Russian literature 11th - 18th centuries. Development of Russian literature of the 11th – 18th centuries

(or 1030s) - compilation of the Truth of Yaroslav.

Translated monuments of the 11th century

Questions about whether the translations of certain monuments are South Slavic or Old Russian still often do not have a generally accepted solution. According to D. M. Bulanin, not a single monument of the 11th century can be confidently identified as translated into Rus', and not into Bulgaria, but there is also no indisputable evidence to the contrary.

main sources

• Dictionary of scribes and bookishness of Ancient Rus'. Vol. I (XI - first half of the XIV century). L., Science. 1987. 496 pp.
• History of Russian literature. In 4 volumes. T.1. L., Science. 1980. P.19-61.
• History of Russian translated fiction. Ancient Rus'. XVIII century. T.1. Prose. St. Petersburg, Dmitry Bulanin. 1995. Chapter 1. Ancient Rus'.
• Story world literature. In 9 volumes. T.2. M., 1984.
• Likhachev D. S. The Tale of Bygone Years: historical and literary essay; Archaeographic review of the lists of “The Tale of Bygone Years”. // Tale of Bygone Years. St. Petersburg, Science. 1999. pp. 271-378 (reprint of articles from 1950).
• Comments in the publication: Library of Literature of Ancient Rus'. In 20 volumes. T.1-3. XI-XII centuries. 1997-1999.

Notes

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Books

• Old Russian literature, Demin S.A.. The book is a textbook containing a broad analysis of Old Russian literary monuments dedicated to Russian literature of the 11th beginning. XVIII centuries. The collection is based on works...

I .Theoretical and methodological problems.

1 place literary culture XI – XVIII centuries. in the history of Russian literature, its connections and overlap with the literary life of the 19th – 20th centuries. The relativity of such convergences that arise as a result of rethinking cultural phenomena XI – XVIII centuries. in the spirit of later aesthetic ideas and, at the same time, their necessity for understanding the integrity and historical continuity of Russian literature. The fruitfulness of a double perspective in the philological representation of historical and literary eras: from the point of view of the era itself and from the point of view of modernity. Possibilities for reconstructing the cultural consciousness of a certain historical period difficulties and limitations that arise. The need to observe historicism when referring to archaic literary eras.

2. Problems of studying ancient Russian books and literary XVIII culture century. Transfer to the literary culture of the 11th – 18th centuries. principles for describing the history of literature, developed on the material of the 19th - first half of the 20th centuries, the costs of this. Double resistance (actual material and public consciousness), provided by the literature of the 11th – 18th centuries to these concepts (sociological, formalistic, structural). The discrepancy between the literary culture of the 11th and 18th centuries. the concept of historical literary process.

3. The possibility of considering the literary culture of the 11th – 18th centuries. as a system of verbal creativity that is unified in its diversity. Factors determining its internal unity (a) the absence of the concept of literature and the associated special place of literature in the cultural system, b) a reflective-traditionalist attitude towards the word - the culture of the “ready-made word”, c) an unconventional understanding of the genre and its ontological nature, the influence of this on the structure of the text, etc.). Dynamic, changing nature of this system.

4. Periodization of literary culture of the 11th – 18th centuries, emerging problems, conventions of periodization. Old Russian literature Kyiv period(XI – XIII centuries). Northeastern - Moscow verbal culture (late 12th – 16th centuries). The transition period from the Middle Ages to new literature (Early Modern Time) (mid-XVII - mid-XVIII centuries). Literature second half of the XVIII- early 19th centuries

II . Old Russian literature ( XI – XVI centuries) as the classical medieval verbal culture of the Orthodox Slavs

1. Features of the literary culture of the Middle Ages as a special period in the history of Russian literature: a) the specificity of cultural everyday life, b) the religious nature of verbal creativity, c) the absence of national self-identification: ancient Russian bookishness as part of the Pax Slavia Orthodoxa, d) the extreme weakening of the personal principle, e ) lack of explicit rhetoric.

2. Features of the verbal culture of Kievan Rus. The entry of East Slavic writing into European cultural space. Literature of Kievan Rus and Byzantine literature. The genre composition of Kyiv literature, its spiritual-ascetic and secular components. Weakening of secular (princely) literary tradition in the 13th century.

3. Features of verbal culture of the late XIII – XVI centuries. Differences from the Kyiv era. Main genres, dynamics of their development. Periodization of literature of the 13th – 16th centuries, characteristics of the periods.

4. Experiences in retrospective reading of monuments of ancient Russian literature, identifying in them verbal and semantic principles that, in the context of the cultural consciousness of the 19th – 20th centuries, acquire aesthetic meaning (works).

III .Transition from the Middle Ages to the New Time (Early Modern Time) (middle XVII - first half XVIII centuries): bookishness of the Orthodox Slavs on the paths of Europeanization.

1. Purpose and content of the transition period. Europeanization, its various options, implemented in the second half of the 17th and early 18th centuries. Identification of elite book culture. Transition period and secularization processes in the development of culture. Development of literary baroque; two stages of Russian Baroque - church and secular, their similarities and differences. The change in the writer's type in the era of Peter the Great, its influence on literary life. Changes in the external literary context (the nature and type of international literary connections).

2.Transformation of the genre system in the transition period, its stages; rethinking the meaning and functions of traditional genres; the gradual formation of a new core of the genre system, oriented towards the European literary tradition.

3. The impact of Europeanization and secularization processes on literary language and poetry. The problem of creating something new literary language. Reform of Russian verse, its main stages.

4. Introducing East Slavic writing to the European rhetorical tradition; the emergence of rhetorical theory and changes in the type of verbal culture.

5. Assimilation of the ancient heritage in the transitional era, various shapes this, proposed by Russian culture. Russian literature's awareness of itself as a reception of antiquity and the final transition of Russian literary culture into the European paradigm.

6.Gradual formation of the concept of literature in mid-18th century V. The emergence of the idea of ​​the connection between the aesthetic principle of a word and its referential function, a change in attitude towards fiction and the transformation of mimesis, preparing the ground for the emergence of individual artistic worlds.

IV .Literature of the second half XVIII – started XIX centuries: from traditional literary culture to the literary process .

1.Changes in the status of literature in the mid-18th century. New forms literary life and literary centers. Literary clubs. Magazines. Satirical journalism of the years and the beginning of formation public opinion. The problem of national self-identification of literature in the second half of the 18th century.

2. Development of leading literary genres in the second half of the 18th century. History of Russian ode. The evolution of tragedy. Comedy in the second half of the 18th century, its main varieties. Development of narrative prose, strengthening of the fictional principle.

3. The general movement of literature from the culture of the “ready word” to the culture of the “unready word”. Personalization literary creativity, the relationship between individual intentions and rhetorical regulation in the verbal culture of the second half of the 18th century. The problem of the artistic (possible) world in literary practice late XVIII – early XIX centuries.

4. The beginning of the movement of literary culture towards existence in the forms of the literary process, the duration and gradualness of this movement. The Pushkin era as a transitional area between traditional literary culture and the period of the literary process.

Literature

1. Alekseeva’s ode. Development of the odic form in the 17th – 18th centuries. St. Petersburg, 2005.

3. Bulanin Rus' // History of Russian translated fiction. St. Petersburg, 1995.

4. Bukharkin’s church and Russian literature in the XVIII – 19th centuries: problems of cultural dialogue. St. Petersburg, 1996.

5. Gukovsky literature XVIII V. L., 1939.

6. Gukovsky poetry of the 18th century. L., 1927.

7. Demkova Russian literature. Poetics, interpretations, sources. St. Petersburg, 1997.

8. Eremin and articles on the history of ancient Russian literature. L., 1987.

9. Eremin of Ancient Rus' (Sketches and Characteristics). M., L., 1966.

10. Zhivov in the field of history and prehistory of Russian culture. M., 2002.

12. Likhachev ancient Russian literature. M., 1979.

13. Likhachev of Russian literature of the X – XVII centuries. L., 1973.

14. Mikhailov culture. M., 1997.

15. Nikolaev culture of the Peter the Great era. St. Petersburg, 1996.

16. Panchenko culture on the eve of Peter’s reforms. L., 1984.

17. Panchenko poetry culture XVII century. L., 1972.

18. Picchio R. Slavia Orthodoxa. Literature and language. M., 2003.

19. On the history of Russian classicism // Pumpyansky tradition. M., 2000.

20. Sazonov culture of Russia. Early Modern Time. M., 2006.

21. Čiževskij D. History of Russian Literature from the Eleventh Century to the End of the Baroque. S'Gravenhage. 1962.

Encyclopedic YouTube

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✪ History of Russian literature of the X - XX centuries

✪ History of Russian literature. Lecture 1. Romanticism: poetry of the Decembrists

✪ History of Russian culture in 25 minutes

✪ Golden age of Russian literature. Part 1.

✪ Western literature of the 20th century (lecture -1).

Subtitles

Old Russian literature

Features of Old Russian literature

Citizenship- the writer’s perception of his work as service to his country. The work is distinguished by its seriousness and tries to answer the basic questions of life, calls for its transformation and has a diverse, but always high ideal.

Criticism of reality- denunciation of the actions or rulers themselves. In the 11th century, the chronicler Nikon is forced to flee from the wrath of Izyaslav to Tmutorokan; At the beginning of the 12th century, a certain Vasily compiled an accusatory story about the blinding of Vasilko of Terebovlsky by the princes.

Patriotism- display of literature the patriotic feelings of the author. This trait is associated not only with pride in the Russian land, but also with grief over defeats, and the desire to bring the princes and boyars to reason.

Meetings

As of early XIX century, ancient Russian literature has been poorly studied, despite the fact that they have been studied largest representatives academic science. Many monuments have not been published. The publication of the “Great Cheti-Menya” has not been completed, the “Greek and Roman Chronicler” has not been published, the “Prologue” has not been scientifically published, most of the collections of stable composition and some chronicles have not been published. Only partially the works of Simeon of Polotsk have been published; No scientific publications many famous monuments ancient Russian literature.

Some manuscript collections of monuments are not described sufficiently or not at all. The largest literary collections and works are stored in Moscow, St. Petersburg, Kyiv; smaller ones are available in Novosibirsk, Pskov, Yaroslavl, Vladimir, Rostov, Kostroma. Found in small quantities in local history museums, scientific libraries universities, archives, collectors and Old Believers.

The most common type of manuscripts are collections. The scribe rewrites works according to some criteria in a notebook. But it also happened that a bookbinder collected existing notebooks and bound them only because they were of the same format or had the same content. Such collections are usually called convolutes.

There are also different collections of certain (traditional) content, such as “Zlatostroy”, “Izmaragd”, “The Triumphant” and so on; and collections of uncertain content, reflecting the individual tastes and interests of a particular scribe or customer.

Large-scale works (chronicles, works on world history, patericon, works of church service nature, prologues - collections short lives saints, etc.) were bound into separate books.

The sense of copyright ownership was not developed, and therefore the works they liked could be included in other works as they were rewritten. This rewriting brings folklore and literary works together.

Until the 11th century

Old Russian literature belongs to medieval literature. Most of the works did not have a permanent text.

The works do not strive to amaze with novelty, but, on the contrary, reassure with familiarity. While creating, the author seems to “perform a ritual”: he tells everything in appropriate ceremonial forms. He praises and condemns what is customary to praise and condemn.

XI-XII centuries

This is the century of formation of the monumental-historical style of literature. Development takes place in two cultural centers: Kyiv and Novgorod. The literature of that time is entirely handwritten. The first hagiographies were created: “The Life of Boris and Gleb” and “The Tale of Bygone Years” (the first chronicle that has reached us).

XIII century

Words and teachings of the didactic type appear in the teaching to the spiritual child, where the author is Gregory the Philosopher, also known as “George the Monk of the Zarubsky Cave.” Rhetoric also appears in words, for example, in “The Word of the Saints the Apostle, like from Adam in Hades to Lazarus.”

A new genre of “prose articles” appears in Kyiv writing, which describes the lives of princes; they are distinguished by rich factual material; chronicle-hagiographic articles continue to develop. A collection book is being created, Prologue. The Kiev-Pechersk Patericon was created, which reminded the Russians of the former power of the Kyiv state and carried the idea of ​​​​the unity of the Russian land.

XIV-XV century

Begins to dominate historical genre, which reflects the struggle of the feudal past with the unification of Rus'. The chronicles extol Moscow as the center of unification. And the policies of princes who destroy unity are condemned. At the same time, the Novgorod chronicles express anti-Moscow sentiments, but the history of Veliky Novgorod is associated with the fate of the entire Russian people and these trends disappear. In the process of the formation of autocratic power, elements of Romanesque literary culture appeared, despite the fact that Russian literature had not yet entered into communication with Western literature.

The Battle of Kulikovo is described in several monuments, but the best story According to I.P. Eremin, Zadonshchina is considered. Bylin o Mamaev's massacre has not survived, but their existence is confirmed by research into the legend of the Massacre of Mamaev.

Oral poetry of an epic nature is emerging (for example, excerpts from a folk story about the death of “great and brave heroes"). In addition, a new rhetorical style appeared introduced by the hesychasts.

The epic is replenished with new proper names: Kulikovo Field (the epic name of any battlefield or execution) and Mamai (any Busurman king). In the people's memory, not only the fact of victory is preserved, but also its price: “Empty, how Mamai passed.” There appear, albeit weak, descriptions of the characteristics of the characters in the “parable of the stealers.” The genre of parables appears.

The translated Byzantine chronicles of John Zonara and Constantine Manasseh also played a role in the development of Russian historical narrative. The Tale of Stephanite and Ikhnilat answers the pressing question about the role of royal advisers.

Translated: “Praise to God.” The “Consolidated Patericon” is being created. Apocryphal literature becomes popular. Based on the apocrypha, an index of false books appears among the southern Slavs (probably in Bulgaria). A little later, a list of “true” books, i.e., recommended for reading, appears, which final version was published in the Kirillovskaya kniga.

Mongol-Tatar yoke

16th century

17th century

The century of transition to the individual principle in literature. Tastes, styles, literary professionalism and feelings of authorial ownership, individual and personal protest (associated with tragic turns in the writer’s biography) develop. The syllabic system of versification and regular theater also appeared.

XVIII century

Reforms in versification

Lomonosov, among the best students of the Slavic-Greek-Latin Academy, goes to Germany to study. At the same time, V.K. Trediakovsky begins to study “a new and multiple way of composing Russian poetry”; he was the first to set the goal of creating a verse corresponding to the structure of the Russian language, abandoning the syllabic structure; indicates that “the poetry of our common people brought” him to the idea that the Russian language is characterized by syllabic-tonic versification, based on the same number of stresses in each verse, on the alternation of stressed and unstressed syllables, and not syllabic, based on the number of syllables in a line.

Lomonosov brings this idea to the end and writes “A Letter on the Rules of Russian Poetry,” where he proved (in theory and in fragments own works), that the Russian language makes it possible to write not only with trochee and iambic, as Trediakovsky claimed, but also with anapest, and a combination of iambics with anapests, and trochee with dactyls, that it is possible to use both masculine and feminine rhymes and alternate them. Lomonosov believed that syllabic-tonic versification should be extended to poems of any length - eight-syllable, six-syllable, four-syllable, and not just eleven- and thirteen-syllable, as Trediakovsky did.

Lomonosov considered the main condition of Russian national poetry to be that “Russian poetry should be composed according to the natural properties of our language; and what is very unusual for him should not be brought in from other languages.”

“Preface on the benefits of church books in the Russian language,” which explains his theory of the “three calms” and talks about the fact that “ Russian language from Vladimirov’s possession to the present century, more than seven hundred years, has not been so much abolished that the old cannot be understood.” “He determined the patterns in the formation of a new stylistic system of the Russian literary language, systematizing phonetic, grammatical and lexical-phraseological differences between styles,” writes V. P. Vompersky.

Contemporary assessments

Not all contemporaries were able to positively evaluate Lomonosov's innovations; for example, Sumarokov sharply criticized him due to his sympathy for the purity and clarity of style, which was characteristic of classicism.

19th century

Development of literature of the period 1789-1827. cannot yet be considered meaningful. In addition, focusing on the personality of the writer led pre-revolutionary science to strange conclusions that carried over into modern science: speaking about the collapse of classicism, it could not name its winner. Facts and sentiments of the new order were recorded without reflection or were ignored.

In the first quarter of the century, a number of higher educational institutions were opened in the largest centers of Russia: universities, schools, lyceums (among them the Tsarskoye Selo Lyceum). Alexander I makes an attempt to introduce general education by calling the project “on the elimination of the making of false banknotes.”

It is impossible to mechanically transfer the traditional scheme: from classicism through sentimentalism and romanticism to realism to Russian soil due to the uniqueness of the Russian historical process and him literary expression, and the essence and limits of this originality could not yet be clear to the people of this era. This transition in Russia takes place over several decades.

For Europeans, Russia is becoming an object of careful observation and study. Lomonosov and Radishchev remain unknown to the West, but the writers of the 19th century, on the contrary, their works are translated and read, the authors are considered bearers of the same range of ideas as theirs.

Many were concerned about the peasant question; it found, albeit weak, expression in the press. V. G. Anastasevich published a translation of “On the conditions of landowners and peasants” by V. S. Stroynozsky. The same idea can be traced among Radishchev’s followers, united in the Free Community of Lovers of Literature, Science and the Arts: “The Experience of Enlightenment in Relation to Russia”, “The Negro”, etc. This question was opposed in government circles by the question of the unprofitability of serfs for the state within the framework capitalism, for example, in the books of Adam Smith. His student S.E. Desnitsky continued the propaganda of these ideas.

The War of 1812 made a great contribution to literature. This action was clearly demonstrated in his national epic by Leo Tolstoy.

Russian national literature developed on the basis of the growth of national consciousness. The social significance of literature is increasing, and the movement towards nationality is intensifying. The departure of the elite from the Russian language and its literature frees it from the influences of the environment least close to the people. But on the other hand, this contempt of the elite created an atmosphere of slander and hatred for such high poets as Pushkin, Glinka and others. On the other hand, representatives of the democratic strata of the population are pouring into science and literature in a wide stream.

With the growth of enlightenment, the cultural and historical conditions for the existence and development of literature, which previously imparted class and estate limitations, are dying out. The clergy is finally leaving literature. His works are no longer perceived as fiction. Family odographers appear: Sazanivich, Evreiyaov and others. Only these odes are not written in Russian. This family literature, not folk.

On the new psychological basis New classical traditions also appear. The Decembrist Yakushin, whose favorite authors: Plutarch, Titus Livy, Cicero, extols the wisdom of Solon, is ready to pick up the “dagger of Brutus” that struck the “tyrant”.

On the eve of December 14, 1825, it is generally accepted that all authors were and expressed themselves in one way or another within the framework of the ideas of the Decembrists. Western literature was widely developed among the Decembrists. Their socio-political views of the Decembrists were influenced by reading the books of Benjamin Constant, Madame Stael, Detu de Tracy, Adam Smith and others. After the defeat of the Decembrists, their ideas remained alive in literature.

XX century

A.P. Chekhov is considered a transitional figure who belongs to both centuries. Thanks to him epic genres: novel, story; and the story - began to be differentiated. He was considered a reformer of drama and theater.

An ideologically new Soviet literature appears, allegedly emerging immediately after the 1917 revolution. Ideological dogmas collapsed. Due to politics, the unified national literature is divided into three branches: Soviet, “detained” (within the country) and Russian literature abroad.

“Proletarian” poetry enjoyed the benefits of politicians; its face was determined by the best poets of the “Silver Age”: A. Blok, N. Gumilyov, A. Akhmatova and others.

Trotsky noted that “literature after October wanted to pretend that nothing special had happened and that it did not concern it at all. But somehow it turned out that October began to manage literature, sort and shuffle it - and not only in the administrative, but also in some more in a deep sense" A. Blok not only accepted the revolution, although he understood it in his own way: “The Twelve”, “Scythians”, the article “Intelligentsia and Revolution”.

Thus, literature from the end of 1917 (the first “swallows” - “Eat pineapples, chew hazel grouse, / your last day is coming, bourgeois” and “Our March” by Mayakovsky) to the beginning of the 20s is a small, but very important transition period. From the literary point of view, as emigrant criticism correctly noted, this was a direct continuation of pre-revolutionary literature. But qualitatively new signs were maturing in her; a split into three branches of literature occurred in the early 20s

Literature of the period of centralized Russian

Literature of the period feudal fragmentation and unification of North-Eastern Rus' (XII-XV centuries)

The process of feudal fragmentation led to the collapse of Kievan Rus and the formation of new political and cultural centers: Vladimir, Moscow, Novgorod, Tver principalities. Literature develops separately in each of them. But during the period of the struggle against the Tatar-Mongols, literature called for the unification of all forces to fight against the enemies. The most significant literary monuments of this period are “The Prayer of Daniel the Prisoner”, “The Tale of the Devastation of Ryazan by Batu”, “Zadonshchina”, “Walking across the Three Seas”, “The Tale of Peter and Fevronia”.

states (XVI-XVII centuries)

During this period, the literature of the emerging Russian nation was created. The church worldview is giving way to a secular one, and a more widespread democratic readership is appearing. They are becoming more democratic in both form and content literary genres. Artistic fiction emerges, which until the 17th century. was not in the literature. Literature of the 17th century mostly worn journalistic character, reflected the ideological positions of the warring parties (Correspondence between Tsar Ivan the Terrible and Prince Andrei Kurbsky). The literature of this period is characterized by the development of the story, presented in its various genre exploits: hagiographical (“The Tale of Juliania Lazarevskaya”), historical (“The Tale of the Azov Siege of the Don Cossacks”), everyday (“The Tale of Woe and Misfortune”), satirical (“The Tale of Shemyakin court", "The Tale of Ruff Ershovich", "The Tale of Hawk Moth").

An outstanding writer of the 17th century. was Archpriest Avvakum, author of the Life.

In addition to democratic literature in the 17th century. continues to develop and high literature, a special style emerged, called “Baroque”. Baroque was an aristocratic phenomenon, opposed to Russian democratic and satirical literature. This trend embraced court poetry and drama.

1. On what materials were books written and correspondence conducted in Kievan Rus?

2. What types of writing do you know?

3. What is the language of Old Russian literature?

4. What genres of ancient Russian literature do you know?

1. The most ancient chronicles.

2. “The Tale of Bygone Years” as a literary monument.

3. A. A. Shakhmatov about “The Tale of Bygone Years.”

4. Genre diversity.

5. Features of style.

Basic vocabulary:

Original Russian literature, chronicles, literary etiquette, legends, toponymic legends, the principle of medieval historicism, lives of saints, genre features, perseverance, meekness, humility.

Literature:

Likhachev D.S. Development of Russian literature X-XVII centuries: Epochs and styles. L. 1973

Likhachev D.S. Russian chronicles and their cultural historical meaning M.,L., 1947

Dictionary of scribes and bookishness of Ancient Rus'. Vol. 1 (XI - first half of the XIV century) L., 1987.

XI century - the heyday of the political power of Kievan Rus, the heyday of Russian culture. Under Prince Yaroslav the Wise, the territory was unified ancient Russian state, the independence of Rus' is strengthened. The 11th century is a time of active political and cultural ties between Rus' and all European countries. It was in Kyiv in the 11th century. Chronicle writing began, which was carried out throughout Rus' until the 17th century. At the St. Sophia Cathedral in the 11th century, a library was founded where manuscripts were stored and copied. “There is great benefit from bookish learning. These are the rivers that water the universe, in them is the source of wisdom, immeasurable depth, with them we console ourselves in sorrow.” This is a hymn in honor of the book, indicating a high cultural level Eastern Slavs XII century

Runs through all Russian literature central theme- theme of the Russian land and its historical destinies. Already in the first ancient Russian works, the idea of ​​patriotism, pride in one’s native land, its power, political and religious independence is heard.

After the adoption of Christianity in Rus', a variety of translated literature appeared: chronicles, historical stories, solemn words, teachings. But it would be wrong to think that it was translated literature that became the basis of Old Russian literature, a model for Old Russian writers. She was greatly influenced by the rich traditions of oral folk art. When writing appeared, Russian scribes began to write down everything major events of its time. This is how one of the first genres of Russian literature arose - the chronicle. Chronicles are Russian historical works in which the narrative was told by year.

The greatest historical and literary monument ancient Rus' was the “Tale of Bygone Years,” written in 1113 by the monk of the Kiev-Pechersk Monastery Nestor. About this work by academician. D.S. Likhachev wrote: “High literary education Nestor, his exceptional reading of the sources, his ability to select everything essential in them, made “The Tale of Bygone Years” not just a collection of facts of Russian history and not just a historical and journalistic work, but an entirely literary history of Rus'.” (The Tale of Bygone Years - M.,L., 1950, part 2. page 123).

However, The Tale of Bygone Years is not the oldest chronicle. For more than two centuries, many generations of scientists have been studying the issue of the emergence and development of chronicle writing in Rus'. Currently, thanks to the research of academician. Shakhmatova A.A. we can talk about the history of Russian chronicles. A.A. Shakhmatov applied the comparative historical method. He proved that this historical and literary monument is based on more ancient chronicle vaults, in particular, the Ancient Kyiv vault. A.A. Shakhmatov presented the results of his research in the work “Research on the most ancient chronicles” (St. Petersburg, 1908), “The Tale of Bygone Years” (vol. 1 Pg. 1916)

Chronicle writing appears in the St. Sophia Monastery, but in the 70s. XI century The chronicle was transferred to the Kiev-Pechersk Monastery, whose outstanding figures were its founders - Anthony, Theodosius and Nikon the Great. A.A. Shakhmatov believes that the author of the Kiev-Pechersk chronicle was Nikon the Great. At the end of the 11th century. the Kiev-Pechersk or Initial vault arises.

The initial code became the basis of The Tale of Bygone Years. The first edition was compiled by Nestor in 1113, the second by Sylvester in 1116, the third unknown author in 1118.

Interesting clarifications of the hypothesis of A.A. Shakhmatov about the history of chronicle writing were made by academician. Likhachev in the book. “Russian chronicles and their cultural and historical significance” (M., Leningrad, 1947) and in the study of academician. Rybakova B.A. "Ancient Rus'. Tales. Epics. Chronicle" (Moscow, 1963).

The Tale of Bygone Years reflected the interest of the Russian people in the historical past of their Motherland. “Where did the Russian land come from, who started the reign in Kyiv and where did the Russian land come from” - this is the task that the chronicler set for himself. The theme of the Motherland, its greatness and power, its unity, deep patriotism constitute the ideological and thematic content of the chronicle. Whatever the chronicler talks about - about the military campaigns of the Russian princes, about their activities aimed at strengthening the political and religious independence of Russia, about fratricidal feudal wars, about the events of bygone years - always the interests of the Motherland and the high patriotic idea determine the point of view of the author, his assessment of the actions of the princes and the events about which he narrates. Noting the ideological orientation of “The Tale of Bygone Years,” the historian V.O. Klyuchevsky wrote that it is characterized by “the awakening throughout society of the thought of the Russian land as something integral, inevitable, obligatory for everyone.” (V.O. .Klyuchevsky. Course of Russian history. M., 1911, volume 1 p. 248).

In terms of genre, the Russian chronicle is not something uniform. In addition to brief records of events (weather records), Nestor introduced into the chronicle various genres of literature (stories, messages, lives), business documents, and works of oral folk art. Despite the difference in genres included in the chronicle, it represents unified education, because the chronicle genres make up a certain ensemble. For each genre, a certain stylistic manner of presentation and literary etiquette were developed. Reports about the military campaigns of the princes occupy more than half of the chronicle. They are followed by news of the death of the princes. An important group of chronicle news consists of information about heavenly signs - eclipses of the sun, moon, earthquakes, etc.

The multi-genre nature of the chronicle also determined the variety of artistic and stylistic means in “The Tale of Bygone Years.”

The role of oral folk art in the formation of the chronicle style is great. The chronicler makes extensive use of toponymic legends and family traditions, ritual poetry and folk tales, legends, proverbs and sayings. Talking about the first Russian princes, he resorts to certain methods of oral folk epic/ extreme generality, hyperbolism, strict objectivity, repetition /.

The dominant style in the chronicle, as well as in Russian literature in general from the 11th to 13th centuries, is the style of monumental historicism. The chronicler writes only about those historical figures who occupy a high position in the feudal hierarchy. The leading principle of depicting a person in the literature of this time was the principle of medieval historicism, according to which purely official events of historical significance for the state were recorded in the chronicle. Private life a person and his life remain out of sight of the chronicler.

The principles of medieval historicism are most clearly presented in the historical stories and legends included in the “Tale of Bygone Years”: “The Tale of 1015 about the murder of the brothers Boris and Gleb by Svyatopolk and the revenge of Yaroslav”; "The Tale of the Blinding of Vasilko Terebovlsky."

The language of The Tale of Bygone Years reflects the spoken language of its time. Direct speech historical figures occupies a significant place in the style of the chronicle. The prince makes speeches to his squad, the ambassadors conduct diplomatic negotiations. They testify to high oratory skills. Special terminology is widely represented in the “Tale”: legal, church, military, hunting.

"The Tale of Bygone Years" played important role in the development of regional chronicles and in the creation of chronicle codes of the 15th-16th centuries. The chronicle has not lost its historical, educational and educational value Nowadays.

1. What is the purpose of creating a chronicle?

2. What does the principle of weather records mean?

ORATORIC PROSE. HIF LITERATURE.

With the establishment of Christianity in Rus', the genre of church sermon began to play an important role. In the 11th century there were already translations of the “words” of talented Byzantine preachers. Under the influence of Byzantine preaching, the original genre of Old Russian sermon took shape. In ancient Russian oratorical prose, two types are distinguished: political eloquence and solemn or panegyric eloquence.

An outstanding work of solemn eloquence of the first half of the 11th century. is the “Sermon on Law and Grace” by Metropolitan Hilarion of Kyiv. It was written between 1037-1050. Priest of the princely church in Berestov.

“The Sermon on Law and Grace” is imbued with the patriotic pathos of glorifying Rus' as equal among all states of the world. Its main theme is the equality of all Christian peoples, regardless of when they adopted Christianity. “The Sermon on Law and Grace” consists of three parts. The first part is devoted to comparing the Law (Judaism) with Grace (Christianity) and justifying the superiority of Grace over the Law. Hilarion sees this advantage in the fact that the Law is nationally limited and applies only to the Jewish people. The relationship between people and God in the Old Testament era was determined by unfree submission to the Law. In the era of the New Testament, these relationships were determined by a free principle - Grace and reflected the idea of ​​​​the equality of all peoples, regardless of the time of their introduction to Christianity.

Hilarion in the second part moves on to describe the spread of Christianity in the Russian land. According to Hilarion, Rus' has equal rights with all countries and peoples and does not need anyone’s tutelage.

Hilarion uses the medieval theological idea, according to which each country had its own apostle who enlightened it in the Christian faith, as a logical transition from the second to the third part of the word “Words”. Prince Vladimir the Baptist was such an enlightener of the Russian land. Hilarion lists Vladimir's services to the Russian land and compares his activities with the acts of the apostles and Emperor Constantine Flavius. Hilarion exalts Vladimir’s feat in accepting and spreading Christianity in Rus'. For Hilarion, the feat of Vladimir is higher than the feat of Constantine, for the latter introduced Christianity in a country where most of population already professed this religion. Vladimir baptized the pagan country.

Hilarion's work is distinguished by its pronounced political orientation. Defending the idea of ​​equality of all Christian peoples, the speaker thereby affirmed the idea of ​​​​political and religious independence of Rus' from Byzantium. Glorifying the feat of Vladimir, Hilarion says with a sense of pride that Vladimir ruled “not in a bad and unknown land, but in the Russian one, which is heard and known to all ends of the earth.”

Hilarion's "Word" is distinguished by its high artistic merit. Hilarion brilliantly masters oratory, using numerous techniques of rhythmic organization of the text. He makes extensive use of book metaphors, symbols, rhetorical questions and exclamations.

A talented ancient Russian orator of the late 12th century. There was also Kirill Turovsky. In his works, Kirill Turovsky used allegorical images and symbolic parallelism, internal monologues, dialogues, laments.

The emergence of original Russian hagiography was determined by the internal needs of the ancient Russian state. Surrounding the prince's personality with an aura of holiness, the lives contributed to the political strengthening of the foundations of the feudal system.

Lives are biographies of spiritual and secular persons, canonized by the church, i.e. recognized as saints. The heroes of the lives were either Christian ascetics or princes. Boris and Gleb became the first Russian saints. Yaroslav the Wise, after persistent attempts, achieved the canonization of his brothers from Byzantium. Two lives tell about the life and death of Boris and Gleb - “Reading about Boris and Gleb” and “The Legend and Passion and Praise of Boris and Gleb” written at the end of the 11th - beginning of the 12th centuries.

Boris and Gleb became victims of the struggle for the Kiev princely table. Princely feuds in the struggle for power are a common phenomenon in the history of any early feudal state.

The most important idea in the lives of Boris and Gleb is the idea of ​​the unity of Rus' based on the observance of feudal relationships between princes: all princes are brothers, but the elders must protect the younger ones, and the younger ones must obey the elders. The righteous behavior of Boris and Gleb consisted in the fact that even under the threat of death they refused to speak out against their older brother, to raise their hand against him. Such behavior should have served as an example to other princes, contributed to ending civil strife, and strengthening the state as a whole. In “The Tale of Boris and Gleb” it is emphasized that after the decisive battle between the “cursed and damned” Svyatopolk and Yaroslav, peace and order came to Russian soil: “And from that time on, sedition on Russian soil ceased.”

Svyatopolk - this second Cain - is punished, and Boris and Gleb are recognized as saints helping the Russian land, and for this they are especially revered.

Lives were built according to certain canons / rules / in accordance with literary etiquette. They begin with a lengthy introduction / thus, in “Reading about Boris and Gleb” the story starts from the creation of Adam and Eve, the crucifixion of Christ and focuses on the baptism of Rus'. Then the fate of the hero is outlined, the life ends with a description of the miracles that occur after the death of the hero, then a prayer follows. The author emphasizes every time that Boris and Gleb know about the danger that threatens them, but do not resist.

D.S. Likhachev finds precisely in ancient Russian literature the origins of the high psychologism of modern literature: “The appearance of the internal monologue in Russian literature is associated with the names of Tolstoy and Dostoevsky; Meanwhile, the internal monologue is extremely developed in ancient Russian literature: it is already present in the lives of Boris and Gleb, strongly develops in the era of the second South Slavic influence and is represented by magnificent examples in the work of Archpriest Avvakum.”

A special place in the literature of the 11th-12th centuries. The “Teaching of Vladimir Monomakh” also occupies. It was written by Vladimir Monomakh shortly before his death and represents the political and moral testament of the prince to his descendants. The main idea of ​​the “Instruction” is a call for strict compliance with the requirements of the feudal legal order. In his activities, the prince must be guided by national interests and subordinate to them personal grievances and selfish goals.

Vladimir Vsevolodovich Monomakh (1053-1125) - Grand Duke of Kiev. His mother, Princess Maria, was the daughter of the Byzantine Emperor Constantine IX Monomachos. His father, Vsevolod, was an educated man, loved books, collected a library that contained works in many languages. Vladimir proudly wrote later in “Instructions”: “My father, sitting at home, knew five languages, which is why he received honor from other countries.”

Vladimir Monomakh was the largest political and military figure in Rus' at the turn of the 11th-12th centuries. and at the same time an outstanding writer. Striving for peace and voluntary unity, Vladimir Monomakh patronized chronicle writing, recalling the historical unity of the princely family and promoting the legend of the origin of all Russian princes from one prince - Rurik.

During the reign of Monomakh, achievements were made great success who ensured the prosperity of Rus'. Main literary work Vladimir Monomakh - his famous “teaching” to children. This is one of outstanding works ancient Russian literature, it reflected the high cultural level that was achieved in Kievan Rus.

In his “teaching” Vladimir Monomakh covers a wide range of life phenomena, gives answers to questions of political, social, moral life of its time. The author appears before the reader as a politician, philosopher, warrior, and statesman.

A significant place is occupied by the thought of sympathy and help for the weak and oppressed, and of condescension towards them. The old should be revered as fathers, and the young as brothers. The one who asks should be fed and given water, visiting merchants, noble and simple, as well as ambassadors should be given gifts, because both of them, passing through different countries, will glorify a person either good or evil. “Visit the sick, see off the dead, for we are all mortal. Don't let someone pass without greeting them, and kind word tell him.”

Vladimir Monomakh considers laziness to be the main vice. Monomakh pays a lot of attention to the moral qualities of the prince. He considers hard work to be the most important. Labor for a prince is military feat, concern for the protection and well-being of the native land. Monomakh justifies his wishes and instructions with references to the Holy Scriptures and his own life experience. This gives it a special character author's narration, in which elements of didactics are intertwined with autobiography.

The character of the “Teaching” was strongly influenced by Monomakh’s favorite “Six Days” - a story about the world, nature, plants, people - a kind of commentary on the biblical story “about the creation of the world in 6 days.” The lyrical psalms attributed to David, the king and poet who lived in the 1st century BC, had a very strong influence on the Instructions.

A.I. Musin-Pushkin, who published the “Instruction” in 1793, called it “Spiritual”, i.e. Monomakh's will to his children. It is believed that the “Instruction” was completed in 1117, when Vladimir was already 64 years old, and he could take stock of his life. The “Teaching” has come down to us in a single copy of the 14th century. - as part of the Laurentian Chronicle.

1. What is a life and who could become the hero of a life?

2. What is historical background works about Boris and Gleb?

"The Tale of Igor's Campaign"

1. History of the discovery and study of “The Tale of Igor’s Campaign”

3. Ideological content"Tales about Igor's Campaign"

4. Genre originality and meaning of “The Tale of Igor’s Campaign”

5. Walking of Abbot Daniel