Lotman Yuri. Conversations about Russian culture. Yu m. Lotman talks about Russian culture, everyday life and traditions of the Russian nobility (xviii - early xix century)

Duel (duel) - a duel fight that takes place according to certain rules, with the aim of restoring honor, removing the offended shame caused by an insult. Thus, the role of the duel is socially significant.

A duel is a definite procedure for the restoration of honor and cannot be understood outside the very specifics of the concept of "honor" in the general system of ethics of the Russian Europeanized post-Petrine noble society. Naturally, from a position that, in principle, rejected this concept, the duel lost its meaning, turning into ritualized murder.

A Russian nobleman of the 18th - early 19th centuries lived and acted under the influence of two opposite regulators of social behavior. As a loyal subject, a servant of the state, he obeyed orders. The psychological stimulus for obedience was the fear of punishment overtaking the disobedient. But at the same time, as a nobleman, a man of an estate that was both a socially dominant corporation and a cultural elite, he obeyed the laws of honor. Shame is the psychological stimulus for obedience. The ideal that a noble culture creates for itself implies the complete expulsion of fear and the assertion of honor as the main legislator of behavior. In this sense, activities that demonstrate fearlessness take on significance. So, for example, if the "regular state" of Peter I still considers the behavior of a nobleman in war as serving the state benefit, and his courage is only a means to achieve this goal, then from the standpoint of honor, courage turns into an end in itself. From these positions, the medieval chivalric ethics is undergoing a well-known restoration. From a similar point of view (which is peculiarly reflected both in the "Lay of Igor's Host" and in the "Degenii Deeds"), the behavior of a knight is not measured by defeat or victory, but has a self-sufficient value.

This is especially clearly manifested in relation to a duel: danger, closeness face to face with death become cleansing means that remove the insult from a person. The offended person himself must decide (the correct decision testifies to the degree of his possession of the laws of honor): is the dishonor so insignificant that to remove it, it is enough to demonstrate fearlessness - to show readiness for battle (reconciliation is possible after a challenge and its acceptance - accepting the challenge, the offender thereby shows , which considers the enemy equal to himself and, therefore, rehabilitates his honor) or a symbolic image of the battle (reconciliation occurs after an exchange of shots or sword strikes without any bloody intentions from any side). If the insult was more serious, one that should be washed off with blood, the duel may end with the first wound (which does not matter, since honor is restored not by causing damage to the offender or revenge on him, but by the fact of shedding blood, including one's own). Finally, the offended person can qualify the insult as fatal, requiring the death of one of the participants in the quarrel for its removal. It is essential that the assessment of the degree of insult - insignificant, blood or fatal - should be correlated with the assessment from the social environment (for example, with the regimental public opinion). A person who is too easy to reconcile can be seen as a coward, unjustifiably bloodthirsty - as a brute.

The duel, as an institution of corporate honor, met with opposition from two sides. On the one hand, the government was consistently negative about the duels. In the "Patent on duels and the initiation of quarrels", which constituted the 49th chapter of Peter's "Military Charter" (1716), it was prescribed: none of these will be wounded or killed, without any mercy, as well as seconds or witnesses, who will prove to be executed with death and write off these belongings.<...>If they begin to fight, and in that battle they will be killed and wounded, then both the living and the dead will be hanged. " KA Sofronenko believes that the "Patent" is directed "against the old feudal nobility." NL Brodsky expressed his opinion in the same spirit, who believed that "a duel, a custom of bloody revenge, engendered by a feudal-knightly society, was preserved among the nobility." However, the duel in Russia was not a relic, since nothing analogous to the life of the Russian "old feudal nobility" existed. The fact that the duel is an innovation was clearly pointed out by Catherine II: “Prejudices, not received from ancestors, but adopted or superficial, alien” (“Letter” of April 21, 1787, cf. “Order”, article 482) ...

Nicholas I's statement is typical: “I hate duels; it is barbarism; in my opinion, there is nothing chivalrous about them. "

Montesquieu pointed out the reasons for the negative attitude of the autocratic authorities to the custom of dueling: “Honor cannot be a principle of despotic states: all people there are equal and therefore cannot be exalted over each other; there all people are slaves and therefore cannot be exalted over anything ...<...>Can a despot tolerate it in his state? She places her glory in contempt for life, and all the power of a despot lies only in the fact that he can take life. How could she herself have endured a despot? "

Naturally, in the official literature, duels were persecuted as a manifestation of love for freedom, "the revived evil of arrogance and freethinking of this century."

On the other hand, the duel was criticized by democratic thinkers, who saw in it a manifestation of the class prejudice of the nobility and opposed the nobility of human honor, based on Reason and Nature. From this position, the duel was made the object of educational satire or criticism. In "Journey from St. Petersburg to Moscow" Radishchev wrote: "... you have a firm spirit, and you will not consider it an offense if the donkey lays down on you or the stinking pig touches you with its snout."

“There have been at least a little bit of someone who, by accident, will catch a sword or a hat, if one hair is hurt on his head, if a cloth bends on his shoulder, so you are welcome in the field ... in the nose ... do not look at anything !. And look, that on the hilt there is a sword! .. Whether anyone is also deaf, short-sighted, but when, God forbid, he did not answer or did not see the bow ... is it a terrible thing! Immediately swords in hand, hats on their heads, and there was a chatter and a wheelhouse! " This position is also captured in AE Izmailov's fable "The Duel". A negative attitude towards the duel of A. Suvorov is known. Masons also reacted negatively to the duel.

Thus, in a duel, on the one hand, the narrow class idea of ​​protecting corporate honor could come to the fore, and on the other, the universal human, despite archaic forms, the idea of ​​protecting human dignity. In the face of a duel, the court sharkun, the favorite of the emperor, aristocrat and aide-de-camp, V.D.

In this regard, the attitude of the Decembrists to the fight was ambivalent. Admitting negative statements in theory in the spirit of general enlightenment criticism of a duel, the Decembrists practically widely used the right of a duel. Thus, EP Obolensky killed a certain Svinin in a duel; KF Ryleev repeatedly summoned different persons and fought with several; A.I. Yakubovich was known as a breaker. The duel between Novosiltsev and Chernov evoked a noisy response from his contemporaries, which took on the character of a political clash between a member of a secret society who defended his sister's honor and an aristocrat who despised the human dignity of ordinary people. Both duelists died a few days later from their wounds. The Northern Society turned Chernov's funeral into the first street demonstration in Russia.

The view of a duel as a means of protecting one's human dignity was no stranger to Pushkin. In the Chisinau period, Pushkin found himself in the offensive position of a civilian young man for his pride, surrounded by people in officer uniforms who had already proved their undoubted courage in the war. This explains his exaggerated scrupulousness in this period in matters of honor and his almost breter behavior. The Kishinev period is marked in the memoirs of contemporaries by Pushkin's numerous challenges. A typical example is his duel with Lieutenant Colonel S. N. Starov, about which V. P. Gorchakov left his memories. Pushkin's bad behavior during dances in the officers' assembly, who ordered, against the orders of the officers, a dance of his own choice, became the reason for the duel. It is significant that the challenge to the poet was directed not by any of the junior officers who were directly involved in the quarrel, but - on their behalf - by S. Starov, the commander of the 33rd Jaeger Regiment, who was there and then. Starov was 19 years older than Pushkin and significantly surpassed his rank. Such a challenge ran counter to the demand for equality of opponents and clearly represented an attempt to besiege a cheeky civilian boy. It was assumed, obviously, that Pushkin would be frightened of the duel and would go to a public apology. Further events developed in the following order. Starov “went up to Pushkin, who had just finished his figure. "You have done impoliteness to my officer," said S<таро>c, glancing resolutely at Pushkin, - so would you like to apologize to him, or you will deal with me personally. "-" What to apologize for, Colonel, "Pushkin answered quickly," I don't know; As for you, I am at your service. "-" So see you tomorrow, Alexander Sergeevich. "-" Very good, Colonel. "After shaking hands, they parted.<...>When they gathered at the place of the duel, a blizzard with a strong wind interfered with the sight, the opponents fired a shot, and both missed; another shot, and again a miss; then the seconds resolutely insisted that the duel, if they did not want to end like that, be canceled without fail, and assured that there were no more charges. "So, until another time," - both repeated in one voice. "Goodbye, Alexander Sergeevich." - "Goodbye, Colonel."

The duel was conducted according to all the rules of the ritual of honor: there was no personal enmity between the gunmen, and the impeccability of the observance of the ritual during the duel aroused mutual respect in both. This, however, did not prevent the secondary exchange of shots and, if possible, a second duel.

“A day later ... the reconciliation took place quickly.
“I have always respected you, Colonel, and therefore I accepted your offer,” said Pushkin.
“And they did well, Alexander Sergeevich, - answered S<таро>c, - by this you have further increased my respect for you, and I must say in truth that you stood as well under the bullets as you write well. " These words of sincere greetings touched Pushkin, and he rushed to embrace S<таро>wa ". The careful observance of the ritual of honor equalized the position of a civilian youth and a military lieutenant colonel, giving them an equal right to public respect. The ritual cycle ended with an episode of Pushkin's demonstrative readiness to fight a duel, defending Starov's honor: “Two days after the reconciliation, it was about his duel with S.<таровы>m. They extolled Pushkin and condemned S<таро>wah. Pushkin flushed, threw the cue and went straight and quickly to the youth. “Gentlemen,” he said, “how we ended up with S<таровы>m is our business, but I declare to you that if you allow yourself to condemn C<таро>Wa, whom I cannot but respect, then I will take it as a personal offense, and each of you will answer me properly “”.

This episode precisely by its ritual "classicism" attracted the attention of contemporaries and was widely discussed in society. Pushkin gave it artistic completeness, ending the exchange of shots with a rhymed epigram:

I'm alive.
Starov
Healthy.
The duel is not over.

It is characteristic that this very episode received a complete formula in the folklore memory of contemporaries:

Colonel Starov,
Thank God, he's healthy.

The image of a poet composing poetry during a duel is a version of a dueling legend that poeticizes careless immersion in extraneous pursuits as the pinnacle of brilliant behavior at the barrier. In "Shot" Count B *** eats cherries at the barrier, in E. Rostand's play "Cyrano de Bergerac" the hero composes a poem during a duel. This was also demonstrated by Pushkin during his duel with Starov.

Breter behavior as a means of social self-defense and assertion of his equality in society, perhaps, attracted Pushkin's attention during these years to Vuatur, a French poet of the 17th century, who asserted his equality in aristocratic circles with emphasized bretery. Regarding the poet's passion for duels, Talleman de Reo wrote: “Not every brave man can count as many duels as our hero had, for he fought in a duel at least four times; day and night, in the bright sun, in the moon and in the light of torches. "

Pushkin's attitude to the duel is contradictory: as the heir of the 18th century enlighteners, he sees in it a manifestation of "secular enmity", which is "wildly afraid of false shame." In Eugene Onegin, the duel cult is supported by Zaretsky, a man of dubious honesty. However, at the same time, a duel is also a means of protecting the dignity of an offended person. She puts on a par with the mysterious poor man Silvio and the favorite of fate Count B ***. The duel is a prejudice, but the honor that is forced to seek her help is not a prejudice.

It was precisely because of its duality that the duel implied a rigorous and carefully performed ritual. Only punctual adherence to the established order distinguished the duel from the murder. But the need for strict adherence to the rules came into conflict with the absence of a strictly codified dueling system in Russia. Under the conditions of an official ban, no dueling codes could have appeared in the Russian press, and there was no legal body that could assume the authority to streamline the rules of the duel. Of course, one could use the French codes, but the rules set forth there did not quite coincide with the Russian dueling tradition. Strict observance of the rules was achieved by appealing to the authority of experts, living bearers of tradition and arbiters in matters of honor. Zaretsky plays this role in Eugene Onegin.

The duel began with a challenge. As a rule, it was preceded by a clash, as a result of which one of the parties considered itself insulted and as such demanded satisfaction (satisfaction). From that moment on, the opponents no longer had to enter into any communication: their representatives-seconds took it upon themselves. Having chosen a second, the offended one discussed with him the severity of the offense inflicted on him, on which the nature of the future duel depended - from a formal exchange of shots to the death of one or both participants. After that, the second sent a written challenge to the enemy (cartel).

The role of the seconds boiled down to the following: as mediators between opponents, they were first of all obliged to make maximum efforts to reconcile. It was the duty of the seconds to seek all the possibilities, without prejudice to the interests of honor, and especially watching the observance of the rights of their client, for a peaceful resolution of the conflict. Even on the battlefield, the seconds were obliged to make one last attempt at reconciliation. In addition, the seconds work out the conditions for the duel. In this case, unspoken rules instruct them to try so that irritated opponents do not choose more bloody forms of combat than it requires a minimum of strict rules of honor. If reconciliation turned out to be impossible, as was the case, for example, in the duel between Pushkin and Dantes, the seconds drew up written conditions and carefully followed the strict execution of the entire procedure.

For example, conditions signed by the seconds of Pushkin and Dantes were as follows (original in French):
"1. Opponents stand at a distance of twenty steps from each other and five steps (for each) from the barriers, the distance between which is ten steps.
2. Opponents armed with pistols may shoot at this sign, going one on top of the other, but in no case crossing the barriers.
3. Moreover, it is assumed that after a shot, opponents are not allowed to change their place, so that the one who fired first would be exposed to his opponent's fire at the same distance.
4. When both sides have fired a shot, then in case of failure the fight is resumed as if for the first time: the opponents are placed at the same distance of 20 steps, the same barriers and the same rules are preserved.
5. Seconds are indispensable intermediaries in any explanation between opponents at the battle site.
6. The seconds, the undersigned and vested with all powers, ensure, each for his own side, with their honor, strict observance of the conditions set forth here. "

The conditions of the duel between Pushkin and Dantes were as cruel as possible (the duel was designed to be fatal), but the conditions of the duel between Onegin and Lensky, to our surprise, were also very cruel, although there were clearly no reasons for mortal enmity. Since Zaretsky separated his friends by 32 steps, and the barriers, apparently, were at a "noble distance", that is, at a distance of 10 steps, everyone could take 11 steps. However, it is possible that Zaretsky determined the distance between the barriers at less than 10 steps. Apparently, there was no requirement that after the first shot the opponents did not move, which pushed them to the most dangerous tactics: without firing on the move, quickly go to the barrier and aim at an immobile enemy at an extremely close distance. These were the cases when both duelists became victims. This was the case in the duel between Novosiltsev and Chernov. The requirement that the opponents stop at the spot where they were caught by the first shot was the least possible mitigation of conditions. It is characteristic that when Griboyedov fired with Yakubovich, then, although there was no such requirement in the conditions, he still stopped at the place where he was shot, and fired without approaching the barrier.

In "Eugene Onegin" Zaretsky was the only manager of the duel, and it is all the more noticeable that, "in duels a classic and a pedant," he dealt with great omissions, or rather, deliberately ignoring everything that could eliminate the bloody outcome. Even at the first visit to Onegin, when the cartel was handed over, he was obliged to discuss the possibilities of reconciliation. Before the start of the fight, an attempt to end the matter peacefully was also part of his direct responsibilities, especially since no blood offense was inflicted, and it was clear to everyone except the eighteen-year-old Lensky that the matter was a misunderstanding. Instead, he “got up without explanation<...>Having a lot of things to do at home. " Zaretsky could have stopped the duel at another moment: the appearance of Onegin with a servant instead of a second was a direct insult to him (seconds, like opponents, must be socially equal; Guillot, a French roles, as well as the motivation that he is at least a "small honest", was an unequivocal offense for Zaretsky), and at the same time a gross violation of the rules, since the seconds had to meet the day before without opponents and draw up the rules of the duel.

Finally, Zaretsky had every reason to prevent a bloody outcome, announcing Onegin did not appear. “It is extremely impolite to make oneself wait on the spot of the fight. The one who appears on time is obliged to wait for his opponent for a quarter of an hour. After this period has elapsed, the first to appear has the right to leave the place of the duel and his seconds must draw up a protocol confirming the non-arrival of the enemy. " Onegin was late for more than an hour.

Thus, Zaretsky behaved not only not as a supporter of the strict rules of the art of dueling, but as a person interested in the most scandalous and noisy - which in relation to the duel meant a bloody - outcome.

Here is an example from the field of "dueling classics": in 1766 Casanova fought in a duel in Warsaw with the favorite of the Polish king Branicki, who appeared on the field of honor accompanied by a brilliant retinue. Casanova, a foreigner and traveler, could bring only one of his servants as a witness. However, he refused such a decision as obviously impossible - offensive for the enemy and his seconds and little flattering for himself: the dubious dignity of the second would cast a shadow on his own impeccability as a man of honor. He preferred to ask the enemy to appoint him a second from among his aristocratic retinue. Casanova took the risk of having an enemy in his second, but did not agree to call on a hired servant to be a witness in a matter of honor.

It is curious to note that a similar situation was partly repeated in the tragic duel between Pushkin and Dantes. Having experienced difficulties in finding a second, Pushkin wrote in the morning of January 27, 1837 to Arsiak that he would bring his second “only to the meeting place”, and then, falling into conflict with himself, but quite in the spirit of Onegin, he left Heckern to choose his second : “… I accept him in advance, be it at least his livery lackey.” (XVI, 225 and 410). However, d “Arsiak, unlike Zaretsky, decisively cut off such a possibility, stating that“ a meeting between the seconds, necessary before the fight "(Highlighted by d" Arsiak. - Yu. L.), is a condition, refusal of which is tantamount to refusal of the duel. The meeting between d "Arsiak and Danzas took place, and the duel became formally possible. The meeting between Zaretsky and Guillot took place only on the battlefield, but Zaretsky did not stop the duel, although he could have done it.

Onegin and Zaretsky - both violate the rules of the duel. The first, to demonstrate his irritated contempt for the story, in which he fell against his own will and in the seriousness of which he still does not believe, and Zaretsky because he sees in the duel a funny, albeit sometimes bloody, story, the subject of gossip and jokes ...

Onegin's behavior in a duel is irrefutable evidence that the author wanted to make him a reluctant murderer. Both for Pushkin and for the readers of the novel who were familiar with the duel firsthand, it was obvious that those who want the unconditional death of the enemy do not shoot right away, from a long distance and under the distracting attention of the barrel of someone else's pistol, but, taking the risk, gives itself to shoot, requires the enemy to the barrier and from a short distance shoots him as a stationary target.

So, for example, during the duel between Zavadovsky and Sheremetev, famous for her role in the biography of Griboyedov (1817), we see a classic case of the brether's behavior: “When they began to converge from the extreme limits of the barrier to the nearest ones, Zavadovsky, who was an excellent shooter, walked quietly and completely calm. Whether Zavadovsky's composure infuriated Sheremetev, or simply a feeling of anger overpowered his mind, but he, as they say, could not stand it and shot at Zavadovsky, not yet reaching the barrier. The bullet flew close to Zavadovsky, because it tore off part of the collar at the coat, at the very neck. Then, and this is very understandable, Zavadovsky got angry. „Ah! - he said. - II en voulait a ma vie! A la barriere! "(Wow! He's encroaching on my life! To the barrier!)

There was nothing to do. Sheremetev approached. Zavadovsky fired. The blow was fatal - he wounded Sheremetev in the stomach! "

In order to understand what pleasure a person like Zaretsky could find in all this business, it should be added that Pushkin's friend Kaverin, who was present at the duel as a spectator (a member of the Union of Welfare, with whom Onegin met in the first chapter of Eugene Onegin at Talon; and a brawler), seeing how the wounded Sheremetev "jumped on the spot several times, then fell and began to roll in the snow," went up to the wounded and said: "What, Vasya? Turnip? " After all, turnips are a delicacy among the people, and this expression is used ironically by them in the sense: “what then? is it tasty? is the appetizer good? " It should be noted that, contrary to the rules of a duel, the audience often gathered for a duel as if it were a spectacle. There is reason to believe that a crowd of curious people was present at the tragic duel of Lermontov, turning it into an extravagant spectacle. The requirement for the absence of outsiders had serious grounds, since the latter could push the participants in the spectacle, which was acquiring a theatrical character, to take more bloody actions than the rules of honor required.

If an experienced shooter fired first, then this, as a rule, indicated excitement, leading to an accidental trigger pull. Here is a description of the duel in the famous Bulwer-Lytton novel, carried out according to all the rules of dandyism: the English dandy Pelem and the French dandy, both experienced duelists, shoot themselves:

“The Frenchman and his second were already waiting for us.<...>(This is a deliberate insult; the norm of refined politeness is to arrive at the place of the duel exactly at the same time. Onegin surpassed everything acceptable, being late for more than an hour. - Yu. L.). I noticed that the enemy was pale and restless - I thought, not from fear, but from rage<...>I looked at d "Azimar point-blank and aimed. His pistol fired a second earlier than he expected - probably his hand trembled - the bullet grazed my hat. I aimed more accurately and shot him in the shoulder - exactly where I wanted" ...

However, the question arises: why did Onegin shoot at Lensky, and not past? First, a demonstrative shot to the side was a new insult and could not contribute to reconciliation. Secondly, in the event of an unsuccessful exchange of shots, the duel would begin anew, and the enemy's life could be saved only at the cost of his own death or injury, and the Breter's legends, which shaped public opinion, poeticized the killer, not the killed.

It is also necessary to take into account one more essential circumstance. The duel with its strict ritual, representing a holistic theatrical performance - the sacrifice for the sake of honor, has a tough scenario. Like any strict ritual, it deprives the participants of their individual will. An individual participant has no power to stop or change anything in a duel. In the description of Bulwer-Lytton there is an episode: “When we got to our places, Vincent (the second - Yu. L.) came up to me and said quietly:
“For God's sake, let me settle the matter peacefully, if only possible!
"It's not in our power," I replied. Compare in War and Peace:
“- Well, start! - said Dolokhov.
- Well, - said Pierre, still smiling.
It was getting scary. It was obvious that the business, which began so easily, could no longer be prevented by anything, that it went on by itself, already independently of the will of the people, and had to be accomplished. " It is significant that Pierre, all night thinking: "Why is this duel, this murder?" - Once on the battlefield, he shot first and wounded Dolokhov in the left side (the wound could easily be fatal).

Exceptionally interesting in this respect are the notes of N. Muravyov-Karsky - an informed and accurate witness who quotes Griboyedov's words about his feelings during the duel with Yakubovich. Griboyedov did not feel any personal hostility towards his opponent, the duel with whom was only the end? "Quadruple duel", started by Sheremetev and Zavadovsky. He proposed a peaceful outcome, which Yakubovich refused, also emphasizing that he did not feel any personal enmity towards Griboyedov and was only fulfilling the word given to the late Sheremetev. And it is all the more significant that, having risen to the barrier with peaceful intentions, during the duel, Griboyedov felt a desire to kill Yakubovich - the bullet passed so close to the head that “Yakubovich considered himself wounded: he grabbed the back of his head, looked at his hand ...<...>Griboyedov later told us that he was aiming at Yakubovich's head and wanted to kill him, but that this was not his first intention when he took his place. "

A vivid example of the change in the plan of behavior conceived by the duelist under the influence of the power of dueling logic over the will of a person is found in A. Bestuzhev's story "A Novel in Seven Letters" (1823). On the night before the duel, the hero firmly decides to sacrifice himself and anticipates death: "I say, I will die, because I decided to wait for the shot ... I offended him." However, the next chapter of this novel in letters tells about a completely unexpected turn of events: the hero committed an act diametrically opposite to his intentions. “I killed him, killed this noble, generous man!<...>We approached from twenty paces, I walked firmly, but without any thought, without any intention: feelings hidden in the depths of my soul completely darkened my mind. Six steps away, I don’t know why, I don’t know how, I pushed the fatal schneller - and a shot rang out in my heart! .. I saw how Erast flinched ... When the smoke came - he was already lying in the snow, and the blood gushing from the wound, hissing , froze in it. "

For the reader who has not yet lost a living connection with the dueling tradition and is able to understand the semantic shades of the picture drawn by Pushkin in Eugene Onegin, it was obvious that Onegin "loved him [Lensky] and, aiming at him, did not want to hurt."

This ability to duel, drawing people in, depriving them of their own will and turning them into toys and automatons, is very important.

This is especially important for understanding the image of Onegin. The hero of the novel, who removes all forms of external leveling of his personality and thereby opposes Tatyana, who is organically connected with folk customs, beliefs, habits, in the sixth chapter of Eugene Onegin betrays himself: against his own will, he recognizes the dictates of the norms of behavior imposed on him by Zaretsky and “ public opinion ”, and immediately, losing will, becomes a doll in the hands of a faceless duel ritual. Pushkin has a whole gallery of "coming to life" statues, but there is also a chain of living people turning into automata. Onegin in the sixth chapter acts as the ancestor of these characters.

The main mechanism by which the society, despised by Onegin, nevertheless imperiously controls his actions, is the fear of being funny or becoming the subject of gossip. It should be borne in mind that the unwritten rules of the Russian duel of the late 18th - early 19th centuries were much more severe than, for example, in France, and with the nature of the late Russian duel legalized by the act of May 13, 1894 (see A. I. Kuprin's "Duel") could not be compared at all. While the usual distance between barriers at the beginning of the 19th century was 10-12 steps, and there were often cases when opponents were separated by only 6 steps, during the period between May 20, 1894 and May 20, 1910, out of 322 fights that took place, none one was not carried out with a distance of less than 12 steps and only one - with a distance of 12 steps. The bulk of the fights took place at a distance of 20-30 steps, that is, from a distance from which at the beginning of the 19th century no one thought to shoot. Naturally, out of 322 fights, only 15 were fatal. Meanwhile, at the beginning of the 19th century, ineffective duels aroused an ironic attitude. In the absence of firmly fixed rules, the importance of the atmosphere created around the fights by the breters, the guardians of dueling traditions, increased sharply. These latter cultivated a bloody and cruel duel. A person who went out to the barrier had to show extraordinary spiritual independence in order to preserve his own type of behavior, and not to accept the approved and imposed norms. So, for example, Onegin's behavior was determined by fluctuations between the natural human feelings that he experienced in relation to Lensky, and the fear of appearing ridiculous or cowardly, violating the conventional norms of behavior at the barrier.

Any, not just the "wrong" duel was a criminal offense in Russia. Each duel later became the subject of legal proceedings. Both opponents and seconds were criminally responsible. The court, following the letter of the law, sentenced the duelists to death, which, however, in the future for officers was most often replaced by demotion to soldiers with the right to seniority (transfer to the Caucasus made it possible to quickly receive an officer's rank again). Onegin, as a non-serving nobleman, most likely would have gotten off with a month or two of the fortress and subsequent church repentance. However, judging by the text of the novel, the duel between Onegin and Lensky did not become a subject of legal proceedings at all. This could happen if the parish priest recorded Lensky's death as a consequence of an accident or as a result of suicide. Stanzas XL – XLI of the sixth chapter, despite their connection with the general elegiac cliches of the grave of the "young poet", suggest that Lensky was buried outside the cemetery fence, that is, as a suicide.

We find a real encyclopedia of a duel in A. Bestuzhev's story "Test" (1830). The author condemns the duel from educational traditions and at the same time describes the entire ritual of preparation for it with almost documentary detail:

“Valerian's old servant melted lead in an iron ladle, kneeling before the fire, and poured bullets — a work he interrupted with frequent prayers and crosses. At the table, an artillery officer was cutting, stroking, and trying on bullets for pistols. At this moment the door was gently opened, and a third person, a cavalryman-guardsman, entered and interrupted their studies for a moment.
“Bonjour, capitaine,” the artilleryman said to the incoming man, “are you all ready?
- I brought with me two pairs: one Kuchenreiter, the other Lepage: we will examine them together.
- It is our duty, captain. Did you fit bullets?
“The bullets were made in Paris and, probably, with particular precision.
- Oh, do not hope for it, captain. I already happened to be trapped once by such gullibility. The second bullets - I am still blushing from the memory - did not reach the half-barrel, and no matter how hard we fought to catch up with them, it was all in vain. Opponents were forced to shoot with saddle pistols - almost the size of a mountain unicorn, and it is good that one hit the other right in the forehead, where every bullet, and less than a pea and more cherries, produces the same effect. But judge, what criticism would we be subjected to if this buckshot shattered an arm or a leg?
- Classic truth! - answered the cavalryman, smiling.
- Do you have polished gunpowder?
- And the finest.
- So much the worse: leave him at home. First, for consistency, we'll take ordinary rifle powder; secondly, the polished one does not always flash quickly, but it happens that the spark even glides on it.
- How do we do with the schnellers?
- Yes Yes! these damned schnellers always knock my mind out of sight, and more than one kind person was put on the back burner. Poor L-oh died from a schneller in my eyes: his pistol fired into the ground, and his opponent put him, like a hazel grouse, on the barrier. I saw another reluctantly fired into the air, when he could reach the enemy's chest with a muzzle. It is almost impossible and always useless not to allow the cocking of the schnellers, because an imperceptible, even involuntary movement of a finger can cock it - and then a cold-blooded shooter has all the benefits. Allowing - how long will it take to lose a shot! rogues these gunsmiths: they seem to imagine that pistols are invented only for the shooter's klob!
“However, wouldn't it be better to ban the Schneller platoon? You can warn the gentlemen how to handle the spring; for the rest, rely on honor. What do you think, most venerable?
- I agree to anything that can make the duel easier; will we have a doctor, mister captain?
- Yesterday I visited two - and was enraged by their greed ... They began with a preface about responsibility - and ended by demanding a deposit; I did not dare to entrust the fate of the duel to such hucksters.
- In that case, I undertake to bring with me a doctor - the greatest original, but the noblest man in the world. I happened to take him straight out of bed to the field, and he dared not hesitate. “I know very well, gentlemen,” he said, wrapping bandages on the instrument, “that I can neither forbid nor prevent your folly, and I readily accept your invitation. I am glad to buy, albeit at my own risk, the relief of suffering humanity! “But, most surprising of all, he refused a rich gift for the trip and treatment.
- It does honor to humanity and medicine. Is Valerian Mikhailovich still sleeping?
- He wrote letters for a long time and no more than three hours fell asleep. Advise, do mercy, your comrade, so that he does not eat anything before the fight. In case of misfortune, the bullet can slip and fly through without damaging the insides, if they retain their elasticity; besides, the hand on an empty stomach is more correct. Have you taken care of the four-seater carriage? In a double room - neither help the wounded, nor put the dead.
- I ordered to hire a carriage in the far part of the city and choose a simpler cab, so that he would not guess and would not let him know.
- You did the best you can, captain; otherwise the police smell blood as well as a crow. Now about the conditions: is the barrier still six steps away?
- At six. The prince does not want to hear about a greater distance. The wound ends the duel only on an even shot - a flash and a misfire are not a number.
- What stubborn people! Let them fight for the cause - it's not a pity for gunpowder; and then for a woman's whim and for her quirks.
- Have we seen a lot of fights for a just cause? And then all for the actresses, for the cards, for the horses or for a portion of ice cream.
"To admit to say, all these duels, which are difficult or ashamed to tell the reason, do us a little credit."

The conventional ethics of dueling existed in parallel with the universal human norms of morality, without mixing or canceling them. This led to the fact that the winner of the duel, on the one hand, was surrounded by an aura of public interest, typically expressed in the words that Karenin recalls: “Well done; challenged him to a duel and killed ”(“ Anna Karenina ”). On the other hand, all the dueling customs could not make him forget that he was a murderer.

For example, around Martynov, the murderer of Lermontov, in Kiev, where he lived out his life, a romantic legend spread (Martynov, who had the character of Grushnitsky, himself, apparently, contributed to it), which reached M. Bulgakov, who told about her in the "Theatrical novel" : “What mournful eyes he has ...<...>He once killed a friend in a duel in Pyatigorsk ... and now this friend comes to him at night, nods his head in the moonlight at the window.

VA Olenina remembered the Decembrist E. Obolensky. "This uncommon had a duel - and killed - since Orestes, pursued by the furies, and he nowhere else found peace." Olenina knew Obolensky until December 14, but also the pupil of MI Muravyov-Apostol, who grew up in Siberia, AP Sozonovich, recalls: "This unfortunate event tormented him all his life." Neither upbringing, nor court, nor penal servitude mitigated this experience. The same can be said about a number of other cases.

SPb .: Art, 1994 .-- 484 p. - ISBN 5-210-01524-6. The author is an outstanding theorist and cultural historian, the founder of the Tartu-Moscow semiotic school. Its readership is huge - from specialists to whom works on the typology of culture are addressed to schoolchildren who have picked up the "Commentary" to "Eugene Onegin". The book is based on a series of television lectures about the culture of the Russian nobility. The past era is presented through the realities of everyday life, brilliantly recreated in the chapters Duel, Card Game, Ball, etc. The book is inhabited by heroes of Russian literature and historical figures - among them Peter I, Suvorov, Alexander I, the Decembrists. The factual novelty and a wide range of literary associations, the fundamental nature and liveliness of its presentation make it a most valuable publication in which any reader will find something interesting and useful for himself. "Conversations on Russian Culture" belongs to the pen of the brilliant researcher of Russian culture Yu. M. Lotman. At one time, the author enthusiastically responded to the proposal of "Iskusstva-SPB" to prepare a publication based on a series of lectures with which he appeared on television. The work was carried out by him with great responsibility - the composition was specified, the chapters expanded, new versions appeared. The author signed the book into a set, but did not see it published - on October 28, 1993 Yu. M. Lotman died. His living word, addressed to a multimillion audience, has been preserved in this book. It immerses the reader in the world of everyday life of the Russian nobility of the 18th - early 19th centuries. We see people from a distant era in the nursery and in the ballroom, on the battlefield and at the card table, we can examine in detail the hairstyle, cut of the dress, gesture, and demeanor. At the same time, everyday life for the author is a historical-psychological category, a sign system, that is, a kind of text. He teaches to read and understand this text, where everyday and everyday are inseparable.
The collection of colorful chapters, the heroes of which are outstanding historical figures, reigning persons, ordinary people of the era, poets, literary characters, are linked together by the thought of the continuity of the cultural and historical process, the intellectual and spiritual connection of generations.
In a special issue of the Tartu "Russian newspaper" dedicated to the death of Yu. M. Lotman, among his statements recorded and saved by colleagues and students, we find words that contain the essence of his last book: “History passes through the House of man, through his private life. Not titles, orders or royal favor, but the "self-permanence of a person" turns him into a historical personality. ”Introduction: Life and culture.
People and ranks.
Women's World.
Women's education in the 18th - early 19th centuries.
Ball.
Matchmaking. Marriage. Divorce.
Russian dandyism.
Card game.
Duel.
The art of living.
The result of the path.
"Chicks of Petrov's nest".
Age of heroes.
Two women.
People of 1812.
Decembrist in everyday life.
Notes.
Instead of the conclusion: "Between the double abyss ...".

To the blessed memory of my parents Alexandra Samoilovna and Mikhail Lvovich Lotmanov

The publication was published with the assistance of the Federal Target Program of Book Publishing of Russia and the International Fund "Cultural Initiative".

"Conversations on Russian Culture" belongs to the pen of the brilliant researcher of Russian culture Yu. M. Lotman. At one time, the author enthusiastically responded to the proposal of "Art - St. Petersburg" to prepare a publication based on a series of lectures with which he spoke on television. The work was carried out by him with great responsibility - the composition was clarified, the chapters were expanded, new versions of them appeared. The author signed the book into a set, but did not see it published - on October 28, 1993 Yu.M. Lotman died. His living word, addressed to a multimillion audience, has been preserved in this book. It immerses the reader in the world of everyday life of the Russian nobility of the 18th - early 19th centuries. We see people from a distant era in the nursery and in the ballroom, on the battlefield and at the card table, we can examine in detail the hairstyle, cut of the dress, gesture, and demeanor. At the same time, everyday life for the author is a historical-psychological category, a sign system, that is, a kind of text. He teaches to read and understand this text, where everyday and everyday are inseparable.

The collection of colorful chapters, the heroes of which are outstanding historical figures, reigning persons, ordinary people of the era, poets, literary characters, are linked together by the thought of the continuity of the cultural and historical process, the intellectual and spiritual connection of generations.

In a special issue of the Tartu "Russian newspaper" dedicated to the death of Yu. M. Lotman, among his statements recorded and saved by colleagues and students, we find words that contain the essence of his last book: “History passes through the House of man, through his private life. Not titles, orders or royal favors, but the 'self-permanence of a person' turns him into a historical person. "

The publishing house would like to thank the State Hermitage and the State Russian Museum for donating gratis prints stored in their funds for reproduction in this publication.

Dedicating conversations to Russian life and culture of the 18th - early 19th centuries, we must first of all determine the meaning of the concepts "everyday life", "culture", "Russian culture of the 18th - early 19th centuries" and their relationship with each other. At the same time, let us make a reservation that the concept of "culture", which belongs to the most fundamental in the cycle of human sciences, can itself become the subject of a separate monograph and has repeatedly become it. It would be strange if in this book we set ourselves the goal of resolving controversial issues related to this concept. It is very capacious: it includes morality, and the whole range of ideas, and human creativity, and much more. It will be quite enough for us to confine ourselves to that side of the concept of "culture", which is necessary for the coverage of our relatively narrow topic.

Culture, first of all - collective concept. An individual person can be a bearer of culture, can actively participate in its development, nevertheless, by its nature, culture, like language, is a social phenomenon, that is, social.

Consequently, culture is something in common for any collective - a group of people living simultaneously and connected by a certain social organization. It follows from this that culture is form of communication between people and is possible only in a group in which people communicate. (An organizational structure that brings together people living at the same time is called synchronous, and we will further use this concept when defining a number of aspects of the phenomenon of interest to us).

Any structure serving the sphere of social communication is a language. This means that it forms a certain system of signs used in accordance with the rules known to the members of this collective. We call signs any material expression (words, pictures, things, etc.), which has the meaning and thus can serve as a means transfer of meaning.

Consequently, culture has, firstly, a communication and, secondly, a symbolic nature. Let's dwell on this last one. Let's think about something as simple and familiar as bread. The bread is material and visible. It has weight, shape, can be cut, eaten. Eaten bread comes into physiological contact with a person. In this function of his, one cannot ask about him: what does he mean? It has use, not meaning. But when we say: “Give us this day our daily bread,” the word “bread” means not just bread as a thing, but has a broader meaning: “food necessary for life”. And when in the Gospel of John we read the words of Christ: “I am the bread of life; he who comes to Me will not hunger ”(John 6:35), then we have before us a complex symbolic meaning of both the object itself and the words denoting it.

The sword is also nothing more than an object. As a thing, it can be forged or broken, it can be placed in a museum window, and it can kill a person. This is all - using it as an object, but when, being attached to a belt or supported by a sling, placed on the thigh, the sword symbolizes a free person and is a "sign of freedom", it already appears as a symbol and belongs to culture.

In the 18th century, a Russian and European nobleman does not carry a sword - a sword hangs on his side (sometimes a tiny, almost toy-like ceremonial sword, which is practically not a weapon). In this case, the sword is a symbol of a symbol: it means a sword, and a sword means belonging to a privileged class.

Belonging to the nobility also means the obligation of certain rules of conduct, principles of honor, even the cut of clothing. We know of cases when "wearing clothes that are indecent to a nobleman" (that is, a peasant's dress) or beards that are also "indecent to a nobleman" became an object of alarm for the political police and the emperor himself.

The sword as a weapon, the sword as a part of clothing, the sword as a symbol, the sign of the nobility - all these are different functions of an object in the general context of culture.

In its various incarnations, a symbol can simultaneously be a weapon suitable for direct practical use, or be completely separated from its immediate function. So, for example, a small sword specially designed for parades excluded practical use, in fact, being an image of a weapon, and not a weapon. The parade realm was separated from the combat realm by emotion, gesture language and function. Let us recall the words of Chatsky: "I will go to my death as to a parade." At the same time, in War and Peace, we meet in the description of a battle an officer leading his soldiers into battle with a ceremonial (that is, useless) sword in his hands. The very bipolar battle-play-battle situation created a complex relationship between weapon as a symbol and weapon as reality. So the sword (sword) is woven into the system of the symbolic language of the era and becomes a fact of its culture.

And here is another example, in the Bible (Book of Judges, 7: 13-14) we read: “Gideon came [and hears]. And so, one tells another a dream, and says: I dreamed that round barley bread was rolling over the camp of Midian and, rolling against the tent, hit it so that it fell, overturned it, and the tent fell apart. Another answered him: this is nothing but the sword of Gideon ... ”Here bread means a sword, and a sword means victory. And since the victory was won with a shout of "Sword of the Lord and Gideon!" ...

So, the area of ​​culture is always the area of ​​symbolism.

CH PFDEMSHOSHI RPYGYSI, CHUEZDB SCHMSAEYIUS YULMAYUEOYEN Y RTBCHYMB, NPTSOP ZPCHPTYFSH P LHMSHFKHTE PDOPZP YUMPCHELB. OP FPZDB UMEDKHEF HFPYUOIFSH, UFP NSCH YNEEN DAMP U LPMMELFYCHPN, UPUPSEYN YY PDOPK MYUOPUFY. хЦЕ ФП, UFP ЬFB MYUOPUFSH OEYUVETSOP VHDEF RPMSHSPCHBFSHUS SSCHLPN, CHSCHUFHRBS PDOPCHTENEOP LBL ZPCHPTSEYK Y UMKHYBAEYK, CHBCHUPCHBIF EGEYF. fBL, OBRTYNET, TPNBOFILY YUBUFP ZPCHPTYMY P RTEDEMSHOPK YODYCHYDKHBMSHOPUFY UCHPEK LHMSHFKHTSCH, P FPN, YUPP CH UPDBCHBENCHI YNY FELUFFDEPY UBCH BCHMEN BCHMEN pDOBLP J H FPK UYFHBGYY TPMY ZPCHPTSEEZP J UMHYBAEEZP, UCHSSCHCHBAEYK YEE SSCHL OE HOYYUFPTSBAFUS, B LBL R ™ £ RETEOPUSFUS CHOHFTSH PFDEMSHOPK MYYUOPUFY "h henna UCHPEN C UPDBM NYT YOPK // PVTBPCH YOSCHI UHEEUFCHPCHBOSHE minutes" (n mETNPOFPCh and uPYu 6- H... FY F. N .; M., 1954, F. 1, U. 34).

GYFBFSCH RTICHPDSFUS RP YDBOYSN, YNEAEINUS CH VYVMYPFELE BCHFPTB, U UPITBOEYEN PTZHPZTBZHY Y RHOLFKHBGY YUFPYUOILB.

pTYZYOBMSHOSCHK FELUF YNEEF RTYNEYUBOYS, UPDETTSBEYEUS CH LPOGE LOYZY Y RTPOHNETPCHBOOSCHE RP ZMBCHBN, B FBLTSE RPDUFTPYUOSCHE UPUPULEJPVPOBYUUN. dMS HDPVUFCHB CHPORTYSFYS CH OBYEN UMHYUBE RPUFTBOYUOSCHE UOPULY RPMHYUIMY ULCHPOOHA, OP PFDEMSHOKHA OHNETBGYA. rPUFTBOYUOSCHE UOPULY, PVPUOBYUEOOOSCHE CH LOYZE PRTEDEMEOUSHL LPMYUEEUFCHPN YCHEDPYUEL, YDEUSH YNEAF RPTSDLPCHCHK OPNET UP YCHEDPYULPK, ​​F. (OBRTYN). - TEDBLGYS ьrj "pFLTSCHFSCHK FELUF"

RHYLYO b. at. rPMO. UPVT. UPYU. H 16-FY F. [n .; m.], 1937-1949, F. 11, U. 40. dBMEE CHUE UUSCHMLY ABOUT LFP YDBOYE DBAFUS CH FELUFE UPLTBEEOOOP: rKHYLYO, FPN, LOISB, UVTBOYGB. UUSHMLY ABOUT ECHZEOIS POEZYOB DBAFUS CH FELUFE, U KHLBBOYEN ZMBCHSCH (BTBVULPK GYZHTPK) Y UVTPZHSCH (TYNULPK).

OEUNPFTS ABOUT CHTBTSDEVOP PFOPYEOOYE L RPRSCHFLBN GETLPCHOSHI DESFEMEK CHMYSFSH dBTsE OETBURPMPTSEOOSCHK A OENH DYRMPNBF auf AIS CHSCHOHTSDEO VSCHM RTYOBFSH, YUFP "GBTSH VMBZPYUEUFYCH" B DTHZPK UCHYDEFEMSH, ZHTBOGH Me-zhPTF × 1721 ZPDH PFNEYUBM, YUFP "GBTSH ZPCHEM VPMEE FEBFEMSHOP, Yuen PVSCHYUOP, I Neb culpa (RPLBSOYEN -. and m. .), LPMEOPRTELMPOEYEN Y NOPZPLTBFOSCHN GEMPCHBOYEN ENMY ".

H OBTPDOYUEULYI LTKHZBI J CH PLTHCEOY b. th. zETGEOB UHEEUFCHPCHBMB FEODEOGYS CHYDEFSH CHUFBTPPVTSDGBI CHCHTBYFEMEK NOEYK CHUEZP OBTPDB Y ABOUT NFPN PUOPCHBOY LPOUFTKHYTPCHYBEFSH PFOUFTKHYTPCHBEFSH PFOUFTKHYTPCHB h DBMSHOOEKYEN NFKH FPULKH ATEOIS HUCHPYMY THUULYE UYNCHPMYUFSCH - d. NETETSLPCHULYK Y DT., PFPTsDEUFCHMSCHYE UELFBOPCH Y RTEDUFBCHYFEMEK TBULPMB UP CHUEN OBTPDPN. chPRTPU LFPF OHTSDBEFUS CH DBMSHOOEKYEN VEURTYUFTBUFOPN YUUMEDPCHBOY. pFNEFYN MYYSH, YUFP FBLYE, UDEMBCHYYEUS HTSE RTYCHSCHYUOSCHNY HFCHETTSDEOYS, LBL NOEOYE YCHEUFOPZP YUUMEDPCHBFEMS MHVLB d. tPChYOULPZP, YUFP MHVPL "LBL NSCHY LPFB IPTPOYMY" J TSD MYUFPCH ON fenchene "uFBTYL J CHEDSHNB" SCHMSAFUS UBFYTBNY ON rEFTB, ON RPCHETLH PLBSCHCHBAFUS TH ON Yuen OE PUOPCHBOOSHNY.

CHRPUMEDUFCHYY, PUPVEOOOP RTY OYLPMBE I, RPMPTSEOE NEOSMPUSH CH UVPTPOKH CHUE VPMSHYEZP RTECHTBEEOIS DCHPTSOUFCHB CH ЪBNLOHFHA LBUFKH. hTPCHEOSH YUYOB, RTY LPFPTPN OEDCHPTSOYO RPMHYUBM DCHPTSOUFCHP, CHUE CHTENS RPCHSCHYBMUS.

RTEDRPYUFEOYE, DBCHBENPE CHPYOULPK UMKHTSVE, PFTBYMPUSH CH RPMOPN ЪBZMBCHY JBLPOB: “fBVEMSH P TBOZBI CHUEEI YUYOPCH, CHPYOUULYI, UFSCHIBTFULYUP LYUP; J LPFPTSCHE CH PDOPN LMBUUE, FE JNEAF RP UVBTYYOUFCHH CHTENEY CHUFKHRMEOIS CH YUYO NECDKH UPVPA, PDOBLPTS CHPYOULYE CHCHCHY RTPFYUYI, IPFS LF YBUP FBTEE IBTBLFETOP Y DTHZPE: OBOBYUYCH CPYOULYE YUYOSCH I LMBUUB (ZEOETBM-ZHEMSHDNBTYBM CH UHIPRKHFOSCHI Y ZEOETBM-BDNYTBM CH NPTULYI CHPKSCHOOLBYUFYBUFUF mYYSh HLBBOYE uEOBFB, YUFP FP RPUFBCHYF THUULYI DYRMPNBFPCH RTY UOPYEOYSI Y YOPUFTBOOSCHNY DCHPTBNY H OETBCHOPE RPMPTSEOYE, HVEDYMP EZP OEPVIPDYNPUFY H I J LMBUUB LCA UFBFULPK UMHTSVSCH (dH UFBM LBOGMET). rTYDCHPTOBS TSE UMHTSVB FBL Y POOFBMBUSH VEH CHCHUYEZP TBOZB.

YOFETEUOP, UFP DChPTSOUFCHP, VSCHUFTP TBPTSCHIEEUS CH 1830-1840-E ZPDSCH, FPCE CHOEUMP BLFYCHOSCHK CHLMBD CH ZHPTNEYTPCHBOYE THUUMYMPYZOFEGEEG. rTPZHEUUYPOBMSHOPE DPTEZHPTNEOOOPE YUYOPCHOYUEFCHP PLBBMBMPUSH Y EDEUSH YOBYUYFESHOP NEO BLFYCHOSCHN.

TENPOF MYPYBDEK - FEIOYUEULIK FETNYO CH LBCHBMETYY, POOBYUBAEYK RPRPMOEYE Y PVOPCHMEOYE LPOULPZP UPUFBCHB. dMS ЪBLHRLY MYPYBDEK PZHYGET U LBEOSCHNY UHNNBNY LPNBODYTPCHBMUS ABOUT PDOH YY VPSHYYI ETSEPDOSCH LPOULYI STNBTPL. RPULPMSHLH MPYBDY RPLKHRBMYUSH X RPNEEYLPCH - MYG YUBUFOSHCHI, RTPCHETLY UHNNSCH TEBMSHOP YUFTBYUEOOSHI DEOEZ ZHBLFYYUEULY OE VSCHMP. ZBTBOFYSNY TEBMSHOPUFY UHNNSH DEOOETSOSHI FTBF VSCHMY, U PDOPK UVPTPOSCH, DPCHETYE LPNBODYTPCHBOOPNKH PZHYGETH, B U DTHZPK - MPFFOPUFSH RPCHPUPSHPUBSPP

OBDP ULBBFSH, SFP UMHTSVB VE'CBMPCHBOSHS VSCHMB DPCHPMSHOP YUBUFSHCHN SCHMEOYEN, B b. NEOYYLPCH CH 1726 ZPDKH CHPPVEE PFNEOYM TSBMPCHBOSHE NEMLINE YUYOPCHOYLBN, ZPCHPTS, UFP POY Y FBL VETHF NOPZP CHUSFPL.

CH VSCHFPRYUBOISI XVIII UFPMEFYS YCHEUFEO UMHYUBK, LPZDB OELIK ZPUFSH UPTPL MEF TEZKHMSTOP RPSCHMSMUS ABOUT PEDBI X PDOPZP CHEMSHNPTSI. pDOBLP, LPZDB LFPF YUEMPCHEL HNET, PLBBMPUSH, UFP OILFP, CHLMAYUBS IPSYOB, OE BOBM, LFP PO FBLPK Y LBLPCHP EZP YNS.

10 * chue ЪBLPOSCH GYFEYTHAFUS RP YDBOYA: rPMOPE UPVTBOYE BLPOPCH tPUUYKULPK YNRETEY, RPCHEMEOYEN zPUHDBTS oYLPMBS rBCHMPCHEYYUB UPUFBCHME. (1649-1825). f. 1 - 45. eq., 1830.

12 * uFBTSCHK RTYOGYR, PDOBLP, OE VSCHM DP LPOGB KHOYUFPTSEO. ьFP PFTBTSBMPUSH CH FPN, UFP RETYPDYUEULY CH UYUFENKH PTDEOPCH CHTSCHCHBMYUSH OE HUMPCHOSCHE, B NBFETYBMSHOSCHE GEOPUFY. fBL, PTDEOWLBS YCHEDB U VTIMMYBOFBNY YNEMB JOBYUEE PUPVPK UVEROY PFMYUYS

14 * pZHYGYBMSHOPE OBCHBOYE - PTDEO UCH. yPBOOB yETHUBMYNULPZP. lBL YCHEUFOP, rBCHEM I ChSM RPD RPLTPCHYFEMSHUFFCHP PUFTPCH nBMSHFKH Y CH DELBVTE 1798 Z. PVYASCHIM UEVS CHEMYLINE NBZYUFTPN nBMSHFYDEKULPZP. LPOEUOP, LFP VSCHMP UPCHETYEOOOP OECHP'NPTSOSCHN: LBCHBMETSCH nBMSHFYKULPZP PTDEOB DBCHBMY PVEF VEVTBYUIS, B RBCHM VSCHM HTSE CHFPTYUFOP; LTPNE FPZP, nBMSHFYKULIK PTDEO - LBFPMYUEEULIK, B THUULIK GBTSH, TBKHNEEFUS, VSCHM RTBCHPUMBCHOSCHN. OP RBCHEM I UYUIFBM, UFP PO CHUE NPTSEF (DBTSE MYFKHTZYA PFUMKHTSIM PDOBTSDSCH!); CHUE, UFP SPCEF vpZ, RPD UIMH Y THUULPNKH YNRETBFPTH.

17 * yT. Rp'doekye YTPOYEULPE YUFPMLPCHBOYE UENBOFILY UMPCHB "UMHTSYFSH" CH TEY DCHPTSOYOB Y TBOPYUYOGB-RPRPCHYUB: "BI, RPCHBYBMSHFE, NO. dB, FERETSH WITH RPNOA. nSCH U CHBYIN VBFAILPK CHNEUFE UMKHTSIMY ".. SFP TCE CHSCH U OYN, CHUEOPEOKHA YMY PVEDOA UMKHTSIMY?" - URTPUIM TSBOPCH .. FP EUFSH LBL? "-„ with OE ЪOBA, LBL. rPUTEDOIL U OEDPHNEOYEN UNPFTEM ABOUT TSBOPCHB :. dB TBCHE CHBY VBFAYLB OE UMKHTSIM CH ZTPDOEOULYI ZHUBTBI?

18 * yCHEUFOBS OBLMPOOPUFSH KHRPFTEVMSFSH CHCHUPLYE UMPCHB CH UYCEOOOP-YTPOYUEULYI YOBYUEOISI LPUOHMBUSH RPETCE Y CHCHTBTSEOIS "UMKHYUFSHUFSH. pOP OBYUBMP PVP'OBYUBFSH FTBLFYTOKHA RTYUMHZKH, OE RPMKHYUBAEHA PF IPSYOB TsBMPCHBOSHS Y UMHTSBEKHA YB YUBECHCHE. NS. CHCHTBTSEOYE CH "PRBUOPN UPUEDE" h. M. RKHYLYOB, RTYOBDMETSBEE LHIBTLE CH RHVMYUOPN DPNE: "y'YUEUFY MYYSH PDOPK S CH DPNE YEDEUSH UMKH10SH.

FBN TSE, F. 5, U. 16, UP UUSCHMLPK OB: TBVYOPCHYU n. d. UPGYBMSHOPE RTPYUIPTSDEOYE Y YNHEEUFCHEOOOPE RMPMPTSEOYE PZHYGETPC TEZKHMSTOPK THUULPK BTNYY CH LPOGE UCHETOPK CHOKOSCH. - h LO .: TPUYS CH RETYPD TEZHPTN REFTB I. n., 1973, U 171; vKhZBOHCH h. y., rTEPVTBTSEOULYK b. b., FIIPOPCH a. b. JCHPMAGYS ZHEPDBMYUNB CH tPUUY. UPGYBMSHOP-LPOPNYUEULYE RTPVMENSCH. n., 1980, U. 241.

19 * fPMSHLP CH RTYDCHPTOPK UMKHTSVE TSEOEYOSCH UBNY YNEMY YUYOSCH. h fBWEMI P TBOZBI OBIPDYN: "DBNSCH Y DECHYGSCH RTY DCHPTE, DEKUFFCHYFESHOP CH YUYOBI PVTEFBAEYEUS, YNEAF UMEDHAEYE TBOZY ..."

UN .: UENEOPCHB m. O. PYUETLY YUFPTYY VSCHFB Y LHMSHFKHTOPK TSIYOI TPUYY: RETCHBS RPMPCHYOB XVIII CHELB m., 1982, U. 114-115; RETRYULB LOSZYOY E. r. хТХУПЧПК УП УЧПЙНЙ ДФШНЙ. - h LO .: uFBTYOB Y OPCHYOB. LO. 20.n., 1916; yUBUFOBS RETERYULB LOSTS rEFTB yChBOPCHYUB iPChBOULPZP, EZP UENSHY Y TPDUFCHEOOYLPCH. - h LO. fBN TSE, LO. ten; zTBNPFLY XVII - OBYUBMB XVIII CHELB. n., 1969.

20 * UTEDOECHELPCHBS LOYZB VSCHMB THLPRYUOPK. LOIZB XIX CHELB - LBL RTBCHYMP, REUBFOPK (EUMY OE ZPCHPTYFSH P ЪBBTEEEOOPK MYFETBFKHTE, P LKHMSHFKHTE GETLPCHOPK Y OE HYUIFSCHBFSH OCHTKHPFZBFCHYUH XVIII CHEL ЪBOYNBEF PUPVPE RPMPTSEOYE: THLPRYUOSCHE Y REUBFOSCHE LOYZY UHEUFCHHAF PODOCHTENEOOOP, YOPZDB - LBL UPAOOIL, RPTPPKTO LBL UP.

21 * oz. CH "rKHFEYEUFCHY Y REFETVKHTZB CH nPULCHH" b. O. TBDYEEECHB, CH ZMBCHE "oPChZPTPD", RPTFTEF TSEOSCH LKHRGB: "rTBULPCHShS DEOYUPCHOB, EZP OPCHPVTBYUOBS UHRTHZB, VEMB Y THNSOB. ъХВЩ ЛБЛ ХЗПМШ. vTPCHY CH OIFLH, YUETOEE UBTSY.

TPNBO LMBUYUEEULIK, UVBTYOOSCHK,

pFNEOOP DMYOSCHK, DMYOSCHK, DMYOSCHK,

oTBCHPKHYUYFEMSHOSCHK Y YUYOSCHK,

veh TPNBOFYUEEULYI ABFEK.

ZETPYOS RPNSCH - oBFBMYS rBCHMPCHOB YUIFBMB FBLYE TPNBOSCH EEE CH OBYUBME XIX CHELB: CH RTPCHYOGY POY BDETTSBMYUSH, OP CH UFPMYGBYYY CHY TSCHFEUKHYUK NS. H "eCHZEOY POEZYOE":

b GENERAL CHUE HNSCH CH FKHNBOY,

NPTBMSH OBU OBCHPDIF UPO,

rPTPL MAVEEO - J CH TPNBOYE,

j FBN HC FPTTSEUFCHHEF PO. (3, XII))

23 * rPCUFSH H. M. LBTBNYOB "tshGBTSH OBYEZP CHTENEYE" pDOBLP NPTSOP RPMBZBFSH, UFP YNEOOOP CH FYI CHPRTPUBI lBTBNYO VMYSPL L VIPZTBZHYYUEULPK TEBMSHOPUFY.

24 * zhTBOGKHUULPE RYUSHNP ZPUHDBTA YMY CHSCHUYIN UBOPCHOILBN, OBRYUBOOPE NKHTSYUYOPK, VSCHMP VSCHPUTYOSFP LBL DET'PUFSH: RPDDBOOSCHK PVSUBOB VSCHM dBNB VSCHMB JVBCHMEOB PF LFPZP TYFKHBMB. zhTBOGKHUULIK SSCHL UPDBCHBM NETSDKH OEA Y ZPUHDBTEN PFOPYEOIS, RPDPVOSCHE TIFKHBMSHOSCHN UCHSSSN TSHGBTS Y DBNSCH. zhTBOGKHUULYK LPTPMSH MADPCHIL XIV, RPCHEDEOYE LPFPTPZP CHUE EEE VSCHMP IDEBMPN DMS CHUEEI LPTPMEK eCHTPRSCH, DENPOUFTBFYCHOP RP-TSCHGBEBTOOL

yOFETEUOP PFNEFYFSH, YUFP ATYDYYUEULY UFEREOSH UPGYBMSHOPK BEYEEOOPUFY, LPFPTPK TBURPMBZBMB THUULBS TSEOEYOB-DCHPTSOLB B OYLPMBECHULHA RPIH, NPTSEF VSCHFSH UPRPUFBCHMEOB have BEYEEOOPUFSHA RPUEFYCHYEZP tPUUYA YOPUFTBOGB. UPCHRBDEOYE LFP OE UFSH HC UMHYUBKOP: CH YUYOPCHOP-WATPLTBFYUEEULPN NYTE TBOZB Y NHODYTB CHUSLIK, LFP FBL YMY YOBYUE CHSCHIPZDIF - RBEB EMPU

25 * rTBCHDB, CH PFMYUYE PF UEO-rTE Y'OPCHPK YMPYISHCH, TSKHLPCHULYK - DCHPTSOYO. pDOBLP DCHPTSOUFCHP EZP UPNOYFEMSHOP: Chueh PLTHTSBAEYE OBAF, YUFP IN OEBLPOOSCHK USCHO have ZHYLFYCHOP DPVSCHFSCHN DCHPTSOUFCHPN (VH .: rPTFOPChB th th, zhPNYO about l Dempo P DCHPTSOUFCHE tsHLPChULPZP - hr LO Q .: tsHLPChULYK THUULBS LHMSHFHTB m,....... 1987, U. 346-350).

26 * fBL OBSCHCHBMY PVSCHYUOP LOYZH “rMHFBTIB iETPOEKULPZP p DEFPCHPDUFCHE, YMY CHPURIFBOY DEFEK OBUFBCHMEOYE. RETECHDEOOOPE U EMMYOP-ZTEEUULPZP SSSLB u [FERBOPN] p [YUBTECHSCHN] ". eq., 1771.

28 * chPJNPTSOP, UFP CHOINBOYE TBDYEECHB L LFPNKH YRYSPDKH CHSCHBOP UPVSHFYEN, RTSNP RTEDIEUFCHPCHBCHYN OBRYUBOYA FELUFB. rPUMEDOYE SLPVYOGSCH - tsYMShVET tPNN J EZP EDYOPNSCHYMEOOYLY, PVPDTSS DTHZ DTHZB, YVETSBMY LBOY, FBL LBL BLPMPMYUSH PDOYN LYOTSBMPN, LPFPTSCHK Sing RETEDBCHBMY DTHZ DTHZH dv THL B THLY (DBFYTPCHLH RPNSCH 1795-1796 .: PO UN tBDYEECh uFYIPFChPTEOYS W o m.... ., 1975, U. 244-245).

29 * yuFPVSch PGEOYFSH FPF YBZ DPCHPMSHOP PUFPTPTSOPZP rMEFOEChB, UMEDHEF HYUEUFSH, YUFP OBYUYOBS In 1830 RFP ZPDB CHPLTHZ PGEOLY FCHPTYUEUFCHB rHYLYOB YMB PUFTBS RPMENYLB J BCHFPTYFEF EZP VSCHM RPLPMEVMEO DBTSE B UPOBOYY OBYVPMEE VMYLYI A OENH RPFPCH (OBRTYNET, e. VBTBFSchOULPZP). h PZHYGYPHOSHI TSE LTKHZBI DYULTEDYFYTPCHBFSH RP'YA rKHYLYOB UDEMBMPUSH CH FY ZPDSCH UCHPEZP TPDB PVSCHYUBEN.

30 * uHNBTPLPCH b. R. ybVT. РТПЙЪЧДЕОЙС. m., 1957, U. 307. pVTBEEOEE RP'FB L CHPURIFBOOYGBN UNPMSHOPZP YOUFEIFHFB OBRPNYOBEF, Y CHYDYNP OE UMKHYUBKOP, YCHEUFOSCHU UTPLY n. mPNPOPUPChB 'n BL, LPFPTSCHI PTSYDBEF pFEYuEUFChP // dz OEDT UCHPYI ... "pDOBLP mPNPOPUPCh PVTBEBEFUS A THUULPNH AOPYEUFCHH VE LBLPZP-MYVP HLBBOYS ON UPUMPCHYE, CHEUSH CE UNSCHUM RPUMBOYS uHNBTPLPChB UPUFPYF B UPDBOYY RTPZTBNNSCH LCA CHPURYFBOYS THUULPK DCHPTSOULPK DECHHYLY.

33 * rETCHPE CHPURIFBFEMSHOPE BCHEDEOYE DMS DECHKHYEL CHOOYLMP CH DETRFE, BDPMZP DP UNPMSHOPZP YOUFIFIFKHFB, CH 50-E ZPDSCH XVIII CHELB. rTERPDBCHBOYE FBN CHAMPUSH ABOUT UNEGLPN CLEANING.

34 * rTEYNU. rKHYLYOB: “OEFPYUOPUFSH. - aboutB VBMBI LBCHBMETZBTD<УЛЙЕ>PZHYGETSCH SCHMSAFUS FBL TSE, LBL J RTPYUE ZPUFY, CH CHYG NHODYTE, CH VBYNBLBI. ъBNEYUBOYE PUOPCHBFEMSHOPE, OP CHYRPTBI EUFSH OEUFP RPFYUEULPE. uUSCHMBAUSH ABOUT NOOOY b. th. v. "(VI, 528).

[rEFTPCHULYK m.] rTBCHYMB DMS VMBZPTPDOSHI PVEEUFCHOOOSHI FBOGECH, YDBOOSCHE HYUIFEMEN FBOGECHBOSHS RTY uMPVPDULP-HLTBYOULPK ZYNOFCHOOTUELPDN IBTSHLPCh, 1825, U. 13-14.

35 * n. b. OBTSCHYLYOB - MAVPCHOYGB, B OE TSEOB YNRETBFPTB, RPFPNKH OE NPTSEF PFLTSCHCHBFSH VBM CH RETCHPK RBTE, X rHYLYOB CE "MBMMB-THLCHLU" YDEF CHRET

ABRYULY S. n. OECHETPCHB. - THUULBS UFBTYOB, 1883, F. XI (GYF. RP: rPNEEYUShS TPUUYS, U. 148). RBTBDPLUBMSHOPE UPCHRBDEOYE OBIPDYN CH UFYIPFCHPTEOYY chUECHPMPDB tpTSDEUFCHEOULPZP, UPDBAEZP PVTB vEUFKHTSECHB-NBTMYSCHEOUULCHPYP

MYYSH ABOUT UETDG FPMSHLP OBMSTSEF FPULB

th OEVP RPLBTSEFUS HALYN,

CHUA OPYUSH EK CH ZBTENE YUIFBA "gSCHZBO",

CHUE RMBYUH, RPA RP-JTBOGKHULY.

hPVTBTSEOYE RPFB UVTBOOP RPCHFPTSMP ZHBOFBYY RPNEEYLB DBCHOYI RPT.

39 * pFPTSDEUFCHMEOYE UMPCh "IBN" J "TBV" RPMHYUIMP PODOP MAVPRSCHFOPE RTPDPMTSEOYE. DELBVTYUF OYLPMBK FKHTZEOECH, LPFPTSCHK, RP UMPCHBN rKHYLJOB, GERY TBVUFCHB OEOBCHYDEM, YURPMSHUPCHBM UMPCHP IBN CH UREGYUPYUZHY ON UYUIFBM, UFP IKHDYINY TBVBNY SCHMSAFUS ЪBEYFOYLY TBVUFCHB - RTPRPCHEDOILY LTERPUFOPZP RTBCHB. dMS OYI PO YYURPMSHSPCHBM CH UCHPYI DOECHOILBI Y RYUSHNBI UMCHP "IBN", RTECHTBFYCH EZP CH RPMYFYUEULIK FETNYO.

UN. PW LFPN CH LO: lBTRPCHYU e. R. ъBNEYUBFEMSHOSHE VPZBFUFCHB YUBUFOSHCHI MYG CH tPUUY. eq., 1874, U. 259-263; B FBLCE: mPFNBO a. n. TPNBO b. at. RHYLYOB "ECHZEOIK POEZYO". lPNNEOFBTIK. m., 1980, U. 36-42.

40 * yt. CH FPN TSE YUFPYUOYLE PRYUBOYE PVTSDB UCHBFPCHUFCHB: “uFPM VSCHM OBLTSCHF YUMPCHEL ABOUT UPTPL. about UFPME UFPSMY YUEFSCHTE PLPTPLB Y VEMSCHK VPMSHYPK, LTKHZMSCHK, UMBDLIK RYTPZ U TBOBOSCHNY KHLTBYEOYSNY Y ZHYZKHTBNY.

41 * rPDBZPMPCHPL "pFTSCHCHPL YY RYUSHNB RYUSHNB ATsOPZP TSIFEMS" - OE FPMSHLP OBNEL ABOUT VIPZTBZHYYUEULYE PVUFPSFEMSHUFCHB BCHFPTB, OPBUFYPUFFOOCHUPETTE

42 * FP EUFSH "LBYUEMY CHYDE CHTBEBAEZPUS CHBMB U RTPDEFSCHNY ULCHP'SH OEZP VTHUSHSNY, ABOUT LPFPTSCHI RPDCHEYEOSCH SALE U UIDEOSNY F. 1959 HYDEOSHSNY F. 1959 lBL MAVYNPE OBTPDOPE TBCHMEYUEOYE, LBY LBYUEMY PRYUBOSCH VSCHMY RHFEYEUFCHEOOYLPN pMEBTYEN (UN .: pMEBTIK bDBN.

44 * BTS YMY PTS - CHYD FTBCHSCH, UYUYFBCHYEKUS B OBTPDOPK NEDYGYOE GEMEVOPK «PE CHTENS FTPYGLPZP NPMEVOB DECHHYLY, UFPSEYE UMECHB PF BMFBTS, DPMTSOSCH HTPOYFSH OEULPMSHLP UMEYOPL ON RHYUPL NEMLYI VETEPCHSCHI CHEFPL (B DTHZYI TBKPOBI tPUUYY RMBLBMY ON RHYUPL BTY YMY ON DTHZYE GCHEFSCH. - a.m.). FPF RHYUPL FEBFEMSHOP UVETEZBEFUS RPUME J UYUYFBEFUS BMPZPN FPZP, YUFP H FP MEFP OE VHDEF BUHY "(. ETOPChB used in nBFETYBMSch RP UEMSHULPIPSKUFCHEOOPK NBZYY H dNYFTPChULPN LTBE -.. uPChEFULBS FOPZTBZHYS 1932, 3, 30 D).

45 * n EDYOPN UCHBDEVOPN PVTSDE CH HUMPCHYSI LTERPUFOPZP VSCHFB ZPCHPTYFSH OEMSHYS. lTERPUFOPE RTYOHTSDEOYE Y OYEEFB URPUPVUFCHPCHBMY TBTKHYEOYA PVTSDPCHPK UVTHLFHTSCH. FBL, B "yUFPTYY UEMB zPTAIYOB" OEBDBYUMYCHSCHK BCHFPT zPTAIYO RPMBZBEF, YUFP PRYUSCHCHBEF RPIPTPOOSCHK PVTSD, LPZDB UCHYDEFEMSHUFCHHEF, YUFP H EZP DETECHOE RPLPKOYLPCH BTSCHCHBMY H ENMA (YOPZDB PYYVPYUOP) UTBH RPUME LPOYUYOSCH "DBVSCH NETFCHSCHK H YVE MYYOEZP NEUFB BOYNBM OE". nSCh VETEN RTYNET Y QYOI PYUEOSH VPZBFSHI LTERPUFOSCHI LTEUFSHSO - RTBUPMPCH Y FPTZPCHGECH, FBL LBL YDEUSH PVTSD UPITBOIMUS CH OETBTHTHYEOPN CHYDE.

46 * yb RTYNEYUBOIK L SRPOULPNKH FELUFKH CHYDOP, UFP THUULPE UMCHP "CHEOGSCH" OE PYUEOSH FPYUOP RETEDBEF UPDETSBOYE. UMCHP CH PTYZYOBME POBUBEF "DYBDENH ABOUT UFBFKH VKHDSCH" (U. 360). iBTBLFETOP, UFP YOZHPTNBFPT PFPTSDEUFCHMSEF OPCHPVTBYUOSCHI OE U YENOSCHNY CHMBUFIFEMSNY, B U VPZBNY.

49 * OPRPNOIN HTSE PFNEYUBCHYHAUS OBNY MAVPRSCHFOHA DEFBMSH. TEYUSH IDEF PV BRPIE EMYBCHEFSCH REFTPCHOSCH. OP LPZDB eETVBFPZ ZPCHPTYF P OEK LBL P YUEMPCHELE, PO KhRPFTEVMSEF TSEOULKHA ZhPTNKH: "ZPUKHDBTSCHOS", LPZDB TSE P EE ZPUHDBTUEFCHEOOSHOHPUFSHUHT.

51 * ъDEUSH TEYUSH YDEF PV BOZMYKULPK NKHTSULPK NPDE: RHTBOGKH'ULYE TSEOULYE Y NKHTSULYE NAPDSCH UVTPYMYUSH LBL CHBYNOP UPPFCHEFUFFCHOOSCHE - CH BOBCHDBUCH LBCHO

65 * "PUFTYCEO RP RPUMEDOEK NPDE" J "LBL DEODY MPODPOULIK PDEF" FBLCE POEZIO. ьFPNH RTPFYCHPRPUFBCHMESCH "LHDTY ​​YUETOSCHE DP RMEU" MEOULPZP. "LTYLHO, NSFETSOYL Y RPF", LBL IBTBLFETYKHEFUS MEOULYK CH YUETOPCHPN CHBTEYBOFE, PO, LBL J DTHZYE OENEGLYE UBHDEOFSH, OPUSCH DMPUET YBLUTSHO

CHETCHCHE UPRPUFBCHMEOYE UATSEFPCH LFYI RTPYCHEDEOIK UN .: yFEKO u. rKHYLYO Y ZPZHNBO. UTBCHOYFESHOPE YUFPTYLP-MYFETBFHTOPE YUUMEDPCHBOYE. DETRF, 1927, U. 275.

66 * oEUNPFTS ON AF YUFP TBCHPD J OPCHSCHK VTBL VSCHMY BLPOPDBFEMSHOP PZHPTNMEOSCH, PVEEUFCHP PFLBSCHCHBMPUSH RTYOBFSH ULBODBMSHOSCHK RTPYZTSCHY TSEOSCH, J VEDOBS ZTBZHYOS tBHNPChULBS VSCHMB RPDCHETZOHFB PUFTBLYNH. chSChIPD Y RPMPCEOIS U RTYUKHEYN ENKH DTSEOFMSHNEOUFCHPN OBYEM bmelubodt I, RTIZMBUYCH VSCHCHYHA LOSZYOA ABOUT FBOEG Y OBCHBCH ITS RTY FZHPNE. pVEEUFCHOOSCHK UFBFKHU, FBLYN PVTBPN, VSCHM ChPUUFBOPCHMEO.

UN .: MELPNGECHB n. y., HUREOULIK v. b. PRYUBOYE PDOPK UYUFENSCH U RTPUFSHCHN UYOFBLUYUPN; eZTPHR c. f. rTPUFEKYE UENIPFYUEULYE UYUFENSCH FYRPMPZYS UATSEFPCH. - ФТХДЩ RP ЬОБЛПЧЩН UYUFENBN. hShR. R. fBTFKh, 1965.

RPCHEUFY, YDBOOSCHE bmelubodTPN rKHYLYOSCHN. ASU., 1834 W. 187 hours BLBDENYYUEULPN YDBOYY rHYLYOB, OEUNPFTS ON HLBBOYE, YUFP FELUF REYUBFBEFUS RP YDBOYA "rPChEUFEK" 1834 ZPDB, B YUBUFY FYTBTSB RYZTBZH PRHEEO, IPMF FP PVUFPSFEMSHUFCHP OYZDE B YDBOYY OE PZPCHPTEOP.

67 * fBL, p. b. chSENULIK RYYYEF P “NYTOPK, FBL OBSCHCHBENPK LPNNETYUEULPK YZTE, P LBTFPYUOPN CHTENSRTPCHPTSDEOYY, UCHPKUFCHEOOOPN X OBU CHUEN CHUEN CHPTBUFFBOIN RYEN YBCHMPN. pDOB THUULBS VBTSCHOS ZPCHPTYMB CHEOEGY: „LPOEUOP, LMINBF EDEUSH IPTPY; OP TSBMSH, YUFP OE We LEN UTBYFSHUS B RTEZHETBOUYL ". DTHZPK Oba UPPFEYUEUFCHEOOYL, LPFPTSCHK RTPCHEM YNH B rBTYTsE, PFCHEYUBM ON CHPRTPU, LBL DPCHPMEO IN rBTYTsEN" pYuEOSh DPCHPMEO X OCU LBTSDSCHK CHEYUET VSCHMB UCHPS RBTFYS "" (chSENULYK p uFBTBS BRYUOBS. LOYTSLB. M., 1929, U. 85-86).

UVTBIPCH about. rETERYULB nPDSch, UPDETTSBEBS RYUSHNB VETHLYI NAP TBNSCHYMEOYS OEPDHYECHMEOOSCHI OBTSDPCH, TBZPCHPTSCH VEUUMPCHEUOSCHI YUERGPCH, YUHCHUFCHPCHBOYS NEVEMEK, LBTEF, BRYUOSCHI LOYTSEL, RHZPCHYG J UFBTPBCHEFOSCHI NBOEL, LHOFBYEK, YMBZHPTPCH, FEMPZTEK J RT. oTBCHUFCHOOOPE Y LTYFYUEEULPE UPYUYOOYE, CH LPEN U YUFYOOPK UFPTPOSCH PFLTSCHFSCH OTBCHSCH, PVTB TSYYOY Y TBOOSCHS UNEYOSCHS Y CHBTSOSCHS UGEOSCH NPDOBP. n., 1791, U. 31-32.

69 * oz. X oPChYLPChB "rPDTSD MAVPCHOYLPCH A RTEUFBTEMPK LPLEFLE ... NOPZYN OBYYN ZPURPDYUYLBN CHULTHTSYM ZPMPCHSCH ... IPFSF ULBLBFSH ON RPYUFPCHSCHI MPYBDSI B rEFETVHTZ, YUFPVSCH FBLPZP RPMEOPZP LCA OHYE OE RTPRHUFYFSH UMHYUBS" (uBFYTYYuEULYE TSHTOBMSCH of th oPChYLPChB n .; m... ., 1951, U. 105. r.O. KABS PT B "rPYuFE dHIPCh" lTSchMPChB RYYEF nBMYLHMShNHMShLH "with RTYOSM CHYD NPMPDPZP J RTYZPTSEZP YUEMPCHELB, RPFPNH YUFP GCHEFHEBS NPMPDPUFSH, RTYSFOPUFY J LTBUPFB B OSCHOEYOEE CHTENS FBLTSE B CHEUSHNB OENBMPN HCHBTSEOYY J RTY OELPFPTSCHI UMHYUBSI, LBL ULBSCHCHBAF, RTPYCHPDSF CHEMYLYE YUHDEUB" (lTSchMPCh y. b. rPMO. UPVT. UPYu., F. I, U. 43), UT .:

dB, YUEN TSE FSH, tskhTSKH, CH UMKHYUBK RPRBM,

VEUUYMEO VSCHCHY FBL Y NBM ... (FBN TSE, F. 3, U. 170).

75 * h DBOOPN UMKHYUBE DMS OBU OECHBTSOP FP PVUFPSFEMSHUFFCHP, UFP CH RSHEUE zPZPMS "NPMPDPDK YUEMPCHEL"

eNH ZPFPCHIFSH YUEUFOSCHK ZTPV,

nd FIIP GAMIFSH CH VEDOSCHK MPV

aboutB VMBZPTPDOPN TBUFFPSOSHY.

"VMBZPTPDOPE TBUFFPSOYE" EDEUSH - HFCHETTSDEOOOPE RTBCHYMBNY DHMY. h TBCHOPK UVEREY HVYKUFCHP ABOUT DHMI IBTBLFETYHEFUS LBL "YUEFOP".

77 * "rPTPYLPCHCHE" - ZHBMSHYCHCHE LBTFSH (PF YEUFETLY DP DEUSFLY). lBTFSH OBLMEYCHBAFUS PDOB ABOUT DTHZHA, OBRTYNET, YEUFETLB ABOUT UENETLH, ZHYZHTB NBUFY CHCHTEBEFUS, OBUSCHRBOOSCHK VEMSCHK RPTPYPL DEMBEF BNEFP OE. YKHMET CH IPDE YZTSCH CHSCHFTSIYCHBEF RPTPYPL, RTECHTBEBS YEUFETLH CH UENETLKH Y F. D.

79 * h IPDE BBTFOSCHI YZT FTEVPCHBMPUSH RPTPK VPMSHYPE LPMYUEUFCHP LPMPD. rTY YZTE CH ZhBTBPO VBOLPNEF J LBTSDSCHK Y RPOFETPCH (B YI NPZMP VSHFSH VPMEE DEUSFLB) DPMTSEO VSCHM YNEFSH PFDEMSHOKHA LPMPDH. lTPNE FPZP, OEHDBYUMYCHCHE YZTPLY TCHBMY Y TBVTBUCHCHBMY LPMPDSCH, LBL LFP PRYUBOP, OBRTYNET, CH TPNBOY d. VEZYUECHB "uENEKUFCHP ipMNULYI". yURPMSh'PCHBOOBS ("RTPRPOFAYTPCHBOOBS") LPMPDB FHF TSE VTPUBMBUSH RPD UFPM. ьФЙ TBTVTPUBOOSCHE, YUBUFP CH PZTPNOPN LPMYUEUFCHE, RPD UVPMBNY LBTFSH RP'TSE, LBL RTBCHYMP, UPVYTBMYUSH UMHZBNY Y RTPDBCHSCHEBOLSHNEBT yuBUFP CH FPK LHYUE LBTF ABOUT RPMH CHBMSMYUSH Y HRBCHYE DEOSHZY, LBL FP, OBRTYNET, YNEMP NEUFP PE CHTENS LTHROSCHI YZT, LPFPTSCHE BBTFOP WHAT ABOUT. OLTBUPCH. rPDSHNBFSH LFY DEOSHZY UYUIFBMPUSH OERTYMYUOSCHN, Y POI DPUFBCHBMYUSH RPFPN MBLESN CHNEUFE U LBTFBNY. h YHFMYCHSCHI MEZEODBI, PLTHTSBCHYYI DTHTSVH fPMUFPZP zhEFB Q, P RPCHFPTSMUS BOELDPF FPN, LBL Jef PE CHTENS LBTFPYUOPK YZTSCH OBZOHMUS, YUFPVSCH RPDOSFSH Y RPMB HRBCHYHA OEVPMSHYHA BUUYZOBGYA, fPMUFPK B, X BRBMYCH UCHEYUY UPFEOOHA, RPUCHEFYM ENH, YUFPVSCH PVMEZYUYFSH RPYULY.

82 * yUFPLY LFPZP RPCHEDEYS BNEFOSCH HTSE CH REFETVKHTZE H 1818-1820 ZPDSCH. pDOBLP UETSHESHOSHI RPEDYOLPCH X rKHYLYOB CH FFPF RETYPD EEE OE PFNEYEOP. dKhMSh U LAYEMSHVELETPN OE CHPUTYOINBMBUSH rKHYLYOSCHN CHUETSHE. PVIDECHYYUSH OB rKHYLYOB ЪB RYZTBNKH "ъB KHTSYOPN PVAYEMUS S ..." (1819), lAYEMSHVELET CHSCHCHBM EZP ABOUT DHMSH. rKHYLYO RTYOSM CHSCHPCH, OP CHSCHUFTEMIM CH CHP'DKHI, RPUME YUEZP DTHHSHS RTYNYTYMYUSH. rTEDRPMPTSEOYE TSE CHM. OBVPLPCHB P DHMY U TSCHMEECHSCHN CHUE EEE POOFBEFUS RPFYUEEULPK ZYRPFEPK.

FBMMENBO DE TEP TSEDEPO. ъBOYNBFEMSHOSHE YUFPTYY. m., 1974, F. 1, U. 159. PF LFPN: mPFNBO a. FTY ЪBNEFLY L RTPVMENE: "RHYLYO Y ZhTBOGKH'ULBS LHMSHFKHTB". - rTPVMENSCH RKHYLYOPCHEDEOYS. teizb, 1983.

83 * P h RTEDYEUFCHHAEYI TBVPFBI "eChZEOYY pOEZYOE" HOE RTYIPDYMPUSH RPMENYYUEULY CHSCHULBSCHCHBFSHUS P Leuze vPTYUB yChBOPChB (CHPNPTSOP, RUECHDPOYN; RPDMYOOBS ZHBNYMYS BCHFPTB, LBL J LBLYE FI OH R ™ £ VSCHMP UCHEDEOYS P Oen, OEYCHEUFOSCH HOE). UN .: MPFNBO a. "DBMSh UCHPVPDOPZP TPNBOB". n, 1959. UPITBOSS UHEOPUFSH UCHPYI LTYFYUEULYI ЪBNEYUBOYK P ЪBNSCHUME LFPK LOYZY, S UYUIFBA UCHPEK PVSЪBOOPUFSHA RTYЪOBFSH YI PDOPUFFPTPOPOOP. new UMEDPCHBMP PFNEFYFSH, UFP BCHFPT RTPSCHYM IPTPYE OBOYE VSCHFB RHYLYOULPK PRPII Y UPEDYOYM PVEIK UVTBOOSCHK BNSHUCHY U TSPEPUTPUCHUP TELPUFSH NPYI CHSCHULBSCHBOYK, P LPFPTPK CH OBUFPSEEE CHTENS S UPTSBMEA, VSCMB RTPDYLFPCHBOB MPZYLPK RPMENYLY.

84 * rP DTHZYN RTBCHYMBN, RPUME FPZP, LBL PDYO YH HYUBUFOILPCH DHMY CHSCHUFTEMIM, CHFPTPK NPZ RTPDPMCBFSH DCHYTSEOYE, B FBLTSE RPFSHTEWPTB ьФЙН РПМШЪПЧБМЙУШ VTEFETSCH.

86 * yt. CH "ZETPE OBYEZP CHTENEOY": "nSCh DBCHOP HC CHBU PTSYDBEN", - ULBBM DTBZHOULIK LBRIFBO U YTPOYUEULPK KHMSCHVLPK.

UNSCHUM URYSPDB - CH UMEDHAEN: DTBZHOULIK LBRIFBO, HVETSDEOOSCHK, UFP RUPTYO "RETCHSCHK FTHU", LPUCHOOP PVCHYOSEF EZP CH TSEMBOYCHBCH, PRPHDTM

87 * H hYuBUFYE DHMY, DBTSE B LBYUEUFCHE UELHODBOFB, CHMELMP B UPVPK OEYVETSOSCHE OERTYSFOSCHE RPUMEDUFCHYS: LCA PZHYGETB FP, LBL RTBCHYMP, VSCHMP TBTSBMPCHBOYE J UUSCHMLB ON lBChLB (RTBCHDB, TBTSBMPCHBOOSCHN B DHMSH OBYUBMSHUFCHP PVSCHLOPCHEOOP RPLTPCHYFEMSHUFCHPCHBMP). ьФП UPUDBCHBMP YCHEUFOSHCHE FTHDOPUFY RTY CHSCHVPTE UELHODBOFFCH: LBL MYGP, CH TXLJ LPFPTPZP RETEDBAFUS TSYJOSH YYUEFSH, WELHODBOSCHM, PRFYNSPHN OP FPNKH RTPFYCHPTEUYMP OETSEMBOYE CHPCHMELBFSH DTHZB CH OERTYSFOHA YUFPTYA, MPNBS ENKH LBTSHETKH. UP UCHPEK UVPTPOSCH, UELHODBOF FBLTSE PLBSCHBMUS CH FTHDOPN RPMPTSEOYY. yOFETEUSch DTHTSVSCH J YUEUFY FTEVPCHBMY RTYOSFSH RTYZMBYEOYE HYUBUFCHPCHBFSH B DHMY LBL MEUFOSCHK OBL DPCHETYS, B UMHTSVSCH J LBTSHETSCH - CHYDEFSH B FPN PRBUOHA HZTPH YURPTFYFSH RTPDCHYTSEOYE YMY DBTSE CHSCHCHBFSH MYYUOHA OERTYSOSH MPRBNSFOPZP ZPUHDBTS.

88 * OPRPNOIN RTBCHYMP DHMY: “UFTEMSFSH CH CPUDKHI YNEEF RTBCHP FPMSHLP RTPFYCHOIL, UVTEMSAEYK CHFPTSCHN. rTPFYCHOIL, CHSCHUFTEMYCHYK RETCHSCHN CH CHP'DKHI, EUMY EZP RTPFYCHOIL OE PFCHOFIM ABOUT CHSCHUFTYM YMY FBLCE CHSCHUFTEMYM CH CHPUDKHI, UYUYFBEBUCHYM. rTBCHYMP LFP UCHSBOP U FEN, UFP CHSCHUFTEM CHP'DKHI RETCHPZP Y RTPFYCHOYLPCH NPTBMSHOP PVSCHCHBEF CHFPTPPZP L CHEMYLPDKHYYA, HCHSPEZHTREB

VEUFHTSECH (NBTMJOULIK) b. b. OPYUSH ABOUT LPTBVME. rPCHEUFY Y TBUULBSCH. n., 1988, U. 20. rPMSHYHENUS DBOOSCHN YDBOYEN LBL FELUFPMPZYUEEULY OBYVPMEE DPUFPCHETOSCHN.

RTPVMENB BCHFPNBFY'NB CHEUSHNB CHMOPCHBMB rKHYLYOB; UN .: sLPVUPO t. - h LO .: sLPVUPO t. TBVPFSH RP RPFYLE. n., 1987, U. 145-180.

UN .: mPFNBO a. n. FENB LBTF J LBTFPYUOPK YZTSCH CH THUULPK MYFETBFHTE OBYUBMB XIX CHELB. - hueo. ЪBR. fBTFHULPZP ZPU. HO-FB, 1975. 365. ФТХДЩ RP ЪOBLPCCHN UYUFENBN, F. VII.

90 * VSCHBMY Y VPMEE CEUFLE HUMPCHYS. fBL, yuETOPCH (UN. U. 167), NUFS ЪB YUEUFSH UEUFSCH, FTEVPCHBM RPEDYOLB ABOUT TBUFPSOY CH FTY (!) YBZB. h RTEDUNETFOPK ABBYULE (DPYMB CH LPRYY THLPK b. veUFKHTSECHB) ON RYUBM: “uftemsaush ABOUT FTY YBZB, LBL AB DUMP UENEKUFCHEOOPE; YVP, OBS VTBFSHECH NPYI, IPYUH LPOYUYFSH UPVPA Oen ON, ON FPN PULPTVYFEME NPEZP UENEKUFCHB, LPFPTSCHK LCA RHUFSCHI FPMLPCH of the ECE RHUFEKYYI MADEK RTEUFHRYM Chui BLPOSCH YUEUFY, J PVEEUFCHB YUEMPCHEYUEUFCHB "(dEChSFOBDGBFSchK ChEL. Lo. 1 n. 1872, 334 W. ). rP OBUFSOYA UELHODBOFCH DKHMSH RTPYUIPDYMB ABOUT TBUFFPSOY CHPUENSH YBZPCH, Y CHUE TBCHOP PVB HUBUFOILB ITS RPZYVMY.

92 * PSCHYUOSCHK NEIBOYEN DKHMSHOPZP RYUFPMEFB FTEVHEF DCHPKOPZP OBTSYNB ABOUT URHULPCHPK LTAYUPL, UFP RTEDPITBOSEF PF UMKHYUBKOPZP CHSCHUFTEMB. yOEMMETPN OBSCHBMPUSH KHUFTKUFCHP, PFNEOSAEE RTEDCHBTYFEMSHOSCHK OBTSYN. h TEHMSHFBFE HUYMYCHBMBUSH ULPTPUFTEMSHOPUFSH, OP BFP TELP RPCHSCHYBMBUSH ChP'NPTSOPUFSH UMKHYUBKOSHI CHSCHUFTEMPCH.

94 * rPDPVOSCHK LPOFTBUF YURPMSH'PCHBO n. vKhMZBLPCHCHN CH "NBUFETE Y NBTZBTYFE". about VBMH, UTUDY RSCHYOP OBTSTSEOOSHI ZPUFEK, RPDYUETLOHFBS OEVTETSOPUFSH PDETSDSCH chPMBODB CHSCHDEMSEF EZP TPMSH iPYSYOB. rTPUFFPFB NHODYTB oBRPMEPOB UTEDY RSCHYOPZP DCHPTB YNEMB FPF TSE UNSCHUM. rSCHYOPUFSH PDETSDSCH UCHYDEFEMSHUFCHHEF PV PTYEOFBGY ABOUT FPYULH VTEOIS CHOOEYOESP OBVMADBFEMS. dMS chPMBODB OEF FBLPZP "CHOEYOEZP" OBVMADBFEMS. oBRPMEO LKHMSHFYCHYTKHEF FKH TSE RP'YGYA, PDOBLP CH VPME UMPTSOPN CHBTYBOFE: chPMBODH CH UBNPN DEME VETBMYYUOP, LBL PO CHZMSDYF, FBRPBMEPO

ZHEPZHBOB rTPLPRPCHYUB, BTIYERYULPRB CHEMYLPZP OPCHZPTPDB Y CHEMILYI MHL, UCHSFEKYEZP RTBCHYFEMSHUFCHHAEZP UYOPDB YU.

96 * fBL, DPUKHZY CHEMILYI LOSEK, VTBFSHECH bMELUBODTB Y OILPMBS rBCHMPCHYUEK - lPOUFBOFYOB Y NYIBYMB TELP LPOFTBUFYTPCHDEUZHIPUZHIPUZHIPUZHIPUZHIPUZHIPUZHIPUZH lPOUFBOFYO Ch LPNRboy Rshschi UPVHFSHMSHOYLPCH DPYEM DP FPZP, UFP YOBUYMPCHBM CH LPNRBOYY (TSETFCHB ULPOYUBMBUSH) DBNKH, UMKHYUSCHTEBCHUP YBUCHM yNRETBFPT BMELUBODT CHSCHOCHTSDEO VSCHM PVYASCHYFSH, UFP RTEUFKHROIL, EUMI EZP OBKDKHF, VHDEF OBLBBO RP CHUEK UFTPZPUFY VBLPOB. TBKHNEEFUS, RTEUFHROIL OBKDEO OE VSCHM.

n FShch, UFP Ch ZPTEUFY OBRTBUOP

aboutB VPZB TPREESH, YUEMPCHEL,

CHOINBK, LPMSH CH TECHOPUFY HCBUOP

PO L yPCHH YJ FHYUY TEL!

ULCHPSH DPCDSH, ULCHPSH CHYITSH, ULCHPSH ZTBD VMYUFBS

j ZMBUPN ZTPNSCH RTETSCHBS,

UMPCHBNY OEVP LPMEWBM

nd FBL EZP ABOUT TBURTA JCHBM. yFYVMEFSCH LBL ZhPTNB CHPEOOPK PDETSDSCH VSCHMY CHcheDEOSCH rBCHMPN RP RTKHUULPNKH PVTBGH. YURBOFFO - LPTPFLBS RILB, CHCHDEOOBS RTY rBCME CH PZHYGETULHA ZhPTNKH.

99 * CHUE OIFY ЪBZPCHPTB VSCHMY OBUFPMSHLP UPUTEDPFPYUEOSCH CHTKHLBY YNRETBFPTB, UFP DBTSE OBYVPME BLFYCHOSHE HUBUFOILY BZPCHPCHTB RTPBOUK DE UBOZMEO Y ZEOETBM-BDYAAFBOF b. . D vBMBYPCh, RTYOBDMETSBCHYYK A OBYVPMEE VMYLYN A YNRETBFPTH MYGBN - RPUMBOOSCHE DPNPK A uRETBOULPNH have DRYER, YUFPVSCH BVTBFSH EZP, LPZDB IN CHETOEFUS dv DCHPTGB RPUME BHDYEOGYY X GBTS, I ZTHUFOSCHN OEDPHNEOYEN RTYOBMYUSH DTHZ DTHZH B FPN, YUFP OE HCHETEOSCH, RTYDEFUS MJ dH BTEUFPCHCHCHBFSH uRETBOULPZP YMY PO RPMHYUIF X YNRETBFPTB TBURPTSTSEOYE BTEUFPCHBFSH YI. h FYI HUMPCHYSI PYUECHYDOP, YUFP bMELUBODT OE HUFHRBM OYYUSHENH DBCHMEOYA, B DEMBM CHYD, YUFP HUFHRBEF, ON UBNPN DEME FCHETDP RTPCHPDS YVTBOOSCHK dH LHTU, OP, LBL CHUEZDB, MHLBCHS, NEOSS NBULY J RPDZPFBCHMYCHBS PYUETEDOSCHI LPMPCH PFRHEEOYS.

GIF. RP: iTEUFPNBFYS RP YUFPTYY ЪBRBDOPECHTPREKULPZP FEBFTB. V., 1 955, FA 2, 1029. U. h NENHBTBI BLFETB zOBUFB-NMBDYEZP UPDETTSYFUS HRPNYOBOYE P FPN, YUFP, LPZDB ON TEREFYGYY NBYYOYUF CHSCHUFBCHYM ZPMPCHH dv-B LHMYU "CE FPFYUBU zЈFE RTPZTENEM" zPURPDYO h "OBUF, HVETYFE ЬФХ ОЕРПДПДСЭХА ЗПМПЧХ Y'-ЪБ RETCHPK LHMYUSCH URTBCHB: POB CHFPTZBEFUS CH TBNLKH NPEK LBTFYOSCH "" (FBN TSE, U. 1037).

BTBRPCh r. MEFPRYUSH THUULPZP FEBFTB. LvV., 1861, U. 310. CH UFYIPFCHPTEOYY h. M. RKHYLYOB "l LOS'A r. b. chSENULPNKH "(1815):

OB FTHD IHDPTSOYLB UCHPY VTPUBAF CHUPTSCH,

"RPTFTEF, - TEYIMY CHUE, - OE UFIPIF OYUEZP:

rTSNPK KhTPD, bPR, OPU DMYOSCHK, MPV U TPZBNY!

th DPMZ IPSYOB RTEDBFSH PZOA EZP! " -

"NPK DPMZ OE HCHBTSBFSH FBLYNY JOBFPPLBNY

(p UHDP! ZPCHPTIF LBTFYOB YN CH PFCHF):

rTED CHBNY, ZPURPDB, S UBN, B OE RPTFTEF! "

(rПЬФЩ 1790-1810-И ЗПДПЧ, У. 680.)

101 * On ZHZHELFE OEPTSYDBOOPZP UFPMLOPCHEOYS OERPDCHYTSOPUFY J DCHYTSEOYS RPUFTPEOSCH UATSEFSCH have PTSYCHBAEYNY UFBFHSNY PF TSDB CHBTYBGYK ON fenchene P zBMBFEE - UFBFHE, PTSYCHMEOOPK CHDPIOPCHEOYEN IHDPTSOYLB (UATSEF FPF, LPFPTPNH RPUCHSEEO "uLHMShRFPT" vBTBFSchOULPZP, VSCHM YYTPLP RTEDUFBCHMEO PE ZHTBOGHULPN VBMEFE XVIII CHELB), DP "LBNEOOPZP ZPUFS" rKHYLYOB Y TBTVBVBFSCHBCHYI LFKH TCE FENKH RTPYCHEDEOIK nPMSHETB Y nPGBTFB.

ITEUFPNBFYS RP YUFPTYY BRBDOPECHTPREKULPZP FEBFTB, F. 2, W. 1026. tBURPMPTsEOYE RTBCHPZP J MECHPZP FBLTSE TPDOYF UGEOH have LBTFYOPK: RTBCHSCHN UYUYFBEFUS RTBCHPE RP PFOPYEOYA A BLFETH, RPCHETOHFPNH MYGPN RHVMYLE L, J OBPVPTPF.

102 * oz. CH "rKHFEYEUFCHY Y REFETVKHTZB CH nPULCHH" ZMBCHH "EDTPCHP": "s UYA RPYUFEOOKHA NBFSH U BUHEOSCHNY TKHLBCHBNY ЪB LCHBYOEPCHA YMYUET LBUET

104 * "hSCHKDEN ... DBDYN DSDE HNETEFSH YUFPTYUEEULY" (ZhTBOG.). nPULCHIFSOYO, 1854, 6, PFD. IV, W. II. R. vBTFEOECh UPPVEBEF DTHZHA CHETUYA "OPL RETEDBCHBMY UPCHTENEOOYLY, YUFP, HUMSCHYBCH FY UMPCHB PF HNYTBAEEZP chBUYMYS mShChPChYYuB, rHYLYO OBRTBCHYMUS ON GSCHRPYULBI A DCHETY J YEROHM UPVTBCHYYNUS TPDOSCHN J DTHSHSN EZP:" zPURPDB, CHSCHKDENFE, RHFSH FP VHDHF EZP RPUMEDOYE UMPCHB "" (tHUULYK BTIYCH , 1870, U. 1369).

107 * yt. CH "bMSHVPNE" POEZYOB: "h lPTBOE NOPZP NSCHUMEK ADTBCHCHI, // chPF OBRTYNET: RTED LBIEDSCHN UOPN // nPMYUSH - VEZY RHFEK MHLBCHCHI // UFY" h "rbnsfoile": "iCHBMH Y LMECHEFKH RTYENMY TBCHOPDKHYOP // y OE PURPTYCHBK ZMHRGB". dETTsBChYO, OBRPNYOBS YUYFBFEMA UCHPA LSF "VBF" UNSZYUYM CHSCHUPLPE TH OE UPCHUEN VEHRTEYUOPE, I FPYULY TEOYS GETLPCHOPK PTFPDPLUBMSHOPUFY, UPDETTSBOYE FPZP UFYIPFCHPTEOYS ZHPTNHMPK: "... With RETCHSCHK DETOHM ... // h UETDEYUOPK RTPUFPFE VEUEDPCHBFSH P vPZE". h ЬFPN LPOFELUFE PVTBEEOYE L nKHE (IPFS UMPChP Y OBRYUBOP U RTPRYUOPK VHLCHSCH) NPZMP CHPURTYOINBFSHUS LBL RPFYUEEULBS HUMPCHOPUFSH. ъOBYUFESHOP VPME DEETLINE VSCHMP TEIEOE rKHYLJOB: "CHEMEOSHA VPTSYA, P nKHB, VHDSH RPUMKHYOB". vPZ Y nKhb DENPOUFTBFYCHOP UPUEDUFCHHAF, RTYUEN PVB UMPCHB OBRYUBOSCH U VPMSHYPK VHLCHSCH. ьФП UFBCHYMP YI CH EDYOSCHK UNSCHUMPCHPK Y UYNCHPMYUEEULYK TSD TBCHOP CHCHUPLYI, OP OEUPCHNEUFYNSHI GEOPUFEK. fBLPE EDYOUFCHP UP'DBCHBMP PUPVHA RPYGYA BCHFPTB, DPUFHROPZP CHUEN CHETYOBN YUEMPCHEEUULPZP DHIB.

108 * RETED rPMFBCHULPK VIFCHPK REFT I, RP RTEDBOYA, ULBBM: “chPYOSCH! chPF RTYYEM YUBU, LPFPTSCHK TEYBEF UHDSHVKH PFEYUEUFCHB. yFBL, OE DPMTSOP CHBN RPNSCHYMSFSH, UFP UTBTSBEFEUSH ЪB rEFTB, OP ЪB ZPUKHDBTUFCHP, rEFTH RPTHYUEOOOPE, ЪB TPD UCHPK, ЪB pFEEUEFUF. nd DBMEE: "b P REFTE CHEDBKFE, UFP ENKH TSIOSH OE DPTPPZB, FPMSHLP VSCH TSIMB TPUYS". ьФПФ FELUF PVTBEEOYS rEFTB L UPMDBFBN OEMSHUS UYUIFBFSH BKHFEOFYUOSCHN. fELUF VSCHM H RETCHPN EZP CHBTYBOFE UPUFBCHMEO zhEPZhBOPN rTPLPRPChYYuEN (CHPNPTSOP, ON PUOPCHE LBLYI HUFOSCHI MEZEOD-OP) Q RPFPN RPDCHETZBMUS PVTBVPFLBN (VH .: fTHDSch YNR THUUL CHPEOOP-YUFPTYYUEULPZP PVEEUFCHB, F. III, W. 274-276;.. J rYUShNB VKHNBZY REFTB CHEMYLPZP, F. IX, CHCHR. 1, 3251, RTYNEU. 1, U. 217-219; CHCHR. 2, U. 980-983). AF YUFP B TEHMSHFBFE TSDB RETEDEMPL YUFPTYYUEULBS DPUFPCHETOPUFSH FELUFB UFBMB VPMEE Yuen UPNOYFEMSHOPK, I OBYEK FPYULY TEOYS RBTBDPLUBMSHOP RPCHSCHYBEF EZP YOFETEU, FBL LBL RTEDEMSHOP PVOBTSBEF RTEDUFBCHMEOYE P FPN, YUFP DPMTSEO VSCHM ULBBFSH reft I B FBLPK UYFHBGYY, B FP LCA YUFPTYLB OE NEOEE YOFETEUOP, YUEN EZP RPDMYOSCHE UMPCHB. fBLPK IDDEBMSHOSCHK PVTB ZPUKHDBTS-RBFTYPFB ZHEPZHBO CH TBOSHI CHBTYBOFBI UP'DBCHBM Y CH DTHZYI FELUFFBI.

110 * h. b. zKHLPCHULYK, B ЪB OYN Y DTHZYE LPNNEOFBFPTSCH RPMBZBAF, UFP "UMPCHP HNYTBAEEZP lBFPOB" - PFUSCHMLB L rMHFBTIH (UN .: TBDYEU5 rMHFBTIH. VPMEE CHETPSFOP RTEDRPMPTSEOYE, UFP TBDYEECH YNEEF CHYDKH NPPMPZ lBFPOB Y'PDOPINEOOPK FTBZEDY dDDYUPPOB, RTPGYFYTPCHBOSCHEPOKDEYN RCH FPYEH.

111 * FY UMPCHB UCHYDEFEMSHUFCHHAF, YUFP IPMF pRPYuYOYO YNEM VTBFSHECH, TSYM HEDYOEOOP IN TH VSCHM EDYOUFCHEOOSCHN, EUMY OE UYUYFBFSH LTERPUFOSCHI UMHZ, PVYFBFEMEN UCHPEZP PDYOPLPZP DETECHEOULPZP TSYMYEB, BRPMOEOOPZP LOYZBNY.

116 * h DBOOPN UMHYUBE NShch YNEEN RTBCHP ZPCHPTYFSH YNEOOP P FCHPTYUEUFCHE: BOBMY RPLBSCHCHBEF, YUFP lBTBNYO REYUBFBM FPMSHLP FH RETECHPDOHA MYFETBFHTH, LPFPTBS UPPFCHEFUFCHPCHBMB EZP UPVUFCHEOOPK RTPZTBNNE, TH OE UFEUOSMUS RETEDEMSCHCHBFSH J DBTSE HUFTBOSFSH AF YUFP OE UPCHRBDBMP have EZP CHZMSDBNY.

118 * yNEEFUS CHYDKH YCHUFOSCHK CH 1812 Z. BRPLTYJYUEULYK TBUULB P LTEUFSHSOOYOE, LPFPTSCHK PFTHWIM UEVE TXLKH, YUFPVSH OE YDFY CH OBRPMEPOPCH.

119 * yUFPTYS LPOGERGYK UNETFY CH THUULPK LHMSHFHTE OE YNEEF GEMPUFOPZP PUCHEEEEOS. dMS UTBCHOOEYS U ЪBRBDOP-ECHTPREKULPK LPOGERGYEK NPTSOP RPTELPNEODPCHBFSH YUIFBFEMA LOISKH: Vovel Michel. La mort et l "Occident de 1300 à nos jours.< Paris >, Gallimard, 1983

120 * PO RTYIPDIMUS TPDUFCHOOOILPN FPNKH NPULPCHULPNKH ZMBCHOPLPNBODHAENKH, LOS'A b. b. rTP'PTPCHULPNKH, LPFPTSCHK RP'CE U CEUFPLPUFSHA RTEUMEDPCHBM o. oPChYLPChB NPULPCHULYI NBTFYOYUFPCH Q Q P LPFPTPN rPFENLYO ULBBM eLBFETYOE, YUFP PHB CHSCHDCHYOHMB dv UCHPEZP BTUEOBMB "UBNHA UFBTHA RHYLH" LPFPTBS OERTENEOOP VHDEF UFTEMSFSH H GEMSH YNRETBFTYGSCH, RPFPNH YUFP UCHPEK YNEEF OE. pDOBLP ON CHCHULBBM PRBUEOYE, YUFPVSch rTP'PTPCHULYK OE ЪBRSFOBM CH ZMBBBI RPFPNUFCHB YNS ELBFETYOSCH LTPCHSHA. rPFENLYO PLBBMUS RTPCHYDGEN.

121 * zBMETB - CHEOOSCHK LPTBVMSH ABOUT CHEUMBI. lPNBODB ZBMETSCH UPUFPYF YY YYFBFB NPTULYI PZHYGETPCH, HOFET-PZHYGETPCH Y UPMDBF-BTFYMMETYUFPCH, NPTSLPCH Y RTYLPCHBOOSHI GERSNOY CHELBMPCHT. ZBMETSCH HRPFTEVMSMYUSH CH NPTULYI UTBCEOISI LBL OE ABCHYUSEEE PF OBRTBCHMEOYS CHEFTB Y PVMBDBAEE VPMSHYPK RPDCHYTSOPUFSHA UTEDUFCHP. REFT I RTYDBCHBM VPMSHYPE BOOEEOYE TBCHYFYA ZBMETOPZP ZhMPFB. uMHTSVB ABOUT ZBMETBI UYUIFBMBUSH PUPVEOP FSTSEMPK.

124 * h LFPN NEUFE CH RHVMILBGY zPMYLPCHB TEYUSH rEFTB DBOB CH VPMEE RTPUFTBOOPN CHYDE; WOOYUIPDYFEMSHOPUFSH rEFTB EEE VPMEE RPDUETLOHFB: “fsh CHYUETB VSCHM CH ZPUFSI; B NEOS UEZPDOS JCHBMY ABOUT TPDYOSCH; RPEDEN UP NOPA ".

126 * h NENHBTBI oERMAECh TYUHEF LTBUPYUOSCHE LBTFYOSCH FPK DTBNBFYYUEULPK UYFHBGYY: "... TSBMES TSEOH PPA J the defects, FBLTSE UMHTSYFEMEK Q, W RTEDNEUFYK X gBTShZTBDB, YNEOHENPN vHALDETE, BRETUS B PUPVHA LPNOBFH J RPMHYUBM RTPRYFBOYE Plop B, L OYLPZP UEVE OE DPRHULBS; TSEOB NPS ETSEYUBUOP X DCHETEK P FPN UP UMEBNY RTPUIMB NEOS "(U. 124). MEUIMUS PO "RTYOINBOYEN IYOSCH U CHPDPK" (FBN TSE).

128 * UMPCHP "IHDPTSEUFCHP" POBUBMP CH FH RPTH RPOSFYE, RETEDBCHBENPE OBNY FERETSH UMPCHPN "TENEUMP". n. bCHTBNPCH, LBL YUEMPCHEL UCHPEK RPII, CH TSYCHPRYUY RPDYUETLYCHBEF TENEUMP - UPYUEFBOYE FTHDB Y HNEOYS. dMS MADEK rEFTPCHULPK RPIY UMPCHB "TENEUMP", "HNEEOYE" YCHHYUBMY FPTTSEUFCHOOEE Y DBCE RP'FYUOEEE, YUEN UMPCHP "FBMBOF". b. f. NETMSLPCHB "UCHSFBS TBVPFB" P RP'YY; H UMPCHBI (RPChFPTSAEYI l rBCHMPCHH) GCHEFBECHPK "TENEUMEOOIL, S ЪOBA TENEUMP" Y BOSCH BINBFPCHPK "UCHSFPE TENEUMP".

UN .: PRYUBOYE YDBOYK ZTBTSDBOULPK REUBFY. 1708 - SOCHBTSH 1725. n .; m., 1955, U. 125-126; UN. FBLCE: PRYUBOYE YDBOYK, OBREYUBFBOOSHI RTY REFTE I. UCHPDOSCHK LBFBMPZ. m., 1972.

130 * UNSCHUM UFYI UMCH PVYASUOSEFUS RTPFYCHPRPUFBCHMEOYEN YYTPLPZP RHFY, CHEDKHEEZP CH BD, Y HLPZP, FEUOPZP, CHEDKHEEZP CH TBK. NS. UMPCHB RTPFPRPRB BCHCHBLKHNB P "FEUOPN" RHFY CH TBK. tebmyhs NEFBZhPTH, bChBLKhN ZPCHPTIM, UFP FPMUFSHE, "VTAIBFSHE" OYLPOYBOE CH TBK OE RPRBDHF.

131 * rP LBRTYOOPNKH RETERMFEOYA UATSEFPCH Y UKHDEV, JNEOOP PE CHTENS UMEDUFCHYS RP DEMKH GBTECHYUB bmelues DPUFYZMB BRPZES LBTSHETB z. h. ULPTOSLPCHB-RYUBTECHB, UHDSHVB LPFPTPZP RPTSE OEPTSIDBOOOP RETEUEUEFUS U UHDSHVPK bCHTBNPCHB.

133 * NPCOP UPNOE CHBFSHUS Y CH FPN, UFP TPNBOFYUEULYK VTBL oEEUCHPMPDPCHB U YUETLEYEOLPK RPMHYUIM GETLPCHOPE VMBZPUMPCHEOYE. RETECHPD UATSEFB "lBCHLB'ULPZP RMEOOILB" ABOUT SENSHL VSCHFPCHPK TEBMSHOPUFY UCHSBO VSCHM U OELPFPTSCHNY FTHDOPUFSNY.

134 * fBL, OBRTYNET, CH YDBOYY EZP ATYDYUEEULYI UPYUYOOOOIK y. dKHYEYULYOPK VSCHMY PVOBTKHTSEOSCH UPFOY FELUFFMPZYUEEULYI PYIVPL ABOUT OEULPMSHLYI DEUSFLBI UVTBOYG; RPULPMSHLH OELPFPTSCHE UFTBOYGSCH YDBOYS DBAF ZHPFPFYRYYUEULPE CHPURTPYCHEDEOYE THLPRYUEK, MAVPRSCHFOSCHK YUYFBFEMSH, UPRPUFBCHMSS YEE have FHF CE RTYCHEDEOOSCHNY REYUBFOSCHNY UFTBOYGBNY, NPTSEF PVOBTHTSYFSH RTPRHULY GEMSCHI UFTPL J DTHZYE RMPDSCH VEPFCHEFUFCHEOOPUFY J OECHETSEUFCHB.

UN. ZMBCHH "TPMSH TBDYEECHB CH URMPYUEOY RTPZTEUUYCHOSCHI UYM". - h LO: vBVLYO d. b. O. TBDYEECH. MYFETBFHTOP-PVEEUFCHEOOBS DESFEMSHOPUFSH. n .; m., 1966.

135 * dMS RTPUCHEFYFEMS OBTPD - RPOSFYE VPMEE YYTPLPE, YUEN FB YMY YOBS UPGYBMSHOBS ZTHRRB. TBDYEECH, LPOEYUOP, J CH HNE OE RTEDUFBCHYFSH OERPUTEDUFCHEOOPK TEBLGY LTEUFSHSOYOB ABOUT EZP LOISKH. h OBTPD CHIPDIMB DMS OEZP CHUS NBUUB MADEK, LTPNE TBVPCH ABOUT PDOPN RPMAUE Y TBVPCHMBDEMSHGECH - ABOUT DTHZPN.

FBN TSE, F. 2, U. 292-293, 295. yNEEFUS CHYDKH NPPMPZ lBFPOB CH PDOPYNEOPK FTBZEDY bDDYUPOB, ZDE lBFPO IBTBLFETYJHEF UBNPKHVUCHLFETYJHEFUBNPKHVUCHLUCHTBVCHP LBNPKHVYKUFPB

136 * lBTBNYO, LBL NPTSOP UHDYFSH, VSCHM CHCHPMOPCHBO UBNPKHVYKUFCHPN TBDYEECHB Y PRBUBMUS PPEDKUFCHYS LFPZP RPUFKHRLB ABOUT UPCHTENEOOYLPCH. FYN, CHYDYNP, PVYASUOSEFUS AF YUFP BCHFPT, DP FPZP have UPYUHCHUFCHYEN PRYUBCHYYK GEMHA Gershom UBNPHVYKUFCH PF OEUYUBUFMYCHPK MAVCHY YMY RTEUMEDPCHBOYK RTEDTBUUHDLPCH, W FP CHTENS B TSDE UFBFEK J RPCHEUFEK CHSCHUFHRYM have PUHTSDEOYEN RTBCHB YUEMPCHELB UBNPCHPMSHOP LPOYUBFSH UCHPA TSYOSH.

138 * oEYCHUFOP, U RPNPESHA LBLYI UTEDUFCH, - NPTSEF VSHFSH, RPFPNKH, UFP CH DBMELPK UYVYT DEOSHZY CHZMSDEMY HVEDYFEMSHEEE, YUEN UVPMYUFFYUCHET YBPHT rP LTBKOEK NETE, TPDYCHYKUS CHUVYTY USCHO rBCHEM UYUIFBMUS ABLPOSCHN, Y OILBLYI FTHDOPUFEK, UCHSBOOSHI U UFYN, CH DBMSHOEKYEN OE PROO.

139 * yOFETEUKHAEEE OBU UEKYUBU RYUSHNP CH PTYZYOBME OBRYUBOP RP-JTBOGKHULY. h DBOOPN NEUFE CH RETECHPDE DPRHEEOB YULMAYUIFEMSHOP CHBTSOBS OEFPYUOPUFSH. jTBOGHUULPE "une irréligion" (FBN CE, U. 118) RETECHEDEOP LBL "VECHETYE". oB UBNPN DEME TEYUSH YDEF OE P VECHETYY, HRTELBFSH CH LPFPTPN tKHUUP VSCHMP VSCh LMENEOFBTOPK PYYVLPK, B P DEYUFYUEULPN UVTENMEOY RPUFBCHYSCHYFSHYCHETCHYM

140 * rPUMEDOYE UMPCHB PE ZhTBOGKH'ULPN RYUSHNE uKHPTPCHB RTDUFBCHMSAF UPVPK "THUULIK" FELUF, OBRYUBOSCHK MBFYOYGEK, RTEBOTYFEMSHOCHTRECHTEDEMSRUBAL

141 * uHCHPTPCH HRPFTEVMSEF CHCHTBTSEOYE "loi naturelle". h GYFEYTKHENPN YDBOY POP RETECHEDEOP LBL "YBLPO RTYTPDSH", UFP RPMOPUFSHA YULBTSBEF EZP UNSCHUM. uHCHPTPCH YURPMSH'HEF MELUILKH Y FETNYOPMPZYY ULPFPCHPDUFCHB, ZDE "OBFKHTB" RETECHPD UMCHPN "EUFEUFCHOOSCHK" CH DBOOPN YDBOYY PYIVPYUEO.

UN .: rBOYEOLP b. n. UNEY LBL ATEMYEE. - h LO .: UNEI CH dTECHOEK THUI. m., 1984, U. 72-153. ZhKhLU E. BOBELDPFSh LOSTS yFBMYKULPZP, ZTBZHB UHCHPTPCHB tshnoyLULPZP. eur., 1900, U. 20-21.

142 * yZTB UHDSHVSCH RTYCHEMB CH DBMSHOOEKYEN E. ZhKHLUB ABOUT UIPDOPK DPMTSOPUFY CH RPIPDOHA LBOGEMSTYA lKHFKHPCHB PE CHTENS pFEYUEUFCHEOOPK CHPKOSCH 1812 ZPDB. ьFPF OEBNEFOSCHK YUEMPCHEL RPOAIBM CH UCHPEK TSIYOI RPTPIB, Y EUMI PO OE VSCHM LTIFYUEUELINE YUFPTYLPN, FP JBFP RYUBM P FPN CHEYFEM YBTEU.

CHPEOOPZP LTBUOPTEUYS YUBUFSH RETCHBS, UPDETTSBEBS PVEYE OBYUBMB UMPCHEUOPUFY. UPYOYOOOYE PTDYOBTOPZP RTPZHEUUPTB uBOLFREFETVKHTZULPZP HOOYCHETUIFEFB sLPCHB fPMNBYUECHB. LvV., 1825, U. 47. pTYZYOBMSHOBS UFIMYUFILB LFPZP RYUSHNB, CHYDYNP, YPLYTPCHBMB CHEOSHI YUFPTYLPCH PF e. ZhKHLUB DP TEDBLFPTIPTEPCH. Y h. At. MPRBFYOB (1987). OH CH PODOP Y'FYI YDBOYK RYUSHNP OE VSCHMP CHLMAYUEOP. NETSDKH FEN POP RTEDUFFBCHMSEF UPVPK YULMAYUYFEMSHOP STLYK DPLKHNEOF MYUOPUFY Y UVIMS RPMLPCHPDGB.

144 * x uHCHPTPCHB YNEMUS FBLCE USCHO bTLBDYK, OP ZHEMSHDNBTYBM VSCHM ZPTBDP VPMEE RTYCHSUBO L DPYuETY. bTLBDYK DPTSYM MYYSH DP DCHBDGBFY UENY MEF Y RPZYV, HFPOHCH CH FPN UBNPN tshnoile, ЪB RPVEDKH OB LPFPTPN PFEG EZP RPMHYUIM FIFPHM tshchnoy.

147 * nHODYT J PTDEO CH FPN LHMSHFKHTOPN LPOFELUFE CHSCHUFHRBAF LBL UYOPOYNSCH: OBZTBDB NPZMB CHCHTBTSBFSHUS LBL CH ZHPTNE PTDEOB, FBL Y CHHOPYUDE OPCHPUT

149 * rP LFPNKH TSE DEMKH VSCHM BTUFPCHBO Y BLMAYUEO CH REFTPRBCHMPCHULKHA LTERPUFSH eTNPMPCH. rPUME HVYKUFCHB YNRETBFPTB PO VSCHM PUCHPVPTSDEO Y U OEPRTBCHDBCHYNUS PRFINYNPN OBRYUBM ABOUT DCHETSI UCHPEK LBNETSCH: "OBCHUEZDB UCHPVPUPDOB PF" rTPYMP 25 MEF, J TBCHEMYO, LBL J CHUS LTERPUFSH, VSCHM ЪBRPMOEO BTEUFPCHBOOSHNY DELBVTYUFBNY

152 * hVPTOBS - LPNOBFB DMS RETEPDECHBOYS Y HFTEOOOYI FKHBMEFPCH CH DOECHOPE RMBFSHE, B FBLTS DMS RTYUEUSCHCHBOYS Y UPCHETYEOYS NBLYSTSB. fyrpchbs nevemsh hvptok upufpsmb y'etlbmb, fhbmefopzp ufpmilb y letuem dms ipskly y zpufek.

ABRYULY DALB MYTYKULPZP ... RPUMB LPTPMS yURBOULPZP, 1727-1730 ZPDHR. RV., 1847, U. 192-193. h RTYMPTSEOYY L LFPK LOYZE PRKHVMYLPCHBOSCH UPYUYOEYS zEPZHBOB rTPLPRPCHYUB, GYFEYTKHENSHE OBNY.

154 * rHYLYO have PVSCHYUOPK LCA OEZP ZMHVYOPK RPDYUETLYCHBEF, YUFP ZYVEMSH B Dempo, LPFPTPE YUEMPCHEL UYUYFBM URTBCHEDMYCHSCHN, PRTBCHDSCHCHBEFUS FYLPK YUEUFY, DBTSE EUMY B ZMBBI RPFPNUFCHB POP CHSCHZMSDYF, OBRTYNET, LBL RTEDTBUUHDPL.

YOFETEUOSCHK PYUETL MYFETBFKHTOPZP PVTBBB VPSTSHOY nPTPP'PCHPK UN .: rBOYEOLP b. n. vPSSCHOS nPTPhPCHB - UYNCHPM Y NYZH. - h LO: rPCHEUFSH P VPSTSHOE nPTP'PCHPK. n., 1979.

155 * MYUOHA DKHYECHOCHA NSZLPUFSH MBVYO UPYUEFBM U ZTBTSDBOULPK UNEMPUFSHA. pFLTSchFSchK RTPFYCHOYL bTBLYuEEChB BY RPCHPMYM UEVE DETLPE BSCHMEOYE: ON UPCHEFE B bLBDENYY IHDPTSEUFCH B PFCHEF ON RTEDMPTSEOYE YVTBFSH B bLBDENYA bTBLYuEEChB, LBL MYGP, VMYLPE ZPUHDBTA BY RTEDMPTSYM YVTBFSH GBTULPZP LHYUETB yMShA - "FBLTSE VMYLHA ZPUHDBTA YNRETBFPTH PUPVH" (yYMShDET of l.. YNRETBFPT bMELUBODT RETCHSCHK.EZP TSYOSH Y GBTUFCHPCHBOYE.Ev., 1898, F. IV, U. 267). ъБ ЬФП PO ЬBRMBFIM HCHPMSHOOYEN PF UMKHTSVSCH Y UUSCHMLPK, LPFPTKHA RETEOEU U VPMSHYPK FCHETDPUFSHA.