- This compulsory work, which is included in school curriculum. The Word is not just a monument ancient Russian literature And historical work. This is work that helps you see the worldview of your ancestors, see the images of princes and get acquainted with the problems that existed at that time. The work also shows Russian women, selfless, devoted, faithful and gentle. The author reveals them through, who poured out her grief in crying. When you read the part of the work where Yaroslavna’s crying is described, you see how it is filled with a special breath, a deep feeling, which we will write about in our literature for 9th grade.
Kozlov: arrangement of Lamentation of Yaroslavna
The word about Igor's regiment was translated by different writers, among which it is worth noting its arrangement by Kozlov. If others tried to write their transcription close to the text ancient Russian work, while maintaining its rhythm, Kozlov wrote the Word in a freer form, trying to convey his emotional and personal perception of the work. In spite of everything, the basis for each version of the transcription of the Tale of Igor's Campaign remains the same - and this is the work of an unknown author. Each of the writers managed to correctly recreate the image of Yaroslavna, which reflected all the features of Russian women. We hear her heartfelt cry, where Yaroslavna not only performs the accepted rituals, but truly grieves for her husband’s squad, worries about her betrothed, and the sincerity of her tears can be compared to the bleeding wounds of the prince. It hurts her that she is not next to Igor and cannot fly to him like a bird.
Why does Yaroslavna turn to different forces of nature three times?
As you know, in the Tale of Igor's Campaign the episode of Yaroslavna's Lament is the most beautiful part of the author's work. Yaroslavna turns to three elements at once in her spell. The woman calls on the wind, sun and river for help. Why does Yaroslavna turn to three elements at once in her cry? Most likely, the author wanted to emphasize the pagan basis of the work. Moreover, in folklore creativity The technique of triple conversion was often used both in fairy tales and in songs and parables. So in the Tale of Igor’s Campaign, Yaroslavna, in her prayer, in her spell and in her chants, touches on three elements that help free Igor from captivity.
Essay on the topic: Yaroslavna's Lament
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Essay on the topic: is “The Tale of Igor’s Campaign” relevant in our time? 
Essay: What is the attitude of the author of “The Tale of Igor’s Campaign” towards the main character of the story? 
Essay “What is the pathos of the monument “The Lay of Igor’s Campaign”?”
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We said above that “The Tale of Igor’s Campaign” strongly evokes its South Russian origin. There is something soft in its language, reminiscent of the current Little Russian dialect, especially the abundance of guttural sounds and endings with the letter ъ in third-person present tense verbs plural. But most of all, the way of life of the people expressed in it speaks for the Russian-Southern origin of the Lay. There is something warm, noble and humane in the mutual relations of the characters in this poem: Igor is waiting honey brother Vsevolod, and Vsevolod’s speech to Igor breathes meek and tender kindred love without sophistication and cloying: “You are one brother to me, one bright light, O Igor, and we are both Svyatoslavichs!” Igor retreats with the regiments not out of fear of laying down his head: he felt sorry for his dear brother Vsevolod. In the reproaches of the elderly Svyatoslav to his sons, one hears not the anger of offended power, but the murmur of offended parental love - and his reproach is meek and gentle; accusing children of being daring, which was the cause Igor’s captivity, he at the same time seems to be proud of their daring: “Oh my sons, Igor and Vsevolod! Early on you began to mine the Polovtsian land with swords and seek glory for yourself. Your victory is unfair, the blood of the enemy is unjustly shed by you. Your hearts are bound from strong damask steel, and tempered in violence! Is this what I expected from you with my silver hair!” But what is especially striking in the poem is the noble relationship between the sexes. The woman here is not only a wife and not a mistress, but also a mistress at the same time. Yaroslavna's cry breathes with deep feeling, expressed in images that are both simple-minded and graceful, noble and poetic. This is not a wife who, after the death of her husband, was left a bitter orphan, without a corner and without a piece, and who laments that there is no one else to feed her: no, this is a tender mistress, whom loving soul sadly rushes to his beloved, to his okay to soak a beaver sleeve in the Kayala River and wipe off the bloody wounds on the body of a lover; who addresses all of nature about her beloved: she reproaches the wind, carrying the khan’s arrows to the beloved’s squad and scattering her joy across the feather grass; the Dnieper begs to cherish the boats of her beloved before her, so that she does not send tears to him to the sea early; calls out to the sun, which is “warm and red to everyone” - only torments her frets with the heat of the rays of its warriors... And yet a man knows how to appreciate such a woman: only the thirst for battle and glory made Buitur Vsevolod forget for a while “his darlings, red Glebovna, sayings and customs”... All this, we repeat, resonates with Southern Russia, where even now there is still so much humane and noble in family life(105) where gender relations are based on love, and the woman enjoys the rights of her sex; and all this is diametrically opposed to Northern Rus', where family relationships are wild and rude and a woman is a kind of livestock and where love is a completely foreign matter in marriages: compare the life of Little Russian peasants with the life of Russian peasants, townspeople, merchants and partly other classes, and you will be convinced of the validity of our conclusion about southern origin“Tales of Igor’s Campaign,” and our consideration of Russian folk tales will turn this belief into evidence.
Now we should talk (106) about the “Tale of Batu’s invasion of the Russian land” and about the “Tale of Mamaev's massacre"; but we will say very little about them. Both of these monuments do not at all relate to poetry, because there is neither the shadow nor the ghost of poetry in them: they are rather monuments not even of eloquence, but of the simple-minded rhetoric of that time, whose whole trick was incessantly applying to the Bible and extracting texts from it. Much more interesting is “The Word of Daniel the Sharper.” It also does not belong to poetry, but can serve as an example of practical philosophy and learned eloquence of the 14th century (107). Daniil Zatochnik was a man of deep learning in the spirit of his time; His “word” is distinguished by intelligence, dexterity, and in places something similar to eloquence. Its main advantage is that it breathes the spirit of its time. It was written in captivity, to the prince, from whom our Prisoner hoped to beg for forgiveness and freedom. Without losing sight of the main subject of his message, the Sharpener constantly launches into various judgments. By the way, talking about his poverty, he says:
...We know there is a rich husband everywhere; and in a foreign land he has friends, but the poor man walks invisibly among his own. The rich man will speak, everyone will remain silent, and his word will be lifted up to the clouds; and the wretched one will say, everyone will call on him and stop his mouth: their vestments are bright, their speech is honest.
Approaching the prince, he praises him like this:
...The bird rejoices in the spring, and the mother’s baby, and I, prince sir, rejoice at your mercy; Spring now decorates the earth with flowers, and you, sir, have revived all people with your mercy, orphans and widows, you plunge from the nobles. Prince Mister! Show me the image of your face, as your voice is sweet, and your sovereign image is red, and your face is bright and splendid, and your sovereign mind is like a beautiful paradise that bears many fruits.
The Sharpener’s pleas to the prince sometimes rise to true eloquence:
...But when you are having fun with many food, remember me when you eat dry bread; or drink sweet drink, and remember me, drinking warm water and attacking dust (108) from the place of the wind; when you lie on soft beds under sable blankets, and remember me lying under a single blanket, and dying in winter, and raindrops like arrows piercing your heart.
Particularly remarkable is the following passage in the “Word” of the Zatochnik, where he gives the prince advice to respect intelligence more than wealth and speaks about himself with some kind of naive, elevated consciousness of his own dignity:
......Prince, my lord! Do not deprive the poor of bread of bread, nor lift up the rich to the clouds, foolish, foolish: the poor are wise, like gold in a vessel of stone, and the rich are red and foolish, like a trailing head, like straw woven. My lord! Do not see my outer, but see my inner: for I am poor in clothing, but ample in understanding; I am young in age, but old in sense, I think like an eagle soaring through the air. But place the vessels of the poor under the flow of a drop of my tongue, so that the words of my lips may drop the sweetest honey of honey.
This is not the reins of life, nor the wisdom in the heart of the foolish: the foolish ones neither yell, nor sow, nor gather into granaries, but they themselves give birth. Just as you pour water into a skin, so teach a madman; dogs and pigs do not need gold and silver, nor wise words to the fool (109). If a tit devours an eagle, if a stone floats on the water, if a pig begins to bark at a squirrel, then the madman will learn wisdom.
It is noticeable that Daniil the Sharpener suffered from evil slander from the boyars and the prince’s wife; at least nothing else can explain the following formidable philippics against bad advisers and bad wives:
...Prince, my lord! It is not the sea that sinks ships, but the winds; and it is not the fire that creates the kindling of the iron, but the fumes that are maddening: in the same way, the prince himself does not fall into many bad things (110), but the Duma members introduce. With a good thinker the prince will think of a high table, but with a dashing thinker he thinks and will be deprived of a small table. The verb in worldly parables is: the goat is not the cattle, and the hedgehog is not the beast, the cancer is not the fish, the bat is not the bird, and the man is not the husband, who owns his wife; not a wife among wives like her husband...; It’s not a job to carry around work under junks. More marvelous is the one who catches his wife in an evil way, for the sake of profit…. (111) It is easier to bring an ox into your house than for an evil woman to understand: an ox speaks not, nor thinks evil; and the evil wife biema he rages, but the meek one stands tall, is proud of his wealth, but condemns others in his poverty. What is the wife of evil? an indestructible inn, a demonic shophouse. What is the wife of evil? worldly rebellion, blindness to the mind, the beginning of all malice, in the church a demonic tollhouse, a champion of sin, an ambush of salvation.
We do not write out this energetic outburst until the end: this is only the beginning, the weakest part of it. Instead, let’s write down the ending of Zatochnikov’s message: it is in the spirit of the times to such an extent that it turns from eloquent to poetic, and therefore especially interesting.
...I wrote these words to Daniel in captivity on Lake Bela, and sealed them in wax, and threw them into the lake, and devoured the fish, and the fish became a fisherman, and it was quickly brought to the prince, and he began to flog it, and the prince saw this writing, and commanded Danil to be freed from bitter imprisonment. - Do not directly dismiss the madman’s madness, lest you become like him. I’ll stop talking now, so that I won’t be like a fleece, dropping wealth on the poor; Let me not become like millstones, for many people feed, but cannot satisfy themselves, so that I will not be hated by the world with much conversation. As if a bird were to sing more often, it soon becomes hated. The verb in worldly parables is: speech continues unkindly, dragging continues. God! Give our prince the strength of Samson, the courage of Alexandrov, the intelligence of Joseph, the wisdom of Solomon, the meekness of David, and, Lord, increase all men under his hand. Give the madman a knife, and the evil one power (?). Most of all, the hatred of the side is patient. Amen.
Who this Daniil Sharpener is and when he lived is unknown. News of his imprisonment is found in our chronicles under the year 1378 (112). Be that as it may, Mr. Sakharov deserves special thanks for reprinting in his book the manuscript of Daniil Zatochnik, so interesting in many respects. Whoever Daniil the Sharpener was, one can conclude, not without reason, that he was one of those individuals who, to their own detriment, are too smart, too gifted, know too much and, unable to hide their superiority from people, insult self-loving mediocrity ; whose hearts hurt and are consumed by jealousy for matters alien to them, who speak where it would be better to remain silent, and are silent where it is advantageous to speak; in a word, one of those personalities that people first praise and cherish, then they are driven out of the world and, finally, having died, they begin to praise again...
Now we should proceed to the fairy tale poems contained in the collection of the Cossack Kirsha Danilov. There there are more than thirty of them, besides the Cossacks, and Mr. Sakharov placed only eleven. In general, Mr. Sakharov displays great distrust and even something like hostility towards Kirsha Danilov’s collection. This matter requires some explanation. The manuscript of Kirsha Danilov's collection was found by Mr. Demidov and published (not completely) by Mr. Yakubovich in 1804, under the title “Ancient Russian Poems”. Then the manuscript came into the possession of Count N.P. Rumyantsev, on whose instructions it was published by Mr. Kalaidovich in 1818 (113), under the title: “Ancient Russian poems collected by Kirsha Danilov and published a second time, with the addition of (114) 35 songs and fairy tales, hitherto unknown, and notes for chanting.” In his preface, Mr. Kalaidovich says: (115)
...The writer, or rather the collector of ancient poems, for many belong to distant times, was someone Kirsha, no doubt, due to Kirill’s Little Russian accent, since Pavsha– Pavel; Danilov is probably a Cossack, for he occasionally sings of the exploits of this brave army with special delight. His name was placed on the first, now lost, sheet of ancient poems. Mr. Yakubovich vouches for the justice of this. In the 36th play, “Don’t be sorry for the good fellow who was beaten, but sorry for the hangover one,” where he calls himself “Kirill Danilovich,” dedicating this work to wine and friendship. It is difficult to determine the place of his birth or residence, because in the play “For three years Dobrynyushka was in charge,” on page 67 (116), the writer says:
But Dobrynya was gone for six months.
By- our, By- Siberian, say six months.Therefore, it is not without probability that we can conclude that some of the poems were composed in Siberia. In the article “Vasily Buslaev”, on page 73:
And no us such a singer
In glorious Novgorod
Opposite Vasily Buslaev.And finally, in “Churilya the Abbess,” on page 383, she introduces herself as a resident of Kyiv:
Yes, there were many churches of God in Kyiv,
And more than that, honorable monasteries;
And there was nothing more wonderful than the Annunciation of Christ.
A our Holy Annunciation of Christ,
And there was with us Ivan the sexton.The collector of ancient poems must belong to the first decades of the 18th century.
Mr. Sakharov asks: (117) “On what is it based that the collector of ancient poems was Kirsha Danilov? The fact that his name is on the first page of the manuscript. Where is this leaf? Kalajdovich says that he is lost. Who saw the sheet with the signature? Only the publisher Yakubovich, who, according to Kalaidovich, vouches for the fairness of this news?”
Briefly and clearly: from all this Mr. Sakharov wants to draw the conclusion that Kirsha Danilov was by no means a collector of ancient poems. Wonderful; but what is the dispute and is there anything to argue about? Kirsha Danilov – good; not he, but another, Mr. A., Mr. B., Mr. V. - also good: at least in both cases the poems are made neither better nor worse. However, all the reasons are for Kirsha Danilov, and not a single one is against him; it's clear as day (118). Firstly, you need some common name to mean a collection of ancient poems: why invent something new when the eyes of the entire reading public have already taken a closer look at the name of Kirsha Danilov in print? Secondly, that his name could be on the title page is more accurate than the fact that it was not on it, for this name is mentioned in the text of an entire song composed by the collector himself. Here it is:
And I don’t feel sorry for the beaten, robbed one,
Or is it Ivan Sutyrin,
It's just a pity good fellow hangover,
Or that Kiril Danilovich.
The hungover good fellow has a violent headache:
And you, my dear brothers, comrades, friends!
You buy some wine and cure the fellow’s hangover.
Even if it’s bitter and liquid, give it more;
Replace my death with your belly:
There will be a time before I will be of use to you.
Of course (119), it would be funny to read Kirsha Danilov as a writer of ancient poems; but who said or claimed this? All these poems are undeniably ancient. They probably began during the Tatar era, if not earlier: at least all the heroes of Vladimir the Red Sun constantly fight the Tatars in them. Then every century and every singer or storyteller changed them in his own way, sometimes subtracting, sometimes adding verses, sometimes altering the old ones. But they probably underwent the greatest change during the time of autocracy in Russia. And therefore it is not at all surprising that the daring Cossack Kirsha Danilov, idle reveler(120), did not leave them completely in the same form as he heard from others. And he had every right to do so: he was a poet at heart, which is sufficiently proven by his passion for poetry and the patience to put 60 large poems on paper. Some (121) of them may belong to him himself, like the song we wrote out above: “And I don’t feel sorry for the beaten, robbed one” (122). It has been customary in Rus' since ancient times that smart man certainly a bitter drunkard: this, or almost so, was rightly noted somewhere by Gogol (123). In the following song, distinguished by a deep and sweeping feeling of melancholy and sad irony, Kirsha Danilov is (124) a true Russian poet, such as was only possible in Rus' before the age of Catherine the Great:
And woe, woe to the mourner!
And to live in grief is not sad,
To walk naked is not to be ashamed,
And there is no money - in front of money,
The hryvnia appeared - before evil days.
Not to be bald and curly,
There won't be a rich man walking around,
Do not grow a dead tree,
Don't fatten a lean horse,
You can't console a child without a mother,
You can't cut satin without a master.
And woe, woe to the mourner!
And grief was girded with a bast,
My feet are tangled with washcloths!
And I, out of grief, went into the dark forests,
But the grief before the century has gone;
And I, out of grief, go to an honorable feast -
And grief has come, sits in front;
And I, out of grief, went to the Tsar’s tavern -
And he meets with grief, he carries beer.
“How did I become naked?” he laughed.
Kirsha Danilov lived in Siberia, as can be seen from frequent expressions: “ but in our way, in Siberian"and from some poems, dedicated to memory exploits of the conqueror of Siberia, Ermak. It is very likely that in Siberia Kirsha had more opportunities than anywhere else to collect ancient poems: colonists usually preserve the monuments of their primitive homeland with special love and special diligence. In general, in Siberia even now the primitive spiritual type of old Rus' has been preserved in all its purity.
“Ancient Poems”, contained in the collection of Kirsha Danilov, are mostly of epic content in a fairy-tale kind. There is a big difference between a poem or a rhapsode and a fairy tale. In the poem, the poet seems to respect his subject, puts it above himself and wants to arouse reverence for it in others; the storyteller is on his own mind: his goal is to occupy idle attention, dispel boredom, and amuse others. Hence there is a big difference in the tone of both types of works: in the first, importance, passion, sometimes rising to pathos, lack of irony, and even more so - vulgar jokes; at the basis of the second, an ulterior thought is always noticeable; it is noticeable that the narrator himself does not believe what he is telling, and internally laughs at own story. This especially applies to Russian fairy tales. In addition to “The Tale of Igor’s Campaign”, from folk works We don’t have a single poem that doesn’t have a fairy-tale character. Russian people love fables as entertainment in idle moments of long winter evenings, but does not suspect poetry in them. It would be strange and wild for him to know that academic bars they copy and publish his stories and fables not for jokes and laughter, but as something important. He gives preference to the song over the fairy tale, saying that “the song is true, and the fairy tale is a lie.” He has no intuition about the close affinity fiction with creativity: fiction for him is the same as a lie, nonsense, or nonsense. Meanwhile, “Ancient Poems” are not fairy tales per se, but, as we said, fairy tale poems. Perhaps they originally appeared purely epic passages, and then, changing over time, they acquired their fabulous character; It may also be that, due to the barbaric concept of fiction, from the very beginning they appeared as fairy tale poems, in which the poetic element was mastered by the prose of the people's view of poetry. In Mr. Sakharov’s book (125) “Russians folk tales“There are several fairy tales of almost the same content and presented almost in the same way as some of the “Epics of Russian People” that he placed in “Tales of the Russian People” (126). The difference is that in fairy tales there are some extra against epics details, and that the first are printed in prose, and the second in verse. And we think that Mr. Sakharov did this not without reason: although all our fairy tales are composed of some kind of measured prose, this metricism, so to speak, is a secondary advantage in them and is often violated in places, whereas in poems the meter , although syllabic, and, moreover, not always correct, constitutes their necessary accessory. Moreover, there is some difference in the manner, in the style of the story between a fairy tale and a poem: the first embraces the entire life of the hero, begins with his birth, and ends with death; the poem, on the contrary, captures one moment from the life of the hero and tries to create from it something separate and integral. And therefore one fairy tale contains two, three or more epic rhapsodes, such as, for example, about Dobrynya and Ilya Muromets. The tone of fairy tales is more common, everyday, prosaic; in the tone of the poems there is more poetry, flight, animation, although both of them often talk about the same subject and very similarly, often using the same expressions. Since the Russian people considered fairy tales to be “filled from empty to empty,” he not only did not pursue plausibility and naturalness, but also seemed to make it an indispensable duty to deliberately violate and distort them to the point of nonsense. According to his concept, the more implausible and absurd the fairy tale, the better and more entertaining. This carried over into the poems, which are filled with the most dramatic inconsistencies. We will now let our readers see this themselves, for which we will briefly retell to them the contents of all the poems in Kirsha Danilov’s collection.
We have heard the extremely strange opinion that our fairy-tale poems can be combined into one large whole poem, just as the Iliad was composed from rhapsodes (127). Now, even about the origin of the Iliad, many have left such an opinion as unfounded; As for our rhapsodes, the idea of merging them into one poem is an evil mockery of them. The poem requires unity of thought, and as a result of it, harmony in parts and wholeness in general. From the content of our rhapsodes we will see that looking for a common thought in them is like catching pearl shells in the Fontanka River. They are not connected in any way; the content of all of them is the same, abundant in words, scanty in deeds, alien to thought. Poetry to prose is contained in them, like a spoonful of honey to a barrel of ointment. There is no consistency in them, even external; each of them is in itself, neither follows from the previous one, nor contains the beginning of the next one. The external unity of the Iliad is based on the anger of Achilles against Agamemnon for the captive Briseis; Achilles refuses to fight, and as a result, the Hellenes suffer terrible defeats from the Trojans, and Patroclus dies; then Achilles makes peace with Agamemnon, defeats the triumphant Trojans and, by killing Hector, fulfills his oath of vengeance for the death of Patroclus. That is why in the Iliad the second song follows the first, and the third after the second, and so on, from the first to the 24th inclusive, not according to the numbers arbitrarily placed at the beginning by the collector, but according to the internal development of the course of events. In our rhapsodes there is no common event, there is no one hero. Although there are twenty poems in which the name of Grand Duke Vladimir the Red Sun is mentioned, he is only an external hero in them: he himself does not act in any of them and everywhere he only feasts and walks around the bright grid, combing his black curls. As for the connection between these poems, some of them should definitely follow one after another in the book, which, unfortunately, Kalaidovich did not do, publishing them probably in the order in which they were in Kirsha Danilov’s collection. But this applies to very few, so that no more than three can make one - and this one always has its own hero, in addition to Vladimir, who is mentioned in all of them. These heroes are the heroes who made up the court of Vladimir. They flock to his service from all sides. This is obviously an echo of antiquity, a reflection of something long ago, which has its own grain of truth. Vladimir is neither a real person nor a definite character in these poems, but, on the contrary, some kind of mythical penumbra, some kind of fairy-tale half-image, more a name than a person. This is how poetry is always faithful to history: what history has not preserved, poetry will not convey; and history has not preserved for us the image of Vladimir the pagan, and poetry has not dared to touch upon Vladimir the Christian. Some of the heroes of Vladimir were conveyed to us by this fabulous poetry, such as: Alyosha Popovich with his friend Ekim Ivanovich, Danube, son Ivanovich, Churilo Plenkovich, Ivan Gostiny son, Dobrynya Nikitich, Potok Mikhailo Ivanovich, Ilya Muromets, Mikhailo Kazarinov, Duke Stepanovich, Ivan Godinovich, Gordey Bludovich, wife of Stavr the boyar, Kasyan Mikhailovich; some are only mentioned by name, such as: Samson Kolyvanovich, Sukhan Domantievich, “Svetogor the hero and Polkan the other”, Seven Sbrodovich brothers and two Khapilov brothers... But let the matter speak for itself. Let's start with Alyosha Popovich.
* * *
From the glorious Rostov, the red city, two clear falcons flew out, two mighty heroes rode out,
What is the name of Aleshinka Popovich Jr.
And with young Ekim Ivanovich.
They came across three wide roads in an open field, and along those roads lay a flammable stone with inscriptions; Alyosha Popovich asks Ekim Ivanovich, “as in the letter of a learned person,” to read those inscriptions. One of them meant the path to Murom, the other to Chernigov, the third - “to the city of Kyiv, to affectionately Prince Vladimir." Ekim Ivanovich asks where to go; Alyosha Popovich decides to go to Kyiv. Before reaching Safat-rivers (?), stopped in green meadows to feed the good horses. Here we will stop with them to ask what kind of river it was Safat, flowing between Rostov and Kyiv? She probably sailed there from Palestine... Having pitched the tents and hobbled the horses, the good fellows began to “hold the rest.”
That autumn night has passed,
Awakens from sleep,
Gets up early, very early,
I wash myself with the morning dawn,
He wipes himself with a white fly,
To the east he, Alyosha, prays to God.
Ekim Ivanovich caught the horses, watered them in the Safat River and, by order of Alyosha, straddled them. As soon as they wanted to go “to the city of Kyiv,” they came across kalika wandering.
His shoes are seven silks,
Forged with pure silver,
The face is adorned with red gold,
The fur coat is sable, long-brimmed.
Sorochinsky hat, Greek land,
Thirty pounds of road rustle,
Fifty poods of lead is poured into Cheburatsk.
Question: how could the shellpug be in thirty pood if there was one lead in it fifty pood?.. Kalika spoke to them like this:
“Hey you are, good fellows!
I saw Tugarin Zmeevich:
Is he, Tugarin, three fathoms tall,
Between the shoulders there is an oblique fathom,
There is a red-hot arrow between the eyes;
The horse under him is like a fierce beast,
From the highland the flame burns,
There is a column of smoke coming out of my ears.”
Alyosha Popovich got attached to the kalika, gives him his heroic dress, and asks him for his kalich one - and his request is to repeat word for word the verses we have written out, depicting the Kalika’s attire and weapons. Kalika agrees, and Alyosha Popovich, in addition to the shellepug, also takes some damask chingalishche in reserve and goes across the Safat River:
I saw Tugarin Zmeevich young here,
Roared in a loud voice,
The green oak tree shivered,
Alyosha Popovich is barely alive.
Tugarin Zmeevich young spoke here:
“Hey you, you wandering little girl!
Where did you hear and where did you see
About young Alyosha Popovich:
And I would have stabbed Alyosha with a spear,
He stabbed him with a spear and burned him with fire.”
Alyosha spoke here with a calico:
“And you too, Tugarin Zmeevich young!
Come closer to me
I can’t hear what you’re saying.”
Tugarin Zmeevich young drove up to him,
Alyosha Popovich Jr. was made up
Against Tugarin Zmeevich,
He lashed him on the wild head with a rustling tongue,
I smashed his violent head -
And Tugarin fell on the damp ground;
Alyosha jumped up on his black chest.
Tugarin Zmeevich Jr. will pray to Vtapory:
“Hey you are, you little wanderer!
Aren't you Alyosha Popovich young?
Only you Alyosha Popovich is young,
Let us fraternize with you.”
Vtapory Alyosha did not believe the enemy,
Cut his head off
He took off his dress in color
For a hundred thousand - and he put the whole dress on himself.
Seeing Alyosha Popovich in Tugarin Zmeevich’s dress, Ekim Ivanovich and the Kalika who was crossing began to run away from him; when he caught up with them, Ekim Ivanovich threw back a thirty-pound club, hit Alyosha in the chest - and he fell off his horse dead.
Vtapory Ekim Ivanovich
He jumped off his good horse and sat on his chest:
Wants to flog white breasts -
And I saw a wonderful cross of gold on it,
He himself began to cry and said to the Kalika who was passing by:
“Because of sins, it happened to me, Ekim,
That he killed his dear brother.”
And they both began to shake and rock him,
And then they served him foreign wine;
That's why he became healthy.
Alyosha Popovich exchanged a dress with Kalika, and put Tugarinovo in his suitcase. We arrived in Kyiv.
They jumped off their good horses,
Tied to oak posts,
Let's go to the bright grid;
They pray to the image of Spasov
And they strike with their foreheads and worship
Prince Vladimir and Princess Aprakseevna,
And on all four sides;
The affectionate Vladimir-Prince told them:
“Hey you are, good fellows!
Tell me your name:
And by name I can give you a place,
By patronymic you can be awarded.”
Alyosha Popovich Jr. spoke here:
“My name, sir, is Alyosha Popovich,
From the city of Rostov, the old cathedral priest.”
Vtapory Prince Vladimir was delighted,
He spoke these words:
“Hey you, Alyosha Popovich young!
According to the fatherland, sit in great place, to the front corner,
To another heroic place,
On the oak bench opposite me,
To a third place, wherever you want.”
Alyosha didn’t sit in the big seat
And did not sit on the oak bench,
He sat down with his comrades on a plated beam (!!??).
Suddenly - lo and behold! - on a golden board, twelve heroes carry Tugarin Zmeevich - the same one whose head Alyosha so recently cut off - they carry him alive and put him on great place.
Here the cooks were smart:
They brought sugar dishes and honey drinks,
And all the drinks are foreign,
They began to drink, eat, and cool off here;
And Tugarin Zmeevich eats bread dishonestly:
Throws a whole carpet of cheeks,
Those rugs are monastery;
And Tugarin drinks dishonestly:
It overwhelms the whole bowl,
Which bowl is half a third of a bucket.
And the young Alyosha Popovich said:
“Hey you are, gentle sir, Prince Vladimir!
What kind of idiot have you come?
What kind of fool is this uncouth?
It's dishonest that the prince sits at the table,
To the princess, he, the dog, puts his hands in his bosom,
Kisses your sugar lips,
The prince is mocking you."
Tugarin turned black like an autumn night,
Alyosha Popovich became as bright as the moon.
Having begun to destroy the white swan, the princess cut off her left hand,
She wrapped it in her sleeve and lowered it under the table,
She spoke this word:
“Hey you are, princesses, noblewomen!
Either I should cut a white swan,
Or look at your cute belly,
Tugarin Zmeevich is young.”
Tugarin grabbed the white swan, and at once her cheek, and also the monastery carpet. Alyosha again repeats his appeal to Vladimir with the same words; only, instead of a dog, he talks about an old cow, who, huddled in the kitchen, drank a vat unleavened mash and from that he, Alyosha, burst by the tail and down the hill: “The same will happen to Tugarin from me.” Darkening like an autumn night, Tugarin threw a damask steel chingalik at Alyosha, but Popovich “was so sharp,” and Tugarin did not hit him. Ekim asks Alyosha: will he throw it at Tugarin himself or will he order it? Alyosha said that tomorrow he would talk to him himself, on a great bet - not about a hundred rubles, not about a thousand, but about his wild head. The princes and boyars jumped into action, and everyone held guarantees for Tugarin: the princes put down one hundred rubles, the boyars put down fifty, peasants(?) for five rubles, and the merchant guests who happened to be here sign three of their ships with overseas goods, which are standing on the fast Dnieper, to Tugarin; and the Bishop of Chernigov signed for Alyosha.
Vtapory Tugarin and gone,
He sat on his good horse,
He rose on paper wings to fly under the sky.
Princess Aprakseevna jumped on her fast legs,
She began to blame Alyosha Popovich:
“You are a hillbilly, a peasant!
He didn’t let his dear friend sit.”
Vtapora Alyosha did not listen to him,
Zzvilsya with his comrades and off he went.
On the banks of the Safat River they let their horses run into green meadows, pitched tents and began to “keep them in bed.” Alyosha does not sleep all night, with tears he prays to God to send a menacing cloud; Aleshin’s prayer reached Christ, he sent “a cloud with a hail of rain,” dampened Tugarin’s paper wings, and he lies like a dog on the damp ground. Ekim informs Alyosha that he saw Tugarin on the damp ground - Alyosha equips himself, mounts his good horse, and takes a sharp saber.
School essay on the topic “The Image of Yaroslavna.” "The Tale of Igor's Campaign"- a work of ancient Russian literature about the defense of the Russian land from the Polovtsian invasion. It was written by an unknown author. The events described in the poem take place in 1185, when Prince Igor led his army against the Polovtsians. Despite the eclipse of the sun, which foreshadowed defeat, Igor’s wife decided to defeat the Polovtsian troops in order to forever close their path to Rus'. But the opposite happened. Only the first days brought the joy of victory. On the third day, Igor’s army was defeated, and the prince himself was captured. Russian soldiers gave their lives defending their native land, but the forces were equal. To overcome the Polovtsian hordes, it was necessary to unite the Russian principalities to fight the enemy. Disagreement between the princes led to the defeat of Igor's wife, but the Russian land suffered and became defenseless. Why did “The Tale of Igor’s Campaign” find such popularity, why does this chronicle stand out so much from other works? Many works have been written about this; many Russian and other scientists and literary critics have solved this problem and agreed that one of the main, and main reason there was an unusual poetic speech of the “Words”, which, thanks to its beauty, brought this work closer to artistic.
How does his homeland react to the defeat of Prince Igor? The author understands that it is possible to convey the feelings of military failure and the grief of a defenseless land only through the suffering of a person close to Igor. This is the prince’s wife, Yaroslavna. In the work, she is an example of a Slavic woman, a faithful patriot, devoted to her husband and her land. We meet Yaroslavna when she cries at the gates in Putivl-grad, turning to the forces of nature, conjuring them to return her men. We see the disappointing grief of a wife who has lost her beloved, her resistance and hope. Thinking about her husband, she seeks support from the forces of nature and for Igor’s warriors. Turning to the wind, Yaroslavna asks:
Light, winged mistress! Why, on a strong wing, howl, my dear ones, at the prince, my dear, do you throw arrows at the khan?
The woman is ready to fly zigzag, just to save your loved one and give him strength. Melancholy, pain, despair merged in this cry - lamentation. With the loss of her husband, Yaroslavna loses her joy in life. Sadness and hopelessness overwhelm her. By giving us a picture of the princess crying, the author makes us think about who is a warrior for his land, for his beloved. Yaroslavna mourns not only her husband and his army, she mourns the Russian land, she has lost her defenders. The strength of Yaroslavna's feelings helps the prince escape from captivity. He returns to defend his native land again.
The author introduces pictures of nature into the work! In general, from the chronicles, if there was a description of nature, it was nonnaya, imbued with patriotism. She is also a politically conscious woman, for she mourns not only Igor, but also the soldiers, his wife, and sympathizes with Russian women:
Like the seagull of mercy, he moans early in the morning. Yaroslavna believes in the miraculous power of the Kayala River, which can heal the wounds of the prince: I will soak the beaver sleeve in the Kayala River, wash the prince’s bloody wounds on his strong body!
In Ukrainian fiction and in folklore we often come across the definition female destiny comparison of a woman with a poplar, viburnum, seagull, cuckoo. These two birds symbolize tragic fate women. The author of “The Word...” uses exactly them. Yaroslavna is ready to fly like a cuckoo, like a seagull, into the thick of things, just to save Igor. Yaroslavna's entire monologue consists of rhetorical appeals and questions in which she praises the omnipotence of nature, and sometimes is even capable of reproaches, which hinders the prince and wife:
Oh wind, sail! Why, sir, do you force yourself? Why do you throw enemy arrows on the wings of your lungs Against the warriors of my dear? In Dnieper-Slavutych she addresses herself as if she were addressing a powerful element: bring you, master, to me my dear one, And would I not send him zealous tears to the sea early!
How should you love your betrothed? to so desperately, desperately beg his life not from people, but from the forces of nature! This is despair, the last hope. And already tormented by prayers, the woman turns to the most powerful force - the Sun:
Why, O master sun, did she spread her hot rays onto my dear warriors In the waterless field, thirst dried their bows, closed their quivers tightly! And nature seemed to come to its senses from these sincere spells, as if it took pity on the spiritual beauty of this woman, that nature was not even indifferent to her melancholy: the sea began to play at midnight, the fog was coming in columns of whirlwinds, God presented the path to Prince Igor from the Polovtsian land to the Russian land.
More than eight centuries have passed since these events, but even today I would like to wish young people and spouses to follow the example of this wife in fidelity and boundless love for each other. After all, Igor did not betray Yaroslavna, although he was offered beautiful Polovtsian women and wealth, so that in his person he would have an ally for Khan Konchak. Yaroslavna is a wise woman. She amazes with her tenderness, defenselessness and at the same time strength. For me, the princess is not just Igor’s wife. I perceived this image in unity with the image of the Russian land. With the power of her love, Yaroslavna returns Igor to native land, to the people who need protection. Igor returned from captivity and the Russian land rejoices:
Igor travels along Borichev
Yaroslavna's cry is perhaps the most poetic and beautiful episode of the work. It sounds not just like lamentations and prayers, but like a real spell, filled with folk tunes and magical transformations into animals.
Yaroslavna worries about the unsuccessful campaign of her husband Prince Igor's squad. In her sadness, she is not shy about her tears and turns to the higher forces of nature - the wind, river and sun. Her treatment on equal terms is amazing; Yaroslavna seems to condemn and reprimand higher powers, like good old friends who did not provide adequate support to her husband. With this technique, the author points out the pronounced pagan customs that took place at that time, despite the already accepted Christianity. Nature in tears is also depicted in an unusually picturesque manner. Such descriptions as transformation into animals are quite typical for folklore.
The image of Yaroslavna successfully combines the type of a faithful and devoted wife who is ready to do anything for her husband, turning into a cuckoo and wiping blood from her wounds. She also mentions in her song the famous feat of Svyatoslav, as if saying that the Russian people have something to be proud of. It is important that female image presented on a par with men's. Thus, the author emphasizes Yaroslavna’s confidence and self-sufficiency.
So, we can conclude that with the help of the presented image, the author is trying to convey the grief, and at the same time, the determination of all women of Rus' - wives and mothers. Every word of Yaroslavna is filled with light and hope for a successful end to the confrontation.
"The Tale of Igor's Campaign" - literary monument ancient Russian culture, which tells about the unsuccessful campaign of Prince Igor Svyatoslavich against the Polovtsians in 1185.
Yaroslavna's Cry is one of three parts of the poem, dedicated to the moment of grief of Prince Igor's wife about the unsuccessful outcome of the battle in which his squad took part. This episode is recognized as one of the best in the entire work, and its heroine acts as a symbol of a loving and faithful wife.
The image of Yaroslavna personifies the theme of family, peace, home and endless longing for her husband, who every moment risks dying from the enemy’s sword. Her excitement is so strong and irresistible that she is ready to become a bird in order to quickly be near her husband and heal his wounds. What is characteristic is that such techniques, namely the transformation of heroes of works folk art in various birds and animals, represent one of the main features of Russian folklore.
The action takes place in a period when Rus' had already adopted Christianity, but at the same time still continued the traditions of the pagan faith. They're talking about it artistic images, used in the work. For example, Igor, noticing a black shadow rising above the Russian militia, doubted the successful outcome of the battle.
Or, for example, Yaroslavna’s appeal to the wind, to the sun, to the river means her faith in pagan gods, personifying the named forces of nature. She talks to them as equals, sometimes reproaching them, sometimes begging for support and protection. In addition, with the help of this technique, the author shows the beauty of the Russian land, the vastness of its fields, bright sun, high mountains, deep seas and mighty rivers. All the vast and great Rus' is embodied in this picture, personified in the image of the beautiful Yaroslavna. Her cry carries not only suffering and sadness, but is also filled with tenderness and bright hope.
The heroine's monologue is a lyrical song, permeated with undying hope for the speedy return of Prince Igor from the battlefield. And for her faith and boundless love, fate generously rewards Yaroslavna. The prayers are heard, and Prince Igor escapes from captivity, led by miraculous power on the way to his home.
Thus, Yaroslavna’s crying is the most important plot component of the poem “The Tale of Igor’s Campaign.” It is in it that all the power of the general people's grief for the fallen wars is contained and the idea of creation and peace is affirmed.
Option 2
The 12th century for Rus' was marked by many events, but mainly of a military nature. If we talk about cultural development state, it is important to note that the remarkable monument of ancient Russian literature “The Tale of Igor’s Campaign” dates back to this time.
The above-mentioned work has a clear structure, which is subordinated to the idea, genre features, means of language. There is nothing random or superfluous in “The Word…”: each episode is important, it carries a certain semantic load.
IN this essay we will talk about the episode that literary scholars call “Yaroslavna’s Lament.” This is a kind of prediction of the fate of your beloved Lada.
Yaroslavna personifies the Russian land. And in the girl’s cry the attitude of the entire Russian land towards the military events with the Polovtsians is clearly shown.
If we talk about the compositional structure of the text, then “The Lament” is important as a predetermination of Igor’s escape from captivity. Because Lada Yaroslavna turns to the sun, the wind, the Danube, so that they will help her lover free himself from the Polovtsian shackles, so that Lada can be with his beloved.
If “Lamentation” is removed from the text, its harmony and semantic completeness will be disrupted. After all main idea is a call for unity.
Also, don't forget about things like art space and time. IN in this case special attention given to space. It expands and contracts. In “The Lament” the space is expanded to the very outskirts of the Russian state. This is achieved due to the author’s skill, due to the fact that he brought “Lament” closer to a folk lyrical song.
Important in "Lamentation" and landscape sketches. According to literary critic D. Likhachev, they are designed to be independent actors. This is also typical of ancient Russian texts of that time, because this technique allows one to show and emphasize the enormity of the space that surrounds an insignificant person.
“The Word...” has poetic arrangements. The most interesting are the translations by D. Likhachev and N. Zabolotsky.
If we talk about “The Lament,” Likhachev embellishes the text through metaphors, and Zabolotsky through comparisons.
Several interesting essays
- Analysis of the story by Nikita Platonova
The work belongs to the writer’s lyrical stories dedicated to military topics, and considers as the main problem the consequences of the influence of wars unleashed by states on the children’s psyche.
The undergrown Mitrofan in Fonvizin’s comedy had several teachers. One of them, and the most worthy in the opinion of the narrow-minded Mrs. Prostakova, was the German Vralman.