Russian national character (in the works of Russian philosophers). Russian national character Ministry of Education and Science of the Russian Federation

1. The versatility of gifts.

The Russian people amaze us with the versatility of their abilities. He is characterized by high religious talent, the ability for higher forms of experience, observation, theoretical and practical intelligence, creative ingenuity, inventiveness, a subtle perception of beauty and associated artistry, expressed in both noce everyday life and in the creation of great works of art.

The main property of the Russian people, the search for absolute good, is the source of diversity of experience and versatility in the exercise of various abilities. From here naturally arises a rich development of the spirit and an abundance of talents. The religious talent of the Russian people and the ability for higher forms of experience are discussed in detail in the first and second chapters. Here we will deal with the question of the mind of the people and art.

Russia became familiar with Western European culture only under Peter the Great and amazingly quickly assimilated it to such an extent that it began to manifest itself creatively in this area. Already in the 18th century, such a versatile genius appeared as Lomonosov, the son of a peasant fisherman, born in the harshest living conditions near the White Sea. The nineteenth century was very rich in outstanding scientists in all fields of knowledge. I will indicate only a few names of people known throughout the world: such are mathematicians Lobachevsky, M.V. Ostrogradsky, P.L. Chebyshev, physicist P.N. Lebedev, who discovered the pressure of light, P.L. Kapitsa, chemists Mendeleev, Ipatiev, crystallographer and mineralogist Evgraf Stepanovich Fedorov, V. I. Vernadsky (biosphere and its laws), Dokuchaev, founder of the science of soil science, physiologist I. P. Pavlov,

S. N. Vinogradsky, *) statesman B. N. Chicherin, historians Karamzin, S. M. Solovyov, Klyuchevsky, Platonov, researcher of Roman and Hellenistic history and archaeologist M. I. Rostovtsev, philosopher Vladimir S. Solovyov. Convincing proof of the high level of Russian science in all fields can be the merits of the articles in the Russian “Encyclopedic Dictionary” of Brockhaus and Efron. After the Bolshevik revolution, in all schools of all countries, children of Russian emigrants are among the first students in terms of ability and success.

The practical mind of the Russian people was manifested in the rapid and very successful development of industry and engineering in the second half of the 19th century. The Soviet government, having begun to instill exaggerated nationalism in our time, is trying with comic zeal to prove that all inventions were made in Russia. However, we must not forget that some important inventions were actually made by Russians; Let us remember, for example, the electrical engineer Pavel Nikolaevich Yablochkov (1847-1894), A. S. Popov, the inventor of the wireless telegraph, or in our time Zvorykin (electron microscope, participation in the development of television). The ingenuity of the Russian peasant and worker has long been noticed even by foreigners. The practical mind of the Russian people is well expressed in the proverbs and sayings that V. Dal collected in his book “Proverbs of the Russian People.”

The love for beauty and a refined perception of it is reflected among the Russian people in the way even completely uneducated people are able to see the beauty of nature. Shchedrin talks about his conversation with a retired soldier, a seventy-year-old man who was going to Mount Athos and, by the way, started talking about miracles. “There is no sign in the world that, by God’s will, could not happen! It’s just difficult to assure, because for this you need to have great simplicity in your heart - then every thing will appear to you on its own. Some people are smart and overflowing, but they walk, roughly across a field, Anddoesn't notice anything. Because in his eyes the width, and the valley, and the heights, and the grass, and the past - everything is everyday life. . . And another person, with an innocuous mind, an ingenuous heart, acting beyond the width, and the valley, and the heights, here hears the voices of the Archangels, and sees disembodied beauties.” “The bird of God sings a song to you, soft breezes cool your head, leaves rustle with quiet sounds in your ears. . . and you become so happy and carefree that you can even cry!” **)

*) V. A. Ryazanovsky. Development of Russian scientific thought in the 18th-20th centuries (natural sciences). 1949.

**) Shchedrin. Provincial essays. III. pilgrims, pilgrims and travelers.

The book “Frank Stories of a Wanderer to His Spiritual Father,” the content of which is the spiritual experience of a peasant wanderer, reports exactly the same perception of nature. Shmelev in the story “Bogomolye” also talks about such a vision of beauty. One might think that Dostoevsky, depicting with amazing power the visions of ordinary people of the glory of God in nature, not only expressed his own experiences, but also observed them among Russian peasants. In “The Teenager,” the wanderer Makar Ivanovich speaks about nature in this way, and in “The Brothers Karamazov,” the elder Zosima talks about a similar vision of nature, in which a young peasant took part with him.

There will be a time when science will free itself from pseudoscientific ideas about “scientificness” and begin to study the purposefulness of all processes in nature, and, consequently, the realization of values ​​in it. Then humanity will learn to see what we hear during every liturgy in the church: “Holy, holy, holy is the Lord of hosts! Fill heaven and earth with Your glory!” (Isaiah 6, 3).

G. P. Fedotov in his book “Spiritual Poems” speaks of the Sophia religiosity of the Russian people. In spiritual verses the angelic beauty of the earth is praised, not its passionate, but its maternal beauty (pp. 76-79); He characterizes the entire cosmology in them as Sophian (140). In connection with sophiology, the Earth is understood as a living being, as Mother Earth. In the book "Russian Religions Mind"he points out that Orthodoxy already in Byzantium had a cosmological, sophiological character. On the Greek icons of Pentecost, under the Apostles, the “King-Cosmos” is depicted, also receiving the gifts of the Holy Spirit. Russian Orthodoxy gave this cosmology great warmth and strength (369). In Russian chronicles, says Fedotov, the moral characteristics of the princes are given, but at the same time their physical beauty is never lost sight of (267).

The love for beauty and artistry of the Russian people was also noticed by foreigners; For example, Legra speaks about her in the book"L'A me russe" (p. 247).

Language is a means for expressing thoughts and creations of the imagination. The virtues of the Russian language can be used as strong evidence of the talent of the Russian people. Literary language was developed by word artists, but it is based on the creativity of the entire people. To agree with this, it is enough to read Krylov’s fables and appreciate in them the accuracy, accuracy, expressiveness and richness of shades of the Russian folk language. It is remarkable that the speech of ordinary Russian people is close to the literary language. No wonder Pushkin said: “It’s not bad for us sometimes to listen to Moscow’s

malt, they say amazingly pure Andin the right language." Already Lomonosov highly valued the Russian language and praised it, perhaps, beyond measure, and in the 19th century, thanks to great writers, he truly achieved a high degree of perfection. Let's remember Turgenev's prose poem. “In days of doubt, in days of painful thoughts about the fate of my homeland - you alone are my support and support, oh great, mighty, truthful and free Russian language! “If it weren’t for you, how could I not fall into despair at the sight of everything that’s happening at home?” “But one cannot believe that such a language was not given to a great people!”

In the most important manifestation of spiritual life, in worship and religious worship in general, the Russian people have developed a high degree of beauty. In the Alexander Nevsky Lavra in St. Petersburg, on the anniversary of Tchaikovsky’s death, his liturgy was always performed. The beauty of this service was amazing - the vestments of the clergy, the beauty of the appearance and voices of the deacons, the singing of the choir, all the details were unusually good and harmoniously correlated with each other. Potapenko's story "Octave" shows how even in small provincial towns, worship was a school of aesthetic education.

The love of beauty and the gift of creative imagination are among the factors contributing to the high development of art in Russia. Let's start with Russian literature.

2. Fiction

Speaking here about fiction, let us focus not on beauty, but on the aspects of literature that serve as proof of the basic properties of the Russian people, discussed in previous chapters.

The sublime character of Russian literature is well known. The search for absolute good, the meaning of life, the denunciation of evil, deep penetration into the recesses of human spiritual life, the educational nature of Russian literature - all these high properties of it are undoubted. I will mention here only a few well-known names, which are enough to recognize the greatness of Russian literature.

The favorite of the Russian people, Pushkin, six months before his death, in the poem “I erected a monument to myself not made by hands,” described his poetry as follows:

And for a long time I will be so kind to the people.

That I awakened good feelings with my lyre,

That in my cruel age I glorified Freedom

And he called for mercy for the fallen.

Pushkin correctly defined the essence of his poetry, as Lev Lvovich Kobilinsky (1874-1947), a philosopher who emigrated from Russia in 1911 as a result of an insult inflicted on him, thoroughly clarified. *)

Wanting to introduce Western Europe to the high spirit of Russian literature, Kobilinsky published a book in German about Zhukovsky and wrote an extensive study about Pushkin, which he did not have time to print. In his work on Pushkin, Kobilinsky, by analyzing such works as “Mozart and Salieri”, “Boris Godunov”, “The Miserly Knight”, etc., convincingly proves that Pushkin was a realist, but he portrayed reality in the light of God’s truth.

In the field of poetry, Pushkin is one of the creators similar to Raphael. There are no flashy colors or sharp forms in his works. Even in depicting the deepest stages of evil or exceptional characters and situations, or everyday reality, he is able to achieve such versatility and harmony, such a synthesis, due to which sharp corners do not appear and the creation of his fantasy turns out to be as meaningful and full of meaning, difficult for us to comprehend, as and world reality itself, guided by Providence. To agree with this, it is enough to recall such works of Pushkin as “Boris Godunov”, “Feast during the Plague”, “The Bronze Horseman”, “Mozart and Salieri” or the poems “Memories”, “Renaissance”, “For the Shores of the Distant Fatherland” , “On the Hills of Georgia.” However, we will not list the pearls of his work: to rename them all, we would have to give too long a list. Anyone who knows these works, who has penetrated sufficiently into their content and form, will not doubt that Pushkin belongs to the ranks of first-class geniuses, in the ranks that include Aeschylus, Sophocles, Dante, Shakespeare, Goethe, Schiller, Dostoevsky, Leo Tolstoy.

Dostoevsky, in his speech delivered during the celebrations associated with the opening of the monument to Pushkin in Moscow, said that “Pushkin is an extraordinary phenomenon. . . and prophetic." He showed the ability of “worldwide responsiveness”, “had the ability to completely transform into someone else’s nationality.” He “shares this “most important ability of our nationality” with our people” and therefore he is our “people's poet.” “The strength of the spirit of the Russian people” is “its striving, in its ultimate goals, for universality and all-humanity.”

*) About his personality and fate, see the memoirs of Andrei Bely “At the Pass”, “Between Two Revolutions”. See also my about him "History of Russian Philosophy", Ch. XXVI.

eternity." Pushkin is a prophetic phenomenon because his poetry expressed “the people of our future.” *)

Lermontov, with his mysterious character, was able to write the blasphemous poem “Gratitude,” addressed to God with ironic expressions of gratitude and ending with the request:

Arrange only so that from now on you

It didn't take me long to thank him.

His wish was fulfilled: six months later, during a duel, a bullet hit him straight in the heart. And this same Lermontov had a high capacity for religious experience. He sometimes perceived nature as it is seen by wanderers with a pure heart, contemplating the glory of God in it. To agree with this, you need to read the poem “When the yellowing field is agitated” and then its end will become clear:

Then the anxiety of my soul is humbled,

Then the wrinkles on the forehead disperse,

And I can comprehend happiness on earth,

And in the heavens I see God.

The same contemplation of nature is expressed in the poem

I go out alone on the road;

Through the fog the flinty path shines;

The night is quiet, the desert listens to God,

And star speaks to star.

On the same basis, the prayer “In a difficult moment of life” arose. . .

Lermontov’s deep religiosity was expressed in his prayer:

“I, Mother of God, am now in prayer.” . . to “Warm intercessor of the cold world.”

It is possible that the mystery of Lermontov’s rebellious soul would be resolved if we understand his fate as he describes in the poem “An Angel Flew Across the Midnight Sky” the life of a soul brought to earth by an angel:

*) See also the valuable article by S. Frank “Pushkin on the relationship between Russia and Europe”, Vozrozhdenie, 1949, notebook 1.

And for a long time she languished in the world,

Full of wonderful desires,

And the sounds of heaven could not be replaced

She finds the songs of the earth boring. *)

Lermontov’s love for Russian nature and for the Russian people is remarkable, expressed, for example, in the poem “I love my fatherland, but with a strange love.” **)

The poem “Three Palms” can only be understood on the basis of a philosophy that recognizes the permeation of the entire world order with moral meaning.” ***)

About Gogol, Merezhkovsky said, referring to his own words, that he set out to fight the devil, depicting him in a comic form, as well as people who, under his influence, had reached extreme degrees of devastation of the soul or its ugliness.

Turgenev, with his “Notes of a Hunter,” promoted the sympathy of Russian society for the liberation of peasants from serfdom. Sensitive to beauty, he excellently depicted the beauty of Russian nature, Russian song and language, the beauty and fortitude of the Russian woman. Following new phenomena in our social life (nihilism, going to the people), he, as a gentle and kind man, outlined their shadow sides, without losing sight of their connection with the desire for good.

Dostoevsky revealed the satanic depths of evil in man and showed that salvation from evil is possible only with the gracious assistance of the Lord God. ****)

Leo Tolstoy in his novel “War and Peace” depicted not just the life of individual Russian people, but the soul of all of Russia as a whole. With all his creativity, he contributes to freeing a person from caring about his little self and nurturing in him all-encompassing love.

Vsevolod Mikhailovich Garshin was close to the ideal of all-encompassing love. Sensitive to evil, at the beginning of his work he focused attention on the imperfections of social life, and in the end

*) About how intensely Lermontov’s thought was directed towards heaven and hell, see N. Brodsky’s book “M. Yu. Lermontov", 1945.

**) About the love of Russian poets for the modest Russian nature and the Russian people, see my book “The World as the Realization of Beauty.”

***) Ohm. my book “Conditions of Absolute Good” is about this(„Des conditionsde la moral absolute "),chapter “Harborgs of Morality in Prehuman Nature”de." (“Forerunners of morality in prehuman nature”).

****) See mine book “Dostoevsky and his Christian worldview.”

in works such as"Attalea princeps" and “The Red Flower”, came to the consciousness of the all-encompassing evil in our kingdom of existence, without seeing how to get out of it.

Only a Christian who believes in Christ and his preaching of the Kingdom of God as absolute good, truly realized in the highest realm of transformed existence, knows that there is a way out of the world’s evil. They say that Garshin once exclaimed, referring to religion: “Why did they erase all this from me!” *)

In the works of Leskov**), Chekhov, Korolenko, we find all the listed high virtues of Russian literature - the search for absolute goodness, the meaning of life, love of humanity, denunciation of vulgarity, defense of personal dignity, the fight against social untruths and all kinds of injustices. And in modern emigrant writing the high character of Russian literature is preserved: let us remember the names of Bunin, Shmelev, Zaitsev.

Valuable characteristics of the work of Russian writers, expressed in excellent language, can be found in the three volumes of Y. Aikhenvald’s book “Silhouettes of Russian Writers.” The Jew Aikhenwald is one of those representatives of the highly talented Jewish people who deeply penetrated the spirit of Russian culture, fell in love with it and made a valuable contribution to it with their creativity.

As for Russian poetic poetry, its deep meaning and high beauty are undeniable. Suffice it to recall the following names: Pushkin, Lermontov, Tyutchev, Fet, Blok.

The extraordinary talent of the Russian people is reflected, among other things, in the fact that three undoubted geniuses appeared in Russian literature within one century: Pushkin, Dostoevsky and Leo Tolstoy.

It should be especially noted that the exposure of evil is often expressed among the Russian people in the form of satire. Ostrovsky speaks of the “satirical cast of the Russian mind” and points to “lively, lively” folk words to characterize all phenomena. ***) Known as nickname marks given to people by the Russian people.

*) G. A. Byaly. V. M. Garshin and the literary struggle of the eighties, Moscow 1937, p. 181. This book, in its analysis of Garshin’s work, is full of boring And superficial Marxist cliches, for example, in discussions about the petty-bourgeois nature of populism, but it also did very valuable work, namely, it provided information about many facts of the literary struggle of the last quarter of the 19th century. It, for example, reports extremely different assessments of the Russian-Turkish war for the liberation of the Slavs and even more complex facts of the struggle of public sentiments that are connected with Garshin’s work.

**) There is an excellent monograph about Leskov by L. Grosmann.

***) A. Revyakhin. A. N. Ostrovsky, p. 91.

Before the revolution, Zavadsky was the prosecutor of the Trial Chamber in Petrograd; under the Provisional Government he became a senator. Sergei Vladislavich was a man of exceptional nobility; in complex social issues and conflicts, his decisions could serve as a guarantee of moral correctness of behavior. In his entire figure, manner of speech and deportment there was an imprint of the refined noble Turgenev culture. In addition to issues of jurisprudence, Zavadsky was fond of studying the Russian language. In this area he had many original observations and considerations. He founded a society in Prague for studying the Russian language. His knowledge of Russian and foreign literature was amazing. Sergei Vladislavich especially loved ancient Greek literature and the Greek language. Not being satisfied in some respects with the existing translations of Greek tragedians, he was the first to translate all the tragedies of Aeschylus and some of the works of Sophocles. He provided each of his translations with a valuable introduction and commentary. In 1937, Piotrovsky's translation of all the tragedies of Aeschylus appeared in Soviet Russia. Nevertheless, there is no doubt that even now the publication of Zavadsky’s translation would also be of great value.

At the Faculty of Law of the Russian University in Prague, Zavadsky was a professor of civil law. His theoretical and practical knowledge in the field of jurisprudence was remarkable. Zavadsky especially loved and highly valued the Russian court, as it was organized thanks to the reform of Alexander II. Due to his long service at all levels of this court, he knew its features perfectly and deepened this information by comparison with justice in Western Europe and the United States, where he attended court sessions during trips abroad. He outlined his thoughts about the Russian court in ten two-hour popular lectures that he gave in Prague six months before his death.

Ostrovsky's work, examples of which were given in the previous chapter in connection with the issue of tyranny and family despotism, represents a good example of the “satirical direction of the Russian mind.”

Dostoevsky gave a stunning portrayal of the satanic side of the Russian revolutionary movement in his novel “Demons,” but in the same novel he also condemned the gubernatorial arbitrariness. In general, the satirical depiction of police strangulation of life was very common in Russian literature of the tsarist era, when, despite censorship, it was possible to largely combat the shortcomings of public and state life. belongs to Dostoevsky

mocking expression "administrative delight". Shchedrin created the image of “Gloomy-Burcheev”, Chekhov - “Unter Prishibeev”.

Russian writers often also fought against evil using gentle humor. Chekhov set out to conquer evil with humor. Vladimir Solovyov, who was extremely sensitive to any deviation from goodness, loved jokes and humor. He owns the poem

From ringing laughter and from muffled sobs

The harmony of the universe has been created.

Sound, laughter, like a free wave

And at least for a moment, drown out the sobbing.

You, poor Muse! over the dark path

Show up at least once with a young smile

And evil life with kindly mockery

Disarm for a moment And tame.

But the master of evil ridicule was Saltykov-Shchedrin, who ranks among the greatest satirists of world literature. In “The History of a City,” he depicts the History of Russia under the guise of the history of a people of “bunglers” who banged their heads on everything, on the wall, even on the floor, when they prayed to God. Having begun to organize their land, they began by “mixing the Volga with oatmeal. . ., they bought a pig for a beaver, and killed a dog for a wolf. . . Then we went eight miles away to catch a mosquito, and the mosquito was sitting on the Poshekhonets’ nose.” When they decided to look for a prince, “they searched and searched for the prince and almost got lost in three pines.” The prince announced: “those of you who don’t care what does it matter,I will have mercy and execute everyone else.” And in fact, during the Sevastopol campaign, when Russian society began to worry, learning about the abuses of the commissariat and other shortcomings, Emperor Nicholas I exclaimed: “What do they care!” Before the restriction of autocracy by the manifesto of October 17, 1905, the Russian people did not even have the right to submit petitions. True, after the October Revolution, the Soviet government went much further: it even abolished the right of silence.

All corners and customs of Russian life attracted Shchedrin's attention and he mercilessly denounced all vulgarity. In the essays “Abroad”, for example, he talks about a gentleman who says: I served and I’m waiting for “a simple Russian thank you!” In the essays “All Year Round,” speaking about Russian landowners squandering their fortunes while enjoying life in Paris and at resorts, he cites a telegram from Nice from a mother congratulating her son on receiving the rank of collegiate councilor:„ Suis toute fi è re b é nis conseiller coll è ge Vendez Russie

vendez vite argent envoyez Suis à sec Nathalie“ ( Full of pride. I bless the college adviser. Sell ​​Russia, sell quickly, send money. I'm broke. Natalia). The recipient of the telegram explains: “We have Ruskin’s wasteland, but the telegraph misrepresented: Russie. - Hm. . . what, one might say, a providential mistake!”

“Letters to Auntie” tells about Nozdryov, who publishes the newspaper “Pomoi”, a daily publication, “without pretensions and sweet. The announcement program says, we mean the truth – even sweeter.” In our time, it is necessary to publish Shchedrin's works with comments revealing who his attacks were directed against. But they remain important even for our time, when the Soviet press publishes, for example, the newspaper Pravda, where there is almost not a single word of truth.

Shchedrin finds something to say not only about reactionaries, about the exploits of the Gloomy-Burcheevs, about “protective” journalism, but also about liberals. In “Fairy Tales” he depicts the degrees of compliance of a soft-hearted liberal: “if possible,” “within limits”—freedom, security, initiative; “at least something” and, finally, knowledgeable people advised: reduce ideals and act “in relation to meanness.”

The names invented by Shchedrin are magnificent, for example, the names of the kulaks - Kolupaevs, Razuvaevs; He called the modern critic Burenin, talented but rude, Disrespect-Trough. Having in mind the properties of the population of various provinces, Shchedrin used mocking characteristics of them, invented by the Russian people themselves: cross-bellied, lip-slappers, lop-eared, bow-eaters, etc. “The Russian people are masters of nicknames,” says Turgenev in the story “Singers” and gives several examples, characterizing persons who were with him in the tavern, for example, Oboldui, Morgach.

Foreigners, reading Russian literature, which is replete with denunciations of the shortcomings of Russian life and the Russian state, often imagine that the Russian people are especially vicious, primitive and pitiful. They do not understand that the emphatically satirical nature of Russian literature testifies to the struggle of the Russian people with their shortcomings and this struggle is highly successful. Sociologist Bruford found(W. N. Bruford), so unaware of this meaning of satirical literature that in 1947 he wrote a book„ Chekhov and his Russie “ and called his work “sociological research”(Asociological study): he imagined that, using the works of Chekhov, who one-sidedly focused attention on the negative phenomena of Russian life and rarely depicted sex,

living aspects of it, we can characterize Russia as a whole. He does not know what Chekhov, who knew Russia well, said in a letter to his sister: “My God, how rich Russia is in good people.” Chekhov himself, in his service to the people, as a zemstvo doctor, embodied in his behavior all the good qualities of the Russian intelligentsia, remarkable for its high merits. Without knowing any of this, Bruford at the end of his book sympathetically refers to Ernest Barker's book(„Reflections on Gouvernement“, Oxford 1942, p. 313), who says that in Russia there is an ignorant, shoddy(wretched) the peasantry and the “hypocritical, deceitful, hysterical, uneducated (un educated), lazy intelligentsia"; such a people, he says, needed a Bolshevik dictatorship (Bruford, p. 219). The whole world now knows that the godless and inhumane Soviet regime represents satanic evil. What a lack of moral sensitivity is shown by people who think that it would be beneficial for any nation to be subject to such a regime! If Bruford had known about Russia what people who have truly studied it, Leroy-Beaulieu, Graham, Baring, Paire, Schubart, know about it, he would blush with shame while reading his book.

3. Music. Theater.

At the end of the 19th century, researchers of Russian music in Russia and at the same time the Czech Cuba drew attention to the high merits of Russian folk song. In the detailed “History of Russian Music”, published in Moscow in 1940 under the editorship of Professor Pekelis, the first chapter is devoted to “Russian folk song”. “The song-making of the Russian people,” we read in this book, “is the basis of Russian classical music” (p. 7). “The Russian people are distinguished by their exceptional musicality. Poetry and music - in particular song - occupy a large place in his life. The song accompanied all the main moments in the life of the Russian peasantry: a lullaby, lamentations at funerals, wedding songs, during children's games, during agricultural work, coachmen's songs; love for one’s history - heroic epic, historical songs (11 p.). “Russian folk musical culture is distinguished by an extraordinary variety of song genres. A harsh, majestic epic about the heroic past next to rebellious, rebellious songs about the leaders of peasant uprisings - Razin and Pugachev; mournful lamentations, lyrical and philosophical reflections of “lingering” songs, biting jokes, sometimes parody, ditties, funny games, round dances, dances - here

This is not a complete list of existing genres of Russian folklore.”

“The peculiar polyphonic and mode-harmonic texture is a distinctive feature of Russian folk musical culture, distinguishing it both among the peoples inhabiting the territory of the Soviet Union and among the musical folklore of Western European countries, most of which do not have polyphonic forms (13). “The basis of Russian folk polyphony is a system of echoes, forming the so-calledsubvocal polyphony"(41). It consists in the fact that the choral song begins with the singer, and after him gradually other singers join the choir, performing variations of the original melody. “The undervoice is a variant of the initial melody; the echo represents, as it were, a development, an elaboration of the main intonations of the leading melody” (42). “The basis of the art of vocalists is the principle of free improvisation. Therefore, a peasant choir will not sing the same song the same way twice.” There is a folk choir“the free unification of many individuals into one whole” (42).

Englishman Alfred Swan(Swan) professor of music history at Swarth more College, near Philadelphia, who studied Russian church singing and folk song wrote an article„The Nature of the Russian Folk - Song“. *).

The choral song begins with the singer, he writes, then gradually other singers begin; each voice performs a variation of the main melody, improvising, and yet these improvisations “wonderfully, with unerring instinct and musical purpose, create perfect harmony” (509).

Russian funeral laments were collected in the Pechora region near Pskov by Elizaveta Mahler(Mahler), professor at the University of Basel, and published them in a book„Die Russische Totenklage“, 1936. In addition, she collected folk songs in the same region and, using a phonograph, recorded their performances:„ Altrussische Volkslieder aus dem Pecoryland“. Basel. Bärenreiter - Verlag, 1951.

“Every Russian song comes from the deepest depths of the soul,” says Stepun. **) The enchanting power of Russian folk song is captivatingly characterized by Gogol. "Rus! Rus! poor, scattered and uncomfortable in you; The daring divas of nature, crowned by the daring divas of art, of the city with numerous high palaces, will not amuse or frighten the eyes.” . . “Everything in you is open, deserted and even; How

*) In The Musical Quarterly, October 1943, vol. XXIX, no. 4.

**) F.Stepun. "Vergangenes and Unvergängliches" T . I, 83.

Dots like icons stick out inconspicuously among the plains of your low cities; nothing will seduce or enchant the eye. But what incomprehensible secret force attracts you? Why is your melancholy song, rushing along your entire length and width from sea to sea, heard and heard incessantly in your ears? What's in it, in this song? What calls and cries and grabs your heart? What sounds painfully kiss and strive into the soul and curl around my heart? *)

In Turgenev's "Notes of a Hunter" there is an extremely beautiful story "Singers". It describes a competition between two singers in a village tavern. Yakov, who won this competition, sang the song “There was more than one path in the field.” His song contained “genuine deep passion, youth, strength, sweetness, and some kind of fascinatingly carefree, sad sorrow. The Russian truthful, ardent soul sounded and breathed in him, and just grabbed you by the heart, grabbed you right by its Russian strings.” “He sang, and from every sound of his voice there was a breath of something familiar and vastly wide, as if the familiar steppe was opening up before you, going into an endless distance. I felt tears boiling in my heart and rising to my eyes.” And other listeners, writes Turgenev, had tears in their eyes.

The Englishman Baring talks about the musicality of the Russian people, and about the charm of Russian folk songs, which express melancholy, heartache or exciting fun. **)

As for Russian instrumental music, the whole world knows such composers as the brilliant Glinka, Mussorgsky, Borodin, Rimsky-Korsakov, Tchaikovsky, Glazunov, Scriabin, Prokofiev, Shostakovich. Pushkin’s ability to embody in his works not only Russian life, but also the spirit of other peoples is also demonstrated by these musicians, for example, in compositions based on oriental motifs. Their operas belong to the realm of sublime art due not only to their musical beauty, but also to the significance of their content. In the production of such an opera as “Kitezh,” a harmonious combination of three arts was achieved: the music of Rimsky-Korsakov, the talented poetic work of V.I. Belsky and the excellent scenery of the artist Korovin.

Even among Russian romances there are works that attract upward to perfect goodness. This is, for example, Tchaikovsky’s romance to Khomyakov’s poem:

*) Dead Souls, vol. I, ch. AND.

**) M.Baring. "The Russian People" page . 60 s.

There is feat in battle,

There is feat in struggle too,

The highest feat in patience,

Love and prayer. . .

The feat has wings

And you will fly on them. . .

Thanks to the ability of Russian people to enter into the spiritual life of others, theatrical art is at a high stage of development in Russia. Let us recall at least a few such names as Mochalov, Shchepkin, or in a more recent time - Savina, Ermolova, Komissarzhevskaya, Orlenev (especially in the role of Tsar Feodor Ioannovich), Stanislavsky and his entire group with the incomparable Kachalov at the head. In this series, we must mention the great genius of Chaliapin, who was not only a singer, but also a wonderful dramatic artist.

The art of dance is also highly characteristic of the Russian people. Tolstoy in “War and Peace” talks about the musicality of the Russian people and how Natasha Rostova, listening to her uncle play the guitar, began to dance: “Where, how, when this countess sucked into herself from the Russian air that she breathed , raised by a French immigrant, this spirit? Where did she get these techniques that pas de châ le should have been forced out long ago? But these spirits and techniques were the very same, inimitable, unstudied, Russian ones that her uncle expected from her.” *)

The high merits of Russian ballet are known throughout the world. It is enough to mention the names of Pavlova, Tamara Karsavina, Nijinsky or recall Fokin’s production of Polovtsian dances in the opera “Prince Igor”. Thanks to the organizational activity and energy of Sergei Pavlovich Diaghilev (died in 1936), Russian ballet, opera (Swan Lake, Prince Igor, Firebird, etc.) and theatrical painting became known throughout the world and influenced European art.

4. Painting. Architecture.

Before Peter the Great, who introduced Russia to Western European culture, the Russian people had almost exclusively religious painting. Its heyday dates back to the end of the fourteenth, fifteenth and sixteenth centuries. The beauty of this icon painting serves as a good expression of the high spirit of Russian religiosity: it has no

*) War and world, part IV, chapter VII.

character of earthly prettiness, but lifts the spirit into the sphere of super-earthly existence. The most talented representative of this painting was Andrei Rublev and his most perfect creation, the icon “St. Trinity", currently located in the Tretyakov Gallery in Moscow. The historian of Russian art V.A. Nikolsky writes about it: “The Rublevskaya Trinity, first of all, amazes with the special artistry of its range of colors, its main shimmering tone of pale gold or ripe rye. Yellowish-fawn, bluish, lilac-purple tones are skillfully brought into melodious harmony with blue and soft green. . . The compositional structure of the icon is no less exceptional than its coloring. A group of angels is inscribed in the infinity symbol - a ring. The strict balance of the composition of the icon fully corresponds to its inner world, the main intention of its creator. It was precisely the great calm, the great balance of the spirit, completely immersed in religious contemplation, that the painter wanted to embody in this icon. Everything is traditional in the Rublev icon, but there is some special enlightenment in it, some special vigilance of vision, a special keenness of the sense of beauty, irresistibly attracting even people completely alien to mysticism and religiosity to this world masterpiece of painting, even those unable to understand and share the artist’s intentions " *)

There were also frescoes in churches, for example, in the Demetrius Cathedral in Vladimir, frescoes of the 12th century. Reproductions of this wealth of religious painting have become available in our time to the whole world, especially thanks to the works of the Kondakov Seminary(Seminarium Kondakovianum), which was founded in Prague by students of art historian Nikodim Pavlovich Kondakov. **)

The religious and philosophical meaning of Russian icon painting was explained by the book. E. Trubetskoy in his two brochures - “Two Worlds in Ancient Russian Painting” and “Speculation in Colors”. The originals of excellent ancient icons can be seen in Moscow in the Tretyakov Gallery.

After the reform of Peter the Great, such significant artists as Levitsky (1735-1822), Rokotov (died 1812), Borovikovsky (1757-1826) appeared already in the 18th century, and in the first half of the 19th century - Kiprensky (from the serfs), Tropinin (from the fortress

*) I take the quote from the book by V. A. Ryazanovsky “Review of Russian Culture,” Vol. I. This book contains a valuable overview of Russian icon painting based on modern research, pp. 554-608.

**) N. Kondakov. Russian icon. See also book— Leonid Ouspensky and Vladimir Lossky. „Der Sinn der Ikonen“, Graf-Verlag, Bern 1952. Igor Grabar. “Die Freskomalerei der Dimitris Kathedrale in Vladimir”. Petropolis-Verlag. Berlin.

homely peasants) and the wonderful artist Alexander Ivanov (1 -1858).

After the death of Nicholas I and especially since the time of the great reforms of Alexander II, the interests of the Russian intelligentsia focused extremely one-sidedly on the issue of limiting autocracy and on the search for social justice, which to many seemed achievable only through the implementation of socialism. Populist literature began to circulate among the people, and populist literature appeared in painting. on The activities of the “Itinerant” artists began, who founded “traveling exhibitions” in 1870. The paintings of the Wanderers were on family journalism in colors and lines: the theme of their works was the life of the people, their needs, oppression by the authorities, the injustice of social inequality. The artistic value of this art was not high, although there were talented artists among the Wanderers, for example, Perov, Kramskoy, Yaroshenko, Vereshchagin. In the last decade of the 19th century, a movement began against the one-sidedness of the Wanderers. Artists appeared who understood that, in addition to “civic motives,” all other aspects of existence can be the content of artistic creativity; carried away by the beauty of lines and lines, caring about the artistic style of their works and valuing the individuality of the creator in the field of art, they laid the foundation for the extraordinary flourishing of Russian painting. In 1898, he founded the magazine “World of Art” and began organizing his own painting exhibitions. The artists whose names I will mention represent extremely different styles; some of them started out as Wanderers and subsequently left this camp. The rough but powerful talent of Repin is known not only in Russia, but also outside it. Surikov, the exponent of the mighty strength of the Russian people, was said in the chapter “Feeling and Will.” Levitan is one of those Jews who made an invaluable contribution to Russian culture. He passionately fell in love with and understood the modest beauty of Russian nature and expressed its soul in his paintings (for example, “Above Eternal Peace”, “Evening Bells”). In one of his letters, he says that he feels “a Divine something diffused in everything, but which not everyone sees, which cannot even be named, since it does not lend itself to reason, analysis, but is comprehended by love.” M.P. Chekhova, the writer’s sister, says that Levitan loved evening services somewhere in a village church. Her quiet charm was closer to this Jew than to many Orthodox. *) Religious painting was enriched with original works by Viktor Vasnetsov, Neverov (“The Hermit”, “The Youth Bartholomew”, “Great tonsure”), Vru-

*) Sergey Glagol and Igor Grabar. Isaac Ilyich Levitan, pp. 43, 53.

Bel (painting of the church of the Kirillovsky Monastery near Kyiv). Many artists were significantly influenced by such sophisticated aesthetes as the “artist of Versailles” Alexander Benois and Konstantin Somov. The diversity of talents and themes in the work of artists of the pre-revolutionary period becomes clear when comparing the following names: Roerich, Bilibin, Ostroumova-Lebedeva, Dobuzhinsky, Lukomsky, Kustodiev, Malyavin, Petrov-Vodkin. The theatrical art of scenery and costumes, which influenced Western Europe, deserves special mention; Benois, Konstantin Korovin, Vrubel, Roerich, Dobuzhinsky worked in this area.

Alexander Benois's book “The Russian School of Painting” contains the history of Russian painting since the time of Peter the Great. It gives an idea of ​​the flowering of this art at the end of the 19th and beginning of the 20th centuries. Therefore, the following words of Christian Brinton, who wrote the preface to the English translation of this book, are understandable: “The Russian everywhere shows the power of direct concrete observation and the ability to grasp the vital aspects of a given scene or situation and achieve convincing effectiveness in depicting them.” “I rejoice at the opportunity to acknowledge, even in some small way, the debt I owe to your complex and inspiring country.” A talented lively sketch of the heyday of Russian painting was given by S. Makovsky in the book “Silhouettes of Russian Artists”, Prague 1922.

Handicraft folk art also contains quite a few manifestations of the talent of the Russian people. Along with handicraft works, there is also genuine creativity in the works, for example, of the icon painters of the village of Palekh or the village of Kholui, Vladimir province. During the heyday of Russian painting, the intelligentsia paid attention to handicraft art and became familiar with it mainly in the wonderful workshops of the Talashkino estate of Princess Tenisheva in the Smolensk province and in the village of Abramtsevo Mamontov. *)

In the field of architecture, the Russian people throughout their history have shown interest and ability in temple architecture. Information about this art can be obtained in the magnificent “History of Russian Art,” twenty-two issues of which were published under the editorship of Igor Grabar. This valuable work was not completed, because during the First World War the Moscow mob, who carried out a German pogrom, attacked Knebel's publishing house and destroyed the cliches prepared for the continuation of this history of art.

*) Serge Makovsky. Talachkino. L'art décorative des ateliers de la princesse Tenichef. N. Roerich. Souvenir d'un voyage à Talachkino. St. Petersburg,1906.

The Russian people showed a talent for architecture from the very beginning of their cultural life. It manifested itself until the 18th century mainly in temple architecture. The first churches were built by Byzantine craftsmen; Russian masters began to introduce new features into them according to their taste, and churches appeared in the Vladimir-Suzdal region that were the result of original Russian creativity, for example, the Demetrius Cathedral in Vladimir on Klyazma, followed by churches in Moscow and its environs; The temples of Novgorod and Pskov and the wonderful wooden churches in northern Russia are also valuable. A vivid idea of ​​this church architecture and its merits is given by articles in the “History of Russian Art” by Igor Grabar.

Tamara Talbot Rice in the book„Russian Art“ gives the following assessment of the architecture of Russian churches: “The main character of Russian architecture as a whole can be defined as a brilliant understanding of composition, attracting attention with its impressive scope, decorative form or charming intimacy. Russian architects have an unerring eye for beautiful, sometimes unexpected proportions and a preference for effects depending mainly on form, but sometimes also supported by decorative embellishments. *)

Secular architecture was predominantly wooden. Rich boyars built intricate mansions for themselves. An example of them can be the palace of Tsarevich Dimitri in Uglich and the especially complex royal palace in the village of Kolomenskoye, a model of which is kept in Moscow.

In the 18th century, Peter the Great invited the sculptor Rastrelli from Italy, who, having settled in Russia, brought his sixteen-year-old son to St. Petersburg in 1716. The young man deeply assimilated the originality of Russian architecture, especially Moscow, studied the architecture of France and Italy and became a great original architect who combined Western European and Russian art in his creations. He owns many valuable buildings, for example, the Smolny Monastery, the Tsarskoye Selo Palace, the Cathedral of the Sergius Hermitage near Strelna, etc. Under the leadership of Rastrelli (died in 1771), a whole school of Russian architects of the 18th century was educated. Prince Ukhtomsky, Bazhenov, Kazakov, Starov belong to it. At the beginning of the 19th century, it is worth noting the activities of Zakharov, the builder of the Admiralty, and Voronikhin, the builder of the Kazan Cathedral.

At the end of the 19th and beginning of the 20th centuries, a particularly multifaceted, lush flowering of Russian culture arose. And in the field of architecture there appeared

*) Tamara Talbot Rice. "Russian Art", 1949.

New promising talents arose, but they did not have time to express themselves in their entirety, because the Bolshevik revolution interrupted the healthy development of Russian spiritual life.

105

An important role in the study of Russian national character was played by the Russian philosopher N.O. Lossky. His book “The Character of the Russian People” deserves special attention. It is probably necessary to immediately note that in this book he examined the characteristics characteristic of our people that have developed over the thousand-year history of our state, without assessing the trends that developed in the twentieth century.

BUT. Lossky begins his study of the features of the Russian national character with the religiosity of our people. He notes that Russian people are able to sensitively notice the difference between good and evil and seek absolute good. “The main, deepest character trait of the Russian people is their religiosity, and the search for absolute good associated with it... which is feasible only in the Kingdom of God... Perfect good without any admixture of evil and imperfections exists in the Kingdom of God because it consists of individuals, fully implementing in their behavior the two commandments of Jesus Christ: to love God more than yourself, and your neighbor as yourself. Members of the Kingdom of God are completely free from selfishness and therefore they create only absolute values ​​- moral goodness, beauty, knowledge of truth, indivisible and indestructible goods, serving the whole world" Lossky N.O. The character of the Russian people // Questions of philosophy. 1996. No. 4. P. 25.

The author deliberately puts emphasis on the search for absolute good, thereby intending to show and identify the spiritual aspirations of the Russian people. Therefore, under the influence of the holy companions in the history of our country, the ideal became not powerful and not rich, but Holy Rus'.

“Foreigners who have carefully observed Russian life, in most cases note the outstanding religiosity of the Russian people... Russians can talk about religion for six hours straight. The Russian idea is a Christian idea; in the foreground there is love for the suffering, pity, attention to the individual personality...” Lossky N.O. The character of the Russian people // Questions of philosophy. 1996. No. 4. P. 41. This N.O. Lossky wants to show that Christianity in Kievan Rus hit the right ground. Since then, it has been established as a religion of love. And the thought arises that from individual relations it had to move into social ones, into legislation, into the organization of state and public relations. But in reality everything turned out differently. Although the clergy tried to promote this idea in literature, the government did its best to prevent this, strengthening the idea of ​​​​personal salvation of the soul.

The philosopher pays special attention to Russian atheists, who for generations have demonstrated formal religiosity, an unbridled desire to establish the Kingdom of God on earth without God, relying on scientific knowledge and universal equality.

Speaking about the ability of Russians to higher forms of experience, N.O. Lossky notes that all layers of Russian society clearly distinguish between good and evil and with particular sensitivity see all the admixtures of evil with good.

The author considers sensitive attention to other people's feelings and state of mind to be among the especially important and valuable qualities of a Russian person. He sees this as the reason for the emergence of live communication even between people who are almost unfamiliar with each other. “...The Russian people have highly developed individual personal and family communication. In Russia there is no excessive replacement of individual relationships with social ones, there is no personal and family isolationism. Therefore, even a foreigner, having arrived in Russia, feels: “I am not alone here” (of course, I am talking about normal Russia, and not about life under the Bolshevik regime). Perhaps, these properties are the main source of recognition of the charm of the Russian people, so often expressed by foreigners who know Russia well...” Lossky N.O. The character of the Russian people // Questions of philosophy. 1996. No. 4. P. 42.

One of the main and primary properties of the Russian person N.O. Lossky believes that willpower is powerful. Passion is a combination of willpower and strong feeling directed towards a certain value, which may be loved or unloved. And, accordingly, the higher the value, the stronger the feelings it evokes in the owner of high willpower. From here the passion of the Russian person becomes clear. But the flip side of this coin is also the maximalism, extremism, and fanatical intolerance characteristic of the Russian people. As evidence of his opinion, N.O. Lossky cites the example of the history of Old Believers as a case of manifestation of mass fanatical intolerance and passion. An impressive manifestation of religious passions was the burning of thousands of Old Believers.

Also N.O. Lossky notes the passion and powerful willpower of the Russian revolutionary movement. Here he cites the example of Lenin and the Bolsheviks, who created a totalitarian state in an excessive form that had no analogues.

Along with such basic traits as passion and willpower, the well-known “Oblomovism” described by Goncharov in his novel “Oblomov” is found in the Russian soul. As N.O. writes Lossky, the Russian is characterized by a desire for a perfect kingdom of being, but at the same time sensitivity to various kinds of shortcomings of one’s own or others’ activities. This is where, according to the author, comes the cooling towards the work started and the reluctance to continue it.

Also a manifestation of the willpower of N.O. Lossky believes that when a Russian person, having noticed any shortcoming, tries to develop the opposite quality and eradicate this shortcoming. Our people have enough shortcomings, but willpower can overcome them all.

BUT. Lossky, along with such primary qualities as religiosity, the search for absolute good, willpower, highlights the love of freedom and freedom of spirit of the Russian person. He immediately notes that, due to this quality, Russians are prone to anarchy, to pushing away from the state. By this he explains why absolute monarchy and despotism took root in Russia, which could keep the people in the right direction.

Speaking about the kindness of the Russian people, N.O. Lossky notes a rare feature. He is not of the opinion that the Russian people have a feminine nature. The philosopher, on the contrary, considers our people to be extremely masculine, but emphasizes the combination of this masculinity with feminine softness. This is especially noticeable, in his opinion, among peasants. The author says that, often, due to maximalism, a Russian person experiences negative feelings towards someone, but when meeting and talking, he becomes softer, even if he later condemns himself for this. But then N.O. Lossky also notes the negative side of this phenomenon. He writes that this kindness sometimes encourages a Russian person to lie so as not to offend his interlocutor and maintain good relations with him.

Speaking about the Russian woman, N.O. Lossky quotes Schubart: “She shares with the Englishwoman an inclination towards freedom and independence, without turning into a blue stocking. What she has in common with the French woman is spiritual mobility without pretensions to profundity; she has... the taste of a Frenchwoman, the same understanding of beauty and grace, but without becoming a victim of a vain predilection for outfits. She possesses the virtues of a German housewife without always fuming over kitchen utensils; she has the maternal qualities of an Italian, without coarsening them to the level of monkey love...” Lossky N.O. The character of the Russian people // Questions of philosophy. 1996. No. 4. P. 58.

As N.O. writes Lossky, kindness prevails in Russian people. But cruelty also finds a place in our lives, and it is also found among people for whom cruelty is uncharacteristic. Speaking about the peasants, the philosopher explains this by saying that the peasantry in Russia lived in poverty and suffered constant oppression and humiliation. Therefore, the patriarchal way of family life, together with the despotism and cruelty of the head of the family, took place. But, as mentioned above, Russians tend to develop the opposite quality to a disadvantage, which, according to N.O. Lossky, helped eradicate this disease.

Krasnoyarsk State Technical University

Correspondence Faculty

PHILOSOPHY

Test No. 2

Subject : Russian national character (in the works of Russian philosophers).

Completed: Startsev A.G.Specialist.: 18.04 Cipher: 149836

Checked: ____________

Krasnoyarsk 2001.

PLAN:

INTRODUCTION

CHAPTER 1.The study of the national character of the people according to their fairy tales and epics (based on the worksB.P. Vysheslavtsev);

CHAPTER 2.The main features of the Russian national character (according to the works of N.O. Lossky);

CHAPTER 3.The role of national character in the destinies of Russia (according to the works of N.A. Berdyaev).

CONCLUSION

INTRODUCTION

Since ancient times, from its very formation, Russia has established itself as an unusual country, unlike others, and therefore incomprehensible and at the same time extremely attractive.

Tyutchev once said about Russia:

You can't understand Russia with your mind,

The general arshin cannot be measured:

She will become special -

You can only believe in Russia.

These lines are certainly relevant to this day. Russia is a country that does not fall under any standards, patterns or laws of logic. But Russia, its character, is the character of its people, a complex and very contradictory character.

Modern researchers are increasingly paying attention to the role of national character, which largely determines the development trajectories of society as a whole. The problem of national character is quite complex, and its study requires an integrated approach from historians, political scientists, philosophers, sociologists, ethnographers, psychologists, and art historians.

The national character of any nation is an integral system with its inherent hierarchy of qualities, traits that dominate in motives, way of thinking and acting, in culture, and behavioral stereotypes characteristic of a given nation. The national character is very stable. The continuity of its qualities and traits is ensured by social means of transmitting socio-historical experience across generations. It cannot be “corrected” by administrative measures, but at the same time, being determined by the social and natural environment, it is subject to certain changes. A society with an underdeveloped and strong national character is doomed to defeat and setbacks, be it a severe economic crisis or external aggression.

For a long time now, the Russian national character, its unusualness and incomprehensibility, has aroused keen interest and the desire to understand, explain certain of its characteristic features, and find the roots of the tragic circumstances accompanying the history of Russia. However, it seems that the Russian people still cannot understand themselves, explain or at least justify their behavior in a given situation, although they admit to some illogicality and indirectness of behavior, as evidenced by endless tales and anecdotes that begin with the words: “The tsar caught a Russian, a German and a Chinese...”

Today the Russian people are experiencing a turning point in their history. One of the irreparable losses that befell Russia in the 20th century is associated with the decline of national self-awareness and the loss of age-old spiritual values. The awakening of Russia, of course, must begin with the spiritual revival of its people, i.e. with the attempt of the Russian people to understand themselves, to resurrect their best qualities and eradicate their shortcomings. To do this, I think, it is worth turning to the works of Russian philosophers who, at one time, were engaged in the study of the Russian national character, its negative and positive features.

CHAPTER 1. Study of the national character of the people according to their fairy tales and epics (based on the works of B.P. Vysheslavtsev);

In his report “Russian National Character”, read by B.P. Vysheslavtsev in 1923 at a conference in Rome, the author writes that we are interesting, but incomprehensible to the West and, perhaps, that is why we are especially interesting because we are incomprehensible. We don’t fully understand ourselves, and perhaps even the incomprehensibility and irrationality of our actions and decisions constitute a certain trait of our character.

The character of a people, Vysheslavtsev believes, its main features are laid down at an unconscious level, in the area of ​​the subconscious. This applies especially to the Russian people. The area of ​​the subconscious in the soul of the Russian person occupies an exceptional place.

How to penetrate into the unconscious of our spirit? Freud, writes Vysheslavtsev, thinks that it is revealed in dreams. To understand the soul of a people, it is necessary, therefore, to penetrate into their dreams. But the dreams of a people are their epics, their fairy tales, their poetry...

This is how the Russian fairy tale shows us what the Russian people are afraid of: they are afraid of poverty, they are even more afraid of work, but most of all they are afraid of “grief”, which somehow terribly appears to them, as if at their own invitation, becomes attached to them and does not lag behind . “It is also remarkable that the “grief” here sits in the person himself: this is not the external fate of the Greeks, based on ignorance, on delusion, it is one’s own will, or rather some kind of lack of will.” 1 But there is another fear in the fairy tales of the Russian people, a fear more sublime than the fear of deprivation, labor and even “grief” - this is the fear of a broken dream, the fear of falling from heaven.

What are the unconscious dreams of the Russian soul hidden in the Russian epic? The remarkable thing, notes Vysheslavtsev, is that the whole gamut of desires is unfolded in the Russian fairy tale - from the most sublime to the lowest. We will find in it both the most cherished dreams of Russian idealism and the basest everyday “economic materialism.” This is how the Russian people dream of such a “new kingdom”, where distribution will be based on the principle “to each according to his needs”, where you can eat and drink, where there is a “baked bull”, where there are milk rivers and jelly banks. And the main thing is that you can do nothing there and be lazy. Such, for example, is the well-known fairy tale about the lazy Emel, who appears by no means as a negative character.

In the same vein, Vysheslavtsev analyzes here the fairy tale “about cunning science”, in which “...you don’t have to work, eat sweetly and walk cleanly...”. There are a number of fairy tales in which “cunning science” turns out to be nothing more than the art of theft. In this case, happiness usually accompanies the lazy and the thief.

Vysheslavtsev rightly noted the fact that fairy tales are merciless: they expose everything that lives in the subconscious soul of the people, and, moreover, in the collective soul, which includes its worst sons. The tale reveals everything that is carefully hidden in life, in its official piety and in its official ideology.

All these funny fairy-tale dreams of the Russian people turned out to be prophetic and prophetic. So, for example, the “cunning science” of “easy bread” turned out to be Marx’s “scientific socialism”. This science taught the people that theft is not theft, but “expropriation of expropriators.” “Cunning science” explained how to get into that kingdom where you can eat and drink, where you can lie on the stove and everything will be done “according to the pike’s command”: you can safely jump there, to put it vulgarly; and in the language of strict science: “to make a leap from the kingdom of necessity to the kingdom of freedom.”

True, all this reality, in turn, turned out to be a dream and dissipated like a dream; but the Russian fairy tale foresees this too. After all, not only folk stupidity lives in it, but also folk wisdom.

Many prophecies can be found in our fairy tales, but there is one epic in our epic that has positive clairvoyance, writes Vysheslavtsev, - this is the epic about Ilya Muromets and his quarrel with Prince Vladimir. Ilya Muromets, the beloved national hero, comes from a peasant family and embodies the main support and strength of the Russian land. At the same time, he is the main and constant support of the throne and the church.

“Once Prince Vladimir gave an honorable feast for princes, boyars, Russian heroes, but he forgot to call the old Cossack Ilya Muromets.” Ilya, of course, was terribly offended. He pulled a tight bow, inserted a red-hot arrow and began to shoot at “God’s churches, and at wonderful crosses, at those gilded domes.”

Here is the whole picture of the Russian revolution, which the ancient epic saw in a prophetic dream. Ilya Muromets, the personification of peasant Rus', organized, together with the most disgusting mob, with drunkards and slackers, a real destruction of the church and state; suddenly he began to destroy everything that he recognized as sacred and that he defended all his life.” 1

Of course, the entire Russian character is clearly visible in this epic: there was injustice, but the reaction to it was completely unexpected and spontaneous. This is not a Western European revolution; with its acquisition of rights and the struggle for a new system of life, this is spontaneous nihilism, instantly destroying everything that the people’s soul worshiped, and, moreover, realizing its crime. This is not the restoration of violated justice in the world, it is the rejection of a world in which such injustice exists.

However, in his report, Vysheslavtsev tells the epic to the end and rightly notes that it ends more happily than the Russian revolution ended. “Vladimir, seeing the “pogrom,” was frightened and realized “that trouble was inevitable.” He arranged a new feast especially for the “old Cossack Ilya Muromets.” But the difficult task was to invite him; it was clear that he would not go now. Then they equipped Dobrynya Nikitich, a Russian noble gentleman who generally carried out diplomatic assignments, as an ambassador. Only he managed to persuade Ilya. And so Ilya, who was now seated in the best place and began to be treated to wine, tells Vladimir that he would not have come, of course, if not for Dobrynya, his “said brother.” 2

The Russian monarchy did not understand this prophetic warning, expressed quite clearly in the Russian epic, and thereby doomed itself to inevitable collapse.

Such is the wisdom of the epic - the subconscious soul of the people expresses in it what it secretly desires or what it fears. In these subconscious forces lies the entire past and future.

Those images and symbols that are given above are by no means, however, the pinnacle of folk art, the limit of the flight of fantasy.

Further, Vysheslavtsev writes that the flight of fantasy of the Russian people is always directed to “another kingdom,” to “another state.” He leaves far below everything that is daily, everyday, but also all the dreams of satiety, and all the utopias of the fat sky. The fairy tale laughs at them, this is not where its flight is directed, this is not its best dream. “Another country” - infinitely distant beckons the hero of the Russian fairy tale - Ivan Tsarevich. But why is he flying there? He is looking for a bride, “beloved beauty”, and according to other fairy tales, “Vasilisa the Wise”. This is the best dream of a Russian fairy tale. It is said about this bride: “When she laughs, there will be pink flowers, and when she cries, there will be pearls.” It is difficult to find, difficult to kidnap this bride, and at the same time it is a matter of life and death.

What is his beloved Vasilisa the Wise? She is transcendental beauty and wisdom, otherworldly, but strangely connected with the beauty of the created world. All creation obeys her: at her command, creeping ants thresh countless stacks, flying bees sculpt a church out of wax, people build golden bridges and magnificent palaces. She is connected with the soul of nature, and she teaches people how to build life, how to create beauty. While the Tsarevich is with her, there are no difficulties for him in life, Vasilisa the Wise helps him out of every trouble. There is only one real problem: if he forgets his bride. This, judging by the fairy tales, is the main and most beautiful dream of the Russian people.

CHAPTER 2. Main features of the Russian national character (according to the works of N.O. Lossky).

An invaluable contribution to the study of Russian national character was also made by the book of the Russian philosopher N.O. Lossky "The Character of the Russian People". In his book, Lossky gives the following list of the main features inherent in the Russian national character.

Religiosity of the Russian people. Lossky considers the main and deepest feature of the Russian people to be their religiosity and the associated search for absolute truth... Russian people, in his opinion, have a sensitive distinction between good and evil; he vigilantly notices the imperfections of all our actions, morals and institutions, never being satisfied with them and never ceasing to seek perfect good.

“Foreigners who have carefully observed Russian life, in most cases note the outstanding religiosity of the Russian people... Russians can talk about religion for six hours straight. The Russian idea is a Christian idea; in the foreground there is love for the suffering, pity, attention to the individual personality...” 1

In this regard, Christianity, as Lossky writes, fell on fertile soil in Russia: already in Kievan Rus, before the Mongol yoke, it was adopted in its true essence precisely as a religion of love. And following the logic of the development of events, the religiosity of the Russian people, it would seem, should have been expressed in the preaching of social Christianity, i.e. the teaching that the principles of Christianity should be implemented not only in personal individual relationships, but also in legislation and in the organization of public and government institutions.

However, despite the fact that in the 19th century the Orthodox clergy tried to present this idea in literature, the government systematically suppressed such aspirations and helped to strengthen the idea that the purpose of religious life was only concern for the personal salvation of the soul.

But, despite the deliberate belittlement of the importance of the Church, in Russia the real Christian Church was still preserved in the depths in the person of the ascetics revered by the people, who lived in the quiet of monasteries, and especially in the person of the “elders”, to whom they always came for instruction and consolation.

Very interesting is Lossky’s observation that among the Russian revolutionaries who became atheists, the place of Christian religiosity was taken by a mood that can be called formal religiosity - this is a passionate, fanatical desire to realize a kind of Kingdom of God on earth without God, on the basis of scientific knowledge.

The ability of the Russian people to higher forms of experience. Lossky sees the high development of moral experience in the fact that all layers of the Russian people show a special interest in distinguishing between good and evil and sensitively distinguish between the admixtures of evil and good.

One of the particularly valuable properties of the Russian people is their sensitive perception of other people's states of mind. This results in live communication between even unfamiliar people.

“...The Russian people have highly developed individual personal and family communication. In Russia there is no excessive replacement of individual relationships with social ones, there is no personal and family isolationism. Therefore, even a foreigner, having arrived in Russia, feels: “I am not alone here” (of course, I am talking about normal Russia, and not about life under the Bolshevik regime). Perhaps, these properties are the main source of recognition of the charm of the Russian people, so often expressed by foreigners who know Russia well...” 2

Such a feature of the Russian national character as the search for the meaning of life and the foundations of existence is excellently depicted in Russian literature, in particular, in the works of Tolstoy, Dostoevsky and others.

Feeling and will. Among the primary basic properties of the Russian people, according to Lossky, is powerful willpower. Passion is a combination of strong feelings and willpower directed towards a loved or hated value. Naturally, the higher the value, the stronger feelings and energetic activity it evokes in people with a strong will. This explains the passion of the Russian people, manifested in political life, and even greater passion in religious life. Maximalism, extremism and fanatical intolerance are the products of this passion.

To prove his rightness, Lossky cites such an example of the mass manifestation of Russian passion for fanatical intolerance as the history of Old Believers. A stunning manifestation of religious passions was the self-immolation of many thousands of Old Believers.

The Russian revolutionary movement, also, according to Lossky, is replete with examples of political passion and powerful willpower... The unbending will and extreme fanaticism of Lenin, together with the Bolsheviks led by him, who created a totalitarian state in such an excessive form that has never been, and God willing, will not be seen again earth.

Russian maximalism and extremism in its extreme form are expressed in the poem by A.K. Tolstoy.

If you love, so without reason,

If you threaten, it’s not a joke,

If you scold, so rashly,

If you chop, it’s off the shoulder!

If you argue, it’s too bold,

If you punish, that's the point,

If you ask, do it with all your heart,

If there is a feast, then there is a feast!

Passion and powerful willpower can be considered among the basic properties of the Russian people. But Lossky also does not deny that among the Russian people there is also the familiar “Oblomovism”, that laziness and passivity that is excellently depicted by Goncharov in the novel “Oblomov”. Here he shares the position of Dobrolyubov, who explains the nature of “Oblomovism” this way: ...Russian people are characterized by a desire for an absolutely perfect kingdom of being and at the same time excessive sensitivity to any shortcomings of their own and others’ activities. From here arises a cooling towards the work begun and an aversion to continuing it; the idea and general outline of it are often very valuable, but its incompleteness and therefore inevitable imperfections repel the Russian person, and he is lazy to continue finishing the little things. Thus, Oblomovism is in many cases the flip side of the high qualities of the Russian person - the desire for complete perfection and sensitivity to the shortcomings of our reality...

However, the willpower of the Russian people, as Lossky writes, is also revealed in the fact that a Russian person, having noticed any shortcoming of his and morally condemning it, obeying a sense of duty, overcomes it and develops a quality that is completely opposite to it.

The Russian people have many shortcomings, but the strength of their will in the fight against them is capable of overcoming them.

Love of freedom. Among the primary properties of the Russian people, along with religiosity, the search for absolute good and willpower, Lossky considers the love of freedom and its highest expression - freedom of spirit... Those who have freedom of spirit are inclined to put every value to the test, not only in thought, but even from experience... Due to the free search for truth, it is difficult for Russian people to come to terms with each other... Therefore, in public life, the love of freedom of Russians is expressed in a tendency towards anarchy, in repulsion from the state.

One of the reasons, according to Lossky, why Russia has developed an absolute monarchy, sometimes bordering on despotism, is that it is difficult to govern a people with anarchic inclinations. Such people make excessive demands on the state.

Kindness. They sometimes say that the Russian people have a feminine nature. This, according to Lossky, is incorrect; he, unlike Berdyaev, adheres to a different point of view: the Russian people, he writes, especially the Great Russian branch of it, the people who created a great state in harsh historical conditions, are extremely courageous; but what is especially remarkable about him is the combination of masculine nature with feminine softness. Anyone who lived in a village and interacted with peasants will probably have memories of this wonderful combination of courage and gentleness come to mind.

The kindness of the Russian people in all layers of them is expressed in the absence of rancor. Often a Russian person, being passionate and prone to maximalism, experiences a strong feeling of repulsion from another person, however, when meeting him, if specific communication is necessary, his heart softens and he somehow involuntarily begins to show his spiritual softness towards him, even sometimes condemning himself for this if he believes that the person in question does not deserve to be treated kindly.

“Life according to the heart” creates openness in the soul of a Russian person and ease of communication with people, simplicity of communication, without conventions, without external instilled politeness, but with those virtues of politeness that arise from sensitive natural delicacy...

However, as Lossky rightly notes, positive qualities often have negative sides. The kindness of a Russian person sometimes prompts him to lie due to the reluctance to offend his interlocutor, due to the desire for peace and good relations with people at all costs.

Russian woman. In his book, Lossky especially notes Russian women and quotes Schubart, who writes about a Russian woman like this: “She shares with an Englishwoman an inclination towards freedom and independence, without turning into a blue stocking. What she has in common with the French woman is spiritual mobility without pretensions to profundity; she has... the taste of a Frenchwoman, the same understanding of beauty and grace, but without becoming a victim of a vain predilection for outfits. She possesses the virtues of a German housewife without always fuming over kitchen utensils; she has the maternal qualities of an Italian, without coarsening them to the abundance of monkey love...” 1

Cruelty. Kindness is the predominant feature of the Russian people. But at the same time, Lossky does not deny that there are also many manifestations of cruelty in Russian life. There are many types of cruelty and some of them can be found, paradoxically, even in the behavior of people who are not at all evil by nature.

Lossky explains many of the negative aspects of the behavior of the peasants by their extreme poverty, the many insults and oppressions they experience and lead them to extreme embitterment... He considered the fact that in peasant life, husbands sometimes severely beat their wives, most often while drunk, to be especially outrageous...

Until the last quarter of the 19th century, the family life of merchants, townspeople and peasants was patriarchal. The despotism of the head of the family was often expressed in actions close to cruelty.

However, the strength of the Russian people, as mentioned above, is expressed... in the fact that having noticed some shortcoming in itself and condemning it, Russian society begins a decisive struggle against it and achieves success. Lossky is deeply convinced that it was thanks to this quality that the structure of family life in Russian society was freed from despotism and acquired the character of a kind of democratic republic.

CHAPTER 3. The role of national character in the destinies of Russia (according to the works of N.A. Berdyaev);

The problem of the Russian national character has found comprehensive coverage in such works by N.A. Berdyaev, such as “The Fate of Russia”, “Spirits of the Russian Revolution”, “The Origins and Meaning of Russian Communism”, “Russian Idea”, “Self-Knowledge”, “Soul of Russia”, etc.

Russian national character occupied a special place in Berdyaev’s works. Berdyaev saw an essential feature of the Russian national character in its inconsistency.

At the same time, Berdyaev noted the influence of the Russian national character on the fate of Russia, for example: “The Russian people are the most apolitical people, who have never been able to organize their land.” And at the same time: “Russia is the most state-owned and most bureaucratic country in the world, everything in Russia turns into an instrument of politics.” Further: “Russia is the most non-chauvinistic country in the world. ...In the Russian element there truly is some kind of national unselfishness, sacrifice..." And at the same time: "Russia... is a country of unprecedented excesses, nationalism, oppression of subject nationalities, Russification... The other side of Russian humility is the extraordinary Russian conceit." On the one hand, “the Russian soul burns in a fiery search for truth, absolute, divine truth... It eternally grieves over the grief and suffering of the people and the whole world...”. On the other hand, “Russia is almost impossible to budge, it has become so heavy, so inert, so lazy... it is so resigned to its life.” The duality of the Russian soul leads to the fact that Russia lives an “inorganic life”; it lacks integrity and unity. 1

In his works, Berdyaev lists the following factors that, in his opinion, influenced the formation of the Russian national character.

Geographically, Russia is a gigantic territory covering one sixth of the landmass. The vast land, in Berdyaev’s words, is “national flesh” that has to be cultivated and spiritualized. However, Russian people have a passive attitude toward the elements of the earth, and do not strive to ennoble or “shape” it. “The power of the shire over the Russian soul gives rise to a whole series of Russian qualities and Russian shortcomings. Russian laziness, carelessness, lack of initiative, and a poorly developed sense of responsibility are associated with this. The breadth of the Russian land and the breadth of the Russian soul crushed Russian energy, opening up the possibility of movement towards extensiveness. This vastness did not require intense energy and intensive culture. ... The vastness of Russian spaces did not contribute to the development of self-discipline and initiative in Russian people...” notes Berdyaev.

Berdyaev attached great importance to the collective-tribal principle in the development of national character and in the fate of Russia. According to Berdyaev, “spiritual collectivism”, “spiritual conciliarity” is a “high type of brotherhood of people”. This kind of collectivism is the future. But there is another collectivism. This is “irresponsible” collectivism, which dictates to a person the need to “be like everyone else.” The Russian person, Berdyaev believed, is drowning in such collectivism; he feels immersed in the collective. Hence the lack of personal dignity and intolerance towards those who are not like others, who, thanks to their work and abilities, have the right to more.

However, Berdyaev did not deny the attractive aspects of Russian traditional collectivism. “Russians are more sociable... more inclined and more capable of communication than people of Western civilization. Russians have no conventions in communication. They have a need to see not only friends, but also good acquaintances, share thoughts and experiences with them, and argue.” 2

In Russia, according to Berdyaev, there is no middle and strong social layer that would organize people’s life, and accordingly there is no “middle culture.” The desire for “angelic holiness” and for goodness is paradoxically combined in Rus' with “beastly baseness” and fraud. A sincere thirst for divine truth coexists with the “everyday and external ritual understanding of Christianity,” which is far from genuine religious faith.

Peculiarities of national character are manifested in the way of thinking of Russian people. Berdyaev wrote about the “original Russian existentiality of thinking,” in connection with which Russian people are characterized by such traits as deep personal experience, the desire to “discover oneself,” and take everything to heart when considering any problems.

Ultimately, Berdyaev saw the peculiarities and contradictions of the Russian character in the absence of the correct balance between the “masculine” and “feminine” principles in him. It is the balance of “masculinity” and “femininity” that is inherent in a mature national character. Russian “national flesh,” according to Berdyaev, turns out to be feminine in its passive receptivity to good and evil. The “Russian soul” lacks courage, fortitude, will, and independence.

For the maturity of the Russian nation, Berdyaev believed, “there is only one way out: the revelation within Russia, in its spiritual depths, of a courageous, personal, formative principle, mastery of one’s own national element, the immanent awakening of a courageous, luminous consciousness.” 1

At the same time, Berdyaev is far from the idea that the shortcomings of the Russian national character are associated with the feminine principle. Thanks to their feminine soul, the Russian people have such wonderful national qualities as sincerity, mercy, and the ability to renounce goods in the name of a bright faith.

How did Berdyaev imagine Russia's future path? Is it true that the meaning of his “national program” was “deep and comprehensive Europeanization”?

Of course not, Berdyaev saw the path of world development in the mutual meeting of East and West, in the mutual enrichment of cultures, in the rapprochement of all nations. In his opinion, not only the West influences Russia, but also the spiritual forces of Russia can determine and transform the spiritual life of the West. In addition, Berdyaev believed that another era would follow, associated with spiritual transformation, in which Russia would occupy a leading role. However, for this, she herself must be transformed, revive within herself the faded rudiments of spirituality.

What is Berdyaev’s real program for the “re-education” of the Russian national character? Sikorsky B.F. in his work “N.A. Berdyaev on the role of national character in the destinies of Russia” writes that Berdyaev believed that man is a natural, social and spiritual being. Berdyaev saw the future society as one in which every person rises to true spirituality and realizes himself in unity with other people. The fate of society, from Berdyaev’s point of view, turns out to be dependent on the “personal principle.” Society will be what its people are.

N. O. Lossky.
(From the article “The Character of the Russian People”). 1957

A person who strives for the ideal of an absolutely perfect existence, lives it in dreams and vigilantly notices the imperfections of our life in general and the shortcomings of his own activities, is disappointed at every step in other people, and in their enterprises, and in his own attempts at creativity. He takes on one thing or another, doesn’t complete anything, and finally stops fighting for life, plunging into laziness and apathy. This is precisely Oblomov.

In his youth, Oblomov dreamed of “valor, activity”; “The pleasures of lofty thoughts were available to him,” he imagined himself as a commander, a thinker, a great artist. And these are not empty dreams; he is in fact talented and intelligent. works of art. To achieve this goal, you need to develop the habit of systematic work. But the first steps of Oblomov’s independent life did not contribute to the development of such a habit.

Having completely sunk, Oblomov “sometimes cries with cold tears of hopelessness for the bright, forever lost ideal of life.” But Stolz even at this time says that “his soul will always be pure, bright, honest,” and after Oblomov’s death, Stolz, together with Olga, remembers the soul of the deceased, pure as crystal

What is “Oblomovism”? Dobrolyubov explained it by the influence of serfdom and extremely contemptuously evaluates Oblomov’s character; he denies the attractive features of his soul and thinks that introducing them into the novel is an incorrect portrayal of reality
Of course, serfdom contributed to the spread of Oblomovism among people enjoying the fruits of serfdom and among the peasants oppressed by them, but only as a secondary condition. Goncharov, being a great artist, gave the image of Oblomov in such completeness that it reveals the deep conditions leading to evasion of systematic work full of boring little things and ultimately giving rise to laziness

Oblomovism is in many cases the flip side of the high qualities of the Russian person - the desire for complete perfection and sensitivity to the shortcomings of our reality
astic Oblomovism is expressed among Russian people in negligence, inaccuracy, sloppiness, being late for meetings, to the theater, and for arranged meetings. Richly gifted Russian people often limit themselves only to an original idea, only to a plan for some work, without bringing it to fruition

Lossky N. O. “The Character of the Russian People”

Kindness is the primary property of the Russian people

Among the primary fundamental properties of the Russian people is their outstanding kindness.* It is supported and deepened by the search for absolute goodness and the religiosity of the people associated with it. In “The Diary of a Writer,” Dostoevsky gives a concrete image of kindness, telling how at the age of nine he went into the forest to pick mushrooms and, having climbed into a bowl of bushes, suddenly heard the cry “The wolf is running!” “I screamed and, beside myself with fright, screaming out loud, ran out into the clearing, straight into the plowing man. It was our man Marey, a man of about fifty, stocky, quite tall, with strong gray streaks in his dark blond, thick beard. He even stopped the little filly when he heard my cry, and when I ran up and grabbed the plow with one hand and his sleeve with the other, he saw his fear.

The wolf is running! - I shouted, gasping for breath.

He raised his head and involuntarily looked around, for a moment almost believing me.

Where is the wolf?

He shouted... Someone shouted now: “The wolf is running”... - I stammered.

What are you, what are you, what kind of wolf, I imagined; see! What kind of wolf would there be? - he muttered, encouraging me. But I was shaking all over and clung even tighter to his zipun, and must have been very pale. He looked at me with

with a worried smile, apparently afraid and worried about me.

Look, I'm scared! - he shook his head. - That's enough, dear.

He reached out his hand and suddenly stroked my cheek.

Well, I’ll go,” I said questioningly and timidly looking at him.

Well, go ahead, and I’ll look after you. I won't give you to the wolf! - he added, still smiling at me motherly. - Well, Christ is with you; Well, go ahead,” and he crossed me with his hand and crossed himself. I walked, looking back almost every ten steps. While I was walking, Marey stood with his little mare and looked after me, nodding his head to me every time I looked back.”

This picture perfectly depicts the spiritual gentleness of the Russian person, which is equally common among commoners and in all levels of society. They sometimes say that the Russian people have a feminine nature. This is not true: the Russian people, especially the Great Russian branch, the people who created a great state in harsh historical conditions, are extremely courageous; but what is especially remarkable about it is combination of masculine nature with feminine softness. Anyone who lived in a village and came into contact with peasants will probably have vivid memories of this wonderful combination of courage and gentleness come to mind.

Soldiers of the Soviet army often behaved disgustingly - they raped women, robbed everything they liked. Not only soldiers, even officers took away everyone’s watches. However, the observation of a professor of psychology at the University of Bratislava in Slovakia is interesting. He met the Soviet army in the village where his parents lived and observed the behavior of Russian soldiers closely. “They act like children,” he said, “they steal a lot of watches, and then they give them away left and right.”

Kindness is one of the main properties of the Russian people: therefore, even the inhumane regime of the Soviet regime did not eradicate them. This is evidenced by foreigners who observed life in the USSR. The Austrian German Otto Berger, who was a prisoner in Russia in 1944-1949, wrote the book “The People Who Forgot How to Smile.” He says that living near Mozhaisk, the prisoners realized “what a special people the Russians are. All the workers, and especially the women, treated us as unfortunate people in need of help and protection. Sometimes the women took our clothes, our linen, and returned it all ironed, washed, mended. The most amazing thing was that the Russians themselves lived in monstrous need, which should have diminished their desire to help us, their yesterday’s enemies.”

The kindness of a Russian person is free from sentimentality, i.e. from enjoying one’s feelings, and from pharisaism: it is the direct acceptance of someone else’s existence into one’s soul and protecting it as oneself. L. Tolstoy in “Anna Karenina” excellently portrayed the character of Prince Shcherbatov, a genuinely kind man, and his mocking attitude towards the poetism of Mme Stahl. His daughter Kitty says to Varenka, Mrs. Stahl’s teacher: “I cannot live otherwise than according to my heart, but you live according to the rules. I simply fell in love with you, and you, probably, only to save me, to teach me.” “Life according to the heart” creates openness in the soul of a Russian person and ease of communication with people, simplicity of communication, without conventions, without external instilled politeness, but with those virtues of politeness that arise from sensitive natural delicacy. “Living according to your heart,” and not according to the rules, is expressed in an individual attitude towards the personality of every other person. From here follows in Russian philosophy an interest in concrete ethics as opposed to legalistic ethics. An example is “The Justification of Good” by Valentin Solovyov, the book by Vysheslavtsev “Fichte’s Ethics”, Berdyaev’s “The Purpose of Man”, N. Lossky’s “The Condition of Absolute Good”.

Russians and all Slavs have a highly developed attitude of value not only towards people, but also towards all objects in general. This is expressed in Slavic languages ​​in the abundance of diminutive, magnifying, and derogatory names. Diminutive names expressing feelings of tenderness are especially common and varied. Great wealth for personal names: Ivan - Vanya, Vanyusha; Maria - Manya, Masha, Manichka, Mashenka, Mashutka. Many non-personal names can take on the form of affectionate, diminutive, magnifying, derogatory, for example, house - little house, little house, domina, little house. Diminutive names can be formed in very different ways, for example, head, little head, pebble, boat, circle, suitcase, hair, little hair. Not only from nouns, but also from other parts of speech there are affectionate diminutive forms, for example, the adjectives small, glad-radeshenek, adverbs - side by side, straight.

Positive qualities often have a negative side. The kindness of a Russian person sometimes prompts him to lie due to the reluctance to offend his interlocutor, due to the desire for peace, good relations with people at all costs. Russian peasants sometimes lie out of courtesy, says Legras, citing the observations of G. Normann. It should also be noted that the source of a person’s Russian lies can be too much vividness of imagination, which will be discussed in the chapter “The talent of the Russian people.” Dostoevsky wrote a whole article about Russian lies, very mocking: “among us,” he says, “the vast majority lie out of hospitality,” “we want to make an aesthetic impression on the listener, to give pleasure, well, they lie, even, so to speak, sacrificing themselves.” .