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"The Tale of Peter and Fevronia of Murom" written by a native of Pskov, the archpriest of the palace cathedral in Moscow, and later by the monk Yermolai-Erasmus for the "Great Chet-Menya" by Metropolitan Macarius. However, this text was not included in the collection, because in a number of ways it differed sharply from the classical hagiographic tradition.
Biographical information about Yermolai-Erasmus is very scarce. It is known that in the middle of the XVI century. he came to Moscow from Pskov and was the archpriest of the palace cathedral in Moscow, by the beginning of the 60s. took the vows as a monk (under the name of Erasmus) and, possibly, left the capital. Ermolai-Erasmus paid tribute to publicistic literature, which was developing extremely actively in the 16th century. Here, his most significant work was the treatise "The Ruler and Land Surveying for Benevolent Tsars", in which the idea of the peasantry as the basis of society is proposed and it is proposed to firmly determine the size of peasant dues and protect the peasants from the oppression of state surveyors and collectors, which, from the author's point of view, should have lead to a reduction in peasant unrest.
Along with journalistic monuments, Yermolai-Erasmus also created hagiographic ones - "The Tale of the Ryazan Bishop Vasily" and "The Tale of Peter and Fevronia". The last of these texts will be the subject of our
A number of plot points have in common "The Tale of Peter and Fevronia" with different types of folk fairy tales. The opening fragment of the story is reminiscent of Zmeborsky motives: Prince Peter frees his brother Pavel's wife from a werewolf snake with the help of Agrikov's sword. The appearance of the peasant girl Fevronia, who healed Peter from the scabs that covered his body from the blood of a snake splashed on him, introduces into the narrative the tradition of fairy tales about a wise maiden, striking those around her with her ingenuity.
And yet, The Tale of Peter and Fevronia was an adaptation of hagiographic legends about Murom saints and therefore contains a number of traditional hagiographic motifs, most of which are closely intertwined with fairy tales. The serpent that tempts the wife of Prince Paul is sent by the devil, and this moment recalls the fall of Eve, who was also tempted by the serpent-devil. Prince Peter, repeatedly called in the "Tale" "blessed", acquires Agrik's sword not with the help of force or cunning, as fairy tale hero, but by prayer, because "having the same custom of walking around churches in seclusion", and the sword is in the altar wall of the temple of the monastery in the name of the Exaltation of the Precious and Life-Giving Cross of the Lord. Thus, the magic sword at the same time turns out to be a Divine Providence sent to the hero. Fevronia's consent to heal Peter on the condition of marrying her can also be interpreted in two ways: as a desire fairy tale heroine to achieve happiness at all costs, and as the providence of his holy future destiny. The miracles in the "Tale" are unusual: the boyar wives complain about the short-sightedness of the Murom princess, seeing this as a consequence of her peasant origin: "Every day she comes from her table without rank: whenever she gets up, she takes her crumbs in her hand, as if smooth." I immediately recall the bones and wine hidden by Vasilisa the Wise in her sleeve and turned into a lake with swans. However, the crumbs in Fevronia's hand undergo a very specific transformation. “Prince Peter, I take it by the hand and spread it, I saw good-smelling Lebanon and incense,” that is, bread crumbs turn into incense and incense, which are used in Orthodox worship. With the blessing of Fevronia, in one night they turn into blooming trees rods stuck into the ground by her, which, according to D.S. Likhachev, testifies to how great is the power of her life-giving love. The ending of the story is quite traditional for life, telling how Peter and Fevronia accepted monasticism before their death under the names of David and Euphrosyne.
In addition to the folklore and hagiographic tradition, the Tale of Peter and Fevronia traditionally highlights a number of motifs that bring it closer to medieval love stories that existed in the West and East. The largest number common features can be found when comparing the story with the Western European novel about Tristan and Isolde. Like Peter, Tristan defeats the serpent, but falls ill, and then Iseult comes to his aid, who turned out to be an experienced healer. Against the love of Peter and Fevronia, the boyars of Murom rebelled, becoming like the vassals of King Mark in this. After death, the heroes remain inseparable: Peter and Fevronia are buried in the same coffin, despite the attempts of people to violate their will, and from the tomb of Tristan grows a thorn bush that has spread over Isolde's grave, which no one manages to destroy. At the same time, these works differ quite significantly from each other, primarily in the interpretation of the theme of love. Tristan and Isolde accidentally drink a love potion and find themselves possessed for life by love-passion, a spontaneous and all-consuming feeling, while the life of Peter and Fevronia, sanctified by Christian marriage, is distinguished by a special "psychological peace" (D.S. Likhachev's term). In addition, Peter in the Russian story turns out to be much more passive than his Western European prototype.
F.I. Buslaev. The motif of the miraculous acquisition of the sword is extremely common: Prince Peter finds it in the altar wall of the temple; Sigmund, the hero of the Völsunga saga, takes it out of the sacred tree; the Wallachian knight Vilish prays for nine days at four stone pillars, after which he acquires a sword. From the poisonous blood of the defeated serpent, the god Thor and the Anglo-Saxon hero Beowulf die. The healing of Peter by Fevronia can be compared with the episode of the Elder Edda, which tells how Bringhilda taught Zigurd healing runes.
F.I. Buslaev interestingly compared the story of a hare jumping in front of Fevronia's loom with the German legend about the founding of Quedlinburg. Tradition tells how Matilda, the daughter of Emperor Henry III, enters into an alliance with the devil in order to get rid of the criminal inclination in her from her father, and loses her former beauty. However, the sale of the soul will take place only if the girl falls asleep even for a moment during three nights. “In order to keep herself from sleeping, she sat at the krosny and wove a precious fabric, like our Fevronia, and in front of her a dog jumped, barked and wagged her tail ... this dog was called Wedl or Quedl, and in her memory Matilda named the abbey she later founded Quedlinburg".
In The Tale of Peter and Fevronia, there is no longer that storm of passions that is familiar to readers of the hagiographic works of Epiphanius and Pachomius Serb. Passions are replaced by quiet peace, self-absorption. Fevronia has tremendous inner strength and will, but this strength and will very rarely manifests itself in external affectation. Examples of the external manifestation of this inner strength only indirectly allow the reader to guess about it (trees that grew overnight, turned into crumbs of incense and incense, the ability to read people's thoughts). Love in "The Tale of Peter and Fevronia" is the least all-consuming human passion (as in the novel about Tristan and Isolde). The researchers wrote that Fevronia's love for Prince Peter is invincible precisely because she is already defeated internally by herself, subordinated to her mind. In The Tale of Peter and Fevronia, the theme of love is extremely closely correlated with the theme of the mind, human wisdom - also one of the main themes of ancient Russian literature. In the strength of her love, in the wisdom, as if prompted by this love, Fevronia turns out to be higher than her ideal husband, Prince Peter. But not only love has wisdom, but wisdom has love. Between feeling, mind and will there is no conflict, no struggle, no contradiction.
Eromolaus-Erasmus is a master of beautiful, clearly visible descriptions. Such, for example, is the first appearance in the story of the girl Fevronia: the envoy of Prince Peter finds her in a simple peasant hut, in a poor peasant dress, busy with needlework: Fevronia is sitting at a loom and weaving a linen, and a hare jumps in front of her. The hare is an image that goes back to folklore, which also performs the function of a complex characterization of the heroine, symbolizing her merging with nature, her girlish purity and, at the same time, her future wedding.
D.S. Likhachev admired the description of Fevronia's dying gesture: when Peter sent to her for the third time to say that it was time to die, she stuck a needle into the bedspread and wrapped a golden thread around it. In those conditions when in literature everyday life and detailed descriptions not much space is given, "Fevronia's gesture is precious, like the gold embroidery that she sewed for the Holy Chalice" (D.S. Likhachev).
Thus, the most striking feature of The Tale of Peter and Fevronia is the close interweaving of folklore and hagiographic motifs in it. The element of folklore brought into the text of the story everyday concreteness, which is not characteristic of contemporary literary monuments. The unconventional nature of the hagiographic "Tale of Peter and Fevronia" obviously made it unsuitable for the hagiographic canons of the 16th century. Although it was created simultaneously with the final version of the "Great Menaion of the Readers", it was not included in their composition. The folklore motifs of the story, its laconism, the absence of etiquette features - all this made it alien to the hagiographic school of Metropolitan Macarius.
The wisdom of the central character, which reveals itself unexpectedly to those around him, is also characteristic of a monument of hagiographic literature that originally developed, apparently, at the end of the 15th century - for the Tale of Peter and Fevronia.
One of the most outstanding monuments of ancient Russian hagiography and literature in general, The Tale of Peter and Fevronia, like The Life of Mikhail Klopsky, arose on local material (Peter and Fevronia were saints of the Murom Principality), but acquired an all-Russian literary distribution.
The question of the origin of the "Tale of Peter and Fevronia" is complex and caused controversy in scientific literature. At present, it can apparently be considered established that the written text of the Tale that has come down to us dates back to a time no earlier than the middle of the 16th century. and was created by the writer-publicist of this era Yermolai-Erasmus.
However, already in the XV century. there was a church service to Peter and Fevronia, where the main motives of the story were mentioned - Peter's victory over the serpent, his marriage to Fevronia and their joint burial. It is quite possible, therefore, that Yermolai, like other medieval hagiographers, subjected the already existing hagiographic tale to stylistic processing. We will turn to the story of Yermolai-Erasmus; while we outline the main plot of life.
The plot of the life of Peter and Fevronia is not like most life stories. Here there is no suffering for the faith, no martyrdom of heroes, affirming their holiness. The heroes of the story have very little connection with history; attempts to establish their historical prototypes are doubtful; for the XV-XVI centuries. these heroes, in any case, were characters of the distant past.
In the center of the story is the peasant girl Fevronia, who agreed to heal Prince Peter, who fell ill from snake blood spilled on him. As a reward for this, Fevronia demands that the prince marry her. At the beginning, Peter tries to “tempt” Fevronia: washing himself in a bathhouse before being cured, he sends Fevronia a piece of flax and demands that she weave “a srachka and ports and a bridle” out of it.
But Fevronia acts as befits a folklore trickster whom they are trying to fool (cf., for example, Akira at the court of the Egyptian king): she answers absurdly absurdly, agreeing to fulfill Peter's request on condition that the prince prepares a loom for her from a sliver.
The attempt of the cured prince to simply break his promise also ends unsuccessfully: Fevronia prudently ordered to lubricate all his ulcers (received from snake blood), except for one, and Peter's treachery leads to the fact that from "that scab, many scabs began to diverge on his body"; for the final cure, Peter has to fulfill his promise.
After the death of his brother, Peter takes the throne of the Principality of Murom. When the rebellious boyars decide to expel the peasant princess from Murom, she agrees to leave if she is allowed to take with her what she asks. The boyars agree, and the princess asks "only the wife of my prince Peter." Peter follows her.
In the end, Peter and Fevronia safely "dominate" in Murom; after the “repose of the kupnem” (simultaneous death) and separate burial, they nevertheless turn out to be reunited “in a single coffin”.
The connection of the "Tale of Peter and Fevronia" with oral folk art, the reflection in it of the "world" folklore motifs are very significant and have been repeatedly noted in the scientific literature. However, the existing records of fairy tales and traditions about these saints are late (not earlier than late XIX c.) and were already formed under the influence of the written hagiographic tradition (although, perhaps, they also include genuine folklore motifs).
The plot of the Tale combines two main fairy tale plots - fairy tale about wrestling with a snake and a novelistic tale about a wise peasant girl who marries a noble person and undergoes difficult trials. The hero of the life, Peter, falls ill after he defeats the snake; Fevronia heals him of ulcers.
This plot brings the Tale closer to the Celtic legend and the medieval Western novel about Tristan and Isolde: like Fevronia, Isolde heals Tristan, who fell ill from the blood of a dragon; The theme of the reunion of heroes after death coincides with Tristan and Isolde (in the Tale, the heroes miraculously find themselves in a single coffin, in the legend of Tristan, a thorn bush grows from his grave, connecting it with Isolde's grave).
The combination of the plot of the unequal marriage of a peasant woman and a noble man with the motif of the groom's healing is not typical of Russian fairy tales known to us, but the same combination is inherent in Boccaccio's short story about Gillette of Narbonne (The Decameron, day 3, short story 9) and Shakespeare's comedy ends well,” such a contaminated plot probably existed in Russian folklore of the 15th century.
The plot of the life of Peter and Fevronia is thus one of the most popular plots in world literature. We will turn to its specific elaboration in Old Russian writing in a further presentation, in connection with the development of narrative literature of the 16th century.
History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983
At the beginning of the 16th century, back in the time of Tsar Ivan the Terrible, Metropolitan Macarius of Moscow and All Russia instructed his monastic assistant scribes to search all Russian cities and villages for stories about righteous people who became famous for their pious life. One of such ancient beautiful and romantic stories was "The Tale of Peter and Fevronia of Murom". An analysis of the actions of the main characters suggests that they were the righteous, who became the spiritual symbol of the Christian family. And so with the consent church cathedral in 1547 they were canonized. Priest Yermolai was entrusted with writing a detailed essay about the life and love of Peter and Fevronia.
Peter and Fevronia. Summary of the plot
Prince Pavel ruled in the city of Murom. And suddenly a Serpent in the guise of Paul began to fly to his wife for fornication. She immediately told her husband about it. He immediately asked her that at the next meeting with the Serpent, she would flatteringly find out from him what he was waiting for his death from. The humble woman did just that. Seduced by her beauty and gentle speeches, the Serpent gave her the secret of his death, which consisted in the fact that Peter would kill him with the help of Agrikov's sword. Concerned about this news, Paul calls his brother Peter to him and tells him everything. And he was ready to fight the enemy, although he did not know where he could get Agrikov's sword.
Agric sword
At the same time, it is impossible not to mention the fact that this sword was forged by Agrik, the son of the cruel tyrant Herod, known from biblical texts. This mighty sword had supernatural properties and emitted a bluish glow in the darkness. He easily dealt with any military armor. By the way, it was also called the treasure sword - the weapon of epic heroes. But how did he get into Ancient Russia? There is reason to believe that the Templars, participating in the excavations, most likely found the main Christian relics: the Grail, the shroud, later called Turin, and the Agric sword. It was they who presented it to the fearless commander of Vladimir - Prince Andrei Bogolyubsky - as a special reward when he decided to return to Russia. But with the beginning of internecine wars, the prince was killed. And the sword began to pass from one hand to another. In the end, he was hidden within the walls of the monastery of the glorious city of Murom.
Continuation of the plot
So, after a while, Peter, praying in the church of the monastery, the youth points to the treasure in which Agrikov's sword was kept. He took the weapon and went to his brother. Prince Peter almost immediately realized that the Serpent in his sorcerous appearance was sitting at the wife of brother Paul. Then he dealt him a mortal blow, and he instantly died, splashing him with his blood, after which the prince became very ill and covered with scabs. Not a single doctor undertook to treat Peter. But one day there was such a village healer by nature, a wise maiden named Fevronya, who cured the prince and became his faithful wife. After the death of his brother Paul, Peter took the throne. But the treacherous boyars decided to expel the commoner, as their wives did not like her. And Fevronya was ready to leave the city, but only with her husband, who decided to go with her. The boyars were at first very happy to let them go, but after some time, after internecine strife and murders for the throne, they decided to return the married princely couple. And after that, everyone lived joyfully and happily.
Main interchange
And when the time came, Peter and Fevronya took monastic vows and received Euphrosyne at the same time. They even prayed to God to send them death on the same day, and even prepared a double coffin with a partition. And so it happened - they reposed on the same day, but the priests were afraid of the wrath of God and did not bury them together. Having arranged their dead bodies in different churches, in the morning they found them together in their special coffin. This was repeated twice. And then it was decided to bury them together, never again separating them.
Now the holy beloved Peter and Fevronia are always together. Summary this story revealed only a small part of their righteous life. These miracle workers became patrons of marriage and love. Now any believer has the opportunity to pray over the holy relics in the Holy Trinity Monastery in the city of Murom.
Wise Fevronia
The characteristic of Peter and Fevronia surprises them with their endless humility, calmness and serenity. Possessing great inner strength, the chaste and perspicacious Fevronia is very stingy in her outward manifestation. She conquered her passions and was ready for anything, even for the feat of self-denial. Her love became invincible outwardly, because inwardly it obeyed the mind. The wisdom of Fevronia lies not only in her extraordinary mind, but in her feelings and will. And there is no conflict between them. Hence such a penetrating "silence" in her image. Therefore, it is not surprising that Fevronia possessed a life-giving power, so great that she even revived cut down trees, which after that became even larger and greener. Possessing a strong spirit, she was able to unravel the thoughts of travelers. In her love and wisdom, she even surpassed her ideal faithful Peter. The love of Peter and Fevronia found its response in the hearts of millions of people who will definitely pray to these holy images.
Brave Peter
Describing Prince Peter, one can see his unprecedented heroism and courage in the victory over the insidious devilish Serpent. It is immediately clear that he is a deeply religious person, otherwise he would not have been able to defeat such an insidious tempter. However, he nevertheless once deceived Fevronia when he promised that after his recovery he would marry her. He never fulfilled it until he again became covered with fetid scabs. The prince quickly learned the lesson taught by Fevronya, and after that he began to listen to her in everything. Soon they got married and began to live like true Christian families in love, fidelity and harmony. Prince Peter never indulged his wife. He was truly pious, it was not in vain that the boyars and the people loved him.
The characteristic of Peter and Fevronia is unique in its own way. These were truly people from God. And more than once you are surprised at how strong their mutual understanding and love were. After all, they perfectly complemented each other, and therefore became the image of an ideal married couple.
Genres of Old Russian literature
In addition to this famous story, there were other examples of ancient Russian literature. In general, the Old Russian scribes, mastering the all-Slavic literature, were mainly engaged in Greek translations and then turned to the creation of their original works, performed in various genres: life, chronicle, teaching, military story. It is impossible to specify exactly when the first records of various historical legends appeared, but vivid examples of Old Russian literature appeared already in the middle of the 11th century. It was then that the Russian annals were created, which are a detailed record of some very in Russia. A special place is occupied by the stories of ancient Russian literature - this is something intermediate between a novel and a short story. But now they are mostly stories - short stories about an event. Thus, folklore and ancient Russian literature are especially valued by contemporaries.
Monuments of ancient Russian literature
One of the first known ancient chroniclers was the Monk Nestor (his holy relics rest in the caves of the Kiev-Pechersk Lavra) with his chronicle "The Tale of Bygone Years", dated to the 11th century. Behind him Grand Duke Kyiv Vladimir Monomakh wrote the book "Instruction" (XII century). Gradually, such works began to appear as "The Tale of the Life of Alexander Nevsky", the author of which, most likely, was the scribe of the Metropolitan of Vladimir Kirill at the turn of the late XII and early XIII centuries. Then another monument of ancient Russian literature was created, dated to the beginning of the 12th century, called "The Tale of Igor's Campaign", where the name of the author remained unknown. By all means, I would like to note the great work about the Mamaev battle “Zadonshchina”, created at the turn of the late XIV and early XV centuries, presumably the author was the Ryazan priest Sofroniy.
The Tale of Peter and Fevronia of Murom. Analysis
Gradually, the list of ancient Russian literature expanded. It also included The Tale of Peter and Fevronia of Murom. An analysis of this work of the 16th century calls it a hymn to marital love and fidelity. And it will be right. Here it is - an example of a real Christian family. and devotion is demonstrated by The Tale of Peter and Fevronia of Murom. Analysis artistic features The work suggests that it combines two folklore plots. One of them tells about the insidious Seducing Serpent, and the other about the wise maiden. It is distinguished by the simplicity and clarity of presentation, the sedate slowness of the development of events and, most importantly, the calmness of the narrator in the gentleness of the description. actors. That is why it is easily perceived and read, which means it teaches us to love truly, humbly and selflessly, as did its main characters - Peter and Fevronya.
The researchers of the story found obvious parallels between the plot of the life of the Murom saints and Russian fairy tales. In addition, the work of Yermolai-Erasmus contains a number of traditional motifs dating back to the old French epic (the novel about Tristan and Isolde): Isolde heals Tristan, infected with the blood of a monster; the persecutors demand the expulsion of Isolde; the tombs of Tristan and Isolde are connected by thorns, and all attempts to destroy it are in vain.
Nevertheless, the interpretation of "The Tale of Peter and Fevronia" as a work glorifying earthly feelings seems to be insufficiently substantiated. The fact is that the very text of the story contradicts such a definite conclusion. Neither Peter nor Fevronia speak of love. Their marriage is not carnal, but spiritual, based on the observance of the gospel commandments and, accordingly, acquires the character of union with God. It should also not be forgotten that the main character, in essence, does not achieve any earthly goods, well-being; her wisdom is akin to clairvoyance, not human cunning.
Fevronia does not act by force of suggestion, but only obediently follows the highest knowledge: she reveals what is hidden from other people. This, probably, is not the exclusive merit of Fevronia, although the pious life itself becomes a condition for obtaining prophetic abilities. Therefore, the saint performs miracles "with her blessing." She, of course, wins in the wisdom of male heroes (Peter himself, the prince's youth, envious boyars). main theme The story thus becomes the theme of the mind both as a visionary gift and as a religious and moral intuition. It is no coincidence that the work opens with a lengthy theological preface, which speaks of the spiritual structure of man.
Endowed with a special purity of the spiritual "mind", Fevronia acts as an instrument of the higher will, contributing to the correction and salvation of other people. Her role in the structure of the work is symbolic. A wise woman personifies the image of the primordial man, the earthly king of all creation. Not without reason, in the second short story, Fevronia appears as the ruler of the “created” world created by God and the mentor of a lost person: the hare in her chamber is, apparently, a symbol of primordial nature, the lord of which was the righteous Adam before his fall. At the same time, the hare could personify a sinner pursued by the devil. Accordingly, Fevronia becomes the protector of unreasonable and weak creatures who are in mortal danger. Thus, the theme of the fight against dark demonic forces is implicitly present in the work.
This concept determines the nature of the construction figurative system. At the top of the hierarchy of images is Fevronia. She is opposed by unreasonable people, seized with bad passions (boyars and their wives). There are also heroes who gradually join the higher wisdom. First of all, this is Prince Peter. He, of course, depends on the circumstances, but he can direct his personal will to good deeds. As a result, the prince must submit to a higher plan and recognize the limitations of his abilities, his lack of wisdom. Humility becomes his main feat. Consequently, the story does not glorify man, but the omniscience of Providence. This is the edifying and religious meaning of the work. However, the author has moved away from direct didacticism, from direct publicism. Ermolai-Erasmus, as an experienced theologian and highly gifted writer, took advantage of folk traditions, following the requirement of truthfulness: he could not, apparently, deviate from the outline of oral stories, but filled them with purely moral meaning, transforming the available cycle of ready-made plots into a coherent compositional and philosophical whole.
In strict accordance with the composition, the general plot of the story is built. The first short story plays the role of plot tie, the second - the development of the action, the third - the climax and denouement. The fourth novella is the final one. This is a kind of hagiographic result and at the same time an essential element of any life - a posthumous miracle, evidence of holiness.
As a writer Yermolai-Erasmus is a stranger to high book rhetoric. There are practically no elements of the ornate style of "weaving words" in the story. The leading role belongs to a simple presentation of events. The main artistic sign of the narrative is the "small" imagery. From this point of view, an attentive attitude to the objective world and human gesture is indicative and can serve hallmark individual author's style of the scribe. Ermolai-Erasmus focuses on the behavior of the main character. AT this case the writer proved to be a master artistic detail: touching and truthful behavior of Fevronia, her common people's manners (a miracle with the transformation of bread crumbs into incense); Significant and full of deep meaning is the gesture of an embroiderer wrapping a thread around a needle. Depicts Yermolai-Erasmus in his own way and inner world of his characters: in particular, this concerns the doubts of Prince Peter, who are clothed in the form of an inner voice, a tense and psychologically correct monologue.
The most important elements of the artistic system of the work should be recognized as dialogues containing subtle speech characteristics. The dialogue of the story is connected with the folk speech element, which has found an artistic form. A typical exchange of remarks in the story, as a rule, is timed to solve the riddles that the wise Fevronia asks.
The symbolic elements of the story are marked by a special penetrating lyricism. In the hagiographic story there are no visions, signs, typical for medieval hagiography, little typical numerological symbolism (the hidden meaning of numbers). Miracles have a "chamber" character (a miracle with flourishing trees). Of course, "The Tale of Peter and Fevronia" was a new significant stage in the development of the hagiographic genre. Improving the techniques of idealization, Yermolai-Erasmus left abstract psychologism and made a number of paramount artistic discoveries. However, the innovation of the hagiographer served to express the traditional spiritual content and corresponded to the general pathos of ancient Russian hagiographic literature.
It was created in the middle of the 16th century (but for a long time it was attributed to the 15th century) by the priest and publicist Yermolai-Erasmus. In theory, this work was created as a life. But he was not recognized as a life because of the numerous deviations from the canon in the central part, and in the process of processing it became a story. The basis of its plot was formed on the basis of 2 oral-poetic, fairy-tale motifs - about the hero-serpent fighter and the wise maiden, which are widespread in folklore. The source of the plot was a local legend about a wise peasant girl who became a princess. Folk tradition had a strong influence on Yermolai-Erasmus, and he created a work that was not connected with the canons of the hagiographic genre: this is a fascinating plot narrative that bears little resemblance to the lives of the saints with their exploits and martyrdom for the glory of the church. "The work consists of 4 parts, plot-related. 1-story about a snake fighter. 2-heroes go for a doctor for a victim of a snake. They meet a girl who speaks in riddles. This is followed by a motif of riddles and
tests. 3-life of Peter and Fevronia in marriage, there are elements of folklore narration. 4-story about the death of Peter and Fevronia and the posthumous miracle. The genre problem is that a work of art combines many elements of different genres together. The work does not say anything about the childhood of the heroes (untraditional for life), folklore motifs can be traced in all parts. For example, a fairy tale story about a hero-zmeborets, a motif of riddles when Fevronia says that “it’s not absurd to be a house without ears and a temple without ochsho” (dog-ears at home, child-eyes at home) and the question where her family answers : “Father and mother to borrow posters. My brother is walking through his legs in the navi, which means "mother and father went to the funeral, and my brother was a beekeeper." There is also a folklore motif in the 3rd part, when Fevronya, after a meal, collects crumbs in her hand, and then they turn into incense and incense. This is an echo of the fairy tale about the frog princess, when the leftovers turned into swans and a lake. And the departure of Peter and Fevronia from Murom, and then the request of the nobles for their return, also has an echo in folk tale. But in the work there is also a spiritual side, characteristic of the lives. Peter and Fevronia do not talk about love, because Peter does not even want to marry her at first. Their marriage is not carnal, but spiritual and is based on keeping the commandments. Fevronia performs miracles thanks to her spirituality. Another element of life is a posthumous miracle, when Peter and Fevronia, contrary to their dying instructions, are buried in different places, and they still end up together in a coffin for two during the night, which remained empty. And their death in one hour is also something unusual, which can only be characteristic of saints. The combination of folklore, life and elements of the story in one work makes the work multifaceted, but this is a special skill of the author and innovation in literature.
39. "Kazan history" as a new type of historical narrative. Using the experience of different genres in the work.
The historical story "Kazan History" was written in the mid-60s 1 * in It belongs to the best samples ancient Russian artistic prose and occupies a special place in the development of new forms of historical narrative. It poeticizes the power of a single centralized state, the activities of Ivan the Terrible and his supporters, the annexation of the Kazan kingdom to the Muscovite state. The author is trying to create new type narratives with a pronounced ideological intent, theme and a pronounced position of the author. "History" consists of several short stories connected by chronology. The introduction speaks about the purpose of the work - to tell about the history of the Kazan kingdom and its relationship with Russia. The author speaks about the novelty of the story: “This new story deserves to be joyfully listened to.” The author calls Ivan 4 God's chosen one, vividly expressing the author's position. The central part is divided into 2 sub-parts: before the campaigns of Ivan the Terrible and after that. In sub-part 1, the narrative is chronologically-the beginning of the Kazan kingdom, where folklore motifs are traced about a two-headed snake and a snake-fighter hero who defeated him with the help of magic; the main characters are the Moscow and Kazan tsars. The plot is built on the principle of antithesis - Russian victories are replaced by defeats, actions are constantly transferred from Moscow to Kazan and back. This sub-part uses a mix of local microplots. There are many military stories of both types, brought into the general course of events. Basis 2 subparts - stories about the campaigns of Ivan the Terrible. They are presented in the form of military stories with an idealized main character, Ivan 4, but the narrative is multi-figured, Kazan rulers, warriors, and boyars act in it. In this part, there are fewer dates of events, but many symbolic elements: signs, visions, miracles. For example, the dream of the Kazan king, where the bright month swallows the dark one, and the animals that came to Kazan eat the Kazan animals, which predicts future events. Also, a vision to Ivan 4 about the construction of Sviyazhsk and the departure of the demon-patron of the city from the mosque. They play different roles in the dujet. Significantly |re place is occupied by genres that are traditional for military antiquity: laments (monuments of the Kazan queen Sumbeki), praises, prayers. Sumbeki's lament, addressed to Kazan, plays a symbolic role, predicting his death. The "History" ends with chapters in which Kazan, the Moscow principality and Ivan 4 are lauded. The author evaluates the significance of the victory, speaking of the Beauty of Moscow, the OGR of the kingdom. In the image of the protagonist, the author's innovation is traced - Ivan the Terrible is depicted in many ways, his actions and thoughts are shown in different situations. His desire to avoid bloodshed is noted, which was not there before, which is shown in the seven embassies of the tsar to Kazan. All this speaks of the author's approaches to the creation of character, although the main way of creating the image of the king - idealization - remains. The image of episodic heroes is also changing: there was no distinction between positive and negative on national and religious grounds. A traitor can be one's own, and someone else's, and both will be punished. The images of the troops are also unusually drawn: the author often emphasizes the determination of the enemies, causing respect for them. And the capture of the city by the Russian army is more like a plunder. The author's attitude is also innovative - he expresses his opinion much more actively, which is shown in the introduction and conclusion, digressions, which are most often final. Innovation is also manifested in style: the widespread use of tropes, metaphors, military formulas lose their meaning (spreads them in other words, which destroys them). "History" widely used the traditions of life, military story, walking, teaching, symbolic and lyrical genre formation. A military tale: a combination of local micro-plots (“The Legend of the Mamaev Battle”); indication of the landscape at the time of day; the connection in the main character of the traits of a commander with Christian traits; a vision of the departure of the demon-patron of their city, the penetration of rhetorical devices into the pictures of the battle-traditions of The Tale of the Capture of Constantinople. Life: a mention of the virtues of Ivan 4, characteristic of him since childhood; rhetorical tricks. Walking: static descriptions of nature, expressing the admiration of the author. Teachings: artistic means used in lamentations. Due to such an abundance of genres, it is impossible to resolve the issue of the genre of the work.
