Summary: The historical and literary commentary on this poem should begin with the history of the city of Kitezh and the emergence of Lake Svetloyar. How to write a literary commentary

The historical and literary commentary on this poem should begin with the history of the city of Kitezh and the emergence of Lake Svetloyar. They say that the legend of the concealment of the sacred city of Kitezh is the pearl of the Slavic epic. Based on the legend, many research books, poems, Rimsky-Korsakov's opera The Legend of the Invisible City of Kitezh and the Maiden Fevronia have been written. What is hidden behind beautiful legend about the city that “left” into Lake Svetloyar without submitting to Tatar-Mongol yoke during the Batu invasion.

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1. The story of the city of Kitezh dates back to the time of the Tatar-Mongol invasion, that is, to the XIII century. However, according to Alexander Asov, the origins of this legend should be sought in even more early period- pre-Christian history of Rus'. It is not so simple, because in the Orthodox religious tradition paganism is so closely intertwined with Christianity that it is rather difficult to distinguish which legends belong to one and which myths to another.
Lake Svetloyar, in which, according to legend, the sacred city of Kitezh hid, is located in the Volga region, and has long been known as the center of pagan faith. The name of the lake itself comes from two ancient Russian words: “bright”, that is, pure, righteous, and “yar”, which is the root of the name of the pagan solar deity Yarila, who was worshiped by the ancient tribes of the Slavs. In the modern world, Lake Svetloyar is subjected to scientific research, which end in failure, but many legends of the pre-Christian period are associated with Lake Svetloyar. They also mention the city of Kitezh. It is mentioned in ancient sacred spring pagan faith - "The Star Book of Kolyada".
According to one of the legends, the magical half-horse-half-human Kitovras, who was a powerful wizard and builder of ancient temples, as well as the god of wisdom and hop Kvasura, were born in the area of ​​​​Lake Svetloyar. From their names came the name of the city of Kitezh.
In the area of ​​\u200b\u200bLake Svetloyar lived Slavic tribe Berendey. Their descendants to this day have preserved the legend that since ancient times in Kitezh there was one of the largest religious centers of the Yarila cult. This place was considered sacred to the Russian princes.
With the baptism of Rus', Kitezh, like many other major centers of the pagan cult, was turned into the center of the Orthodox faith, and the princes continued to visit it. Thus, the city of Kitezh, as it was the religious center of Rus', remained so.
Many Orthodox churches were built on the site of temples, as it was believed that such places are special - they are sources of strong positive energy. The names of the ancient gods were gradually changed to the names of saints, but the very place of worship of higher powers, which has a truly magical energy, remained the same. That is why the region of Lake Svetloyar has been shrouded in legends and mysticism since ancient times. According to legend, it is in these places that only believers are able to see the city and its temples.

According to Christian chronicles, the city of Great Kitezh on the shores of Lake Svetloyar was built by Prince Yuri Vsevolodovich, the son of Vsevolod the Big Nest. Except Big Kitezh there was also Small Kitezh, who grew up under his grandfather, Yuri Dolgoruky (Rostov-Suzdal and the Great Kyiv Prince). There were many churches in Bolshoi Kitezh, and it was built entirely of white stone, which at that time was a sign of wealth and purity. However, legends united these two different cities, and so the mystical and mysterious Kitezh-grad appeared.

3. Aleksey Asov, guided by the legends and chronicles of that time, was able to recreate the true picture of the events of those distant times. In 1238, after the ruin of the Vladimir-Suzdal principality, Batu Khan set up camp on the City River. After another unequal battle, Prince Yuri Vsevolodovich with the remnants of his troops retreated to Small Kitezh. However, Batu took him by storm, and the prince with the remnants of the army miraculously managed to hide in Big Kitezh.
At that time, on Russian soil, Yuri Vsevolodovich remained practically the only organized force opposing Tatar-Mongol invasion. Batu craved power over the world and was eager to go further as soon as possible - to the Mediterranean Sea, but he was afraid to leave the proud and undefeated Russian prince in the rear. And then he ordered all Russian prisoners to be tortured so that they would give out reserved roads leading to Kitezh. The warriors were silent, because they knew: to betray the holy city means dooming themselves and their family to eternal damnation. Only one could not stand the torture - Grishka Kuterma. He was afraid of torment and death and agreed to lead the enemies to the Russian shrine. The path was not easy and lay among impenetrable swamps and forests. But the traitor knew the secret paths and was able to lead the Tatar-Mongolian army to the holy city. When Batu Khan approached the city, he saw that people were not going to fight with him, they were praying. Seeing the suffering of the Russians from the invaders, God took pity on the besieged. Before the eyes of Batu Khan and his troops, the holy city plunged into Lake Svetloyar and did not fall for the looting and destruction of the merciless enemy.

Thus, for the Russian people, the city of Kitezh becomes a symbol of unsullied holiness and purity, which, according to the Old Believers, has no place in vicious reality.

Let's move on to the topic of M.V. Voloshin, the author of the work "Kitezh" in Russian literature.

MA Voloshin (Maximilian Alexandrovich Kiriyenko-Voloshin, 1877-1932) occupied a special place among the symbolists. With the Symbolists, he was united by social indifference, a passion for medieval mysticism, Indian philosophy, modern occultism. Voloshin himself pointed to his creative affinity with Balmont, with whom he was connected by an interest in the fate of ancient cultures, reflections on the course of history, and lyrical contemplation. However, unlike the Symbolists, Voloshin was a master of vivid picturesque paintings; concrete, visible images were attracted to his poems, which brought the poet closer to the subsequent school of modernism - acmeism. Voloshin was a talented painter, and this was reflected in his poetry: Voloshin's poems are as colorful and expressive as the drawings. Voloshin's landscapes and his manner of writing distinguished him from the environment of the symbolists with their foggy images, decorative landscapes. He himself defined his style as "neorealism", which he understood as a combination of impressionism and symbolism.

The poem "Kitezh" was written on August 18, 1919. This poem fell into the cycle “Ways of Russia”, at the end of this poem, as in all other poems by M.A. Voloshin, it is written in which city the poem was created. But it is in this poem that there is a clarification of when exactly it was written “During the offensive of Denikin” (this attack of General Denikin on Moscow took place during the Civil War of 1919). This poem occupies a rather important place in this cycle, because this poem tells about a very early history, and it was from it that everything began, like this poem.

Throughout the first part of "Kitezh" the image of fire is traced, which in poetry different peoples can be interpreted in different ways. But it is in this poem that this symbol can be understood only as a symbol of purification.

1. All Rus' is a fire. Unquenchable flame

From end to end, from age to age

Buzzing, roaring... And the stone is cracking.

And each torch is a person.

Are we not ourselves, like our ancestors,

Did they let you fall? A hurricane

Inflated it, and drown in caustic smoke

Forests and villages of fire.

People, without realizing it, lit this “bonfire” themselves (it’s not for nothing that M.A. Voloshin associates every person with a torch: “And every torch is a person”) and people themselves must pay for what has been done. After all, the country has been burning with the flames of rebellion for so long, wars have flared up one after another, as if the coal will never go out. Why is this passage used obsolete word"Fire" and how does it relate to the theme of fire? Ognishchane is an estate in Ancient Rus', consisting of people living on a fire - in a large estate - and feeding on their labor. These are all manufacturers. material assets who see the meaning of their lives in work and use the results of this work for their own benefit (peasants, professional artisans, hunters and shepherds, city guards and other people of humble origin who devoted themselves to protecting their native settlement, protecting trade routes, and during wars made up backbone of the people's militia). These people are directly related to the war, and therefore to the theme of fire.

Further analyzing this poem, we are faced with such geographical concepts as Sergiev, Optina and Sarov. According to G. Fedotov, "Sarov and Optina are the two hottest bonfires around which all of Russia warmed up." But what do these lines mean?

Neither Sergiev, nor Optina, nor Sarov -

The people will not take away the fire:

They will leave, fleeing the fires,

To the bottom of silver lakes.

Optina here means the world-famous monastery of Optina Hermitage. This monastery was spoken of as “an unfading lamp of unceasing prayer, a receptacle of truly Christian love and the center of asceticism…” Optina was a holy land for the Russian people, the third after Paradise and the Christian Community in the days of the Apostles.

Sarov, or Sarov Monastery (Sarov Assumption Hermitage) is a former monastery, based in early XVIII in the city of Sarov, Tambov province (now Sarov - part of the Nizhny Novgorod region). Known as the place where he labored Reverend Seraphim Sarovsky, revered Orthodox ascetic and saint.

Sergius, or the Trinity-Sergius Lavra, in church literature is usually the Holy Trinity - Sergius Lavra - the largest Orthodox male stauropegial monastery in Russia, located in the center of the city of Sergiev Posad, Moscow Region, on the Konchura River. It was founded in 1337 by St. Sergius of Radonezh.

All these folk shrines, as they say in the poem, "... will leave, fleeing the fires, To the bottom of silver lakes ..." Here, for the first time, the image of an underwater city appears for us, which appears as an eternal dream of the Russian people. And only the chosen and truly sacred land was rewarded with this divine grace: it left the harsh reality, from eternal life in the captivity of foreigners. After all, water is also a symbol of purity, and only such shrines are worthy of salvation.

So, given to the flow of the Tatars,

Holy Kievan Rus

She left the earth, hiding behind Svetloyar ...

But I will not renounce the fire!

I myself am fire. Rebellion is in my nature

Following the course of the poem, for the first time we are confronted with the image of the lyrical hero of the poem, which is personified here. The lyrical hero himself identifies himself with fire, saying: “I myself am fire. Rebellion is in my nature…”, meaning by this a stormy, restless personality. Further, he tries to convey to his readers that any human impulse and aspiration, like fire, needs its own framework and boundaries. As an example, he cites the construction of new cities, like prisons, into which a person drives himself.

But he needs the chain and the edge.

Not for the first time, dreaming of freedom,

We are building a new prison.

Out of will copper Peter -

Lights demonic game.

It also mentions the geographical concepts of the two Russian capitals: Moscow (the center of Russia) and St. Petersburg ( cultural center Russia), which is presented here in the form of a metaphor "The will of copper Peter". The mention of these two greatest cities for Rus' is not accidental, because, according to the lyrical hero, we are not allotted more space outside them. It is not in vain that he compares the development of new lands with the “fires of the demonic game” in the swamp, which can lead far, lead to death, without indicating the way back. So in history, when you get out of an old addiction, you fall under a new one.

And there are no ways to that city,

Where does the conscript and alien call

Underwater evangelism of churches.

Holy Rus' has absolutely nothing to do with earthly existence, because her heirs made the country vile, there was no holiness left in it. “Holy Rus' is covered with sinful Russia” - with the help of this metaphor, the author shows the structure of Rus' (its history): up there, there is a sinful land, which seems to cover another world, the Holy Land, which was not created for everyone. And this false world, built only on economic relations, blocks the way to the bright, pure, sacred, but not all people can hear the call of the "underwater gospel of churches."

Now let's move on to the second part of this poem. It describes many stages of the entire centuries-old Russian history. It is this part of all three parts of the poem that can be attributed to the direction of impressionism, in which the author M. Voloshin sought to convey his fleeting impressions of the constantly changing world. Here are the internecine wars that arose at the very beginning of its existence, between the sons of princes Svyatoslav, Vladimir the Red Sun and Yaroslav the Wise for the division of land:

Here is the subordination of the principalities of Rostov and Novgorod by Prince Ivan Kalita, and the subordination of other principalities of the “rags” by his children Semion the Proud and Ivan the Red (Prince of Moscow from 1325), the Grand Duke of Vladimir (from 1328). Ivan Krasny played a big role in the unification of Russian lands around Moscow after the death of Kalita.

Mean children of Kalita

She was taken in pieces.

In the following lines, we see a comparison of the Moscow princes in the person of Moscow itself with a "cross-spider", an insect whose color always adapts to its environment. So the Moscow tsars were by no means distinguished by their nobility, but by cunning and the ability to adapt to everyone: to humiliate themselves in front of stronger opponents, and to benefit by using weaker ones.

In the silence of nights, starry and frosty,

Like a fierce cross spider,

Moscow spun under the Dark and the Terrible

Your tight, hopeless circle.

Here the announcer and earpiece ruled for everyone,

And he was fierce and strict

Moscow prince - "bed and klyushnik

Lord," God bless!

According to the author, Russia is not developing properly, its history seems to repeat itself in a circle. Russian princes do not take into account the mistakes of their predecessors, trying to show their power, building cities and facades of inhuman beauty, competing with each other, and do nothing for the good of the country. It must be said that there is also a mention of two Russian tsars: Ivan IV the Terrible and Vasily Vasilyevich (1415 - 1462), the Grand Duke of Moscow (since 1425), who bore the nickname Dark

This is followed by lines in which Moscow is presented to us through the eyes of M. Voloshin, but, alas, it is presented not as a beautiful city in which all the splendor of the Russian land is collected, but as a mixture of “... a palace, a prison and a monastery” (the beauty of the palace, there is no freedom, like in a prison, a monastery has its own rules):

A nest of boyars, holy fools, humble women -

Palace, prison and monastery,

Where is the slaughtered baby for twenty years

He drew circles like a bat.

The image of the “slaughtered baby” here refers to Tsarevich Dmitry Ivanovich, son of Ivan IV. And then an impostor appeared, posing as him (False Dmitry). And the phrase "He drew circles like a bat" only testifies to his inability to learn from the mistakes of his predecessors. I did not know where to go from exposure.

In the following lines, we are presented with the reign of the first tsar of the Romanov dynasty - Mikhail Fedorovich Romanov (in comparison with the "offspring of the Cat and the Mare"), whose ancestors were Andrei Ivanovich Kobyla and his son Fyodor Andreevich Koshka.

Breaking the bone, pulling the veins,

The throne of Moscow was being built,

When the offspring of the Cat and the Mare

Pozharsky led to reign.

The line "Pozharsky led to reign" only says that civil uprising headed in 1612 by Dmitry Pozharsky, was able to rid our country of the Polish-Lithuanian invaders who captured Russia after the flight of False Dmitry II. , the first Russian tsar from the Romanov dynasty (since 1613

In the next passage we are talking about the reign of another brightest representative of the Romanov dynasty - Peter the Great, who was the first Russian emperor. But in this poem And M. Voloshin portrays Peter I as an "antichrist", who not only built the city of St. Petersburg, in the name of his greatness on human bones, but also tried to liken Russia to Europe, thereby crossing out historical traditions Motherland.

Antichrist-Peter steamed block

Collected, pulled and shook,

A steamed block here means the Neva River, on which the city of St. Petersburg was built. Peter the Great forgot and violated all the laws of nature and the commandments of Christianity, and later "paid" for trying to shackle an unpredictable and beyond human control, such as a river. In the work of A.S. Pushkin " Bronze Horseman” tells about the flood, Peter I tried to curb the river, but now, even after his death, people are dying. And here the theme of the city under water is also present, but only in this case water cleanses all the dirt accumulated in the world.

He taught book sciences.

In these lines, Peter's attempts to Europeanize the country are clearly expressed. The reformer tsar shaved the beards of the people. Haircut introduced a new fashion, as well as increased the education of the population. All nobles and noble people spoke exclusively French words, thus not preserving our native language, we do not save history. It must be said that these reforms were perceived with hostility. Hence the comparison "up on the rack."

M.A. Voloshin also criticized the empresses in every possible way. He believed that fat empresses sat on huge eggs, from which officials, city executioners hatched.

Empire, leaving the hole mole,

hatched from eggs Z

It says here that after the reign of Peter the Great (the “mole” who “dug” a passage to Europe), he was replaced by Empresses: Catherine I, Anna Ioannovna, Anna Leopoldovna, Elizaveta Petrovna and Catherine the Great. All of them, in the view of M.A. Voloshin, were compared with “hens”, because the fate of all five empresses with historical inevitability was reflected in the fate of Russia - a country in which, according to the philosopher Nikolai Berdyaev, female soul, FOREVER SEEKING AND FINDING NO PEACE. Hence the line "the empire ... hatched from eggs" ...

Under hot crowned flesh

His five empresses.

Almost all 5 empresses, with the exception of one or two, were

Foreign blood. Catherine the Second was a German, Elizaveta Petrovna was half Jewish, Catherine the First was a Lithuanian Jewess. Hence the phrase:

Shtykov is illuminated with a radiance

The Russian throne was defended.

Many Jews occupied places on the throne and at the court with all sorts of executions and fortresses harassed the most prominent Russian nobles - the Golitsyns and a whole nest of Dolgorukovs.

There is a struggle for survival, for money, career and power. Vices flourish: betrayal and lies, violence and meanness, cynicism and hypocrisy. Outside the mystery, sometimes, as from a dungeon, flames break out.

And burst out with a whistle from under the throne

swirling flames -

To the light from darkness, to freedom from full -

Elements, passions, tribes.

In the next quatrain, the author has hope for the restoration of autocratic, but already masculine power in the person of the new Tsar of Russia, even if in the images of such national traitor-leaders as Pugacheva, Razin and Mazepe, who seem to have “Rise from the graves”:

Anathema of the church overcoming the shackles,

Resurrected from the graves

Mazepas, Razins and Pugachevs -

Horrors of other ages.

“Anathem to the Church having overcome the laws…” means to be freed from church curses for sins against the church, for reviling the faith. But also Orthodox Church anathematized the leaders of the people...

Summing up the second part, which describes many stages of centuries-old Russian history, M.A. Voloshin ends it with the following quatrain:

All darkened, in blood,

You remained the land of frenzy -

Yes, Russia has endured and endured a lot in its entire centuries-old history. Since the time of Rublev, a lot of blood has been shed in the struggle for justice, for better life. But in spite of everything, it still remained the "land of frenzy" - the land, which is constantly in a state of excitement, passion. After all, the very mentality of the Russian people contains such qualities as the breadth of the soul and the ability to sacrifice. AND true love always sacrificial...

A land that seeks love.

In the third part of the poem "Kitezh", the author M.A. Voloshin expresses (but in a rather ironic form) absolute confidence that the history of Russia will repeat itself again. Muscovite Rus' in this poem is a "close, hopeless circle." The Russian people, accustomed to being under the “yoke of fatal power” throughout their centuries-old history, will get tired of the freedom gained at the cost of many human lives:

They will pass - molten years

People's storms and riots:

Yesterday's slave, tired of freedom,

He will grumble, demanding chains.

Will rebuild barracks and prisons,

Raise a broken throne

And he himself will go silent in his lairs,

Work in the fields like an ox.

And, sobering up from blood and fumes,

Tsar rejoicing at the scourge,

All these lines talk about the abolition of serfdom, despite the fact that it has already been abolished, people who were slaves will want to become dependent again. After all, they are not used to living, obeying only themselves, and also not used to being responsible for their actions on their own.

And here again the theme of fire arises. But the image of fire here is different; “He will light a bright candle” means he will light a light that illuminates someone’s life path. Fire can also be understood here as a symbol of self-sacrifice for the sake of others:

From the coals of an extinguished fire

Light a fiery candle.

This “reverse” process, according to the symbolist poet, is inevitable, because this is reality, namely, it is the ideal essence of the world. We live on sinful earth, "All our Rus' is a fire" and nothing can be changed here, there is no other way. Earthly life is only a reflection, a distorted representation of being. The upper world can be comprehended by faith, through religion. Therefore, it remains only to reconcile, pray and, of course, believe, believe in an unprecedented city called Kitezh - the only ray of light in the dark Russian kingdom.

Pray, be patient, accept

On the shoulders of the cross, on the neck of the throne.

At the bottom of the soul, underwater Kitezh is buzzing -

Our impossible dream!

The poem "Kitezh" appeared in 1919 - a terrible, incomprehensible time for Russia. Crimea, Civil War, the onset of the "Red Terror". Why does M. Voloshin turn to the image of Kitezh - the city-myth? Is Kitezh an image of all of Russia?

The legend tells how, during the offensive of the troops of Batu, Kitezh, together with all the inhabitants, was sheltered from enemies by the waters of Lake Svetloyar.

The rebellious spirit of the inhabitants of Kitezh, who did not want to submit to the Tatars, is the spirit of Rus' itself. There was not a single era when it was calm on the Russian land. The reasons for this are the characters, the thoughts of the people themselves. “Neither Seriev, nor Optina, nor Sarov people will take away the fire,” writes M. Voloshin. Yes, the strongholds of the humility of the human soul, monasteries, cannot extinguish the blazing flame, because, blinded by the storm of feelings, people cannot find the way to the shrines, and through them to God, roads: the demon leads. Rus' did not plunge into the holy lake, but into sin.

Century after century, pictures of the frightening past of Russia pass before our eyes: civil strife of Russian princes hacked Rus' with knives, the cruel reign of Ivan the Terrible, the troubled times of Godunov, the accession of the Romanov family, the anti-Russian reforms of Peter I, the reign of Catherine I, Anna Ioannovna, Anna Leopoldovna, Elizabeth Petrovna, Catherine II (they say Russia has a female soul).

The activity of Peter I is negatively evaluated in the poem

Sheared, shaved and, rearing up,

He taught book sciences ....

And Rus' became German, orderly, vile.

Shtykov is illuminated with a radiance,

In a mixture of Holstein and Württemberg blood

The Russian throne was defended.

The consequences of the destruction of everything primordially Russian are inhuman riots, riots and massacres, wars, revolutions ...

But the author does not believe in the death of holy Russia. The Russian man, freed from everything that held him back from the most terrible deeds, sobers up from drunken revelry and consciously puts himself in chains. Can't a man himself, without supervision and prisons, keep himself from excesses? Maybe!

From the coals of an extinguished fire

Light a fiery candle.

Not a torch, but a candle, a person must light in himself. Here is the way to salvation. Kitezh is a symbol of the holy principle in the soul of everyone, while hidden and unable to rise from the depths.

M. A. Voloshin is a man of diverse talents, a poet, artist, critic, researcher. Various aspects creative activity Voloshin are interconnected: in his poems - the vigilance and observation of the painter, in his landscapes - the poet's thoughts about the fate home country.

In one of the letters of 1919, Voloshin admitted: “I write poetry exclusively in contemporary themes- Russia and the revolution", "... the unfolding historical tragedy captures me deeply."

On August 18, 1919, M. A. Voloshin wrote the poem "Kitezh", in which the image of the underwater city appears as an eternal dream of the Russian people. The real Russian history throughout its entire length is evil.

There is no more popular legend in the history of Russian culture than the legend of the invisible city of Kitezh. "From a local legend with a well-defined geographic centre," it has become "a national symbol." Kitezh is one of the popular topics related to the idea of ​​national self-consciousness. Here is how it sounds: “Having conquered some Russian principalities, Batu Khan found out about Kitezh and ordered to capture it. The Horde soon reached the walls of the city. To the surprise of the Mongols, the city did not have any fortifications at all. Its inhabitants were not even going to defend themselves and only prayed. Seeing this, the Mongols attacked the city, but then they had to stop. Suddenly, fountains of water gushed out from under the ground and began to flood the city and the invaders themselves. The attackers had to retreat, and they could only see how the city plunged into the lake. The last thing they saw was the cross on the dome of the cathedral. And soon only the waves remained on the site of the city.

This legend gave birth to numerous incredible rumors that have survived to this day. It is said that only those who are pure in heart and soul will find their way to Kitezh. In his poem, Voloshin reflected his dream that we find Kitezh, i.e. became clean.

In the poem, the author appears as a great historian: the history of Rus' unfolds before our eyes. Brightly and unusually, with just a few lines, the poet sketches a picture of his homeland. And now terrifying, terrible images of bonfires from living flesh are already rising before us.

The gallery of historical characters in Voloshin's lyrics is a kind of collection of moral freaks, mental cripples, despots, madmen. The same picture appears before us in the poem "Kitezh".

M. A. Voloshin, who firmly chose continuity in relation to the thousand-year-old domestic tradition, retains the Christian character of the Kitezh legend.

Kitezh appears to him both as a symbol of the invisible Holy Rus', and as a symbol of a real, but lost historical Russia.
So folk belief in the material existence of the invisible, but real city first gave rise to the figurative meanings of the toponym "Kitezh", and then an intangible, but capacious symbol of the national image of the world.

Kitezh is a mythological city, the extraordinary fate of which has become the subject of Russian traditions and legends.

Lake Svetloyar, in which, according to one of the legends, the sacred city of Kitezh hid, is located in the Volga region. Having ruined the Vladimir-Suzdal principality, Batu Khan set up camp on the City River. After another unequal battle, Prince Yuri Vsevolodovich with the remnants of his troops retreated to Small Kitezh. However, Batu took him by storm, and the prince with the remnants of the army miraculously managed to hide in Big Kitezh. Seeing the advancing enemy hordes, the inhabitants of Greater Kitezh and the soldiers of Yuri Vsevolodovich began to pray to God. Hearing the prayers of the Russians, God took pity on the besieged. Before the eyes of Batu and his troops, the holy city plunged into Lake Svetloyar and did not go to the merciless enemy for plunder, dishonor and death.

The sanctity of its waters extended to the city itself and its inhabitants. Therefore, the image of a city inhabited by the righteous was born, which passed unharmed through the sacred waters and passed into better world. The legend says that the lake hid Kitezh until the end of time, and only before the end of the world it will rise again from the waters, and the army of Yuri Vsevolodovich will come out of the gates of the holy city to appear at the judgment of God with all Christian souls.

Based on the legends, many research books and works of art have been written. One of them is before us - a poem by M.A. Voloshin "Kitezh".

In his work, Voloshin tries to comprehend the history of Russia, gives his assessment historical events and historical figures. The content of the poem is a combination of various segments of the historical time of the formation of Rus', transmitted through the prism of the author's perception. Heavy, oppressive thoughts forced Voloshin to take up his pen. In the words of the poet one can hear the bitterness from the realization of the general chaos, which is increasingly approaching Russia in a terrible period of asserting new truths, a new world order:

... not for the first time, dreaming of freedom,

We are building a new prison.

Yes, outside of Moscow - outside of our stuffy flesh,

Outside the will of copper Peter -

We have no roads: we are led in the swamp

Lights demonic game ...

The epithets used by the author (“folk fire”, “stuffy flesh”, “molten years”), metaphors (“stone is cracking”, “Rus shredded”), expressive comparisons (Rus is a fire, a torch is a man, a Moscow prince is “bed and Klyushnik with the Lord", Moscow - "a fierce cross-spider") fully convey all the pain of the poet's soul, unable to remain silent anymore.

The situation in Rus' has never been absolutely quiet and calm. Wars, civil strife, struggle for power, lies and betrayal have existed at all times ... But integrity of spirit and unshakable faith in holy ideals have always helped her to survive.

At the beginning of the poem M.A. Voloshin mentions three important spiritual centers: Sarov, Optina, Sergiev, named after Russian saints. Thanks to their bright thoughts and deeds, a person’s faith in the ideals of goodness and love grew stronger, a vivid confirmation of which is the work of B.K. Zaitsev "Reverend Sergius of Radonezh".

And then in the poem by M. Voloshin, the names of others begin to sound historical persons: Ivan Kalita, Ivan the Terrible, False Dmitry, Vasily the Dark, Andrei Kobyla and his son Fyodor Koshka, Pozharsky, Peter I, Mazepa, Stepan Razin, Emelyan Pugachev. The interpretation of the images of some of them is well known to the modern reader from such works by A.S. Pushkin, like "Poltava", "The Bronze Horseman", "History of Peter the Great", " Captain's daughter", "Boris Godunov". In the generalized name of the “five empresses”, the names of five real Russian rulers are guessed: Catherine I, Elizabeth Petrovna, Anna Ioanovna, Anna Leopoldovna and Catherine II, known in Russia under the name of Catherine the Great. Maximilian Voloshin gives each of these heroes a very unflattering assessment.

The author characterizes the times of Ivan Kalita and his immediate descendants as follows:

The strife shredded Rus' with knives.

Mean children of Kalita

Lies, violence, robbery

She was taken in pieces.

And indeed it is. As you know, Ivan Kalita contributed to the union of the Moscow principality with the Golden Horde. For the Horde, he collected tribute from the Russian lands. Popular discontent was brutally suppressed. It is also known that once, having come to the Tver volost, Kalita and the Tatars burned cities and villages, took people prisoner.

Further, Voloshin compares Moscow with a spider that weaves its webs in the stillness of the night. This is also no coincidence. The Time of Troubles in Rus' began with the reign of Vasily the Dark. But no less tragic time came with the reign of Ivan the Terrible. According to a number of historians, the policy of Ivan IV was despotic in nature, the power acquired misanthropic features. This is evidenced by mass executions and murders, the defeat of Novgorod and other cities. “Among other difficult experiences of fate, beyond the disasters of the specific system, beyond the yoke of the Mongols, Russia had to experience the storm of the autocrat-tormentor: she withstood with love for autocracy, for she believed that God sends both an ulcer, and an earthquake, and tyrants; did not break the iron scepter in the hands of the Ioannovs, and for twenty-four years she endured the destroyer, armed only with prayer and patience, ”N.M. Karamzin characterizes the reign of Ivan the Terrible.

Deepening into history helps to understand what hard times the people went through, how many disasters they endured. And, probably, more than once dreamed of such an underwater city of Kitezh, where one could hide from all hardships and torments. But a person who is mired in vices has no way there. That is why the author says:

Holy Rus' is covered with sinful Russia,

And there are no ways to that city,

Where does the conscript and alien call

Underwater evangelism of churches.

Bless the churches! It seems to me that it is the ringing of bells that gives people hope and strength. After all, if you climb the bell tower, you can feel freedom and feel like a bird. Perhaps every inhabitant cherished such a dream in his soul: just to feel free from the laws of the rulers.

Antichrist-Peter steamed block

Collected, pulled and shook,

Sheared, shaved and, rearing up,

He taught book sciences ...

The poet says that Peter really carried out positive transformations in Russia: the reform of local government, the reform of finance and budget, the formation new army, transformation in the fleet, provincial reform, the formation of the Senate and colleges, the emergence of a new culture.

Separately, the decree on shaving beards is mentioned. Since 1699, a special duty was levied on men wearing a beard, and those who paid it were given a specially minted bond - a beard sign.

However, in the course of the transformations, Russia lost its originality, some special spirituality inherent in it, and therefore the tsar-transformer turned into the tsar-antichrist.

After Peter I, the Russian Empire was ruled by Catherine I, Elizaveta Petrovna, Anna Ioanovna, Anna Leopoldovna and Catherine II. All of them were followers of Peter's course, and therefore, under them, Russia became "German, orderly, vile."

So Maximilian Voloshin told the story of the formation of the Russian state: from Kievan Rus before Russian Empire. It seems to me that, despite all the bitterness and despair that gripped the poet, he is full of faith in the spiritual revival of Russia, capable of making it a great and invincible country:

But now, as in the days of past falls,

All darkened, in blood,

You remained the land of frenzy -

A land that seeks love.

That is why the poem "Kitezh" by Maximilian Voloshin produces a special

Municipal treasury educational institution

Sergeevskaya secondary school

Olympiad for schoolchildren

Union State "Russia and Belarus:

historical and spiritual community"

Historical and literary commentary

to a poetic work

Theme “We will save the honor of our native country…”

(Analysis of the poem by F.N. Glinka

"Song of the sentry warrior before the Battle of Borodino")

Krasyukova Karina Alexandrovna

16 years

Literary circle

MKOU Sergeevskaya secondary school

Voronezh region,

Podgorensky district,

S. Sergeevka,

st. Yesenina, 34

Head Bednyakova I.A.

2012

In 2012 Russia celebrates significant event- 200th anniversary of the Patriotic War of 1812. Therefore, my choice of a poem about the Battle of Borodino F.N. Glinka is not accidental. In the course of my work, I was interested in learning more about the participants in this heroic battle, their mood, and the state of their fighting spirit. In addition, I wanted to get to know the work of a poet, unfortunately unknown to me until that time and, as it turned out, very famous in his era. His life and work, dedicated to the people and the Fatherland, deserve deep respect and knowledge.

F. N. Glinka (1786-1880) - a native of the Smolensk province, a participant in the Patriotic War of 1812: fought near Austerlitz, participated in the Battle of Borodino in 1812, in foreign trips Russian army; He graduated from the war with the rank of colonel and was awarded a golden weapon for bravery. Glinka fought for the liberation of his homeland both as a warrior and as a poet. It is known that F.N. Glinka composed a number of patriotic poetic works, many of which were set to music, but only a few penetrated into the people's environment. Among them are the songs that were popular in 1812, during the French invasion: "War Song", "Soldier's Song", "Song of the Guard Warrior Before the Battle of Borodino" and others. Absorbed by tradition soldier's folklore, these unsophisticated, sincerely excited works have developed into a kind of poetic chronicle of the heroic era of Russian history. They glorify the determination to die, but not to bow their heads before the invader and tyrant. In a certain sense, these poems became the source of the later civil lyrics of Glinka, a member of secret societies, a Decembrist poet. In the same row are the Letters of a Russian Officer, thanks to which Glinka became a famous writer.

Under the influence of the era of the Patriotic War of 1812, the worldview of the poet and writer M.I. Glinka. In moments of respite, often right on the battlefield, he entered his thoughts and observations into a notebook, wrote poetry. F.N. Glinka was the first in literature to call the war of 1812 the Patriotic War, having deeply understood its nature. The simplicity of the presentation of the great events he describes made Glinka a very popular writer.

One of the famous works of the poet - "Song of the sentry warrior before the Battle of Borodino" - was written between 1812-1816. The song depicts a specific place and time of the events described - “on the banks of the Kolocha”, that is, near the village of Borodino near Moscow on the night before the great battle.

“The Song of the Guard Warrior ...” makes a deep impression with its patriotic pathos, attracts with the sincerity of the feelings of love of the Russian soldier for his homeland and his readiness to die for her in the battle near Borodino.

The theme and at the same time the idea of ​​​​the work is a strong in spirit, convincing in its sincerity call to "friends", "sons of the Slavs", "sons of war" to fight for Moscow - the "city of ancestors", lie down, lay down "heads" for "the honor of their native country ".

This work belongs to the genre of literary military song, which was based on the folklore genre soldier (military-historical) song, that is, a folk song that arose in the soldier's environment. In most military-historical soldiers' songs, bright battle scenes, courage, resourcefulness and endurance of Russian soldiers are depicted on behalf of an eyewitness, images of commanders are created. Soldiers' songs express the worldview of the people, show the growth of their consciousness. That is why Glinka turns to this genre in order to express the highest spirit of patriotism of Russian soldiers in the Patriotic War of 1812.

The composition of the work consists of two parts: the warrior's song and the author's conclusion. The first part begins with the address "Friends!", which is one of the most common types of beginnings in folklore. This appeal is intended to emphasize the unity of the Russian people in the face of cruel danger - this was also important for folk singer, and for a poet, an exponent of national feelings. For all the traditional reception, the poet somewhat expanded its meaning: if in folk lyrics the beginning only attracts the attention of the listener, then in his poems it is also evaluative.

This rhetorical appeal "Friends!" in further development actions are repeated twice more, and other sounds are also heard rhetorical appeals: “Slavic sons! War sons!”, “Native land!”. High vocabulary emphasizes the importance and solemnity of the events described, as well as the sincerity and nobility of the feelings of the participants in the upcoming battle. The climax of the song is:

…We will not betray Moscow!

We will save the honor of our native country

Or let's lay down the chapters here! ..

At the end of the warrior's song, there is a touching appeal to the native land with a request to accept them if they die in battle.

And sleep did not conquer their eyes,

And the spirit in them burned!

In "The Song of the Guard Warrior..." F.N. Glinka widely uses elements of the folk poetic language (reversals, repetitions, inversions) to create a romantic picture, a romantic image, a romantic pathos of a work. A special place here is occupied by Old Slavonicisms: “bregah”, “golden”, “temple”, “city”, “heads”, etc. and high vocabulary: “God’s temple”, “sons”, “honor”, ​​“Dear land”, which express the pathos of the feelings of the hero and the author. significant role epithets play in the "Song ...", they increase the figurativeness of the narration, contribute to creating a more vivid impression of the paintings depicted ("the dawn is brighter", "the lights are paler", "wide fields"); serve to create a pronounced anxious and tragic atmosphere (“fatal day”), characterize the feelings of the lyrical hero (“cheerful”, “bold”, “villain”, “native country”, “motherland”). The abundance of metaphors “we do not conquer our eyes to sleep”, “we do not hear the pain of wounds”, “Moscow to the golden tops”, “we will not betray Moscow”, “the spirit is flaming”, etc. paraphrases “God's temple”, “city of ancestors”, personifications “sleep did not conquer their eyes”, “You accept us ... Dear land!” serve as an expression of the extremely emotional behavior of the lyrical hero. After all, Moscow has always occupied an important place in the minds of the Russian people. Being not only the capital of the Russian state, but also the Russian christian shrine, it evoked the warmest feelings both in the thoughts and in the heart of an Orthodox person. F.N. Glinka was devoted to Moscow until the end of his days. In "The Song of the Guard Warrior..." Moscow is the embodiment of the Motherland for the lyrical hero. The surrender of his beloved capital terrifies him.

F.N. Glinka skillfully gave the work sound expressiveness. For example, in the line “Friends, be cheerful! Friends, be brave! a combination of solid voiced consonant sounds [dr] is repeated three times, this alliteration technique demonstrates to us the firmness and confidence of a warrior in his call. The poet also uses sound writing in the line “Already the rumble in the fields, the noise is already heard!”, where the fourfold repetition of a deaf hissing consonant sound [w] creates a sound image of the steps of an enemy approaching through the grass.

The songs of Fyodor Glinka, composed by him during the war of 1812, were sung to suitable well-known tunes. True, in this song the first and last couplets (iambic pentameter and trimeter) do not match in size with the rest (iambic tetrameter and trimeter), and it is impossible to sing them to a common motive with them. The author chose the iambic not by chance: it is a strong and energetic poetic meter, suitable for singing a song in marching formation. “Song of the guard warrior ...” is a rhythmic work, with cross-rhyme, with simple and incomplete sentences in terms of syntactic structure, easily performed and remembered, with a deep and at the same time very understandable and clear meaning, which is why it was very popular in its time in the military environment .

In “The Song of the Sentry Warrior before the Battle of Borodino”, the lyrical hero - a Russian soldier, a warrior - appears as a real Russian patriot, selflessly loving his homeland, ready to die for it in battle. This war is very far from us: 200 years have passed. But, reading the lines of the work of F.N. Glinka, I have a very clear idea of ​​the tragedy of 1812 and bow before the unparalleled heroism of the defenders of our country. I am proud of my history, I am proud that I belong to the courageous and glorious Russian people.

For a deeper penetration into the content and figurative world of a work of art, it is important to understand all the shades of meaning. incomprehensible words to have an idea of ​​the events in question, actors works. Knowledge of these facts helps to better understand the author's idea of ​​the text, to characterize it more fully and more accurately.

In order to get acquainted with the structure of the historical and literary commentary, one should take from the library a volume of the author's works, in which notes and comments are given. It is best to refer to academic publications - they present these materials most fully and accurately. There are necessary comments in the books of the series "The Poet's Library". For example: Ryleev K.F. complete collection poems. L., 1971. (Library of the poet. Large series).

You can compose a historical and literary commentary yourself but in a certain structural scheme:

1. Briefly about the author, date of creation of the text.
2. Information about the historical characters of the work (line by line, starting from the title).
3. A line-by-line and, if possible, brief commentary on the events named in the text.

It should be remembered that personal reflections of the commentator, the use of figurative and expressive means and other ways of “influencing” the reader are undesirable in the historical and literary commentary. The comment should be strict and extremely informational.

An example of a historical-literary commentary:

K.F. Ryleev (1795-1826) - Russian poet, Decembrist, participant in the uprising on Senate Square in St. Petersburg in 1825. He was hanged along with other organizers of the movement and leaders of the uprising. Duma "Ivan Susanin" was written in 1822, during the period of creation and strengthening of the activities of secret Decembrist organizations, when the poet systematically turned to the history of the Fatherland, the fate of its heroic defenders.

Ryleev's Duma is dedicated to the events connected with the attempts of the Polish king Sigismuid III to establish his son, Tsarevich Vladislav, on the Russian throne.

Susanin Ivan(? - 1613) - a hero of the liberation struggle of the Russian people at the beginning of the 17th century, according to some sources, a resident of the village of Domnina, Kostroma district. In the winter of 1613, being taken as a guide by a detachment of the Polish gentry, he led them into impenetrable forest jungle, for which he was tortured.

“But you won’t save Mikhail that!” The Poles were looking for and wanted to capture the future Russian sovereign Mikhail Romanov, who at that time was hiding within the Kostroma district.

Poles- Poles.

Moskal- comes from the Polish moskal - a native of Moscow (Muscovy), Russian (soldier). AT XVIII-XIX centuries the inhabitants of Eastern Belarus and Ukraine so called the soldiers of the army of the Russian Empire (including the Little Russians and Belarusians). Initially, the word had a neutral meaning and emphasized only geographical affiliation. Over time, the word "moskal" began to acquire a negative connotation in the territories of Wormwood, Belarus, Lithuania and Ukraine.

Sarmatians - common name nomadic pastoral Iranian-speaking tribes settled in the III century BC. e. - 4th century AD e. in the steppes from Tobol in the east to the Danube in the west (Sarmatia).

From the middle of the 16th century in Poland, they began to express the idea that the Polish gentry descended from the Sarmatians. The Sarmatians were considered excellent warriors, they created heavy cavalry, their weapons were swords and spears. In the text of the Duma, the word Sarmatians is used in the meaning of "warriors".

Zupan- among Ukrainians and Poles: an old semi-caftan.

Lucina- a thin long neck for lighting a peasant's hut.

“But know and rush: I saved Mikhail!” Susanin managed to notify Mikhail of the danger, and the retinue managed to take him to a safe place. Upon the accession to the throne of Mikhail Feodorovich in 1613, the offspring of Susanin were given a charter for a piece of land near the village of Domnino; it was confirmed by subsequent sovereigns.

Questions and tasks

1. Write a historical and literary commentary on the thought of K.F. Ryleev "Death of Yermak".
2. What figurative and expressive means does Ryleev use when drawing the figure of Yermak? What is emphasized, especially emphasized in his appearance and character?
3. How do you think Ryleev’s thoughts “Ivan Susanin” and “Death of Yermak” helped the poet achieve his goal: “To excite the valor of fellow citizens with the exploits of their ancestors”?

After lessons

Prepare materials for the historical and literary almanac "Decembrists - poets, publicists, revolutionaries." Compile an almanac.

It is widely believed that a commentary on a literary work is of genuine interest only to a literary critic.

© John Morgan Studio/Glitch

It is widely believed that a commentary on a literary work is of genuine interest only to a literary critic who is accustomed not to enjoy reading, but to dissect books - as Emile Zola, like a surgeon, dissected human personality. In fact, a thoughtful, detailed commentary is able to open the book from a new angle and for a reader who does not pretend to scientific laurels. Moreover, it is better to read it not after the fact, but in parallel with the main text, otherwise there is a risk of missing important details.

Ulysses by James Joyce

Commentary by S. Horuzhy

The translator Viktor Golyshev, who gave the Russian audience Truman Capote, Ken Kesey and Thornton Wilder, said during his speech for the Open Lecture project that the first publisher's review of the Russian translation of Ulysses was "80 pages of hate." In the USSR, Joyce's novel was published in its entirety in 1989 on the pages of the Foreign Literature magazine, and four years later, in the new state, it was published as a separate edition with an extensive commentary by Sergei Khoruzhy. In fact, Victor Hinkis began translating Ulysses into Russian, but he did not have time to complete the work, and after his death, the task of explaining almost every phrase in the novel went to Khoruzhy. Trying to conquer Ulysses without constantly turning to the commentary is not only completely useless: the book has a special, intuitive music of the language, and you can enjoy it without deep immersion in Joyce's intellectual games. However, Khoruzhy not only interprets numerous allusions to real historical characters and other literary works, but also marks the pivot points of the composition of "Ulysses" and highlights the main themes of each episode. Without their understanding, Joyce's stream of consciousness, alas, sometimes seems like an empty jumble of words.

"Moscow - Petushki" by Venedikt Erofeev

Commentary by E. Vlasov

Significantly inferior to "Ulysses" in volume, Venedikt Erofeev's poem "Moscow - Petushki" is quite comparable to Joyce's novel from the point of view of structure, themes and poetics: an autobiographical hero, a wandering motif, an image of a close but inaccessible beloved, and so on. True, if the concepts that Joyce operates with sometimes cause bewilderment even among the native Irish, then Erofeev seems to have everything very clear: the Kremlin, cologne, Gorky's hairy legs. It would seem, well, what is there to comment on? In fact, most of Erofeev's poem is a parody of other texts - starting with Radishchev's "Journey from St. Petersburg to Moscow" and ending with Soviet-era newspaper notes. Although Eduard Vlasov's detailed commentary on "Petushki" was criticized to the nines by the ideologist of the Voina art group Alexei Plutser-Sarno for overly straightforward interpretations and the desire to find literary parallels where they actually do not exist, it is worthy of attention because reveals the significance of "Petushki" for the history of development domestic literature- as a grandiose monument of prosaic conceptualism.

"Eugene Onegin" by Alexander Pushkin

Commentary by V. Nabokov

Eugene Onegin was first translated into English by Henry Spaulding in 1881. Since then, the English-speaking reader has seen more than a dozen translations of Pushkin's novel in verse and its fragments. The most famous today is considered to be the translation made by Vladimir Nabokov and published in 1964 in New York. Unlike most of his predecessors, Nabokov did not seek to English version"Onegin" was collapsible, okay, but to convey the exact contextual meaning of the original. In order for the audience to understand the cultural, historical and living conditions in which Pushkin's heroes lived, Nabokov provided his translation with a lengthy commentary, on which he worked for 15 years, and called it "an armchair feat." Without departing from the image of a meticulous but ironic critic, Nabokov talks about what hairstyles were fashionable to wear in Russia XIX century, how girls in Rus' guessed at their betrothed and why Pushkin speaks with such trepidation about women's legs. In a word, Nabokov's work in itself is worthy of the title of "encyclopedia of Russian life", which was awarded to "Onegin" by Belinsky.

"My Diamond Crown" Valentina Kataeva

Commentary by O. Lekmanov, M. Reikina, L. Vidgof

Although Valentin Kataev himself has repeatedly said that he does not consider My Diamond Crown to be memoirs, and argued that the book is a “free flight of fantasy based on true incidents,” for subsequent generations his novel became a storehouse of knowledge about Kataev’s contemporary writers. Olesha, Babel, Bulgakov, Pasternak, Yesenin, Mandelstam - whoever was brought to AMV under deliberately naive, almost childish nicknames like "Key", "Vyun" and "Konarmeyets". Of course, in order to recognize Mayakovsky in Commander, you don’t need a lot of intelligence, but with lesser-known characters, the situation is much more complicated. Therefore, the commentary of Oleg Lekmanov, Maria Reikina and Leonid Vidgof is not only a literary and cultural study, but also, on the one hand, a kind of key to the novel, and on the other, an attempt to separate its documentary component from the artistic one: after all, “My diamond crown ”- fictionalized memories, and in places Kataev sinned against the truth. For example, according to researchers, he exaggerated the degree of closeness of his relationship with Yesenin and passed off their "hat acquaintance" for "bosom friendship."

"Golem" by Gustav Meyrink

Commentary by V. Kryukov

The mystical essence of Prague, which today serves as an excellent bait for hundreds of thousands of tourists, is most total reflection found in the novel by the Austrian expressionist writer Gustav Meyrink "The Golem", based on the Jewish legend of the clay giant. According to legend, it was created by Rabbi Yehuda Ben Bezalel either to help with the housework, or to protect the Prague Jewish ghetto from pogroms. In Meyrink's novel, the Golem becomes the embodiment of chthonic horror, man's fear of the unknown. A short but detailed commentary by translator Vladimir Kryukov is valuable not only because it provides the key to the Kabbalistic symbolism of the novel. Prague near Meyrink is depicted as a labyrinth of dark, mysterious streets, in which the devil himself will break his leg. Kryukov, on the other hand, restores the geography of Athanasius Pernath's movements around the city, giving the reader the opportunity to follow in the footsteps of the hero and try to find the very house where the Golem, the restless soul of the ghetto, is hiding in a room without doors.

The Odyssey and the Iliad by Homer

Commentary by E. Thessalonica

Commentary, the volume of which exceeds the volume of the work itself, is not uncommon: take, for example, the mentioned work of Nabokov. The Byzantine church figure, historian and writer Eustathius of Thessalonica, who lived in the 12th century AD, went much further: his commentary on Homer's Odyssey and Idiad in the modern edition occupies seven volumes. Eustathius considers Homeric texts both in a philological and historiographical aspect: he analyzes the lexical composition of the poems, discusses the boundaries of truth and fiction in them, and tries to find evidence that some events of the Odyssey could have taken place in reality, since the memory of them supposedly keeps the Mediterranean. In addition, Thessalonica criticizes his fellow scientists for paying attention primarily to the Iliad, and neglecting the Odyssey because of the abundance of fabulous motives. Despite the fact that today scientific world no longer is a visible preference given to any of the strongholds of Homer's creative heritage, in the eyes of the mass audience, the Odyssey really still remains more of a book for children and adolescents, and the Iliad is a reference book for intellectuals.

"The Adventures of the Good Soldier Schweik" by Yaroslav Hasek

Commentary by S. Soloukh

Perhaps only in a country like the Czech Republic, where atheists live entirely in cities studded with ancient temples, a book full of toilet jokes about a drunkard who, using his idiotic frankness, did not leave a stone unturned from the policy of militarism, could become a national literary classic. True, it is still big question who suffers from idiocy is Schweik himself or everyone around him. Hasek's contemporaries thought that Schweik's popularity would be short-lived: they say that the novel is woven from details that will not say anything to those who did not live in Austria-Hungary in the 1910s. Well, let's say, how would the new generation know that a certain Palyvets really served in the Prague beer house "At the Chalice"? Nevertheless, thanks to the endless charm of the protagonist and the great skill of Hasek the satirist, "Schweik" is still briskly walking around the planet. To fill in the gaps in the knowledge of European history and life at the beginning of the 20th century, Sergey Soloukh’s commentary on the Russian translation of “Schweik” will help, where there is information about the real addresses mentioned in the book, and an analysis of the features of the characters’ language, and a panorama of the First World War, doubly relevant yet and because in our days this event seems to have finally begun to emerge from the shadows of Hitler's massacre number 1939.

Comments are a system of additions to the text, in their totality, revealing its meaning in more detail. Commentaries are especially necessary for the modern reader in order to understand the works of the past.

Comments differ in their tasks and objects of commenting.

The following types of comments are distinguished:

a real commentary explaining the realities (various objects of the material and spiritual life of society that are found in the work - facts, historical names, events, etc.)

historical and literary commentary, revealing the meaning and artistic features of the work, its significance and place in the historical and literary process;

a dictionary comment explaining words and phrases that are incomprehensible to the reader, and built in the form of an alphabetic dictionary;

textological commentary containing information of a textological nature;

historical and textual commentary containing information on the history of creation and study of the text of the work;

editorial and publishing comment containing an explanation of the principles and methods of preparing the text of a work for publication.

Historical and literary

Objective: to present in a succinct way complete picture the fate of the work in connection with the era, explain to the reader its ideological content, tell how the work was received by readers and critics of that time, reveal the significance of the work in the life and work of the writer, etc.

Its purpose is to put the work in connection with its time - to make it easier for the reader to understand it, and in some cases to find the only true way to explain the content masked by the author.

Real

Task: to give explanations of the objects, persons, events mentioned in the work, i.e. information about reality. Interpretation and only then informing.

This is a system of factual references to the author's text, so that the work is most fully and correctly perceived not only in its general ideological and artistic meaning, but also in all the details of its content.

Types of realia: geographical, ethnographic (names and nicknames), mythological and folklore, everyday, socio-historical (institutions, organizations, titles, titles, historical reminiscences).

The forms of real commentaries are varied: from short information, help to alphabetical and systematized indexes, glossaries, or illustrated material of a documentary type.

Dictionary (or linguistic)

Purpose: to explain to the reader those words and turns of speech that differ from the usual word usage in the modern literary language and therefore may not be understood by the reader or misunderstood.

Archaisms, neologisms, dialectisms, foreign borrowings, professionalisms, words with changed meanings, folk etymology, etc. - all this is material for comments. Explanations of the writer's grammar and language are given, including syntax and phraseology.

Unlike a real commentary, the interpreted word is the object of linguistic analysis.

Examples of historical and literary commentary

1) Made as a single, coherent text

On April 5, the day after Karakozov's assassination attempt on Alexander II, Nekrasov visited several dignitaries, including the son-in-law of M.N. Karakozovsky shot "Sovremennik", and received from them very disappointing information on this score. On April 6, at an emergency meeting of the Literary Fund, he, along with other members of it, signed a loyal address to Alexander II. On April 9, at a gala dinner in the English Club in honor of O. I. Komissarov, Nekrasov read a poem dedicated to him. On April 16, at a gala dinner in the English Club in honor of M. N. Muravyov, Nekrasov read a “madrigal” praising this last one ... This fact especially outraged Nekrasov’s former “allies”.

However, already on the eve of this speech, Nekrasov received a note from F. Tolstoy, in which he informed him that the fate of “The Contemporary was already a foregone conclusion and all Nekrasov’s efforts were in vain. On April 26, Nekrasov published another “book” (No. 4) of Sovremennik, not only publishing poems to Komissarov in it, but also placing a large loyal article by Rozanov about the April 4th event.

Opinions are growing among society about Nekrasov's "betrayal" of his ideals. However, it is not. This fact is confirmed by the fact that already on the evening of April 16, returning from the English Club, being in a state of shock, Nekrasov writes his poem:

The enemy rejoices, silent in perplexity

Yesterday's friend, shaking his head,

And you, and you recoiled in embarrassment,

Standing in front of me

Great suffering shadows

About whose fate I sobbed so bitterly,

On whose coffins I knelt

And the oaths of revenge menacingly repeated.

But impersonal ones shout: rejoice!

Rushing into the arms of a new slave

And nailing with a fat kiss

Unfortunate to the pillory.

(The enemy rejoices, is silent in perplexity ...)

No less significant is another fact. Shortly after the release of the April issue of Sovremennik, Nekrasov was not afraid to show up at the apartment of the newly arrested Eliseev. Here is how Eliseev describes this episode in his memoirs: “The next day after my arrest, Nekrasov bravely came to my apartment to inquire: what happened and how. I speak bravely because not one of my comrades, and in general none of the employees of Sovremennik, dared to do this. For from the very moment that the news of Karakozov's shot became known to all of Petersburg, everyone who touched literature immediately realized that no matter how the investigation proceeded, literature, according to our established custom, would nevertheless be the first to be brought to justice, and therefore, everyone settled down at home, trying to have as little communication as possible among themselves, excluding, of course, cases of extreme need. (Eliseev G.Z. From memories // 37:128)

But no matter how great the sacrifices made by Nekrasov in April 1866, they did not achieve their goal. From the "Case of a special commission chaired by Prince P.P. Gagarin (began on May 13, 1866, decided on August 21 of the same year)" it is clear that the commission, at the insistence of M.N. affairs now completely stop the publication of Sovremennik and Russkoe slovo (42:174). On June 1, Pypin, who replaced Nekrasov, who had left for Karabikha, as editor-in-chief of Sovremennik, received an official notice of the magazine's ban. All Nekrasov's actions aimed at preserving the journal were in vain. Moreover, Nekrasov's associates perceived the forced rapprochement with the "conservative camp" as a betrayal, most of them did not understand the forced nature of this measure. Nekrasov found himself, as it were, "under a double blow" - from ideological enemies and from yesterday's comrades-in-arms and like-minded people. Nekrasov experienced several blows. The first blow is that he was forced to "break himself", to break his convictions. The second blow is the futility of such actions. And the third, the strongest, is that all his yesterday's friends turned their backs on him. A mood of distrust towards Nekrasov and condemnation of his actions grew in society.

2) Made as a series of extracts from the text, accompanied by a commentary on semantic difficulties

A.S. Pushkin

D. V. Davydov

You a singer, you a hero!

I failed after you

With cannon thunder, in fire

Ride on a crazy horse.

Rider of the humble Pegasus,

I wore the old Parnassus

Out of fashion uniform:

But even in this difficult service,

You are my father and commander.

Here is my Pugach - at first glance

He is visible - a rogue, a straight Cossack!

In your forward detachment

The constable would have been dashing.

1836

Denis Vasilievich Davydov - A contemporary of A. S. Pushkin, who achieved success in military career: held the rank of lieutenant general, wascommanders of one of the partisandetachmentsduringPatriotic War of 1812 .

"To you a singer, to you a hero!"

Denis Davydov is known not only as a Russian warrior hero, but also as a Russian poet, a representative of "hussar poetry" or"one of the most poetic persons in the Russian army" (according to his own description).

"I failed after you

With cannon thunder, in fire

Riding a mad horse…”

Pushkin studied at the Tsarskoye Selo Lyceum and was still very young when Napoleon invaded Russia. He and his comrades dreamed of "cannon thunder" and "mad horse", eager to fight, inspired by patriotic feeling. But none of them managed to take part in hostilities.

"Rider of the humble Pegasus,

I wore the old Parnassus

Out of fashion uniform "

Pegasus - in Greek mythology- a winged horse, a favorite of the muses, a symbol of inspired poetic creativity.

Parnassus - sacred mountain in Greece, was considered the habitat of the Muses and Apollo.

Most likely, Pushkin hints in these lines about his adherence in the lyceum years to the canons of classic poetry, which was already becoming obsolete at that time, while the poetry of D. Davydov bore the features of romanticism.

“But even in this difficult service,

And then, oh, my wonderful rider,

You are my father and commander…”

Pushkin was still studying at the Lyceum when D. Davydov, the legendary partisan, became known as a poet. His poems had a great influence on the work of the young poet, "soldier" rhymes resonated in the works of Pushkin. Examples are the poems "Feasting Students", "Delvig". And, of course, the poem itself "To you a singer, to you a hero ..." was written in the spirit of Denis Davydov's poetry.

“Here is my Pugach - at first glance

He is visible - a rogue, a straight Cossack!

This poem was sent by Pushkin to Davydov, who arrived in St. Petersburg in 1836, along with the book History Pugachev rebellion a year after its publication. The lines contain a hint of Davydov's character traits - his direct disposition, ardor and straightforwardness, associated with Cossack prowess. It is not for nothing that the Cossacks themselves, who were assigned to him in the service, loved him so much.

Vorozhtsova Anastasia, 10th grade, 2013