations, and the hero’s knighthood is not a sign of the past, where support was implied by itself, but a reaction to the emergence of class inequality and exploitation. In the Russian epic, the hero's collisions in different worlds took a place in fairy tales, but were not preserved in epics. Heroic texts reflect the ideals that lie in the future, the aspirations of the era. This is the key to their longevity. The conclusions drawn are used by the author in the study of the Russian epic, making it possible to highlight its most ancient elements, which makes it easier to consider its development. The author reveals a very interesting feature of Russian epic songs. While the external form of songs of other peoples is multi-component and the plot develops not due to complication, but by adding new, identical links, Russian epics are essentially one-part and monolithic. Only the songs about Sadko and Potyka retained the features of their former multi-composition. Possible merging of two plots into one (contamination), according to V.Ya. Propp, this is a secondary phenomenon, and simplicity, brevity and indivisibility are the result of long-term improvement of the epic [see. details: pp. 29-58].
Kievan Rus and the period of feudal fragmentation. The epic of Kievan Rus is not considered as a continuation of the epic that developed during the era of the tribal system. State relations required not the development of previous ideas, but the approval of new ones, therefore the epic does not trace the remnants of the old in the new, but the conflict of worldviews belonging to these two always opposing times. Having originated in the communal system, the traditions were not interrupted. Old stories were preserved, but filled with new content. Some of them were used and reworked in order to establish the ideals of the young state, some acquired a semi-fairytale character. Such a clash of ideals can be traced in the most ancient Russian epics, epics of the era of Kievan Rus [see. details: pp. 59-61].
The entire Russian epic by V.Ya. Propp considers Vladimirov or the Kiev cycle as one, and not regional epics. However, not all epics belong to the Vladimirov cycle. Some epics were formed even before the formation of Kievan Rus, and their content did not lend itself to the process of cyclization. Such, for example, are the epics about Volkh and Svyatogor. Others were created after the formation of the cycle was completed. These are, for example, epics about the Lithuanian raid or about Khoten Bludovich, which appeared in the Moscow period. Some are semi-fairy-tale in nature and reflect narrower ideals than the interests of the state. Among them, for example, is the epic about Gleb Volodyevich or about Soloman and Vasily Okulovich. Finally, the cycle does not include epics of a distinctly local character, like those from Novgorod. The author denies the concept of dividing epics into two cycles: the Kiev and Novgorod. The picture of the existence and distribution of epics in the contemporary North shows the universal popularity of the main characters and plots, and the national ideas reflected in the epics could hardly have worried only the residents of a particular region. The rest are local formations that are not widespread [see. details: pp. 66-69].
The author divides the development of the early state Russian epic into two periods: the Kiev period and feudal fragmentation, when the significance of Kyiv was obscured among the many local centers. In new and revised old songs, the people reflected the intense struggle against foreign invaders and created images of heroic defenders of the homeland. The epics of the Kyiv or Vladimirov cycle are united by a common center - Kiev, the head of which, Prince Vladimir (VlKrasno Solnyshkov"), is served by heroes. The image of Vladimir is twofold. From the period of progressive development of the state, he inherited the role of the people's leader, while class stratification later creates a social conflict between the heroes and the prince, who has become the head of his class. The secondary image of Vladimir’s wife, Princess Eupraxia (Opraxa), changes somewhat differently. From the clan system, she, as a woman, may get the role of the enemy’s helper, as, for example, in the epic about Alyosha and Tugarin, later she is endowed with the features of a heroic woman, in particular, saving Ilya Muromets from her husband’s wrath. Epic Kyiv served the people as a banner of unity, although it was not one. Bogatyrs from various regions become heroes of the epic only from the moment they arrive in Kyiv. They serve the Motherland and always come to the Stolno-Kyiv prince voluntarily. Specific wars are not reflected at all in the Russian epic, because they were not popular. The service of heroes to appanage princes is also not reflected [see. details: pp. 61-70].
The period of the centralized state. With the creation in the 10th century. of the new powerful state, the people's aspirations for unification and national independence came true. Previous epics began to receive the names VlstarinV,” but they are not forgotten, but belong to the area of the heroic past. Military functions are transferred to historical song. With the increase in class antagonism, epics about social struggle come to the fore. We have encountered such songs before, but now they are losing their monumentality, while gaining in realism, they more broadly describe life and classes, class conflicts become the main theme. Women begin to play a new role, and new positive images of them emerge. The types of mighty heroes stop in their development, ceasing to enter into new songs. The epic begins to move closer to the ballad, but its spirit remains heroic [see. details: pp. 369-374].
New time (capitalism). Under capitalism, the active development of the epic ceases. Its geographic range is shrinking from its once widespread distribution to remote areas of the North. V.Ya. Propp argues with numerous theories seeking the causes of this extinction, everywhere defending the creative independence of the people. He explains the extinction of the epic by social relations and contradictions that have developed in modern times, and its preservation by private reasons found in the North: the slow penetration of exploitation, the specific labor of the peasantry and natural features [see. details: pp. 505-510]. From the middle of the nineteenth century. science became interested in epics. Only from then can one judge the performance of the epics. The author delicately approaches the definition of the role of the performer when singing epics. By examining the degree and nature of a singer’s talent, one can establish the role of individual singers and the role of the entire people in the creation of the epic [see. details: pp. 510-516]. Much attention is paid to the poetic language of epics: its richness, expressiveness, accuracy of descriptions, rhythm. The epics reflected the affectionate attitude of the people towards their heroic defenders, hatred of invaders, admiration for the beauty of their native land, ideas about many things that are relevant to the people [see. details: pp. 516-540]. Generally speaking, the dying of the epic by V.Ya. Propp associates it with the historically natural transition to new forms of folk art [see. details: pp. 540-545].
Soviet time. The expeditions of Soviet scientists showed not only the existence of the epic in its last stronghold, the Russian North, but also the gradual cessation of the epic tradition [see. details: pp. 546-548]. Nevertheless, we can talk about a new epic epic. The author discusses this problem using the example of the famous singer M.S. Kryukova. Her talent was discovered in 1934. In Soviet times, she was actually the only performer who consciously devoted herself not only to preserving the existing heritage, but also to creating songs with qualitatively new content. Kryukova herself creates new themes based on the material of old epics and fairy tales, and draws from fiction, popular science literature and the media. She overcame the isolation of the old epic, but the life of her contemporaries never became the subject of glorification. The new content did not fit well into the old forms, often affecting the transmitted information. The epic form of the epic has become obsolete; it has become part of the heritage of national culture. The epic continues to exist in a different form, its best achievements influencing the heroic poetry and literature traditions [see. details: pp. 549-557].
II-4. ANALYSIS OF EPICS
All considered by V.Ya. Propp divided the epics into thematic groups based on both the era whose ideals it reflects and the main theme. Within the group, they are arranged in conditionally chronological order, starting with those that contain the most ancient elements or layers.
Epics of the period of Kievan Rus and feudal fragmentation. Before starting the Kyiv cycle, the author examines the surviving ancient heroes [see: part 2, ch. II], whose images were formed so long before the formation of the state that it turned out to be difficult to attract them to the new ideology. Among them he places Volkh (or Volga Vseslavlavich or Svyatoslavovich) and Svyatogor, who carry not only primitive views, but also artistic techniques rejected by modern times. The stories about Volkh preserved the most ancient totemistic and magical ideas. Behind his overseas campaign for the defense of Kyiv is the glorified predatory raid, initially in search of hunting grounds, and later for the purpose of stealing livestock. The combination of old and new, fantastic and pseudo-historical, however, did not help the epic song about him to survive and it belongs to the rarest in the Russian epic. Subsequently, the image of Volga is used as a purely negative one and is contrasted with Mikula Selyaninovich [see. details: pp. 70-76].
Unlike Volkh, the image of Svyatogor is very popular, although it is also noticeably erased. Its main features - the enormous strength and magnitude - characteristic of the primitive epic, are not as important in modern times as the method of using this force. He cannot accomplish the feat, Svyatogor’s strength is a burden, and not only to him. Both related epic stories of TAU about Mikula’s handbag and about the prepared coffin of TAU are associated with the death of the hero. Svyatogor carries death within himself. The time of the chthonic world order has passed, hard work is needed to master it, and fate sends it, if not death, then eternal sleep [see. details: pp. 76-87].
The hero's matchmaking is presented in the Russian epic in various versions [see: part 2, ch. III]. In such epics, the glorification of matchmaking itself and the rejection of such glorification by the state collide. It is interesting that the woman in them, if not a hero, is almost always a witch or a creature of evil spirits. Through the death of the latter, the people support healthy family foundations. In the epic about Sadko that has come down to us, the main motive is the conflict between a person from the lower classes and the social elite who do not accept him. The song is a Novgorod creation, it is full of vivid realities of life, but at the same time it is fabulous and fantastic. Its unique feature is its multi-component nature. In the first part, the poor guslar Sadko is helped by the sea king, a spontaneous master, to get rich and move to higher social strata. The second TAU is already completely realistic. Sadko is trying to establish himself on an equal footing among the higher merchants and comes into conflict with them, but it is clear that he is in conflict with the great Novgorod and the city remains the winner. In the most archaic third part, the hero overcomes the temptation of marriage with a sea princess for the sake of his native Novgorod. The real world triumphs over the mythical [see. details: pp. 87-111].
Another multi-part and in some places even more archaic epic is the song about Mikhailo Potyk. In terms of plot, it is one of the most complex, and for me, one of the most interesting. Marya the white swan, having appeared to Potyk, who had left Kiev, offers herself as a wife and easily marries him, setting the condition: after the death of one of the spouses, both will be buried. Soon Mikhailo goes to the grave with her, but finds a way to revive her and return himself. The deception allows Marya to make several more attempts to kill him, and when she has already cheated on him. Unholy marriage to a stranger is condemned by everyone, but nevertheless, it is thanks to human and higher help that Potyk remains alive after all the vicissitudes. Fighting for his wife, he does not accomplish a feat, but comes to a shameful fall. Fascinated by witchcraft passion, Mikhailo alone is unable to understand the infernal nature of the chosen one. For the Russian epic, the motive of marriage ceases to be heroic, a struggle is being waged against it [see. details: pp. 111-128]. Personally, in this epic, in the image of Marya, I see the development of the concept of evil spirits, merging with the opposition of Russian to foreign, and not just an enemy. She chooses Potyk as her husband in order to use him as a chance to come to life, but when Marya later tries to get rid of Mikhailo, he does not die. The time for people like her is over. Evil spirits have influence on a person, but cannot shape his destiny as it pleases.
Ivan Godinovich is deliberately looking for a foreign bride. At the first opportunity, she prefers to betray the Kyiv hero in order to return to the pagan world. The people do not allow the Russian hero to die at the hands of strangers, they give him the opportunity to take revenge, thereby destroying the hostile evil spirits, but at the same time they mock him [see. details: pp. 128-136].
The dramatic and highly artistic epic about the Danube and Nastasya is not without reason considered one of the best in Russian epic. In this song, the source of all evil is the proud hero who strayed from Kyiv, and not his alien wife, and in his shame he is not worthy of people’s pity. Danube, previously in the service of a foreign king, goes to him for his daughter, a bride for Prince Vladimir, whom he takes by force. On the way back, he encounters a warrior in battle, defeats her, but at the last moment he recognizes in the heroine another daughter of his former master, with whom he had been in a close relationship for a long time. A double wedding according to the laws of the epic is overshadowed by conflict. Danube's boasting of his strength (a real hero is modest) leads to a shooting competition between him and Nastasya, who showed him the acceptable degree of politeness and the real price of a hero. Angered by his failures, the Danube kills his wife, knowing that she is pregnant, and when, having spread out her womb, he sees a wonderful baby, the future great hero, he throws himself on a spear next to the corpse [see. details: pp. 136-156].
The epic song about Kozarin is semi-ballad in nature and only due to the motive of saving a woman can it be classified as an epic about matchmaking. The hero, noble in character and rejected by his own family, saves from the hands of the Tatars, who here play the role of kidnappers rather than conquerors, a girl who turns out to be his sister. Having returned her to the family, he again sets off into the open field. The Russian hero does not seek approval for his exploits, but performs them because he cannot do otherwise [see. details: pp. 156-169].
The idyllic epic of a completely ballad nature about Nightingale Budimirovich also belongs to the realm of epic. After the gradual reduction of the bride’s alienation from a representative of evil spirits to a Russian witch (see below the epic about Dobrynya and Marinka), a song about the hero’s happy marriage naturally appeared. The happy epic, closely connected with ritual wedding poetry, completes a large stage of Russian epic, paving the way for the development of other forms of heroic songs [see. details: pp. 169-181].
A group of epics about the hero’s struggle with monsters (see: Part 2, Chapter IV) brings together the names of the people’s favorite heroes. The appearance of the enemy changed depending on the real historical struggle of the Russian people. The most widespread epic in Russian epic about Dobrynya and the Snake pits the most cultural and diplomatic hero against a vivid artistic embodiment of natural elements. The first battle with the Serpent at the Puchai River lies outside the Kiev cycle and cannot be completed so that, freeing Zabava Putyatishna on the orders of her uncle Vladimir, the hero could, having fought the Serpent a second time, lead many Russian people out of his lair into freedom. . The ancient motive of kidnapping helps turn a feat performed on the orders of the prince into a feat of defense of Rus'. Rejection of the Good Hand The fun and peculiarities of some versions of the song draw attention to the hidden antagonism of heroes, folk heroes, and the upper classes [see. details: pp. 181-208]. This conflict nature is emphasized more than once in the Russian epic, and the author, in view of the prevailing ideological attitudes, pays great attention to social confrontation.
The song about Alyosha and Tugarin is very close to the epic about Dobrynya's snake-fighting. However, here a cheerful, witty and sometimes not very strong hero, with the help of ingenuity, deals with a clumsy, rude and ill-mannered opponent, in whom fantastic features are partially replaced by those close to reality. The enemy brazenly positioned himself in Vladimir’s chambers, he behaves defiantly and behaves freely with Princess Eupraxia, demonstrating their close relationship. However, no one protests (the heroes are absent at this time). This is discovered by Alyosha, who modestly arrived. He mocks Tugarin’s dishonest behavior, challenges him to battle and destroys the shame of the Russian prince’s groveling before the invaders [see. details: pp. 208-227].
The central figure of the Russian heroic epic TAU Ilya Muromets. In him, the people combined selfless love for the Motherland, the highest moral qualities and maturity that respectfully distinguished the hero. In the epic about Idolishche, most likely derived from the epic about Alyosha and Tugarin, an almost anthropomorphic monster, bearing some Tatar features, surrounds Kiev with troops, and itself goes to the prince’s palace, where it also commits outrages. Having learned about this from the passer-by Vlkalika, Ilya hurries to the rescue. Arriving in the clothes of beggars persecuted by the new owner of the city, he kills the enemy without unnecessary preludes. In another existing version, when Idolishche settles in Constantinople and prohibits Orthodoxy there, a later church influence is clearly felt. The people who preserve this epic themselves mock the Kalika-messenger and the pilgrimage image of Elijah [see. details: pp. 227-239].
Stories about the healing of Ilya of Muromets and his conquest of the Nightingale the Robber are often combined into an epic song about Ilya’s first trip. In the first narrative, references to peasant origin, Ilya’s long illness from youth to adulthood, and the heroic power bestowed on him by miraculous wanderers are constant. The archaic plot here acquires realistic features. The people bring their beloved hero closer not only to a conceivable ideal, but also to themselves, to reality. In the second TAU, Ilya, going to serve his Motherland in Kiev, destroys the hostile army near Chernigov, captures Nightingale the Robber, who was blocking the straight path with his outpost, and destroys his unclean brood. Along the way, he pavers swamps and clears an abandoned road from the forest. His main merit was in paving the way to Kyiv. Fractured Rus' is beginning to unite. Already at the first meeting, conflict is visible between Ilya and Vladimir, which will only increase in the future. The prince and the boyars are made to look ridiculous when they try to give orders to the proud Nightingale, who understands the role of Muromets more than Vladimir [see. details: pp. 239-260].
The fairy tale is a more ancient genre than the epic; it retains much of prehistoric antiquity. The epic becomes more complex and discards or transforms what does not meet the increasing requirements. However, there is a group of epics that are very close to fairy tales. They are not typical for heroic epics, they are often personal and entertaining in nature, but nevertheless, due to the presence of heroic motives by V.Ya. Propp explores them too [see: part 2, ch. IV]. One of the most interesting stories is the battle between Ilya Muromets and his son. Ilya’s temporary marriage with Vlpolenitsa, whom he defeated, and his abandonment of his pregnant wife are the most archaic. At the same time, their son is teased by his peers and sets out to avenge his mother’s dishonor. Muromets encounters his son as a trespasser, recognizes him and introduces him to the circle of heroes. But when he again tries to kill his father at night, Ilya, without hesitation, kills the doubly traitor [see. details: pp. 263-266].
In the epic about Ilya’s three journeys, the hero follows from the crossroads of three roads in directions where, according to the roadstone, death, marriage and wealth await him. His calm choice of the first road and the destruction of the danger lurking there are close to a heroic epic, while the rest of the adventures are of a fairy-tale and ecclesiastical nature [see. details: pp. 260-270].
I like the song about Dobrynya and Marinka. And so, the hero who has high moral qualities appears morally completely pure, and the witch who harms him is a seductive enchantress. Marinka, trying to seduce the hero, evokes only disgust in his chaste soul. Then the evil sorceress bewitches him, and when he, exhausted by witchcraft powers, comes to her against his will, she turns him into a tour. Dobrynya’s mother, who herself is sometimes a pure sorceress, helps save her son, and he, having agreed to a symbolic marriage with Marinka, brutally deals with his enemy as a husband [see. details: pp. 270-279].
The epic about Dobrynya's departure and Alyosha's failed marriage is one of the most widespread in Russian epic. Due to Dobrynya's long absence, his wife is about to marry Alyosha, who brought the news of her husband's death, when Dobrynya returns unharmed and Alyosha is left in an uncomfortable position. The intriguing conflict of two very different temperamental heroes, united by the defense of the Motherland, cannot achieve the dark, bloody outcome characteristic of the epic. The ancient plot takes on a comic tone in the finale, the heroes make peace, and the woman says goodbye. This song gave many scientists the opportunity to try to portray Alyosha Popovich in a negative and immoral form, as a seducer of honest women, although the only thing he can be accused of here is false news. Generally speaking, in the epic Alyosha appears temperamental and mischievous, but not in any way immoral. Prince Vladimir, who in some cases forced Dobrynya’s wife into marriage, is sharply condemned [see. details: pp. 279-288].
Epics about repelling the Tatars. The heavy yoke of the Mongol conquerors, which hampered the development of Rus', simultaneously contributed to a new stage in the development of the Russian epic, the emergence of a number of patriotic epics praising the military overthrow of oppression. The songs were filled with new ideological content, acquired new artistic features and broke with ancient traditions. For a long time, the only content of the epics was the theme of the struggle for independence, honor and freedom of the Motherland [see: part 3]. In the song about Ilya’s rebellion against Vladimir, we see a seemingly contradiction to the main idea of the Russian epic, service to Kiev, however, here the social difference between a hero from the people and a rich prince finally results in a clash. Muromets, not invited to the feast, comes there without permission. The prince does not recognize him, once again demonstrating how little he appreciates all the merits of the hero. Insulted, Ilya defiantly leaves and arranges his own feast for all the poor. Following the slander of the boyars, Vladimir puts him in a cellar here to starve to death. Sometimes, this instruction is carried out; in other cases, Vladimir is forced to reconcile with the hero and arrange a feast especially for him, or Ilya and all the heroes leave Kyiv. In any case, in the future the prince will be put to shame, but the hero will triumph. This epic demonstrates how an insurmountable gulf opened up between the people and the class power before the invasion of the Tatars [see. details: pp. 291-303].
Almost all epics about repelling the Tatars speak about the appearance of the Tatars near Kiev and their dispersal by Russian troops. A circle of songs about Ilya Muromets and Tsar Kalina, organically connected with one another, V.Ya. Propp considers in totality [see: part 3, ch. II, paragraph 2]. This allows us to get a picture of the invasion drawn by the people step by step and find out the deep national aspirations in each song. The poetic chorus that opens one of the epics of the cycle under consideration tells of a sign foretelling the death of Kyiv. Since this is the only case where faith in signs is found in the epic, Kiev does not perish at all, but is saved and there is a separate antiquity with a similar plot on a completely religious theme, the author with all grounds sees here a motif unreasonably attached to the military epic [see. details: pp. 306-310]. The appearance of the Tatars is described with a high degree of historicity: huge enemy hordes, clear organization of troops, autocratic command, siege tactics of the Tatars [see. details: pp. 310-314]. The Tatar ambassador, who arrived in Kyiv with the khan's label, always behaves defiantly, emphasizing the ultimatum conditions of surrender and contempt for the Russians [see. details: pp. 314-316]. Many of the cruel demands and threats of the Tatars are also historical [see. details: pp. 316-318]. Vladimir, in the face of impending danger, does nothing to actively defend the city. He prays, thinks about surrendering the city, about accepting the Tatar conditions [see. details: pp. 318-321]. There are no heroes in Kyiv at this time. Sometimes they are gone on business, but more often they are in disgrace with the prince, which he regrets [see. details: pp. 321-322]. The main defender of the city, Ilya Muromets, condemned to starvation in a cellar, was secretly supplied with food through the efforts of Princess Eupraxia, and now Vladimir is trying to persuade him to defend not the authorities, but the Fatherland. The hero agrees, often after reprisal against the boyars guilty of slander [see. details: pp. 322-326]. Having soberly assessed the enemy's strength [see. details: pp. 326-327], Ilya himself goes to the camp to Kalinin, where he asks for a reprieve and receives it [see. details: pp. 327-328]. By entrusting someone with the fortification of the city [see. details: pp. 328-329], Muromets undertakes to look for heroes. He finds them at Samson's headquarters, a new camp where the wars have spent their time in idleness since the time of disgrace. Oddly enough for an epic, the heroes refuse to go. But this desire arises due to proximity to folk, and not princely-boyar, Rus'. They will strike at the decisive moment [see. details: pp. 329-331]. In deserted Kiev, the young hero Ermak (not a historical figure, but a character of the same name introduced into the epic for his merits) appears to Vladimir and asks for permission to fight his enemies. Having failed to fulfill the prince's instructions, Ermak goes to the heroic headquarters. Muromets sends him to count the enemy force, but the hot Ermak rushes into battle and dies. This exceptional case of the death of a hero in the Russian epic is a consequence of violation of Ilya’s order [see. details: pp. 332-334]. The battle is always described briefly. If there is no heroic support, then Muromets rushes into battle alone. If there is one, he intelligently manages the distribution of forces [see. details: pp. 334-337]. Sometimes Ilya is captured by cunning and brought to Kalin, who tries to lure the hero to his side [see. details: pp. 337-338]. The enemy's proposal infuriates Muromets so much that he breaks his chains and, waving the first Tatar he comes across and calling Samson and other heroes with a spoken arrow, finally finishes off the Tatars. When leaving, the enemy takes an oath never to return [see. details: pp. 338-339]. Along with the final defeat of the enemy, there is another ending to this song, called the epic about the Kama (Mamaev) massacre, or about how since when there were no knights in Rus'. In one version, two brothers who did not participate in the battle begin to boast emptyly and the Tatars come to life, and it is not possible to chop down the living dead, their number only increases. Prayer destroys the unearthly power, and the heroes disperse to monasteries. This song has a religious-church orientation, it is due to sermons about humility. In another version, the heroes, proud of their victory, themselves challenge the “Heavenly forces.” They fearlessly destroy the revived force. The character of this epic, on the contrary, is atheistic, and it expresses popular thoughts [see. details: pp. 339-344]. In addition to this song, many later songs based on it also tell about the fight against the Tatars, for example, the epic about Vasily Ignatievich and Batyga. Before the impending invasion, Vladimir goes to the tavern to ask for help from the only remaining hero, Vasily, who has been drinking for several years and has squandered absolutely all his goods. Having gotten drunk, he kills Batu’s associates with cursed arrows, who sends a demand to hand over the culprit. In one case, the hero himself goes to the enemy camp and, having tricked the Tatar army into the wilderness, destroys it. In another, the council of boyars immediately betrays Vasily. Now he really concludes an agreement with the enemy in order to lead him against the city’s rich, still sparing Prince Vladimir. The Tatars plunder the city without respecting the treaty, and
They look at it together.
