What lines sound like a refrain in Yaroslavl’s lament. The ideological and artistic role of the episode “Yaroslavna’s Cry”. The ideological and artistic role of the episode "Yaroslavna's Lament"

“The Tale of Igor’s Campaign” is one of the most famous monuments of ancient Russian literature that have come down to us. The work was written in 1185 (according to other sources, one or two years later). His text is of particular interest to posterity because it paints a vivid and vivid picture of the events of that time.

In different years, philologists and writers, including poets V.A., have been involved in the translation of “The Word...” from Old Russian into modern. Zhukovsky, K.D. Balmont, N.A. Zabolotsky, E.A. Yevtushenko. In this article, excerpts from the work are translated by Nikolai Zabolotsky.

The plot of “The Words...” is based on real historical events. At the center of the story is the campaign against the Polovtsy of Igor Svyatoslavovich, Prince of Novgorod-Seversky. However, the historical context reflected in the work is much deeper than it seems at first glance. Behind a separate, albeit large-scale, fragment in a long series of Russian-Polovtsian wars is the idea of ​​uniting the rulers of all the appanage principalities of fragmented Rus'.

Nature in “The Tale of Igor’s Campaign”

The theme of nature plays a significant role in the story. She is humanized, spiritualized, it is through her that all human experiences are reproduced. Thus, it is not just a background against which events develop, but an active participant in the action.

So, at the very beginning of “The Lay...” a rare phenomenon occurs that could become a turning point in Igor’s campaign against the Polovtsians - a solar eclipse:

But, looking at the sun on this day,
Igor marveled at the luminary:
Broad daylight shadow of the night
The Russian militias were covered.

The prince did not want to see this as a bad omen, so he gave the order to continue the journey. Considering the ancient tradition of following rituals and beliefs associated with natural phenomena, one can only marvel at the courage of Igor Svyatoslavovich. But the further the army advances into the steppe, the gloomier and more alarming the landscape becomes. Animals, which are believed to more subtly sense the approach of trouble, try with all their might to prevent the inevitable:

Birds rising above the oak trees
They soar with their plaintive cry,
Wolves howl through the ravines,
The cry of eagles comes from the darkness.

And, like a farewell wave of the hand, the words sound bitter:

O Russian land!
You're already over the hill.

“At dawn, on Friday, in the fogs...” the first battle takes place, which Igor’s army successfully wins. But the next morning nature foreshadows a difficult outcome:

The night has passed, and the bloody dawns
They announce disaster in the morning.
Clouds are moving in from the sea
For four princely tents.

How much blood will be shed in this campaign, how much grief will fill the souls of the Russian people! Nature is sad along with people:

The steppe is drooping, full of pity,
And the trees bowed their branches...
And the sky closed and it went out
White light over the Russian land.

Analysis of the episode “Yaroslavna’s Lament”

And far away in Putivl the crying has not stopped since early morning. This is the voice of Yaroslavna, the wife of Prince Igor. She became the personification of all Russian women, whose husbands, sons and fathers - the people dearest to their hearts - will never return home. In desperation, she asks the Wind, who also becomes a full-fledged hero of the story:

What are you, Wind, telling viciously,
Why are the fogs swirling by the river,
Are you raising Polovtsian arrows?
Are you throwing them into Russian regiments?

Yaroslavna also addresses the Sun:

Why are you the army of a daring prince?
Did you burn with hot rays?

Behind the princess’s rhetorical questions there is a bitter realization that the dead cannot be brought back. And Yaroslavna asks the Dnieper only for one single person, Prince Igor:

Cherish the prince, sir,
Save on the far side.

Nature comes to the rescue, once again taking an active part in the action. It is under her cover that Igor escapes from captivity:

The earth shook
The grass rustled
The vezhi was stirred by a violent wind...
But the sun rises in the sky
Prince Igor appeared in Rus'.

The role of nature in “The Tale of Igor’s Campaign”

The description of nature is present in most works of literature, and in each it is assigned a certain role. In “The Tale of Igor’s Campaign,” grass and trees, rivers and steppes, animals and birds, the Sun and the Wind not only show feelings characteristic of humans, but also strive to come to the rescue of the heroes.

Solar eclipse, morning blood dawns... Despite the fact that the Russian troops twice disobey what is much wiser and older than the entire human race, nature still does not punish Prince Igor for disobedience, but helps his escape.

The natural resources of our vast Motherland are fully reflected in the wonderful work of ancient Russian literature - “The Tale of Igor’s Campaign”. The description of vast natural spaces reveals the fullness and power, beauty and generosity of the Russian soul, the ability to empathize and sympathize, as well as the desire to free the native land from the encroachments of enemies at all costs.

Interesting? Save it on your wall!

Subparagraphs.

2 el. (in sent text)

7 el. (I gave it away, tell me who doesn’t have it) +

9 pages of the book by I.N. Sukhina (given to us on NG) pp. 129-130 and a small piece about metaphors on p. 128

Two tickets for "The Word". Since I wrote half of it by hand, I didn’t change the ticket and item numbers, just check the old list, there’s nothing new there, in general you won’t get confused!)

I am also sending you the full, coherent text, but since the GB asks us to divide everything into points, I divided it into points indicated on the tickets, there are numbers opposite the paragraphs.

Analysis of an episode of your choice. Yaroslavna's cry.

“Yaroslavna’s Lament” is a very important episode in “The Tale of Igor’s Campaign.” The chronicle contained only a dry statement of facts, and the episode “Yaroslavna’s Lament” is an element inserted by the author of the Lay to enhance the emotional sound of the work. “Yaroslavna’s Lament” seems to return us to reality after the author’s lyrical digression, in which he recalls the first Russian princes and their numerous campaigns against the enemies of Rus' and contrasts them with contemporary events. This episode carries a huge emotional load: the author’s attitude to everything that happens is concentrated here. Apart from this episode, feelings are not expressed so openly anywhere else. The author was able to very accurately convey Yaroslavna’s suffering, thereby expressing the attitude of the entire Russian land to the events taking place. Indeed, for the history of Rus' this defeat was of considerable importance. “The Tale of Igor’s Campaign” is imbued with heroic and tragic pathos, that is, the writer’s emotional and evaluative attitude towards the person depicted. Also, “Yaroslavna’s Lament” is very important for the composition “The Lay of Igor’s Campaign.” Turning to the forces of nature, asking them for help, Yaroslavna seems to be preparing the escape of Prince Igor from Polovtsian captivity. Without this episode, the logic of the narrative would have been disrupted; without it, in “The Tale of Igor’s Campaign” the idea could not have been expressed so clearly, that is, the condemnation of the internecine war and the call of the princes to unify, and the problem - fragmentation and the path to unification.

System of images.

15. System of images in the “Word”.

“The Tale of Igor’s Campaign” is distinguished by a large number of different images.
“The Tale of Igor’s Campaign” is a work of amazing integrity. The artistic form of “The Lay” very accurately corresponds to its ideological concept. All images of the “Lay” help to identify its main idea - the idea of ​​​​the unity of Rus'.

1) The author of “The Tale of Igor’s Campaign” embodied his call for unity, his sense of the unity of his homeland in a living, concrete image of the Russian land. The “Word” is dedicated to the entire Russian land as a whole. All the best feelings of the author are directed towards the Russian land. The image of the Russian land is central in the Lay; it is outlined by the author broadly and freely.
In the vast expanses of Rus', the power of the heroes of the Lay acquires hyperbolic proportions.

The wind, the sun, thunderclouds in which blue lightning flutters, morning fog, rain clouds, the tickling of a nightingale at night and the cry of a jackdaw in the morning, evening dawns and morning sunrises make up a huge, unusually wide background against which the action of “The Lay” unfolds, conveying the feeling the endless expanses of our homeland.

The wide expanse of native nature is vividly felt in Yaroslavna’s cry. Yaroslavna turns to the wind, to the Dnieper, to the sun.

At the same time, the concept of homeland includes for the author “The Tale of Igor’s Campaign” and its history.

2) The attitude of the author of the Lay towards the Russian princes is ambivalent: he sees them as representatives of Rus', he sympathizes with them, but condemns their selfish, narrowly local politics and their discord, their reluctance to jointly defend the Russian land.

3 ) A very special group is made up of female images. All of them are covered with thoughts about peace, about family, about home, imbued with tenderness and affection, a brightly folk principle.

4) The image of the singer-poet Boyan stands out in The Lay. He begins his speech with a memory of Boyan; he paints him as a great poet of the past. Boyan - “prophetic”.
In the ideological plan, the image of Boyan is of significant importance.

"The Tale of Igor's Campaign" marked
the stamp of special humanity,
especially attentive attitude
to the human person...
The author of the Lay with exceptional care
penetrates into the emotional experiences of his characters.
D.S. Likhachev

The author of “The Lay” with exceptional care penetrates the spiritual experiences of his heroes. The contradictory feelings of Svyatoslav Vsevolodovich of Kyiv at the news of the defeat of Igor and Vsevolod appear before us in all their complexity. He loves them fatherly and fatherly reproaches them for the reckless idea of ​​​​a campaign against the Polovtsians without an agreement with the rest of the Russian princes: “ Do you sit down on my silver gray hair?».

Observation and attentive attitude to the human personality are marked by certain epithets that are endowed on its characters in the Lay.

Yaroslav the Wise is called “old,” and this emphasizes not only his age, not only the fact that he lived in “old” (former) times, but also his experience and intelligence. His brother Mstislav Vladimirovich the Great, who entered into single combat with Kasog Rededei in front of the front of both troops - Russian and Kasog - was called “brave”. Roman Svyatoslavich given the epithet “red”, that is, beautiful. Igor’s courageous and strong brother Vsevolod is called “buy tur” and “yar tur”. Vsevolod's wife- his “sweetheart at least” is “red”; wise and perspicacious Boyana the author of “The Lay” calls it “prophetic”, warriors of Roman Mstislavich- “iron”, etc.

The author of The Lay especially loves the epithet “brave.” Not only Mstislav, Igor, Boris Vyacheslavich are “brave”; not only the squad, the Olgovichs, all Russian sons are called “brave” - even the very thought of Roman Mstislavich is “brave”. This reflected the special predilection of the author of the Lay for military virtues.

The author is unusually sensitive to human suffering. The author of “The Tale of Igor’s Campaign” has an ambivalent attitude towards his hero. For the author, Igor is a brave but short-sighted commander who leads his troops on a campaign doomed to failure. Igor loves his homeland, Rus', but his main motivation is the desire for personal glory: “The prince’s mind was gripped by passion, and the desire to taste Don the Great overshadowed his omen.”

The author calls Svyatoslav “formidable, great.” Historians note that the author depicts Svyatoslav in all the splendor of ceremonial grandeur. He calls Svyatoslav the father of Igor and Vsevolod, although the Kiev prince was actually their cousin.

Target: Developing the ability to write an essay-analysis of an episode.

Tasks:

Provide understanding of the meaning of the episode

To teach to see lexical and syntactic means of expression in the text and determine their role in the text

Learn to make a complex plan

Learn to determine the role of an episode in the structure of a work

Planned educational results:

Students will learn about the role of this episode in The Lay

Improve their ability to see the means of expressive language and determine their role in the text

Expand your vocabulary

Learn to write an essay analyzing an episode

Progress:

Call stage. “True-false statement” technique.

Students work individually with the table, then voice the results.

Analysis of responses.

What passage will the lesson be about?

What do you think is the purpose of returning to this episode again?

Announcing the topic of the lesson.

2. Content stage.

1) Technique “Bloom’s Chamomile”.

Students carefully read the episode and make up questions for it:

Clarifying:

Don't you think...

Did I understand correctly…

Interpretive:

Why?

Explain...

Estimated:

What do you think about it?

What do you think…

Creative:

What would happen if...

How would it change...

Practical:

How can you use...

How will I use...

Students ask each other questions and answer.

2) Work with means of expression in groups.

Group 1 – syntactic means of expressiveness.

Card task.

1) What are stanzas 2, 4, 6, 8 from the point of view of syntax? (direct speech)

2) From the point of view of syntax, what are the words Wind, my glorious Dnieper, and the thrice-bright Sun? What role do these means of language play in this episode? (appeal)

3) What sentences regarding the purpose of the statement and emotional coloring does the author use in the episode? What does this mean?

4) Find syntactic repetitions. For what purpose were they introduced?

Group 2 – lexical means of expression.

Card task.

Include examples of tropes from the episode in the table and indicate their role, choosing it correctly from the clues.

Hints: Gives imagery to the text; indicates the importance of inanimate phenomena; indicates unity with folk art, and therefore with the people.

3) Working with text. Fill in the blanks with words and expressions that suit their meaning:

The captivating image of Yaroslavna is a symbol of ____________________. She is sad, ________________, _____________________, asks, _________________, mourns for all Russian soldiers. _______________ voice overcomes ______________, reaches __________________.

In terms of depth of feelings and sincerity, Yaroslavna’s monologue is close to the ______________ song.

4) Problematic issue.

Why is Yaroslavna's cry located in part 3? What does this mean?

(Approximate answer: A woman is a rear, support, support, often invisible, but effective. It is after Yaroslavna’s crying that we see Prince Igor escaping from captivity.)

5) Drawing up a complex plan.

1) A prepared student recalls the structure of a complex plan.

2) Drawing up a plan.

Rough plan.

1.Introduction. Episodes of "The Words..."

Yaroslavna is the heroine of part 3 of “The Word...”

A) 4 parts of the episode.

B) Yaroslavna’s feelings.

C) Proximity to folk song.

D) Place in the composition of this episode.

Conclusion. The importance of the episode “Yaroslavna’s Lament” in “The Tale of Igor’s Campaign.”

3. Reflection stage.

Reception "Interview of a participant in the events." What would you ask the author of “The Tale of Igor’s Campaign”?

Homework: write an essay analyzing the episode using lesson materials.

The ideological and artistic role of the episode "Yaroslavna's Lament"

“The Tale of Igor’s Campaign” is a monument of ancient Russian literature. It was written in the 12th century, during the period of early feudal statehood, when the country was in a state of fragmentation and the unity of the state was disrupted by civil strife and foreign invasions.

“The Tale of Igor’s Campaign,” like every work of literature, has ideological content and an artistic form, which is determined by gender, genre, language, and the entire system of means and techniques with the help of which the content is created. The composition of the work is closely related to this. Each episode is an important component, without which the work loses its meaning and form.

“Yaroslavna’s Lament” is a very important episode in “The Tale of Igor’s Campaign.” There are some episodes in this work that foreshadow further developments. Such episodes are: the moment when “The sun blocked his (Igor’s) path with darkness”; “Svyatoslav’s Dream”, “Yaroslavna’s Lament” - without them, the feeling of that time, the 12th century, when the work was written, will be lost, since in Ancient Rus' people deeply believed in various kinds of omens. The author creates an atmosphere with the help of this episode; thanks to such passages, the reader can now better understand the work.

The chronicle contained only a dry statement of facts, and the episode “Yaroslavna’s Lament” is an element inserted by the author of the Lay to enhance the emotional sound of the work. “Yaroslavna’s Lament” seems to return us to reality after the author’s lyrical digression, in which he recalls the first Russian princes and their numerous campaigns against the enemies of Rus' and contrasts them with contemporary events. In general, “The Tale of Igor’s Campaign” was created in order to express the real reaction of the inhabitants of Rus' to the events taking place, since this cannot be in the chronicle passage.

This episode carries a huge emotional load: the author’s attitude to everything that happens is concentrated here. Apart from this episode, feelings are not expressed so openly anywhere else. The author was able to very accurately convey Yaroslavna’s suffering, thereby expressing the attitude of the entire Russian land to the events taking place. Indeed, for the history of Rus' this defeat was of considerable importance. “The Tale of Igor’s Campaign” is imbued with heroic and tragic pathos, that is, the writer’s emotional and evaluative attitude towards the person depicted. Also, “Yaroslavna’s Lament” is very important for the composition “The Lay of Igor’s Campaign.” Turning to the forces of nature, asking them for help, Yaroslavna seems to be preparing the escape of Prince Igor from Polovtsian captivity.

Without this episode, the logic of the narrative would have been disrupted; without it, in “The Tale of Igor’s Campaign” the idea could not have been expressed so clearly, that is, the condemnation of the internecine war and the call of the princes to unify, and the problem - fragmentation and the path to unification.

The space in the “Word” is constantly changing, sometimes expanding, sometimes narrowing. At this moment, the artistic space in the work narrows to Putivl. In the episode itself, the space expands to enormous limits, since Yaroslavna, in her cry, reminiscent of a lyrical folk song, addresses all the forces of nature at the same time: the wind, the Donets, and the sun. “Nature in the Lay is not the background of events, not the scenery in which the action takes place - it is itself a character, something like an ancient chorus” (D.S. Likhachev). Appeal to all the forces of nature creates the feeling that a person is surrounded by a huge space. This conveys the views of the people of that time, that is, the 12th century, on the world: “...medieval man strives to embrace the world as fully and widely as possible, reducing it in his perception, creating a “model” of the world - a kind of microworld...” ( Likhachev D.S. Poetics of Old Russian Literature // Poetics of Artistic Space).

I read “The Tale of Igor’s Campaign” in two different translations - by D. Likhachev and in the poetic translation by N. Zabolotsky. I think that reading several different translations allows the reader to look at events from different perspectives and understand them better. In each translation, the translator's personality is revealed - he is, as it were, the author of the text. Zabolotsky’s language is closer to the public, even colloquial:

What are you, Wind, telling viciously,

Why are the fogs swirling by the river...

While Likhachev:

Oh wind, sail!

Why, sir, are you blowing towards me?

But we still have the feeling that this is a translation of an ancient Russian work due to inversion:

At dawn in Putivl, wailing,

Like a cuckoo in early spring,

The young Yaroslavna calls,

On the wall is a sobbing city...

Zabolotsky uses various artistic techniques in his translation: personification, comparison, inserts his own pieces to enhance the emotional coloring. For example, Likhachev does not have such lines:

The fogs will fly away,

Prince Igor will open his eyes slightly...

...................................

You, sowing enemy arrows,

Only death blows from above...

That is, Zabolotsky gives more detailed, artistic descriptions. Likhachev uses mainly metaphors, while Zabolotsky uses comparisons in the same phrases, for example: “... the unknown cuckoo crows early” (D. Likhachev), “... like the cuckoo calls to the Jurassic.” In both translations, a large number of personifications are used, since Yaroslavna addresses the wind, the river and the sun, as if they were alive: “My glorious Dnieper!”, “The sun is three times bright!”, “What are you, Wind...”

Thus, the episode “Yaroslavna’s Cry” is of great importance, both semantically and emotionally. In this episode, by conveying Yaroslavna’s suffering, the author expresses the state of the entire Russian land at that time.

Bibliography

To prepare this work, materials were used from the site http://www.bobych.spb.ru/

1. “Yaroslavna’s Lament” is a very important episode in “The Tale of Igor’s Campaign.” The episode “Yaroslavna’s Lament” is an element inserted by the author of “The Lay” to enhance the emotional sound of the work. “Yaroslavna’s Lament” seems to return us to reality after the author’s lyrical digression, in which he recalls the first Russian princes and their numerous campaigns against the enemies of Rus' and contrasts them with contemporary events. Also, “Yaroslavna’s Lament” is very important for the composition “The Lay of Igor’s Campaign.” Turning to the forces of nature, asking them for help, Yaroslavna seems to be preparing the escape of Prince Igor from Polovtsian captivity.
Without this episode, the logic of the narrative would have been broken; without it, the idea would not have been expressed so clearly in “The Tale of Igor’s Campaign,” that is, the condemnation of the internecine war and the call of the princes to unify, and the problem - fragmentation and the path to unification.

2. This episode carries a huge emotional load: the author’s attitude to everything that is happening is concentrated here. Apart from this episode, feelings are not expressed so openly anywhere else. The author was able to very accurately convey Yaroslavna’s suffering, thereby expressing the attitude of the entire Russian land to the events taking place. Indeed, for the history of Rus' this defeat was of considerable importance.
3. Yaroslavna’s patriotism, expressed in her crying, is multifaceted and passionate. In terms of the depth of lyricism and artistic expressiveness, Yaroslavna’s lament is an unsurpassed masterpiece of oratory, the likes of which have never been seen in either domestic or world literature. In it, nature and the entire Russian land empathize with Yaroslavna, mourn the defeat of Igor, and help him escape from captivity. Thus, Igor makes his young wife a direct participant in heroic-tragic events, endows her with a high understanding of patriotic duty, which helps to more fully reveal the ideological concept of the poem.

4. The space in the “Word” is constantly changing, sometimes expanding, sometimes narrowing. At this moment, the artistic space in the work narrows to Putivl. In the episode itself, the space expands to enormous limits, since Yaroslavna, in her cry, reminiscent of a lyrical folk song, addresses all the forces of nature at the same time: the wind, the Donets, and the sun. “Nature in the Lay is not the background of events, not the scenery in which the action takes place - it is itself a character, something like an ancient chorus” (D. S. Likhachev). Appeal to all the forces of nature creates the feeling that a person is surrounded by a huge space. This conveys the views of the people of that time, that is, the 12th century, on the world: “...medieval man strives to embrace the world as fully and widely as possible, reducing it in his perception, creating a “model” of the world - a kind of microcosm...” ( Likhachev D.S. Poetics of Old Russian literature // Poetics of artistic space). A large number of personifications are used, since Yaroslavna addresses the wind, the river and the sun, as if they were alive: “My glorious Dnieper! "," The sun is three times bright! ”, “What are you, Wind...”