7th grade
Option 1
1.Continue definition
Tradition is a genre of oral folk art, which ____________________________________________________________
Epics are...
b) works about nature and animals;
c) works about modern science and technology;
The orata has a downy hat,
And his caftan is black velvet...
For epics Novgorod cycle characteristic:
c) heroes: Sadko, V. Buslaev;
d) the place of action is Novgorod;
e) place of action - Kyiv
________________________________________________________
7. What features of a fairy tale are present in the Tale of Peter and Fevronia?
____________________________________________________________
____________________________________________________________
____________________________________________________________
8. Put Plot Elements in the Correct Order
the complete cure of Peter, the murder of the serpent, expulsion from Murom, the visit of the boyars and their repentance, adoption of monasticism, posthumous miracles,introducing the reader to Fevronia,death in one day marriage,
Test work on ancient Russian literature
7th grade
Option 2
1.Continue definition
Epics are a genre of oral folk art, which _______________________________________________________________________________________________________________________________
2. Find the correct answer
Tradition is...
a) works of oral folk poetry about Russian heroes and folk heroes;
b) works about nature and animals, which address issues of their protection;
c) an oral story that contains information about historical persons and events, passed down from generation to generation;
d) works of folklore about good and evil
3.What two cycles of epics do you know?
________________________________________________________________
4. From which epic are the lines below
Sat on a white-flammable stone
And he began to play spring goosebumps.
_______________________________________________________________
5. Choose the right statements
The epics of the Kyiv cycle are characterized by:
a) heroes: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich;
b) the theme of trade and travel;
c) heroes: Sadko, V. Buslaev;
d) the topic of protecting Russian lands;
d) the place of action is Novgorod;
e) the place of action is Kyiv?
6. What is the theme of “The Teachings of Vladimir Monomakh”? (about what?)
________________________________________________________________
7. What features of life are present in the Tale of Peter and Fevronia?
________________________________________________________________
________________________________________________________________
________________________________________________________________
8. Fill in the blanks with relevant events.
The serpent and his death,__________________________________________, attempt to be cured,_____________________,marriage,___________________________,
the boyars' request for forgiveness, _______________________________________, death on the same day__________________________________________.
Match
Characteristic
Characteristic
A) Rising national identity, manifested in the idea of gathering lands and the formation of a moral ideal.
1. Chronicle
A) a story about the life of a person recognized by believers as a saint
2. Message
B) flattering review, approval
B) Centers – Kyiv and Novgorod. Main idea- the superiority of Christianity over paganism.
3. Teaching
B) weather record historical events ancient times (it arose and was carried out initially in monasteries)
B) The tragic period associated with the Mongol-Tatar invasion. The main idea is faith in national revival.
4. Praise
D) Time of Troubles. Update genre system. The disintegration of literature into democratic and official.
D) a genre that set out the rules of life that the author wanted to convey to the reader
D) The emergence of regional literary centers. Creation of “The Tale of Igor’s Campaign...”
6. Walking
E) a genre that told about feats of arms.
E) The Moscow era centralized state, the merging of regional literatures into all-Russian literature. The rise of journalism. Creation of "Domostroy".
7. Military story
G) travelogue
11. Trireme is
13. Palaestra is
1. What is a colony? 2. What is a policy? 3. List the main battles Greco-Persian wars.
4. What did traders export from Greece to the colonies and other countries?
5. What was the Greek word for “common people”?
6. How often were they carried out? Olympic Games in Ancient Greece?
7. What is the People's Assembly?
8. Define the word “democracy”
9. When were the Olympic Games first held?
10. Famous ancient Greek historian, friend of Pericles and “Father of History”
11. Trireme is
12.The shopping area in Athens was called
13. Palaestra is
14.What seas is the territory of Greece washed by?
15. Athenian sage, teacher of Alexander the Great?
16. What is the advantage of the ancient Greek alphabet over the Phoenician alphabet?
17. Why did the Athenians consider democracy best shape board?
18.Why did eloquence develop under this form of government?
19. List the countries and regions conquered by Alexander the Great.
20. What does the expression “Spartan education” mean?
1. What is a colony? 2. What is a policy? 3. List the main battles of the Greco-Persian wars.
4. What did traders export from Greece to the colonies and other countries?
5. What was the Greek word for “common people”?
6.How often were the Olympic Games held in Ancient Greece?
7. What is the People's Assembly?
8. Define the word “democracy”
9. When were the Olympic Games first held?
10. Famous ancient Greek historian, friend of Pericles and “Father of History”
11. Trireme is
12.The shopping area in Athens was called
13. Palaestra is
14.What seas is the territory of Greece washed by?
15. Athenian sage, teacher of Alexander the Great?
16. What is the advantage of the ancient Greek alphabet over the Phoenician alphabet?
17. Why did the Athenians consider democracy the best form of government?
18.Why did eloquence develop under this form of government?
19. List the countries and regions conquered by Alexander the Great.
20. What does the expression “Spartan education” mean?
1. What is a colony? 2. What is a policy? 3. List the main battles of the Greco-Persian wars.
4. What did traders export from Greece to the colonies and other countries?
5. What was the Greek word for “common people”?
6.How often were the Olympic Games held in Ancient Greece?
7. What is the People's Assembly?
8. Define the word “democracy”
9. When were the Olympic Games first held?
10. Famous ancient Greek historian, friend of Pericles and “Father of History”
11. Trireme is
12.The shopping area in Athens was called
13. Palaestra is
14.What seas is the territory of Greece washed by?
15. Athenian sage, teacher of Alexander the Great?
16. What is the advantage of the ancient Greek alphabet over the Phoenician alphabet?
17. Why did the Athenians consider democracy the best form of government?
18.Why did eloquence develop under this form of government?
19. List the countries and regions conquered by Alexander the Great.
20. What does the expression “Spartan education” mean?
Test on ancient Russian literature
Topic: The originality of the genre of Russian hagiography and its evolution (development) in the works of ancient Russian literature. Genre of life.
1927 group 3rd year students
correspondence department
Faculty of Education
Perepechina Irina Dmitrievna.
Test plan
1. Introduction
2. Life - as a genre of ancient Russian literature
3. The genre of hagiographic literature in the 14th-16th centuries
4. Conclusion
5. Literature
1. Introduction
Every nation remembers and knows its history.
In stories, legends, and songs, memories of the past of their homeland were preserved and passed on from one generation to another.
The general rise of Rus' in the 9th century, the creation of centers of writing and literacy, the emergence of a number of educated people of their time in the princely-boyar, church-monastic environment determined the development of Old Russian literature.
“Russian literature goes back a thousand years. She is the most ancient literature in the world, older than French, English, and German.
It originated in the second half of the 10th century. And of this huge millennium, more than seven hundred years belong to the period called “Old Russian literature.” And this literature is considered as literature of one theme and one plot. D.S. Likhachev wrote about this period: “This plot is world history, and this theme is the meaning of human life.”
The main feature of Old Russian literature is that there are no conventional characters in it. The names of the characters are all historical: Boris and Gleb, Theodosius of Pechorsky, Alexander Nevsky, Dmitry Donskoy, Sergius of Radonezh, Stefan of Perm...
Just as there is an epic in folk art, we can say that it also exists in ancient Russian literature. Epic is the entire work of ancient Russian writers, interconnected in plot. The works of this period show us a whole epic era in the life of the Russian people. The era is fantastic and historical at the same time. The era is the time of the reign of Vladimir the Red Sun. Many works were written at this time. Another epic time was the independence of Novgorod.
Historical songs depict to us a single course of events: the 16th and 17th centuries.
Ancient Russian literature is an epic that talks about the history of Rus'. None of the works Ancient Rus'- translated or original does not stand alone. All of them organically complement each other in the created picture of the world. Each story is a complete whole, and at the same time, it is connected with others. All Old Russian works were built according to the “enfilade principle”.
The life was supplemented over time with services to the saint and descriptions of his posthumous miracles. It necessarily contained additional stories about the saint. Sometimes several lives of the same saint were combined into a new single work.
Many of the stories of Ancient Rus' began to be perceived as historical, as a documentary narrative of Russian history.
The hagiographic genre is the genre of writing the lives of saints. In the 11th and early 12th centuries, the lives of Anthony of Pechersk, which has not survived, Theodosius of Pechersk, and 2 versions of the lives of Boris and Gleb were written. In these lives, the authors demonstrate independence and high literary skill.
2. Life as a genre of ancient Russian literature
In the 11th and early 12th centuries, the first lives were created: 2 lives of Boris and Gleb, the Life of Theodosius of Pechersk, Anthony of Pechersk (not preserved to this day).
Their writing was an important step in the ideological policy of the Russian state.
At the time when these lives were created, the Russian princes persistently sought from the Patriarch of Constantinople the right to canonize their own Russian saints, as this would increase the authority of the Russian Church.
The first and important condition for the canonization of a saint was the creation of a life of this saint.
Here we give an example of the lives of Boris and Gleb, Theodosius of Pechersk.
Both lives were written by Nestor.
These lives belong to 2 hagiographic types - the life of the martyrium (the story of the martyrdom of a saint) and the monastic life, which tells about everything life path the righteous man, his piety, asceticism, the miracles he performed, etc.
When writing his life, Nestor took into account all the requirements that apply to the hagiographic canon. Of course, he was familiar with translated Byzantine lives, but he showed such artistic independence that he became one of the outstanding ancient Russian writers.
Features of the genre of the lives of the first Russian saints.
"Reading about Boris and Gleb" begins with an introduction to the history of everything human race: the creation of Adam and Eve, their fall, the denunciation of the “idolatry” of people, the memory of the teaching and crucifixion of Jesus Christ, who came to save the entire human race, how the apostles began to preach the new teaching and how the new faith triumphed.
Nestor spoke about the details of the baptism of Rus' by Prince Vladimir. And he described this act as the most joyful and solemn: all Russian people are in a hurry to accept Christianity, and not one of them resists or even speaks against the will of the prince himself, and Vladimir himself rejoices because he sees the “new faith” of newly converted Christians. So, this is how the events that occurred before the villainous murder of Boris and Gleb by Svyatopolk are described. Nestor showed that Svyatopolk was acting according to the machinations of the devil.
A historical introduction to the life is necessary in order to show the unity of the world historical process: the events that took place in Russia are only a special case of the struggle between God and the devil, and for any act that Nestor talks about, he looks for an analogy, a prototype in past history.
Nestor compares Boris with the biblical Joseph, who also suffered due to the envy of his brothers.
If you compare the life with the chronicle, you can see that the chronicle says nothing about the childhood and youth of Boris and Gleb.
In his life, according to the rule of the hagiographical genre, Nestor tells how, as a youth, Boris constantly read the lives and torments of the saints and dreamed of being awarded the same martyrdom. In the chronicle there is no mention of Boris's marriage, and in his life Boris seeks to avoid marriage, but marries only at the insistence of his father. Living human relationships are visible in the chronicle: Svyatopolk attracts the people of Kiev to his side by giving them gifts (“estate”), they are taken reluctantly, because the same Kievans are in Boris’s army, and they are afraid of a fratricidal war: Svyatopolk can raise the people of Kiev against their relatives who went on a campaign with Boris. All these episodes in the chronicle look vivid and vital, but in “Reading” they are completely absent.
The life shows that Gleb does not understand why he must die. Gleb's defenseless youth is very graceful and touching. Even when the murderer “took Saint Gleb as an honest head,” he “was silent, like a lamb, kindly, with his whole mind in the name of God and looking up to the sky in prayer.”
Here is another feature of the hagiographic genre - abstraction, avoidance of concreteness, live dialogue, names, even live intonations in dialogues and monologues.
The description of the murders of Boris and Gleb are also missing bright colors, only prayer is shown, and a ritual one at that, they hurry the killers to “finish their job.”
So, let’s summarize: The hagiographic genre is characterized by cold rationality, conscious detachment from specific facts, names, realities, theatricality and artificial pathos dramatic episodes. The presence of such elements in describing the life of the saint as his childhood, youth, piety, the severity in which he kept himself, asceticism, fasting, constant reading of psalms, prayers to the Almighty.
Life of Theodosius of Pechersk.
This life was written by Nestor after the life of Boris and Gleb.
Who is Theodosius of Pechersk? This is a monk, and then he becomes the abbot of the famous Kiev-Pechersk monastery.
This life differs from the one we discussed above in the greater psychologism of the characters, the abundance of living realistic details, the verisimilitude and naturalness of the lines and dialogues.
If in the previous life the canon triumphs over the vitality of the situations described, then in this work miracles and fantastic visions are described very clearly and so convincingly that when the reader reads what happens on these pages, he cannot help but believe what he is reading about . Moreover, it seems to him that he saw everything described in the work with his own eyes. It can be said that these differences are not only the result of Nestor's increased skill. The reason is probably that these are different types of lives. 1 life, which we considered, is the life-martyrium, that is, the story of the martyrdom of a saint. This main theme determined the artistic structure of the life, the opposition of good and evil, and dictated special tension in the description of the martyrs and his tormentors, since the climax scene should be painfully long and moralizing to the extreme. Therefore, in this type of hagiography-martyrium, as a rule, the torture of the martyr is described, and his death occurs, as it were, in several stages, so that the reader empathizes with the hero longer.
At the same time, the hero always turns to God with prayers, which reveal such qualities as his steadfastness and humility and expose the crimes of his killers. “The Life of Theodosius of Pechersk” is a typical monastic life, a story about a pious, meek, hardworking righteous man, whose whole life is a continuous feat. It contains many everyday descriptions of scenes of communication between the saint and monks, laymen, princes, and sinners. In lives of this type prerequisite are the miracles that the saint performs, and this brings an element of plot entertainment into the life, requiring the author special art so that the miracle is described effectively and believably.
Medieval hagiographers were well aware that the effect of a miracle is well achieved by combining only realistic everyday details with a description of the action of otherworldly forces - the appearance of angels, mischief perpetrated by demons, visions, etc.
The composition of the life is always the same:
1. Long introduction.
2. The story of the saint’s childhood
3. Mention of the piety of parents and the future saint himself.
4. The life of a saint, full of hardship and torment.
5. Death of a saint, miracles at the tomb.
However, in this work there are differences in the description of the saint’s childhood years from other lives. The image of Theodosius's mother is completely unconventional, full of individuality. We read the following lines about her: she was physically strong, with a rough male voice; passionately loving her son, she could not come to terms with the fact that he, the heir of villages and slaves, does not think about this inheritance, walks around in shabby clothes, flatly refusing “bright and clean” clothes, thereby disgracing his family, and all his spends time in prayer and baking prosphoras. His mother tries by any means to break her son’s piety (although his parents are presented by the hagiographer as pious and God-fearing people!), she brutally beats her son, puts him on a chain, and tears off the chains from his body. Despite this, Theodosius manages to go to Kyiv in the hope of taking monastic vows in one of the monasteries there. His mother stops at nothing to find him: she promises a large reward to anyone who shows her the whereabouts of her son. Finally, she finds him in a cave, where he lives with another hermit Anthony and Nikon (from this abode the Kiev-Pechersk Monastery will later grow).
And here she resorts to a trick: she demands that Anthony show her his son, threatening suicide at his door. And when she sees Theodosius, she is no longer angry, hugs her son, cries, begging him to return home and do whatever he wants there, but Theodosius is adamant. At his insistence, the mother took monastic vows in one of the nunneries. The mother realized that this was the only way she could see her son at least occasionally, so she agreed to this.
The hagiograph also shows the character of the future saint: complex, possessing all the virtues of an ascetic: meek, hardworking, adamant in the mortification of the flesh, full of mercy, but when a princely feud occurs in the principality (Svyatoslav drives his brother Izyaslav off the throne), Theodosius is actively involved in a purely worldly struggle and boldly denounces Svyatoslav.
The most remarkable thing in the life is the description of monastic life and especially the miracles performed by Theodosius. Here is a description of one of the miracles: the elder over the bakers comes to him, then already the abbot of the Kiev-Pechersk Monastery, and reports that there is no more flour and there is nothing to bake bread for them from. In response, Theodosius sends him to look again in the chest. He goes to the pantry, approaches the bottom and sees that the bottom, previously empty, is full of flour. In this episode there is both a lively dialogue and the effect of a miracle, enhanced precisely thanks to skillfully found details: the baker remembers that there are 3 or 4 handfuls of bran left - this is a concrete visible image and an equally visible image of a bottom filled with flour: there is so much of it that it even spills over the wall onto the ground.
Another episode is also very interesting: Theodosius stayed with the prince and must return to his monastery. The prince orders that a certain youth give him a ride in a cart. He, seeing a modestly dressed man, boldly addresses him: “Chrnorizche!” Because you are apart all day, and you are hard (you are idle all the days, and I am working). I can’t ride a horse.” Theodosius agrees. But as you get closer to the monastery, you increasingly meet people who know Theodosius. They respectfully bow to him, and this youth begins to worry: who is this wretched monk? He is completely horrified when he sees how the monastic brethren greet his fellow traveler with honor. However, the abbot does not reproach the driver and even orders him to be fed and paid. We cannot say for sure whether such cases occurred with Theodosius. Only one thing is certain: Nestor knew how to describe such interesting cases with the saint, he was a writer of great talent.
Over the next centuries, many dozens of different lives will be written - eloquent and simple, primitive and formal, vital and sincere. Nestor was one of the first Russian hagiographers, and the traditions of his work will be continued and developed in the works of his followers.
3. The genre of hagiographic literature in the 14th-16th centuries
The genre of hagiographic literature became widespread in ancient Russian literature: “The Life of Tsarevich Peter of Ordynsky, Rostov (13th century)”, “The Life of Procopius of Ustyug” (14th century).
Epiphanius the Wise(died in 1420) entered the history of literature as the author of 2 lives - “The Life of Stephen of Perm” (the bishop of Perm, who baptized the Komi and created an alphabet for them in their native language), written at the end of the 14th century, and “The Life of Sergius of Radonezh” , created in 1417-1418.
THE LIFE OF REVEREND SERGIUS OF RADONEZH
Where does Epiphanius begin his life?
About four versts from the glorious in ancient times, but now humble Rostov the Great, on a flat open area on the way to Yaroslavl, a small monastery in the name of the Most Holy Trinity was secluded - the provincial Varnitsky Monastery. Here was the estate of Sergius's parents, the noble and noble boyars of Rostov Cyril and Maria; this was their home; This is where they lived, preferring the solitude of rural nature to the bustle of city life at the princely court. Kirill and Maria were kind and godly people. Speaking about them, blessed Epiphanius notes that the Lord did not allow Sergius to be born of unrighteous parents. It was fitting for such a child, which, according to God’s dispensation, would subsequently serve for the spiritual benefit and salvation of many, to have saintly parents, so that good would come from good and better would be added to better, so that the praise of both the one born and those who gave birth would mutually increase to the glory of God.
Cyril and Maria already had a son, Stefan, when God gave them another son - the future founder of the Trinity Lavra, the beauty of the Orthodox Church and an indestructible support native land. Long before the birth of this holy baby, the wondrous Providence of God had already given a sign about him that this would be the great chosen one of God and the holy branch of the blessed root.
One Sunday, his pious mother came to church for the Divine Liturpy and humbly stood, according to the custom of that time, in the vestibule of the church, along with the other wives. The liturgy began; They had already sung the thrice-holy hymn, and now, not long before the reading of the Holy Gospel, suddenly, in the midst of general silence and reverent silence, the baby cried out in her womb, so that many paid attention to this cry.
When they began to sing the Cherubic Song, the baby screamed another time, and this time so loudly that his voice could be heard throughout the church. It is clear that his mother was frightened, and the women standing near her began to talk among themselves, what could this extraordinary cry of the baby mean?
Meanwhile, the liturgy continued. The priest exclaimed: “Let us take notice! holy to holies!
At this exclamation, the baby screamed a third time, and the embarrassed mother almost fell from fear: she began to cry... Then women surrounded her and, perhaps wanting to help her calm the crying child, they began to ask: “Where is your baby? Why is he screaming so loudly? But Mary, in emotional agitation, shedding tears, could hardly say to them: “I don’t have a baby; ask someone else."
The women began to look around, and not seeing the baby anywhere, they again pestered Mary with the same question. Then she was forced to tell them frankly that she really did not have a baby in her arms, but she was carrying him in her womb...
These are the lines that precede the life, already pointing to the miracle that happened to the future saint.
The reverent writer of the life of Sergius, the Venerable Epiphanius, accompanies his narration of this extraordinary incident with the following reflection: “it is worthy of surprise,” he says, that the baby, being in its mother’s womb, did not cry out anywhere outside the church, in a secluded place where there was no one, - but precisely in front of the people, as if so that many would hear him and become reliable witnesses of this circumstance. It is also remarkable that he shouted not just quietly, but to the whole church, as if making it clear to everyone that he would serve God from childhood. Another interesting fact is that he did not proclaim once or twice, but precisely three times, showing that he would be a true disciple of the Holy Trinity, since the triple number is preferred to any other number, because everywhere and always this number is the source and beginning of everything good and saving."
After the incident described, the mother became even more attentive to her condition. Always having in mind that she was carrying in her womb a baby who would be the chosen vessel of the Holy Spirit, Mary, throughout the rest of her pregnancy, prepared to meet in him the future ascetic of piety and abstinence. Thus, the God-fearing mother of the holy child remained in strict fasting and frequent heartfelt prayer; so the child herself, the blessed fruit of her womb, even before her birth, was in some way already purified and sanctified by fasting and prayer.
And so righteous Mary, together with her husband, made the following promise: if God gives them a son, then dedicate him to the service of God. This meant that they, for their part, promised to do everything they could so that the will of God would be fulfilled on their future child, that God’s secret predestination about him would be fulfilled, to which they already had some indication.
On May 3, 1319, in the house of boyar Kirill there was general joy and joy: God gave Mary a son. They named him Bartholomew because he was born on the day of Bartholomew. At the baptism of their son, Cyril and Maria told the priest about that incident in the church, and he, as well versed in the Holy Scriptures, showed them many examples from the Old and New Testaments, when God’s chosen ones, even from their mother’s womb, were destined to serve God.
Meanwhile, the mother, and then others, again began to notice something unusual in the baby: when the mother happened to be satisfied with meat food, the baby did not take her nipples; the same thing was repeated, and without any reason, on Wednesdays and Fridays: so on these days the baby was completely left without food. Brought back by fasting in the womb of the mother, the baby, even at birth, seemed to demand fasting from the mother. And the mother, indeed, began to observe the fast even more strictly: she completely abandoned meat food, and the baby, except for Wednesdays and Fridays, always fed on mother’s milk after that. One day, Mary gave the baby into the arms of another woman so that she could feed him at her breast; but the child did not want to take the breasts of someone else’s mother; the same thing happened with other nurses... “The good branch of the good root,” says Blessed Epiphanius, fed only on the pure milk of the one who gave birth to it. So this baby from his mother’s womb knew God, in the very swaddling clothes he learned the truths, in the very cradle he got used to fasting and, together with his mother’s milk, learned to abstain... Being by nature still a baby, he already began fasting above nature; from infancy he was a child of purity, nourished not so much by milk as by piety, and chosen by God even before birth”...
When Bartholomew was seven years old, his parents sent him to learn to read and write. His two brothers also studied with Bartholomew: the elder Stefan and the younger Peter. The brothers studied successfully, although Peter was not even six years old at that time, and Bartholomew was far behind them. The teacher punished him, his comrades reproached him and even laughed at him, his parents persuaded him; and he himself strained all the efforts of his childish mind, spent his nights over a book, and often, hiding from human gaze, somewhere in solitude, he wept bitterly about his inability, fervently and fervently prayed to the Lord God: “Give me, Lord.” , understand this letter; Teach me, O Lord, enlighten me and enlighten me!” But he was still not given a diploma.
Once his father sent him into the field to look for foals, which task was especially to the liking of the boy, who loved to retire from people. It was here that an extraordinary adventure happened to him.
In the field, under an oak tree, Bartholomew saw an unfamiliar elder-monk with the rank of presbyter; the reverent and angelic old man brought his prayers here to the omnipresent God and shed tears of heartfelt tenderness before the Omniscient. Having bowed to him, the modest youth respectfully stepped aside, not wanting to interrupt his conversation with God, and stood nearby, waiting for the end of the prayer. The elder finished his prayer; he looked at the good child with love, and, seeing in him with his spiritual eyes the chosen vessel of the Holy Spirit, he affectionately called him to himself, blessed him, kissed him fatherly and asked: “What do you need, child?”
“I was sent to learn to read and write,” Bartholomew said through tears, and most of all my soul would like to learn to read the word of God; but no matter how hard I try, I just can’t learn, I don’t understand what they’re explaining to me, and I’m very sad about it; pray to God for me, holy father, ask the Lord to reveal to me the teachings of the books: I believe that God will accept your prayers.”
The elder was touched by such speeches of the young boy; he saw his zeal, and admiring the beauty of the child’s soul reflected on his meek face, he raised his hands, raised his eyes to heaven, sighed to God from the depths of his heart and began to pray, asking the child for enlightenment from above... The elder concluded his inspired prayer with the sacred word: Amen, and carefully took out a small reliquary from his bosom. Having opened it, he took from there with three fingers a small particle of the holy prosphora, and, blessing Bartholomew with it, said: “Take this, child, and the snow; this is given to you as a sign of the grace of God and meaning the Holy Scripture. Do not look at the fact that the particle of the holy "The bread is so small: the sweetness of eating it is great."
Rejoicing with all his soul that God had brought him to meet such a holy elder, Bartholomew sweetly listened to his soul-helping instructions; like the seeds on the good soil, so the gracious words of the elder fell on his kind heart.
Meanwhile, as the elder said, it came true: a wonderful change happened to the youth. Whatever book he opened, he immediately began to read it without any difficulty, understanding the meaning of what he was reading. Thus, the gift of God, so unexpectedly sent down to him, acted in young Bartholomew and enlightened his mind. There is no need to say that after this incident he soon surpassed both his brothers and other comrades in learning.
With all his soul, Bartholomew loved church services and did not miss a single church service.
Epiphanius brings to the attention of readers that our ancestors did not know and did not like to read any books of secular content; lives of saints, patristic writings, various Paleys, collections, chronicles about the past destinies of their native land - these are the books that were the favorite reading of that time. And Bartholomew read these books.
He soon realized that even in adolescence, passions begin to manifest their destructive force, which takes a lot of work to contain; and whoever succumbs to their attraction even once in his youth and allows himself to be bound by vicious inclinations will find it even more difficult to overcome them. And so the prudent youth takes all measures to protect himself from their influence, and stops all the ways in which they are accustomed to finding access to a person’s heart. Then the holy youth imposes a strict fast on himself: on Wednesdays and Fridays he does not allow himself to eat anything, and on other days he eats only bread and water. He does not allow himself to even think about any other drinks, not to mention wine, for the rest of his life.
And the holy youth never even allowed himself to taste any sweet dishes or drinks. Thus, taming his young flesh with abstinence and labor to preserve mental and physical purity, he did not in any way go beyond the will of his parents: as a meek and obedient son, he was a true consolation for them.
“And a perfect monk was seen in him before the monastic image,” says Blessed Epiphanius, “his step was full of modesty and chastity. No one saw him laugh, and if sometimes a gentle smile appeared on his beautiful face, then it was restrained; and more often his face was thoughtful and serious; Tears were often visible in his eyes - witnesses of his heartfelt tenderness; The inspired psalms of David never left his lips. Always quiet and silent, meek and humble, he was affectionate and courteous with everyone, did not get irritated with anyone, and accepted random troubles from everyone with love. He wore poor clothes, and if he met a poor man, he willingly gave him his clothes.”
Here it is appropriate to say a few words about the state of the Russian land at the time we are describing, in order to know under what circumstances Bartholomew’s parents lived, and under what conditions Bartholomew himself was brought up.
Those were truly difficult times!.. The Tatar yoke lay on the shoulders of the Russian people as a heavy burden. No one dared to think about throwing off this hated yoke. The princes continually went to the Horde, either to bow to the then formidable Mongol khans, or to sue and compete among themselves, and how much noble princely blood was shed in the Golden Horde due to the envy and fratricidal hatred of the ambitious.
The Tatar yoke did not pass without a trace in national morality: “having forgotten the pride of the people,” says Karamzin, “we have learned the base tricks of slavery, replacing strength in the weak; deceiving the Tatars, they deceived each other even more; buying off the violence of the barbarians with money, they became selfish and insensitive to insults, to shame, subject to the insolence of foreign tyrants. From the time of Vasily Yaroslavich to Ivan Kalita (the most unfortunate period!) our fatherland looked more like a dark forest than a state: might seemed right; whoever could, robbed: not only strangers, but also his own; there was no safety either on the road or at home; theft has become a common plague of property”...
Yes, it was hard for the Russian land in those sorrowful times; It was difficult, impossible to defeat a strong enemy, and precisely because the Russian princes quarreled more and more among themselves - there was no unity, the entire vast Russian land was divided into pieces. And if they had not finally realized the need for this unity, who knows? - perhaps Orthodox Rus' would have completely perished, having fallen to the dominion of more dangerous enemies.
But God did not allow such a disaster to happen. Our high priests understood the danger before anyone else: they always told the princes that unanimity among them was necessary to save Russia from final destruction; Whenever possible, the saints always acted as peacemakers in princely strife, acting both with words of persuasion and with the power of spiritual authority. And the perspicacious Saint Peter laid a solid foundation for the unification of the Russian land, moving forever from Vladimir, on the Klyazma, to the then obscure town of Moscow, to the intelligent and pious Prince John Danilovich Kalita. This Prince began to persistently implement the idea of unifying the Russian land, outlined by his father, and annexed one after another the neighboring principalities to the Moscow one.
Of course, the righteous parents of Bartholomew did not escape these national sorrows. The once glorious and eminent boyar Kirill, even earlier than the events we described in Rostov, began to suffer poverty in his old age. Frequent trips to the Horde with his prince, heavy tributes and unbearable gifts to the Horde nobles, without which these travels were never complete, a severe famine that often devastated the Rostov region, and most of all, says the Monk Epiphanius, the great army or the invasion of Turalykovo in 1327 - all this together had an extremely unfavorable effect on his condition and almost brought him to poverty.
Bartholomew's parents decided to find another place to live. The opportunity soon presented itself. 12 versts from the Trinity Lavra, towards Moscow, there is the village of Gorodishche or Gorodok, which in ancient times bore the name of Radonezh. As soon as this became known in Rostov, many of its residents, hoping to find relief for themselves; pulled to Radonezh. Among such settlers, Epiphanius names Protasius of the thousand, George, son of Protopopov and his family, John and Theodore Tormasov, their relatives Duden and Onisim, a former Rostov nobleman, and later a deacon and disciple of Sergiev. Among them, Blessed Kirill moved with his entire family and settled in Radonezh near the Church of the Nativity of Christ.
Further, Epiphan describes Bartholomew's desire to go to a monastery, but his parents ask him to stay with them for now, and after their death he can go to a monastery. Bartholomew agrees and remains with them, still observing all fasts and leading an ascetic lifestyle.
After the death of his parents, he leaves people along with his brother Stefan, who has experienced grief in the family: his beloved wife has died, and he agrees to leave with his brother away from people.
The brothers leave their world and go into the very depths of the neighboring forests...
In those days, anyone who wanted a secluded life could freely go into the forest alone or with a friend, build a hut in any place or dig a cave and settle here. The brothers walked for a long time through the surrounding forests; Finally, they fell in love with one place, remote not only from dwellings, but also from human paths. This place was destined by God Himself for the establishment of a monastery: worthy people had seen above it before - some light, others fire, and others felt a fragrance. It was located about ten miles from Khotkov and represented a small square that towered over the neighboring area in the form of a poppy, which is why it was called Makovets or Makovitsa.
The brothers prayed fervently at the chosen place of desert life; betraying themselves into the hands of God, they called upon God’s blessing to the very place of their future exploits. Then they began to cut down the forest; with great difficulty they carried heavy logs on their, although accustomed to work, but still boyar shoulders; Little by little, the thicket of the forest thinned out, revealing a place where God later destined for the glorious Lavra of Sergius to flourish. The hermits first built themselves a hut from tree branches, and then a wretched cell; Finally, next to the cell, they placed a small church. All this was done by the hands of the laboring brothers themselves; they did not want to invite strangers, because bodily labor was a necessary condition for ascetic life itself.
When the church was ready for consecration, Bartholomew said to Stephen: “in the flesh you are my elder brother, and in the spirit - instead of a father; and so, tell me: in the name of which Saint should our church be consecrated? What will her patronal feast day be?”
Why are you asking me something that you know better than me? - the elder brother answered him. - You, of course, remember how more than once our late parents, in my presence, told you: “Be careful, child: you are no longer ours, but God’s; The Lord Himself chose you before your birth and gave a good sign about you when you cried out three times in your mother’s womb during the liturgy.” Both the presbyter who baptized you and the wonderful old man who visited us said then that this threefold proclamation of yours foreshadowed that you would be a disciple of the Most Holy Trinity; and so let our church be dedicated to the Most Holy Name of the Life-Giving Trinity; this will not be our thinking, but God’s will: let the name of the Lord be blessed here from now on and forever!”
The basic principle from which Epiphanius the Wise proceeds in his work is that the hagiographer, describing life of a saint, must by all means show the exclusivity of his hero, the greatness of his feat, detachment from everything earthly. Hence the desire for an emotional, bright, decorated language that differs from everyday speech. The Lives of Epiphanius are filled with quotations from the Holy Scriptures, because the feat of his heroes should find analogies in biblical history. With his work, Epiphanius demonstrated his true skill, stunned the reader with an endless series of epithets or synonymous metaphors, forcing the reader to think about the meaning of his work. This technique is called “weaving words.”
In the hagiography of the 14th-15th centuries, the principle of abstraction became widespread, when from the work “everyday, political, military, economic terminology, job titles, specific natural phenomena of a given country are expelled whenever possible...” The writer resorts to periphrases, using expressions like “a certain nobleman” , “lord of the degree”, etc.
The names of episodic characters are also eliminated, they are referred to simply as “someone’s husband”, “someone’s wife”, while adding “someone”, “someone”, “one” serve to remove the phenomenon from the surrounding everyday environment, from the specific historical environment.” The hagiographic principles of Epiphanius found their continuation in the works of Pachomius Logothetes.
Pachomius Logothetes.
Pachomius, a Serb by origin, arrived in Rus' no later than 1438. His work dates from the 40s to the 80s: he wrote at least 10 lives, many words of praise, services to the saints and other works.
Let us remember the life of Theodosius of Pechersk, how Anthony dissuaded him, reminding him of the difficulties awaiting him in monastic path, how his mother tried in every way to return his mother to worldly life. A similar situation exists in the “Life of Kirill Belozersky”, written by Pachomius. The young man Kozma is brought up by his uncle, a rich and eminent man. The uncle wants to make Kozma treasurer, but the young man longs to become a monk. And then Abbot Stefan happened to arrive and the young man fell at his feet, shed tears, begged him to tonsure him as a monk, and he fulfilled the guy’s wish.
Then Stefan goes to Timofey, the guy’s uncle, to inform him about his nephew’s tonsure. The conflict is only barely outlined, not depicted. Timothy, having heard about what had happened, “heavily listened to the word, and at the same time was filled with sorrow and some annoying utterance to Stephen.” He leaves offended, but Timothy, ashamed of his pious wife, immediately repents “about the words spoken to Stephen,” returns him and asks for forgiveness. In a word, “standard” eloquent expressions depict a standard situation that is in no way correlated with the specific characters of a given life.
At the beginning of the 15th century, under the pen of Pachomius Logothetes, a new hagiographic canon was created - eloquent, “ornamented” lives, in which lively, “realistic” features gave way to beautiful, but dry periphrases. But along with this, lives of a different type appear, boldly breaking traditions, touching with their sincerity and ease. This is the Life of Mikhail Klopsky.
"The Life of Mikhail Klopsky."
The very beginning of life is unusual. Instead of the traditional beginning, the hagiographer’s story about the birth, childhood and tonsure of the future saint, this life begins from the middle, and from an unexpected and mysterious scene.
The monks of the Trinity on Klopa (near Novgorod) monastery were in the church at prayer. Priest Macarius, returning to his cell, discovers that the cell is unlocked, and an unknown elder is sitting in it and rewriting the book of the apostolic acts. The priest, “alarmed,” returned to the church, called the abbot and the brethren, and together with them returned to the cell. But the cell turned out to be locked from the inside, and the old man, unknown to him, continued to write. When asked, he answers very strangely: he repeats word for word every question asked of him. The monks could not even find out his name.
The elder visits church with the rest of the monks, prays with them, and the abbot decides: “Be an elder with us, live with us.” The rest of the life is a description of the miracles performed by Mikhail (his name is reported by the prince who visited the monastery). Even the story about the “repose” of Michael is surprisingly simple, with everyday details, and there is no traditional praise for the saint.
The unusual nature of the “Life of Michael Klopsky,” created in the century of the works of Pachomius Logofet, should not, however, surprise us. The point here is not only the originality of the author, but also the fact that the author of the life is a Novgorodian; he continues in his work the traditions of Novgorod hagiography, which, like all the literature of Novgorod of that time, was distinguished by spontaneity, unpretentiousness, simplicity, compared with the literature of Moscow or Vladimir-Suzdal Rus'.
However, the “realism” of the life, its entertaining plot, the liveliness of the scenes and dialogues - all this was so contrary to the hagiographic canon that already in the next century the life had to be reworked.
Let us compare only one episode - the description of the death of Michael in the 15th century and in the alteration of the 16th century. In the original edition we read: “And Michael fell ill in the month of December on Savin’s day, going to church. And stood on right side near the church, in the courtyard, opposite Theodosius’s tomb. And the abbot and the elders began to say to him: “Why, Michael, are you not standing in the church, but standing in the courtyard?” And he said to them, “I want to lie down.” Yes, he took with him the censer and the thyme (incense), and went to the cell. And the abbot sent nets and threads from the meal to him. And they opened the door, the thyme was still smoking, but he was gone (he had died). And they began to look for places, the ground was frozen, where to put it. And remembering the mob to the abbot, try the place where Mikhail stood. When I looked at it from that place, the earth was already melting. And they buried him honestly.” This casual, lively story has undergone a drastic revision. So, to the question of the abbot and the brethren why he prays in the courtyard, Mikhail now answers like this: “Behold my peace for ever and ever, for here the imam will dwell.” The episode when he goes to his cell is also revised: “And he burns the censer, and having placed incense on the coals, he goes into his cell, and the brethren marvel at those who saw the saint so much that he was exhausted, and then he received so much strength. The abbot goes to the meal and sends food to the saint, commanding him to eat. They came from the abbot and went into the saint’s cell, and seeing him go to the Lord, with her hand bent in the shape of a cross, and in the image of one sleeping and emitting a lot of fragrance.” The following describes the crying at the burial of Michael; Moreover, he is mourned not only by the monks and the archbishop “with the entire sacred cathedral,” but also by the entire people: people rush to the funeral, “like rapids of the river, tears flowing incessantly.” In a word, the life takes on, under the editorship of Vasily Tuchkov, exactly the form in which, for example, Pachomius Logofet would have created it. These attempts to get away from the canons, to let the breath of life into literature, to decide on literary fiction, renunciation of straightforward didactics were manifested not only in the lives.
The genre of hagiographic literature continued to develop in the 17th and 18th centuries: “The Tale of a Luxurious Life and Fun,” “ Life of the Archpriest Habakkuk" (1672); “The Life of Patriarch Joachim Savelov” (1690), “The Life of Simon Volomsky”, late 17th century; "The Life of Alexander Nevsky." The autobiographical moment was consolidated in different ways in the 17th century: here is the life of the mother, compiled by her son (“The Tale of Uliani Osorgina”); and “ABC”, compiled on behalf of a “naked and poor man”; and “Noble Message to an Enemy”; and the autobiographies themselves - Avvakum and Epiphany, written simultaneously in the same earthen prison in Pustozersk and representing a kind of diptych.
“The Life of Archpriest Avvakum” - the first autobiographical work Russian literature, in which Avvakum himself spoke about himself and his long-suffering life.
Speaking about the work of Archpriest Avvakum, A.N. Tolstoy wrote: “These were the brilliant “life” and “epistles” of the rebel, frantic Archpriest Avvakum, who ended his literary career with terrible torture and execution in Pustozersk. Avvakum’s speech is all about gesture, the canon is destroyed to smithereens, you physically feel the presence of the narrator, his gestures, his voice.”
4. Conclusion
Having studied the poetics of individual works of ancient Russian literature, we will draw a conclusion about the features of the genre of hagiography.
So, hagiography is a genre of ancient Russian literature that describes the life of a saint. In this genre, there are different hagiographic types: hagiography-martyria (the story of the martyrdom of a saint), monastic life (the story about the entire path of the righteous man, his piety, asceticism, the miracles he performed, etc.). Characteristic features hagiographic canon are:
Cold rationality
Conscious detachment from specific facts, names, realities
The theatricality and artificial pathos of dramatic episodes, the presence of such elements of the saint’s life that the hagiographer did not have the slightest information about.
The importance of the moment of miracle, revelation. It is a miracle that brings movement and development to the biography of a saint.
It must be said that the genre of hagiography does not stand still, it is gradually changing. The authors depart from the canons, letting the breath of life into literature, decide on literary fiction (“The Life of Mikhail Klopsky”), and speak simple language (“The Life of Archpriest Avvakum”).
Old Russian literature took shape and developed along with the growth of the general education of society.
Against this general cultural background, original and independently thinking writers, medieval publicists, and poets appeared.
5. Literature
1. D.S. Likhachev. Great legacy. Classic works literature of Ancient Russia.-M., 1975, p.19
2. I.P. Eremin. Literature of Ancient Rus' (studies and characteristics). - M.-L., 1966, pp. 132-143
3. D.S. Likhachev. Man in the literature of Ancient Russia.-M., 1970, p.65.
4. I.P. Eremin. Literature of Ancient Rus' (studies and characteristics).-M.-L., 1966, pp. 21-22
5. V.O.Klyuchevsky. Old Russian lives of saints as a historical source. - M., 1871, p. 166.
Test on Old Russian literature Topic: The originality of the genre of Russian hagiography and its evolution (development) in the works of Old Russian literature. Genre of life. 1927 group 3rd year student of the correspondence department of the Faculty of PedagogyOLD RUSSIAN LITERATURE test
1. When did chronicles begin to take shape in Rus'?
2. What is the purpose of chronicle writing?
a) imitation of Byzantine chronicles
b) preservation for future descendants of information about significant events of their time
c) the spread of Christianity in Rus'
3. In what city of Ancient Rus' was “The Tale of Bygone Years” created?
a) Moscow
b) Chernigov
b) Nikon
c) Nestor
d) Prince Vladimir
5. What are the sources that the author of the chronicles relied on?
a) historical legends
b) oral folk art
c) Greek, Bulgarian chronicles
d) epics
6. The presentation of events in The Tale of Bygone Years is based on
c) the principle of chronological presentation of events
d) the principle of entertainment
7. Why do the historical events of Ancient Rus' begin to be described with the legend of the creation of the world?
a) following the Christian canons of the creation of the Byzantine chronicle
c) understanding the history of Rus' as part of the world historical process
8. Match the concepts and definitions:
a) chronicle b) chronicle
1) a genre of Russian medieval literature containing a description of real and legendary events
2) historical narrative, based on a faithful depiction of important historical events in their time sequence
9. What is the main meaning of “The Tale of Belgorod Kisel”?
b) glorification of the intelligence and resourcefulness of the Russian person
10. What features of folklore genres appeared in
“The Tale of Belgorod Kisel”?
8. a - 2.6 - 1;
10. a - folk tales.
Homework:
Prepare a report about the fabulist I. Krylov
(presentation and story).
9. Which city was founded by Prince Vladimir after Kozhemyaki’s victory over the Pechenegs?
a) Uzhgorod
b) Pereyaslavl
c) Rostov
10. What is the main idea of “The Tale of Kozhemyak”?
a) glorification of the spirit and physical strength of the Russian person
b) an image of the superiority of a man of peaceful labor over a warrior - a Pecheneg hero
c) an image of the greatness of the Russian man
d) condemnation of the bragging and boasting of the Pechenegs
11. Which artistic technique formed the basis for creating the images of Kozhemyaki and the Pecheneg warrior?
a) antithesis
b) hyperbole
c) comparison
d) comparison
12. What is the main meaning of “The Tale of Belgorod Kisel”?
a) an image of the resilience of the Russian people
b) glorification of the intelligence and resourcefulness of the Russian man
c) praising the wisdom of the elder
13. What features of folklore genres appeared in
a) “The Tale of Belgorod Kisel”
b) “Tales of Kozhemyak”
Test "ANCIENT RUSSIAN LITERATURE"
8. a - 2.6 - 1;
13. a - folk tales, b - epics.