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  • Yaroslavna: Heroes of myths and legends - Mythological encyclopedia. Why is Yaroslavna crying in Putivl? Yaroslavna in Putivl on the visor, saying

    Yaroslavna: Heroes of myths and legends - Mythological encyclopedia.  Why is Yaroslavna crying in Putivl?  Yaroslavna in Putivl on the visor, saying

    Reconstruction and translation by D. Likhachev

    Old Church Slavonic text

    A voice is heard on the Danube of Yaroslavl,
    zegzice is unknown, it’s too early to say:
    “I’ll fly,” he said, “on the route along the Dunaevi,
    I’ll wash my hairy sleeve in Kayal Retz,
    In the morning the prince will see his bloody wounds
    on his body."

    Opera "Prince Igor". Yaroslavna's lament (listen)

    Yaroslavna cries early
    in Putivl (on the visor), Arkuchi:
    “Oh, the wind, the sail!
    Why, sir, are you forcing yourself?
    Why are Khinov’s arrows moot?
    (in his easy way)
    in my opinion, howl?
    You never know how the mountain blows under the clouds,
    cherishing ships on the blue sea?
    Why, sir, is my joy
    scattering along the feather grass?

    Yaroslavna is too early to cry
    I’m putting the city on the fence, Arkuchi:
    “About the Dnieper Slovutitsyu!
    You have broken through stone mountains
    through the Polovtsian land.
    You cherished Svyatoslavl's nosads
    to Kobyakov's cry.
    Cherish, sir, my kindness towards me,
    but I wouldn’t have sent tears to him
    It's early at sea."

    Yaroslavna cries early
    in Putivl on the visor, arkuchi:
    “Bright and bright sun!
    You are warm and red to everyone:
    to which, sir, shine your ardent rays
    Are you okay?
    In the abyssal field I long for their rays to be harnessed,
    Shall they wear it tightly?”

    Translation

    Yaroslavna's Lament - listen to audio

    Yaroslavna cries early
    “Oh wind, sail!
    Why, sir, are you blowing towards me?
    Why are you rushing Khin's arrows?
    on their light wings
    on my dear warriors?
    Wouldn't it be enough for you to breathe under the clouds?
    cherishing ships on the blue sea?
    Why, sir, did you scatter my joy through the feather grass?”

    Yaroslavna cries early
    in Putivl-city on a visor, saying:
    “Oh Dnepr Slovutich!
    You broke through stone mountains through the Polovtsian land.
    You cherished Svyatoslav’s plantings on yourself
    to Kobyakov's camp.
    Come, sir, to my dear one,
    so that I don’t send tears to him
    it’s early at sea!”

    Yaroslavna cries early
    in Putivl on a visor, saying:
    “Bright and thrice bright sun!
    You are warm and wonderful to everyone:
    why, lord, did you spread your hot rays
    on the warriors of my fret?
    In a waterless field thirst twisted their bows,
    Have they filled their quivers with grief?”

    Questions for backfilling

    This question has been haunting me ever since I started thinking about the authenticity of the ancient poem “The Tale of Igor’s Campaign.” Researchers assure us that the poem was widespread in Rus', that its images were used by other authors in their works. Let's agree with this opinion.

    But a completely non-trivial question immediately arises: why has not a single copy of the poem survived? I'll clarify. Strangely enough, not a single copy of the ancient list of at least the 16th or 17th centuries, not to mention more ancient centuries, has survived. If the poem was so popular that it was quoted, then every single copy could not have disappeared.

    Or did someone deliberately destroy everything genuine and replace it with fakes?

    There was one single text that was found along with others, two copies were made from it and a publication was prepared in 1800, but both this text and part of the edition burned in the great Moscow fire of 1812, along with the ancient Musin-Pushkin manuscripts. The manuscripts burned, but the house where they were kept still stands. They were apparently taken out so that not a trace of them would remain. It seems that someone was very interested in the ancient manuscripts being burned: there is no documentary evidence, no facts to refute the lie that was laid at the foundation of Russian history. In fact, all antiquities in Rus' are of late origin; they were created mainly after the accession of the Romanovs, that is, in the 17th century and later. And where are the helmets, swords, armor, bells, crowns, powers, sceptres, seals, labels, charters and simply letters of the Russian tsars and grand dukes of pre-Romanov Russia? Finally, where are the coffins and sarcophagi of the great princes and kings? Everything has disappeared, everything has been destroyed or replaced with cheap fakes, just like the history of Russia itself.

    In my opinion, “The Tale of Igor’s Campaign” is a pronounced forgery of a later time, an illustration of the story that was prepared by foreigners at the request of the Russian tsars from the Romanov dynasty. I do not rule out that when creating “The Tale of Igor’s Campaign,” the authors of the forgery used some truly talented works of Russian literature, ancient manuscripts, and some manuscripts in Russian. The poem - I want to especially note this - is not as brilliant as commentators have interpreted and are interpreting it. It’s just that Russian society is hypnotized by numerous comments and praise. Undoubtedly, the poem contains talented fragments, the vocabulary is unique in places, and the plot is clearly thought out. The work is carefully constructed and has a complex composition. And yet this is not the original. Many facts support the forgery, including Yaroslavna’s crying.

    It should be especially noted that crying belongs to a very popular literary movement at one time - sentimentalism. Sentimentalism (from the French sentumentalisme< sentiment «чувство») как литературное течение возник в конце XVIII – начале XIX века, направленное в противовес просветительскому рационализму. То есть чувства и чувствительность были противопоставлены хищничеству и торговому расчету. Яркими выразителями сентиментализма были Жан Жак Руссо во Франции, Лавренций Стерн в Англии, Фридрих Шиллер в Германии, Николай Карамзин в России. Само появление такого направления в литературе очень закономерно, даже в рамках официальной истории.

    By the 18th century, the split of the world empire was completed, the era of brutal showdowns and internecine wars ended. The property of the old imperial center in Europe was divided and vast overseas territories were seized by the victors. The former single world with one control center was divided into several, a single giant empire occupying all the continents known at that time was split, and the new rulers of the monopolies suddenly felt themselves to be very significant figures, sat on richly decorated thrones and took into their hands a golden apple with a cross. as an ancient symbol of a single supreme royal power.

    Gold, silver and cheap goods are now being brought from the colonies to Europe, everything is seized, everything is paid for. History has been altered to suit the ruling Reformation. The Church split into three great movements. It's time to stop, look around, and think about the state of mind of the upper stratum of society. But by this time, those who were at lower social levels also began to receive education. They, too, are beginning to demand their share of the single pie. It turns out that they suffered more than others during the reformation changes. People in the new metropolises have more free time, which can be used for self-education, reading books, and engaging in artistic creativity. Literature has become another way to make money. And helpful writers, it seems, not without the influence of religious literature, strive to squeeze a tear from the enlightened reader. They pay more for such works. Was it not sentimentalism with its tearfulness that brought people into the square and began to put their former rulers on the chopping block? However, this is a topic for a separate discussion.

    Let me clarify. Crying as a genre is becoming one of the most important areas of sentimentalism.

    Following the author of the apocalypse, Saint John the Theologian, who was allegedly frightened by the upcoming future, the heroes of literary works begin not only to cry, but also to sob. Apocalypse is the predecessor of sentimentalism; there is no centuries-old gap between them, as they try to convince us. These are the fruits of close eras, only the apocalypse tells about the events that preceded the split of the world empire. If I may put it roughly, John weeps about the fate of all humanity on the eve of the great schism, and sentimentalism, as it were, sums up the results and ends the schism, weeping about the fate of a particular person. That is, by the time sentimentalism arose, the new world had slightly licked the wounds already inflicted on the body and began to heal mental trauma. Between these events, the apocalypse and sentimentalism, is the work of historians, chroniclers, and philosophers who spread the events along a chronological scale and created a new, false outline of world history. Now it was necessary to fill this canvas with facts.

    “The Tale of Igor’s Campaign” is essentially an illustration of the future history of Russia, which Nikolai Karamzin will later write according to instructions received in scientific centers of Western Europe, according to crib sheets prepared by foreigners at the Russian Academy of History. Karamzin preceded his work on the poem and history of the Russian State with a trip to enlightened Europe and “Letters of a Russian Traveler.”

    In “The Tale of Igor’s Campaign” one of the most striking scenes is the crying of Princess Yaroslavna. And although this is a literary work created in full accordance with the canons of sentimentalism, for some reason commentators have sought out supposedly authentic prototypes. Yaroslavna supposedly corresponds to Efrosinya Yaroslavna, daughter of Yaroslav Vladimirovich Galitsky, “Osmomysla”, second wife (since 1184) of Igor Svyatoslavich.

    When you are firmly convinced and clearly realize that the history of Russia was different, you clearly notice the mistakes of the “counterfeiters.”

    Crying, it would seem, always accompanied Rus'; such a fate was prepared for it, to be humiliated and offended. The situation has allegedly persisted from ancient times to the present day. A people who have a very high degree of survival and optimism, who in recent times united another sixth of the land, a people who to this day have a unique, very expressive and figurative language, cannot have the kind of history that was left to them by Western reformers.

    The Russians, like the Turks, were simply thrown out of the world historical process. Why? Russians, even in conditions of the most severe terror of the authorities and occupation, retain optimism, a sober outlook, and a desire for justice.

    To cry is to shed tears, to shed tears, to grieve tearfully or to beg. To sob is to scream, to cry out loud, sobbing, howling. Crying is a more sincere expression of feelings. Crying is most often a job for show, to be appreciated by others. And it is not at all by chance that in the past the word “mourners” appeared in the Russian language, as professional mourners for the dead of others were popularly called. A mourner is one of her own, a mourner is for money, for some kind of service, mercy or for a product, this is for show.

    Yaroslavna’s cry is still a sincere cry, sincere concern for someone, but hardly for Igor. Yaroslavna's lament is a very expressive insertion in the poem, but it is almost unconnected with other parts.

    Read the texts of the poem and you will feel the inconsistencies. Let's figure it out together. Yaroslavna cries for her husband, who has gone far away to war. He may die. Yaroslavna, as it were, mentally accompanies him on his journey and knows what is happening to him at every moment. I have known many people who, at long distances, feel the state of mind of their loved ones: they are calm while their relatives are doing well, but they feel the moment when their relatives get into trouble. Yaroslavna felt the misfortune that had befallen her husband; she seemed to invisibly accompany him on the campaign, but - and this is very strange - she never calls the prince by name. Why? Or maybe the husband was not a prince? Or maybe her husband fought in a completely different place? Or maybe he had a completely different name? The number of questions is increasing. Doubts creep in about the reliability of the events, and they are not far from the assumption that there was no name in the passage copied from somewhere.

    And here's what's still strange. “On the Danube, Yaroslavl hears a voice” (quoted from an ancient Russian text considered official). What do you hear there? “I will fly - speech - the zigzition along the Dunaevi, I will wash the wilds of the sleeve in Kayala Retz, I will morning the prince with bloody wounds on his cruel body.”

    The question immediately arises, why are we talking about the Danube, if Igor and his brother led their squads to the Don or Donets, as noted in some comments? The Danube flows in a completely different place. Perhaps in that ancient poem from which this expressive passage was borrowed, the action took place on the Danube?

    However, perhaps Yaroslavna came from somewhere on the Danube, because Romanov historians place the chronicle of Galician Rus' somewhere near the Danube. Perhaps this territory was designated to be Galicia because there was such a territory on the old imperial coats of arms, and the Romanovs decided to designate it as if it were their domain. In particular, historians claim that the Galician prince Yaroslav Svyatoslavich, Yaroslavna’s father, ruled not only Kiev, but also Hungary. There are traces of Galicia in the south of Poland, in the northern Carpathians, but in this case Yaroslavna should not have memories of the Danube.
    In her address to the Dnieper, Yaroslavna clarifies: “Charm, sir, my love for me, and I would not have sent him tears to the sea early.” From the text of the lament it follows that Yaroslavna’s fret is fighting somewhere on the Danube near the sea, and not at all on the Don. And therefore it turns to the Dnieper only because it is the shortest route to the sea and along it to the mouth of the Danube.

    This fact alone is enough to notice a fake. We can say that this is an excerpt adapted to this place from some authentic work of the past that has not reached us. So a schoolboy inserts excerpts from other people's works into his essays, adjusts them to his own tone, tries to convince everyone that he himself thought of this, but he will certainly stumble on some trifle. Yaroslavna's lament also stands out and convicts the copyist of falsification. It would seem like trifles - the name of the beloved prince is not named, the place of the battle is indicated near the sea - but they also let the forger down. Let's try to figure it all out.

    Putivl today is not a Russian city, but a Ukrainian one; it stands on the Seim River, which flows into the Desna, a tributary of the Dnieper. This means that in the old days, which is described in the Lay, it stood on the same river. Novgorod-Seversky, standing on the Desna River, is now also a Ukrainian city, and according to commentators of the Lay, in the past it was owned by a descendant of the Chernigov princes Igor Svyatoslavich (allegedly 1150 - 1202), the son of Svyatoslav Olgovich, the grandson of Oleg Svyatoslavich, nicknamed " Gorislavich." Two cities, Novgorod-Seversky and Putivl, are less than a hundred kilometers apart. In one work, these two cities are far-fetched. There is no direct connection between them, if you do not take into account the comments in which Yaroslavna is called the second wife of Prince Igor. Prince Igor reigned in Novgorod-Seversky, apparently had a good house there, and left his wife about a hundred miles away in Putivl. Why? There is no explanation for this.

    “Yaroslavna cries early in Putivl on her visor.” A visor, according to Dahl, is a lifting lattice in front of the helmet, for the face, lyceum, platband. By analogy, we imagine an ancient Russian city. The visor looks like it is the fortified front part of the city, the entrance gate with gate structures. This means that when in translation we read “on the wall,” this is not entirely true. The word itself is very interesting and expressive; it shows that due to it, what you own seems to slightly expand. At the fortress, it seems that this is also a lattice, pushed forward, standing in front of the gate. They could also call the entire complex of fortifications at the entrance gate a visor.

    And in one of the modern translations addressed to schoolchildren, it is noted:
    “Yaroslavna cries early in the morning in Putivl-city on the battlement wall.” Where did this battlement come from? If you translate in prose, then you need to be as accurate as possible.

    Did the famous poet Vasily Zhukovsky also not quite correctly translate this passage? He has “Yaroslavna crying on the wall.”
    What do other translations say? In the transcription by Apollon Maykov we read:
    “Igor hears Yaroslavl’s voice...
    There she is, in Putivl, very early
    Standing on the wall and wailing..."

    There is not a word in the poem about what she is worth. Standing there is too theatrical, for show, but Yaroslavna sincerely yearns for her husband. She is alone in her grief.

    But Nikolai Zabolotsky correctly read this place in the poem:
    Far away in Putivl, on the visor,
    Only the dawn will break in the morning,
    Yaroslavna, full of sadness,
    Like a cuckoo, it calls to the Yura.

    The very famous illustrator of “The Lay” V.A. Favorsky in his engravings depicted Yaroslavna on the wall of a wooden town. In those places in Rus', white stone walls were erected from hewn natural stone with lime, and they did this not out of whim, but out of necessity, since this was already a forest-steppe and there was no shortage of wood from which to build fortresses.

    So, “Yaroslavna cries early in Putivl on her visor.” In accordance with the traditions of oral folk art, and many literary works, Yaroslavna makes her appeals three times: to the wind (“Oh, wind, sail!”), to the river (“Oh, Dnieper Slovutitsyu!”), to the sun (“Svetloe and the bright sun!”)

    Have you noticed anything strange? Igor went with his squad to the Don, and Yaroslavna was going to fly along the Zegsitz to the Danube. Igor was traveling to the Don via Kursk. Remember, he is waiting for his dear brother Vsevolod, and he already has a horse-drawn squad waiting near Kursk. But the upper Don and Danube are generally in different directions.

    Well, let’s say Yaroslavna was illiterate and did not study geography. But where was the author looking? Judging by the text, he was a very educated man of his time.

    And that is not all. Igor with Vsevolod and his squads went to the east or southeast. The battle with the Polovtsians is taking place somewhere on the Don, and Yaroslavna turns to the Dnieper. But this river is in a completely different direction, because the Seim flows from Putivl to the west, and the Desna to the west and southwest to the confluence north of Kyiv with the Dnieper.

    There is a logic in the fact that Yaroslavna gets up at dawn, while no one is there yet and no one is bothering her, and turns to the rising sun, then to the wind. The husband and the soldiers are somewhere there. It is more logical to turn to the Don, he is there, in the direction where the sun rises. But Yaroslavna turns to the Dnieper. Why? We have already answered this question: it is easier to get to the sea through the Dnieper, and through it to the mouth of the Danube. Everything that is said about Igor and everything that is said about Yaroslavna are two different literary works.

    Now let's look at the final lines of the poem. Igor comes running from captivity to Kyiv. But this is not his patrimony. His house is in Novgorod-Seversky, his second wife Efrosinya Yaroslavna, according to the comments, is waiting for the prince in Putivl. And he runs to Kyiv, past his own house, past his wife’s location, straight to his father-in-law. Here he will be happy with his son-in-law, who lost his squad, brought the Polovtsians to their native land, and he himself came to his grand-ducal court with nothing! Why? Where is the logic to explain such an act? Home is closer to Igor than to Kiev: and he doesn’t have to answer to the Grand Duke, and he doesn’t need to keep his father-in-law, because time is the best healer, and to meet his wife as soon as possible, she will help with her actions to settle differences with his father-in-law, and to soften the Grand Duke’s anger. It is dangerous to bring bad news, you can fall under a tough hand.

    And the Polovtsian khans Gzak and Konchak argue that if a falcon flies to its native nest, then it will not set its sights on red maidens. And if he is so covetous, he can take these red girls with him. And this falcon passed by the house and to a foreign principality, to Borichev, a suburb of Kyiv, for a divine service. In a word, again a contradiction to common sense.

    There are many such contradictions in world history as in Griboedov’s comedy: I ​​walked into a room and found myself in another.

    Something similar happened to Columbus: he sailed to India, sailed to America, discovered the New World. He set off on a long journey, supposedly from Palos, a small port town, of which there is no trace in the modern world, and sailed to Barcelona, ​​to attend the celebrations of the Spanish king. And this is an extra 700-800 kilometers. Or is there not much that can be shown on paper?

    Magellan allegedly gave the name to the Pacific Ocean. The ocean is not the Pacific Ocean at all, but if Magellan carried out a military expedition to seize new lands for Europe and did not encounter fierce resistance from the aborigines on the Pacific Islands, then the ocean can be called the Pacific Ocean. It appears that James Cook trusted this assessment and suffered.

    Hence the conclusion: when they start lying somewhere, they can’t make ends meet.

    I have read a lot of various literature related to “The Tale of Igor’s Campaign,” but I frankly admit that I don’t know the answer to the question of why Yaroslavna is crying in Putivl. Usually, in such conditions, the young wife was left under the supervision of close relatives in her own home, and not somewhere a hundred miles away with someone unknown. In general, Yaroslavna’s lament is a talentedly executed excerpt from a completely different work, which has nothing to do with the story of Prince Igor’s unsuccessful campaign.

    “Yaroslavna cries early...”

    (The heroine of “The Tale of Igor’s Campaign” among her contemporaries)

    What is surprising about the fate of “The Tale of Igor’s Campaign,” the great ancient Russian poem, is that over time, debates about it flare up more and more hotly and fiercely. The mountains of books and articles about the poem are hundreds of times larger than its volume. Her central female image is the figure of Yaroslavna, the wife of Prince Igor. In the poem we follow the intertwining of the destinies of a variety of princes - contemporary to the author or who are history for him - but it was Yaroslavna on the city “fence of the wall”, conjuring the sun, winds and the Dnieper to help her beloved husband escape from captivity, where he ended up after an unsuccessful battle with the Polovtsians, is perhaps the most lively and vibrant face of “The Tale of Igor’s Campaign.” In fact, at the mention of this heroic epic, every second person will involuntarily remember: “Why. Why, Yaroslavna is flying along the coastline to the Danube...”

    Who hasn’t admired this creation of the nameless singer! Pushkin wrote about the wealth of “poetry... in Yaroslavna’s cry.” The famous Austrian poet Rilke, in love with Russian literature and who created the best translation of the poem into German, noted: “The most delightful place is the cry of Yaroslavna, as well as the beginning, where a proud, unsurpassed comparison is given with 10 falcons lowered on swans... Nothing like this Don't know".

    If we consider “The Tale of Igor’s Campaign” as a kind of “War and Peace” of the 12th century, then the scenes of peace in the poem are, first of all, Yaroslavna’s lament.

    How should we imagine her - the wife of Prince Igor? What can we say about her? After all, even her name has not been preserved, and Yaroslavna is her patronymic. The heroine of the poem bears the name of her father - Yaroslav Galitsky Osmomysl, which is natural for that time when a woman called herself after her father, husband and even father-in-law. At the completion of restoration work in the main cathedral of Kievan Rus - Sophia of Kyiv, a graffiti inscription (a special technique of wall writing) of the 12th century was found on the plaster: “Behold, in Sofia was the much-sad Andreev’s daughter-in-law, Oleg’s sister and Igor and Vsevolod.” This inscription was made by the sister of the heroes of the poem - Prince Igor, “buy-tur Vsevolod” and Oleg, who died earlier in the ill-fated campaign. The unfortunate widow (in the chronicle called “Volodymyria” - after her husband) identified herself by belonging to the prince’s house, as a sister and daughter-in-law, but did not dare to record her name.

    In the complex and difficult fate of studying the Lay, the first to propose that Yaroslavna be considered the daughter of Yaroslav of Galicia was Empress Catherine II. A lover of Russian history and genealogy, she worked a lot on her “Notes on Russian History,” which she brought to the end of the 13th century. The same Catherine told the first publisher of the Lay, Count A.I. Musin-Pushkin, the name of Prince Igor’s wife: her name was supposedly Efrosinya. The evidence for this was compelling: the chronicles mentioned the misadventures of Yaroslav’s son, Vladimir, who in 1184 found refuge with his brother-in-law (that is, his wife’s brother), Prince Igor of Novgorod-Seversk. From here was born the established assumption that Yaroslavna married Igor only a year before the campaign, was a stepmother to his sons, the prince’s second wife, a young princess.

    The name Euphrosyne actually appears in the Lyubech Synodikon, the memorial book of all Chernigov princes and their spouses, but there is no precise indication that the name Euphrosyne refers to the wife of Prince Igor, and such experts on Chernigov antiquities as Filaret directly expressed this is a doubt. And although almost two hundred years of tradition lists Yaroslavna as Euphrosyne, there is too little genuine historical data to affirm this decisively and to reconstruct the historical image of the heroine of the Lay. However, we can remind you of something about it, at least by the system of reflections from other mirrors. Having looked more closely at the faces and destinies of Yaroslavna's contemporaries - women of the 12th century, we will perhaps more reliably highlight the poetic figure of the heroine of the ancient poem, hiding in the darkness of times.

    From the book Rurikovich. Gatherers of the Russian Land author Burovsky Andrey Mikhailovich

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    A WORD ABOUT IGOR'S REGIMENT,

    IGOR SON OF SVYATOSLAVOV, GRANDSON OF OLGOV

    Translation by Vladimir Stelletsky

    Is it not right for us, brothers,

    stories in the old style, sad tales

    about the campaign of Igor, Igor Svyatoslavich?

    Sing that song according to the stories of our time,

    and not according to Boyanov’s plans.

    Boyan is prophetic, brothers, if he wanted to write a song to someone.

    thoughts spread throughout the tree,

    rushed like a gray wolf across the earth,

    a gray eagle - in the clouds:

    After all, he, the prophet, remembered the battles of ancient times. Then he let ten falcons attack a flock of swans, which the falcon was chasing,

    that first song composed

    old Yaroslav,

    brave Mstislav,

    who defeated Rededya before the Kasozh regiments, or the young Roman Svyatoslavich.

    Boyan, brothers, there are not ten falcons for a flock of swans

    let in

    but he laid his prophetic fingers on living strings,

    They themselves roared glory to the princes.

    Let us tell, brothers, our tale

    from old Vladimir to present Igor;

    he strained his mind with his will,

    he sharpened his heart with courage;

    filled with the military spirit,

    led his brave regiments to the Polovtsian land for the Russian land.

    Then Igor looked at the bright sun

    and he sees: from him there is darkness

    all his warriors are covered.

    And Igor said to his squad:

    “Brothers and squad!

    It's better to be killed

    than to be full of, -

    Let us mount, brothers, on our greyhound horses,

    Let's look at the distance of the blue Don!

    The prince's mind was inflamed with desire,

    and the sign of thirst obscured him

    to experience the great Don.

    “I want,” he said, “to break a spear in the Polovtsian field together with you, Russians;

    I either want to lay down my head,

    or drink the don’s helmet!”

    O Boyan, nightingale of old!

    If only you could sing this army with your song,

    galloping, nightingale, along the mental tree,

    flying with your mind under the clouds,

    gaining glory on both sides of this time!

    Traversing the Troyan path through the fields to the mountains,

    So it would be nice to sing a song about Igor to Velesov’s grandson:

    “It was not a storm that carried the falcons across the wide fields,

    and it’s not jackdaws that fly in flocks to the great Don...”

    Or the prophetic Boyan, Veles’s grandson, would sing like this:

    “The horses neigh for Sula -

    glory rings in Kyiv.”

    Trumpets sound in Novgorod -

    there are banners in Putivl;

    Igor is waiting for his dear brother Vsevolod.

    And Vsevolod said to him:

    “One brother, one bright light - you, Igor,

    we are both Svyatoslavichs!

    Saddle up, brother, your greyhound horses,

    and mine are ready, standing near Kursk, saddled,

    And my Kurians are seasoned warriors:

    under the trumpets the military midwives,

    cherished under the helmets,

    from the end of the spear they were fed;

    they know the ways,

    the ravines are known,

    their bows are tense,

    the quivers are open,

    the sabers are sharp;

    they themselves gallop like gray wolves in the field,

    seeking honor for yourself and glory for the prince.”

    Then Prince Igor stepped into the golden stirrup

    and drove across an open field.

    The sun crossed his path like darkness,

    the night moaned to him like a thunderstorm, awakened the birds,

    the roar of an animal drove them into the herd.

    Div calls from the top of the tree -

    commands the unknown land to listen,

    Volga, and Pomerania, and Posulia,

    and Surozh and Korsun,

    and you too, Tmutorokan idol!

    And the Polovtsians ran along untravelled roads to the great Don;

    The carts scream at midnight, like frightened swans. Igor leads the warriors to the Don.

    And the birds in the oak forests are guarding his misfortune;

    wolves are calling a thunderstorm through the ravines;

    the eagles scream at the bones of the beast;

    foxes rush onto the red shields.

    Long does the darkness of the night last.

    The dawn has lit the light,

    darkness covered the field.

    The nightingale's tickle fell asleep,

    the chatter of the jackdaw awakened.

    The Russians blocked wide fields with their scarlet shields,

    seeking honor for himself and glory for the prince.

    Early on Friday morning they trampled the filthy shelves

    Polovtsian

    and scattered arrows across the field,

    they rushed off the red Polovtsian girls,

    and with them gold, and silk, and expensive Aksamites. Cloaks, blankets and blankets, and various Polovtsian patterns

    They began to build bridges over swamps and swampy places. Black banner, white banner,

    black bangs, silver peak -

    brave Svyatoslavich!

    Olga’s good-natured nest is dozing in the field, it has flown far away!

    It was not born to offend either the falcon or the gyrfalcon

    not for you, black raven, filthy half-wit!

    Gza runs like a gray wolf,

    Konchak follows him - to the great Don!

    The next day at an early hour

    bloody dawns herald the light;

    black clouds are coming from the sea -

    they want to cover the four suns,

    and blue lightning flutters in them.

    May there be great thunder!

    Let it rain like arrows from the great Don!

    Here the spears will break,

    I'll take a saber beating here

    about the Polovtsian sheloms

    on the river on Kayal, near the Great Don.

    O Russian land - O warriors! You have gone over the hill, borderline!

    Here are the winds, Stribozh's grandchildren, blowing arrows from the sea to

    Igor's brave regiments.

    The earth is humming, the rivers are flowing muddy,

    the ashes cover the field, the splashes, the banners say,

    the Polovtsians come from the Don and from the sea,

    Russian regiments were surrounded on all sides.

    The demonic children blocked the fields with a cry,

    and the brave Russians - with scarlet shields!

    Yar-tur Prince Vsevolod!

    You're on the defensive

    you shoot arrows at the warriors,

    you rattle your damask swords against your helmets;

    wherever you go, with your golden helmet

    shining,

    That’s where the filthy Polovtsian heads lie.

    Avar helmets were chopped with hot sabers

    yours, yar-tur Vsevolod!

    Why are there wounds, brothers?

    who forgot honor and wealth, and the city of Chernigov father

    golden throne,

    and his dear wife, clear Glebovna, habits and customs.

    There were centuries of Troyans,

    The Yaroslav years have passed;

    there were campaigns by Oleg, Oleg Svyatoslavich.

    That Oleg forged sedition with a sword

    and he sowed arrows on the ground:

    enters the golden stirrup in the city of Tmutorokan,

    the great Vsevolod, the son of old, heard that ringing

    Yaroslavov,

    and Vladimir, every morning, blocked his ears in Chernigov;

    Boris Vyacheslavich

    boasting led to the death court,

    young and brave prince,

    and she laid a green bed on Kanin for offending Olegov. With the same one as now, Svyatopolk took his father to Kayaly

    his

    between Ugric pacers to St. Sophia to Kyiv.

    Then, under Oleg Gorislavich,

    was sown and sprouted by strife,

    the side of Dazhdbozh’s grandson perished,

    in the prince's sedition, the human age was shortened;

    then the plowmen rarely shouted across the Russian land,

    but often the crows croaked,

    dividing the carrion among themselves,

    and the jackdaws started talking,

    getting ready to fly for the kill.

    It was during those battles and those campaigns,

    but such a battle has never been heard of.

    From dawn until evening,

    from evening until light

    red-hot arrows are flying,

    sabers rattle on helmets,

    cracking replica damask steel

    in an unknown field, among the Polovtsian land.

    The black soil under the hooves was sown with bones,

    and watered with blood;

    they ascended in grief across the Russian land!

    What is making noise, what is ringing from afar?

    early before the dawn?

    Igor returns the regiments to battle:

    I feel sorry for his dear brother Vsevolod!

    We fought one day, we fought another,

    On the third day, by noon, Igor’s banners fell.

    Here two brothers were separated on the banks of the fast Kayala

    there's not enough bloody wine here,

    here the brave Russians finished the feast:

    got the matchmakers drunk,

    and they themselves died

    for the Russian land.

    The grass will fade with pity,

    Already a gloomy time, brothers, the time has come,

    The Desert has already covered the Russian Power!

    Resentment arose with enmity in the regiments of Dazhdbozh’s grandson,

    a virgin entered the land of Troyan,

    splashed with swan wings on the blue sea near the Don,

    splashers, drove away the fun times!

    The war between the princes and the filthy has come to an end,

    for brother said to brother: “This is mine, and this is mine!”

    And the princes began to say about the small “here is the great”

    and forge sedition against ourselves,

    and the filthy from all sides came with war and misfortune to the Russian land.

    ABOUT! A falcon flew far away - to the sea, beating up birds.

    But Igor’s brave regiment cannot be resurrected!

    Karna clicked on it,

    And Zhlya ran across the Russian land,

    carrying funeral heat in a fiery horn.

    The Russian wives burst into tears, wailing:

    “We can no longer think of our dear ones,

    I don't even think about it,

    you can’t see with your eyes,

    and there’s no way to amuse oneself with gold and silver!”

    And, brothers, Kyiv groaned with grief,

    and Chernigov from troubles and misfortunes,

    melancholy spread across the Russian land,

    abundant sadness flowed among the Russian land.

    And the princes forged sedition against themselves,

    and the filthy ones, scouring the Russian land with war and victories,

    tribute was collected per century from the yard.

    Those two brave Svyatoslavichs,

    Igor and Vsevolod,

    awakened falsehood by self-will;

    she was humbled by a thunderstorm by their father, the great formidable Svyatoslav

    Kyiv,

    frightened with his mighty regiments and damask swords,

    invaded the Polovtsian land,

    trampled the hills and ravines,

    troubled the rivers and lakes,

    dried up the streams and swamps,

    and the filthy Kobyak from Lukomorye,

    from the great iron regiments of the Polovtsians, like a whirlwind,

    snatched it out

    and Kobyak fell in the city of Kyiv,

    in Gridnitsa Svyatoslavova.

    There are Germans and Veneticians here,

    there are Greeks and Moravians here

    sing the glory of Svyatoslav,

    they reproach Prince Igor,

    that he drowned the goods at the bottom of Kayala, the Polovtsian river. Russian gold has been scattered!

    Here Prince Igor moved from the golden saddle to the saddle

    slave!

    Their mighty kremlins became sad throughout the cities, and their joy faded.

    And Svyatoslav saw a sad dream in Kyiv on the mountains.

    “This night they dressed me from the evening,” he said, “with a black blanket on my yew bed,

    they drew me blue, ominous wine, mixed with bitterness;

    they poured stinging pearls from the empty quivers of filthy interpreters onto my chest, dressing me.

    There are already boards without a motherboard in my golden-domed mansion!

    All night from the evening, prophetic crows were cawing near Plesnesk on the floodplain,

    they flew from the darkness of the Kisansky gorge

    and rushed towards the blue sea.”

    And the boyars said to the prince:

    “Grief, prince, my mind has overcome:

    two falcons flew from their father's golden throne

    look for the city of Tmutorokani

    or drink the don's helmet.

    The falcons' wings have already been cut off with filthy sabers,

    and they themselves were entangled with iron fetters

    For it became dark on the third day: the two suns were eclipsed

    both pillars of crimson went out - they became darkened,

    and with them two young months, Oleg and Svyatoslav, in darkness

    got covered up

    and plunged into the sea.

    They gave great audacity to the Khin newcomers.

    On the river on Kayal, Darkness covered the Light;

    The Polovtsians rushed to the Russian land like a brood

    leopards.

    Dishonor has already fallen to Glory,

    Violence has already struck Freedom,

    Div has already fallen to the ground!

    The Gothic beauties maidens sang on the shore of the blue sea, ringing with Russian gold;

    they sing Busovo time,

    cherish revenge for Sharukanov’s misfortune.

    And we, the squad, have already lost our fun!”

    Then the great Svyatoslav uttered a golden word,

    mixed with tears, saying:

    “Oh my sons, Igor and Vsevolod!

    Before the time came, you began to drive the Polovtsian land into tears with swords,

    and to achieve glory for yourself,

    but they did not enter the battle with honor,

    You did not shed vile blood with honor!

    Your brave hearts are bound with strong damask steel,

    and seasoned in daring!

    What have you done to my silver hair?

    But I no longer see the power and help of the mighty and rich,

    and my many-time brother Yaroslav

    with Chernigov nobles,

    with governors, with elders, with shelbir boyars;

    with warriors-topchaks, with heroes, with brave men,

    but they are without shields, with boot knives,

    with a click the regiments win,

    ringing with great-grandfather's glory!

    But you said: “We will argue ourselves,

    we will take possession of the new glory alone - and the old one ourselves

    Let's share!"

    Is it really so wonderful, brothers, for an old man to grow younger?

    When the falcon moults,

    drives the birds high -

    will not give his nest to harm!

    But here’s the evil: the princes swore to help me;

    turned to bad times!”

    Here in Rimov they shout under Polovtsian sabers,

    and Vladimir is seriously wounded,

    grief and longing for Glebov’s son!

    Grand Duke Vsevolod!

    I just can’t imagine if my father’s gold could fly to you from afar

    guard the throne!

    You can splash the Volga with oars, and scoop up the Don with helmets!

    If you were here, captives would be sold for next to nothing, and captives even more so!

    After all, you can shoot firearms on dry land alive - the daring sons of Glebov.

    You, Rurik, and Davyd!

    Don't you have warriors with gilded helmets in their blood?

    swam?

    Don’t you have brave warriors roaring like aurochs, wounded by red-hot sabers on an unknown field? Step, sirs, into the golden stirrup for this offense

    time,

    daring Svyatoslavich!

    Galician Prince Osmomysl Yaroslav!

    You sit high on your golden throne,

    You have propped up the Ugric mountains with iron regiments,

    you stood in the way of the king, you closed the gates of the Danube,

    throwing bulks beyond the clouds,

    courts as far as the Danube!

    Your thunderstorms flow across the lands,

    you open the gates of Kyiv,

    you shoot from the golden throne at the sultans

    behind the lands -

    shoot, sir, at Konchak, at the filthy slave, for the Russian land, for Igor’s wounds,

    daring Svyatoslavich!

    And you, buoy Roman, and Mstislav!

    A brave thought directs your mind to action!

    You rise high, you float. Roman, for feat in

    valor,

    like a falcon spreading in the winds,

    who wished to overcome the bird in his daring!

    Your warriors wear iron armor

    under Latin helmets!

    Because of them the earth trembled, and many tribes

    enemy-Khinova: Lithuania, Yatvingians, Deremelas and Polovtsians -

    they threw down their spears,

    and bowed their heads

    blued like those swords.

    But already, prince, the light of the sun has dimmed for Igor,

    and the tree dropped its leaves for no good:

    The cities were divided along Ros and Sula,

    but Igor’s brave regiment cannot be resurrected!

    The Don, prince, calls you and calls the princes to victory:

    The Olgovichi, brave princes, have already worked hard in battle!

    Ingvar and Vsevolod and all three Mstislavichs!

    The nests of six-winged falcons are not bad!

    We didn’t win our volosts by the lot of victories!

    What are your golden helmets, and Lyash spears, and shields for?

    Block the enemy's gate with your sharp arrows

    for the Russian land, for Igor’s wounds,

    daring Svyatoslavich!

    Suda no longer flows like silver streams for hail

    Pereyaslavl,

    and the Dvina flows like a dark mud to those formidable Polotsk residents under the cries of the filthy.

    Only Izyaslav, son of Vasilkov,

    rang his sharp swords against the Lithuanian helmets, brought down the glory of his grandfather Vseslav,

    and he himself was defeated by Lithuanian swords under red shields on the bloody grass,

    and, having become engaged to his betrothed, said:

    “Your squad, prince, the birds dressed them with wings, and the animals licked their blood!”

    There was neither brother Bryachislav nor the other Vsevolod here,

    He alone dropped the pearl soul from his brave body through a golden necklace!

    Gorodensky trumpets sound.

    Yaroslav, you too, all Vseslav’s grandchildren!

    Bow down your banners,

    Sheathe your chipped swords -

    you have strayed from your grandfather's glory!

    With your sedition you began to bring filth

    to the Russian land,

    to Vseslavov parish:

    violence came to us because of strife and unrest

    from the land of Polovtsian!

    In the seventh century of Trojan, Vseslav cast lots for a girl, any one for him.

    He, cunningly leaning on his horses, galloped towards the city of Kyiv

    and touched the golden throne of Kyiv with a lance;

    leapt away from the regiments like a fierce beast at midnight from Belgorod and soared in a blue cloud,

    and the next morning he thrust his axes: he opened the gates of Novgorod - he smashed the glory of Yaroslav.

    Jumped like a wolf to Nemiga from Dudutki,

    on Nemiga they lay down heads in sheaves and thresh them with flails

    damask,

    they put life on hold, they drain the soul from the body.

    The bloody shores of Nemiga were not sown with goodness - they were sown with the bones of Russian sons!

    Prince Vseslav judged people in court,

    dressed up the princes of the city,

    and he prowled the night like a wolf,

    from Kyiv he hunted like a wolf until the roosters in Tmutorokan;

    I overtook and overtook the great Horse on the way.

    The bells rang for him in Polotsk early in the morning

    at St. Sophia's

    and he heard the ringing in Kyiv!

    Although the soul of the sorcerer was in a brave body,

    but often suffered from misfortunes.

    About him, the prophetic, wise Boyan said in a refrain of old:

    “Neither cunning nor much,

    nor to the seer of much more

    God’s judgment cannot be avoided!”

    ABOUT! Moaning the Russian land, remembering the previous time

    and the former princes!

    That old Vladimir could not be nailed to the Kyiv mountains!

    And now his banners have become Rurik’s,

    and those are the Davydovs.

    But their banners flutter separately, their spears sing separately.

    the unknown cuckoo calls early:

    “I’ll fly,” he says, “like a cuckoo along the Danube,

    I’ll soak my silk sleeve in the Kayala River,

    I will wipe off the prince’s bloody wounds on his mighty body.”

    Yaroslavna cries early in the morning in Putivl at the loopholes of the Kremlin, wailing:

    “O Wind-Sail!

    Why, my lord, do you blow the oncoming force,

    Why do you aim the enemy’s arrows on your light wings at my warriors?

    Was it not enough for you, floating high under the clouds, to cherish the ships on the blue sea?

    Why, sir, is my joy in the feather grass field

    dispelled?

    Yaroslavna cries at light in Putivl-city on the fence of the Kremlin, wailing:

    “Oh Dnepr Slovutich!

    You broke through the stone mountains among the Polovtsian land with a wave,

    you cherished Svyatoslav’s boats on your jets until Kobyakov’s regiment -

    Please, sir, hold my good will towards me, so that I don’t send tears to him to the sea early.”

    Yaroslavna cries early in the morning in Putivl on the wall of the Kremlin, wailing:

    “Bright and bright Sun!

    You are warm and beautiful to everyone!

    Why, my lord, did you spread your hot rays onto the warriors?

    in a waterless field I bent their bows with thirst,

    Have you closed your quivers with melancholy?

    The sea raged at midnight,

    tornadoes are coming in clouds.

    God shows the way to Prince Igor

    from the Polovtsian land to the Russian land

    to the father's golden throne.

    The dawns went out in the evening.

    Igor is sleeping - Igor is looking,

    Igor measures the fields with his thoughts

    from the great Don to the small Donets.

    At midnight Ovlur whistled his horse across the river,

    tells the prince to understand:

    “Prince Igor should not be here!” - he clicked.

    The earth clattered, the grass rustled -

    The Polovtsian elders were alarmed!

    And Prince Igor galloped like an ermine into the reeds,

    flew like a white goldeneye onto the water;

    jumped onto a greyhound horse,

    jumped off him like a werewolf

    and ran to the Donets meadow,

    and flew like a falcon under a cloud,

    beating geese and swans

    for breakfast, lunch and evening.

    When Igor flew like a falcon,

    then Ovlur ran like a wolf,

    shaking off the chilly dew, -

    they drove their greyhound horses!

    Donets said: “Prince Igor!

    You have a lot of greatness

    and Konchak of grief,

    and joy to the Russian land!”

    Igor said: “Oh my Donets!

    You have a lot of greatness

    who cherished the prince on the waves,

    who spread green grass for him on his silver banks,

    who clothed him in warm darkness under the shade of a green tree;

    you guarded him with a gogol on the water,

    seagulls on the jets,

    black in the winds!

    This is not what the Stugna River has a reputation for: having an evil stream,

    swallowing other people's streams and waters,

    expanding towards the mouth,

    hid the young man Prince Rostislav at the bottom of the dark shore.

    Rostislavov's mother is crying

    after the young man Prince Rostislav.

    The flowers are saddened in sorrow,

    and the tree bowed to the ground with sadness.

    And it wasn’t the magpies who chirped -

    Gza and Konchak are on the trail of Igorev.

    Then the crows didn't caw,

    the jackdaws fell silent

    the magpies did not chirp,

    the nuthatches died down, only crawling.

    Woodpeckers knock the way to the river,

    Nightingales herald the light with cheerful songs.

    Gza says to Konchak:

    “When a falcon flies to the nest,

    We will shoot Sokolich with our gilded arrows.”

    Konchak Gze says:

    “When a falcon flies to the nest,

    We will entangle Sokolich with the red maiden.”

    And Gza said to Konchak:

    “If we entangle him with a red maiden,

    we won't have a falcon,

    there will be no red maiden,

    and the birds will begin to beat us in the Polovtsian field!”

    Said Boyan, before him - Khodyna, the singer Svyatoslavov, composers of songs about the old times -

    Yaroslavov, Olegov, kagan's wives:

    “It’s hard for you, head, without shoulders,

    evil and a body without a head,” -

    Russian land - without Igor!

    The sun is shining in the sky:

    Igor the Prince is in the Russian land.

    The girls sing on the Danube,

    Igor travels along Borichev to the Holy Mother of God Pirogoshchaya.

    The villages are happy, the towns are happy!

    Having sung a song to the old princes, the young ones must also sing:

    “Glory to Igor Svyatoslavich,

    Buy-turU Vsevolod,

    Vladimir Igorevich!

    Hello to the princes and squad,

    that they stand up for Christians on filthy shelves!

    Glory to the princes and the squad!

    4. According to the definition of literary critic A. S. Orlov, the hero of “The Tale of Igor’s Campaign” is not just any of the princes, but the entire Russian land. How do you understand this idea? What single thought and mood permeates the entire work? What very important idea for his time was expressed by the author of “The Tale of Igor’s Campaign”?

    V. I. Stelletsky. Lament-prayer of Yaroslavna. Poetic arrangement

    “I’ll fly like a cuckoo,” he says, “along the Danube,
    I’ll wash my silk sleeve in Kayal,
    I will wipe away the bloody, grieving wounds
    On the mighty body of the prince's frets."

    Yaroslavna on the wall of Putivl-grad
    Early in the morning he cries, wailing:

    "Wind, my lord!
    Why are you blowing counter force?
    Why are you carrying on light wings?
    Enemy Arrows
    On the shelves of the spouse - frets,
    Or is it not enough for you to fly high under the clouds,
    Ships to cherish in the blue sea?
    Why, sir, is my joy
    Have you scattered feather grass in the steppe?"

    Yaroslavna on the fence of the city of Putivl
    Early in the morning he cries, wailing:

    "Dnepr Slovutych!
    In the middle of the great Polovtsian steppe,
    You broke through the stone mountains with waves,
    You cherished the boats of Svyatoslav
    To Kobyak's regiments,
    Come close to me, my lord,
    So as not to send me tears to the sea to him early!”

    On the wall of Putivl-grad Yaroslavna
    Early in the morning he cries, wailing:

    "The sun is bright, you are so bright, Sun!
    You are warm to everyone, you are wonderful to everyone!
    Why did it send sultry rays,
    My lord,
    You're a warrior's wife
    And in the waterless, Polovtsian steppe,
    You've made them thirsty for their bows
    And the quivers are closed with grief?"

    I. I. Kozlov. Yaroslavna's cry. Free imitation

    Princess 3. A. Volkonskaya

    It's not a cuckoo in a dark grove
    Cuckoos early at dawn -
    Yaroslavna is crying in Putivl
    One on the city wall:
    "I will leave the pine forest,
    I'll fly along the Danube,
    And in the Kayal River there is a beaver
    I will wet my sleeve;
    I will rush home to my native camp,
    Where the bloody battle raged,
    I will wash the wound for the prince
    On his young chest."

    Yaroslavna is crying in Putivl,
    Dawn, on the city wall:
    "Wind, wind, oh mighty one!
    Stormy wind, why are you making noise?
    Why are you black clouds in the sky?
    And you rise and swirl?
    What are you with light wings
    The flow of the river was disturbed,
    Fanning Khan's arrows
    To the birthplace shelves?

    Yaroslavna is crying in Putivl,
    Dawn, on the city wall:
    "Is it too tight to breathe in the clouds?
    From the steep mountains of a foreign land?
    If you want to cherish
    There are ships in the blue sea,
    Why are you filled with fear?
    Our share? For what
    Scattered across the feather grass
    The joy of my heart?

    Yaroslavna is crying in Putivl,
    Dawn, on the city wall:
    "My glorious Dnieper! you are in waves
    The Polovtsians broke through the rocks;
    Svyatoslav with heroes
    I was running after you.
    Don’t worry, the Dnieper is wide,
    The rapid flow of icy waters, -
    They are my black-eyed prince
    He will sail to holy Rus'."

    Yaroslavna is crying in Putivl,
    Dawn, on the city wall:
    "Oh river! give me my friend -
    Cherish him on the waves,
    To sad girlfriend
    She hugged him quickly;
    So that I don't see you again
    Prophetic horrors in dreams,
    So that I don’t send tears to him
    Blue sea at dawn."

    Yaroslavna is crying in Putivl,
    Dawn, on the city wall:
    "Sun, sun, you shine
    Everything is beautiful and bright!
    In a sultry field, what do you burn?
    My friend's army?
    Thirst bows with strings
    Withered in their hands,
    And sadness is a quiver of arrows
    "Put it on my shoulders."

    And quietly in Yaroslavna's tower
    Leaving the city wall.

    Questions and tasks

    1. Why does Yaroslavna turn to different forces of nature three times?

    1. Find in Yaroslavna’s lament features characteristic of folk poetry. Compare the text of “The Words...” and its literary adaptations. Explain the meaning of folklore symbols that appear in Yaroslavna’s words.

    1. Read the transcriptions of Yaroslavna’s lament by V. I. Stelletsky and I. I. Kozlov. How are these texts different and what do they have in common?

    2. What image did the poets strive to create?

    18th century literature

    M. V. Lomonosov. G. R. Derzhavin. D. I. Fonvizin. N. M. Karamzin.

    About Russian literature of the 18th century

    "Eighteenth Century". This name was given to his poem by Alexander Nikolaevich Radishchev, an outstanding writer-thinker, an unbending denouncer of despotism, the author of the famous book “Journey from St. Petersburg to Moscow,” for the publication of which he paid with a long exile to Siberia. In 1801–1802, he summed up the results of the past century in poetic form.

    No, you will not be forgotten, the century is crazy and wise,
    You will be damned forever, forever to the surprise of everyone.
    …………………………………….
    Oh unforgettable century! you grant to joyful mortals
    Truth, freedom and light, the constellation is clear forever...

    The seemingly contradictory assessment of the results of the past century is explained by the contradictions of the Russian reality of that era itself. It was a century of creation, the triumph of the Enlightenment, the flourishing of culture, the free human mind, and at the same time a century of destruction, blood, uprisings, and irreconcilable confrontations. In the 18th century, outstanding works were created in Russia, true masterpieces of literature, painting, sculpture, architecture, and major successes were achieved in science and technology.

    Assessing the past century, Radishchev paid tribute to Peter I and his persecutor Catherine II, although he was an opponent of the autocracy and the policies of the empress.

    Peace, justice, truth, freedom flow from the throne,
    Catherine, Peter raised it so that Russia would be happy.
    Peter and you, Catherine! your spirit still lives with us.
    Look at the new century, look at your Russia...

    So, what did the eighteenth century contribute to the history of Russian culture?

    About Russian classicism

    In the thirties of the 18th century, classicism became the main direction in Russian art. Its largest representatives in literature were A. D. Kantemir, V. K. Trediakovsky, M. V. Lomonosov, A. P. Sumarokov, D. I. Fonvizin, M. M. Kheraskov, Ya. B. Knyazhnin, G. R. Derzhavin, in painting - A. P. Losenko, D. G. Levitsky, in architecture - V. I. Bazhenov, M. F. Kazakov. What united them, what tasks did they set for their work?

    The word "classicism" is derived from the Latin classicus, which means "exemplary". In the 18th century, works of ancient art were considered exemplary, and classicists began to turn to antiquity. This was expressed in the use by writers and artists of ancient subjects and images, elements of Greek and Roman mythology.

    Following the traditions of ancient authors, as well as European classicists, Russian writers asserted in their works the ideas of enlightened absolutism, patriotism, citizenship, and the education of true sons of the Fatherland. You will see the development of these ideas by reading the odes of Lomonosov and Derzhavin. However, along with praise, Russian writers allowed themselves to express a critical attitude towards the absolute monarchy, to denounce tyranny and arbitrariness, trampling on the laws of the state. This contributed to the development of the satirical orientation of Russian classicism.

    Conflicts in the works of classicism were always built on the clash of duty, reason and feeling, and they were resolved in favor of duty, asserting the priority of duties to the state, laws, and moral norms.

    The classicists strictly followed the division of literary genres into high and low. The high ones included ode, tragedy, heroic poem, the low ones included satire, comedy, and fable.