Since ancient times, magic has been inextricably linked with the forces of nature. There are only four main natural elements: fire, water, earth and air. Each of the elements plays an irreplaceable role in the life of magicians. It is nature that endows a person with the power thanks to which he can be called a wizard.

The appeal to nature was characteristic of paganism, but these forces are so strong and significant that they still have not lost their significance.

Yaroslavna's cry is one of the brightest examples of turning to nature for help. But before moving on to the forces of nature, I propose to consider the very beginning of the episode.

Over the wide bank of the Danube,
Over the great Galician land
Cries, flying from Putivl.
Yaroslavna's voice is young;
"I, poor, will turn into a cuckoo,
I will fly along the Danube River
And a beaver-edged sleeve
Bending over, I will wet in Kajala.
The fogs will fly away,
Prince Igor will open his eyes,
And in the morning I bloody wounds,
Leaning over a mighty body. "

(translation by Zabolotsky).

Here the author emphasizes Yaroslavna's ability to witchcraft. If we remember history, we will understand that the waters of Kajala have healing powers, or rather, this is the famous dead water. Since ancient times, dead water has been used to treat severe, serious wounds. Dead water very quickly shrinks wounds, and in their place there is not a single reminder of them, but, unlike living water, dead water is not able to resurrect a person. By the way, the Danube is mentioned by the author of "Lay ..." here, too, not by chance. According to ancient Russian beliefs, it is there that the source of living water is located. Since ancient times, the waters of the Danube have been famous for their healing power and ability to cure diseases and save from death. Yaroslavna would need living water if she found her husband dead. According to legend, you first need to wipe the dead body with dead water, and then use the already living water.

The words "and beaver-edged sleeve" are not accidental here either. Let's first figure out what they mean. Here is not an entirely accurate translation of "Lay ...". Initially, it was not "with a beaver edge", but "bebryan", which from Old Russian means sewn from white silk. Namely, silk fabric in Russia was used by healers (and not only) to heal wounds.

Thus, already at the beginning of Yaroslavna's lamentation, the author of The Lay ... shows us that Yaroslavna was a good healer. From here we learn about the use of living and dead water, as well as about its sources and about methods of healing wounds with the help of silk.

Then Yaroslavna turns to the forces of nature. First, Yaroslavna turns to the wind. This can be called a kind of appeal to the air element. In the first translation, Yaroslavna refers to the wind by name and patronymic, calling it Wind Vetrila. Turning to the wind, Yaroslavna asks him not to harm Igor's army and the prince himself. Perhaps this is a kind of appeal to Stribog, the Slavic god of the wind. Through the wind, Yaroslavna's cry will reach Stribog himself, and he will have mercy on the prince. In addition, in Slavic mythology, the winds are considered the grandchildren of Stribog. And in pagan Russia itself, people very often turned to the winds for help.

"What are you, Wind, howling evilly,
That you swirl the mists by the river
You raise the Polovtsian arrows,
Are you tagging them on the Russian regiments?
Than you do not like in the open
Fly high under the cloud
Ships cherish in the blue sea,
Shake the waves behind the stern?
You, sowing arrows of the enemy,
Only death you blow from a height.
Oh why, why my fun
Have you scattered in the feather grass forever? "

(translation by Zabolotsky).

Then Yaroslavna turns to Dnepr Slavutich. This is a kind of appeal to the forces of water. In addition, during the baptism of Rus, Vladimir ordered to throw pagan idols into the waters of the Dnieper. Perhaps, at its bottom, they continued to keep their magic, and therefore Yaroslavna turns to this mighty river. Water in Russia has always been a symbol of health - perhaps because of this, Yaroslavna turns to the Dnieper precisely to protect Prince Igor. An appeal to water is an appeal to the Slavic goddess of water Dana. According to legend, this goddess helped tired travelers - she gave them water to drink, healed their wounds. It is believed that the name Dnepr comes from her name.

"My glorious Dnieper! Stone mountains
In the lands of the Polovtsian you struck,
Svyatoslav into the distant expanses
Until the regiments he wore the Kobyakovs.
Take care of the prince, lord,
Save on the far side
So that I forget tears from now on,
To make him come back to me alive! "

(translation by Zabolotsky).

The last power that Yaroslavna turns to is the power of fire, the power of the Sun - light and crackling. The sun is a symbol of light and warmth. Since ancient times, fire has played an important role in people's lives. He represented a kind of cleansing power - he helped people drive away evil spirits and dark forces.

"The sun is three times bright! With you
Everyone is welcome and warm.
Why are you the army of the prince daring
Did you burn it with hot rays?
And why are you waterless in the desert
Under the blow of the formidable Polovtsi
Thirst pulled the marching bow,
Grief overflowed the quiver? "

(translation by Zabolotsky).

Thus, Yaroslavna refers to the three natural elements in the "Word ...": air, water, fire. But why doesn't she speak to the earth? The answer to this question can be viewed from two sides. The elements in Yaroslavna's Lament represent pagan gods. Among the ancient Slavs, Lada was the goddess of the earth. But, unlike Stribog (the god of the wind, as well as the sun) and Dana (the goddess of water), Lada is not the patroness or helper of the warriors, and, accordingly, she cannot help Igor, so Yaroslavna has no need to turn to this goddess. On the other hand, Yaroslavna could turn to the earth as one of the elements of nature. Perhaps the author of "Lay ..." reflected the energy of the earth in Yaroslavna itself. Yaroslavna is Igor's wife, she is in her native land and from there calls on her husband to return home. Thus, we can say that the fourth element - earth, is reflected in the image of Yaroslavna herself. Therefore, Yaroslavna does not turn to the land for help.

Yaroslavna's cry is very much like a spell. But it will not be possible to attribute "Yaroslavna's cry" to such a magical form as a spell. If we turn to the definition of the word "spell", then it will immediately become clear to us that a spell is a combination of actions and thoughts of the magician, transforming magical energy into the desired result. Also, a spell, in simple terms, is one or more words that have magical powers. But "Yaroslavna's cry" does not fit this definition, and there are much more words than in the spell. So what is it? Yaroslavna's Lament has a clear rhythm. This is very similar to a prayer: when I read this part of the work, I imagine Yaroslavna praying, almost crying, turning to the forces of nature for help. So, a certain form, rhythm, appeal to the gods, to the forces of nature, pronunciation of words in order to influence events and in order to achieve certain consequences - all this is characteristic of a conspiracy.

Conspiracies were widely used in Ancient Russia (and in other countries, of course, too). If we turn to the definition, we can say that a conspiracy is a clear, rhythmic, folk-poetic verbal formula that has magical power and is pronounced with the aim of influencing an object or creature, as well as to achieve the desired result, or to prevent something. Conspiracies were more often used by healers for treatment. The conspiracy was used to protect a person, house or village from harm. With the help of a conspiracy, the magician could cause rain or, conversely, stop it. Often the conspiracy was carried out in the form of a rite, that is, the magician did not just utter words, but also performed certain actions. But in this case, this is not observed.

Thus, we can say that "Yaroslavna's cry" is precisely a conspiracy.

An example of turning to the forces of nature for help can be found in many Russian fairy tales, when a woman asks them to help her loved one return home from a hike.

This episode "Words ..." is a vivid example of the use of spells by ancient Russian people, as well as the ability to correctly turn to the forces of nature for help. And yet, this is an example of the fact that quackery was widely developed in Russia.

By the way, Yaroslavna's conspiracy really helped Igor.

And the sea leaped. Through the fog
The whirlwind rushed to the north of the native -
The Lord Himself from the Polovtsian countries
The prince points out the way to the house.

(translation by Zabolotsky).

"A word about Igor's regiment" - literary monument of ancient Russian culture, which tells about the unsuccessful campaign of Prince Igor Svyatoslavich against the Polovtsians in 1185.

Yaroslavna's Lament is one of three parts of the poem dedicated to the moment of grief of Prince Igor's wife about the unsuccessful outcome of the battle, in which his squad took part. This episode is recognized as one of the best in the entire work, and its heroine is a symbol of a loving and faithful wife.

The image of Yaroslavna embodies the theme of family, peace, home and endless longing for her husband, who at every moment risks being killed by the enemy's sword. Her excitement is so strong and irresistible that she is ready to become a bird in order to quickly be near her husband and heal his wounds. What is characteristic, such techniques, namely the transformation of the heroes of the works folk art in various birds and animals, represent one of the main features of Russian folklore.

The action takes place at a time when Russia had already adopted Christianity, but at the same time, it still continues the traditions of the pagan faith. This is what they say artistic images used in the work. For example, Igor, noticing a black shadow that rose above the Russian militia, doubted the successful outcome of the battle.

Or, for example, Yaroslavna's appeal to the wind, to the sun, to the river, means her faith in the pagan gods who personify the named forces of nature. She talks to them on equal terms, then reproaching, then begging for support and protection. In addition, with the help of this technique, the author shows the beauty of the Russian land, the endlessness of its fields, the bright sun, high mountains, deep seas and mighty rivers. All immense and great Russia was embodied in this picture, personified in the image of the beautiful Yaroslavna. Her crying carries with it not only suffering and sadness, but also filled with tenderness and bright hope.

The heroine's monologue is a lyrical song, permeated with an unquenchable hope for the imminent return of Prince Igor from the battlefield. And for her faith and boundless love, fate generously rewards Yaroslavna. The pleas were heard, and Prince Igor flees from captivity, led by a miraculous force on the way to his home.

Thus, the lament of Yaroslavna is the most important plot component of the poem "The Lay of Igor's Campaign." It is in it that all the strength of the universal popular grief over the fallen wars is contained and the idea of ​​creation and peace is affirmed.

Option 2

The 12th century for Russia was marked by many events, but mainly of a military orientation. If we talk about the cultural development of the state, it is important to note that the remarkable monument of ancient Russian literature "The Lay of Igor's Campaign" belongs to this time.

The above work has a clear structure, which is subordinated to the idea, genre features, language means. There is nothing accidental or superfluous in "The Word ...": each episode is important, it carries a certain semantic load.

In this essay, we will focus on an episode that literary scholars call "Yaroslavna's Lament". This is a kind of prediction of the fate of a beloved fret.

Yaroslavna personifies the Russian land. And in the cry of the girl, the attitude of the entire Russian land to the military events with the Polovtsy is clearly shown.

If speak about compositional construction text, the "Lament" is important as a precursor to Igor's escape from captivity. Because Lada Yaroslavna addresses the sun, wind, Danube, so that they help her lover to get rid of the Polovtsian bonds, so that Lada can be with her beloved.

If "Crying" is removed from the text, then its harmony and semantic completeness will be violated. After all, the main idea is a call for unity.

Also, do not forget about such things as artistic space and time. In this case, special attention is paid to space. It expands and contracts. In Lament, the space is expanded to the very outskirts of the Russian state. This is achieved due to the skill of the author, due to the fact that he brought "Lament" closer to the folk lyric song.

Are important in "Cry" and landscape sketches... According to the literary critic D. Likhachev, they are designed to be independent actors... This is also typical of the ancient Russian texts of that time, because such a technique allows you to show and emphasize the vastness of the space that surrounds an insignificantly small person.

"The Word ..." has poetic arrangements. The most interesting are the translations of D. Likhachev, and N. Zabolotsky.

If we talk about Lamentation, Likhachev embellishes the text by means of metaphors, and Zabolotsky - by means of comparisons.

Several interesting compositions

• Composition based on the painting by Ivanov The feat of a young Kievite grade 5 (description)

  The painting was painted by the artist Andrei Ivanov based on the ancient chronicle of Nestor about the events that took place in 968. The chronicle tells about a young Kievite who, during the attack of the Pechenegs on Kiev, rushed through the enemy army to the Dnieper River

  In the everyday world, we often come across such a concept as "progress". It can be defined as success in anything - achievements in sports activities, excellent results in training, or a jump in sales in the company.

1. Introduction. The system of characters in the "Word".

2. The only one female image works - Princess Yaroslavna.

3. "Living power" of the image.

4. Yaroslavna's appeal to the elements is the most lyrical episode in The Lay.

5. Conclusion. The image of Yaroslavna is the embodiment of a truly Russian character.

The Lay of Igor's Host, dated to the 12th century, is one of the most outstanding works of Old Russian literature. It is filled with a lot of heroes. Almost all of them, with one single exception, are men belonging to the upper classes of Russian society. And this is completely no coincidence. The traditions of that time required an unknown author to praise the military strength and power of the Russian state in the person of the princes and their troops.

But the creator of The Lay turned out to be a very brave man - he dared to violate many of the canons, according to which works of this genre were created.

The author's innovations also affected the characters of the Lay. So, in particular, contrary to all the rules, a female character appears in this work. Furthermore, he plays an important role in the fate of the protagonist, in the realization of the idea of ​​the whole "Lay".

This character is the wife of Prince Igor - Princess Yaroslavna. The heroine appears in only one episode, closer to the end of the work, but in terms of its significance, the episode with her participation occupies one of the central places in The Lay, along with Yaroslav's “golden word”.

The author shows us her heroine in grief and despair - she learned about the defeat of Igor's troops, about the captivity of her husband. Following pagan traditions, Yaroslavna appeals to all the elements with a plea for help. In her words, we feel a great love for her husband, the strength of her feelings.

The author shows us not a programmed scheme, a mask, but a living person with all the diversity and inconsistency of his feelings. So, Yaroslavna even reproaches the elements in her grief - how could they allow Igor's capture, his defeat:

Oh wind, you wind!

Why are you so strong?

On what do you put the arrows of the khan

With your lightweight wings

On my warriors?

The episode with Yaroslavna's participation has a clear composition - it is divided into four parts. They all begin in approximately the same way, focusing on the heroine's grief, the strength of her love for her husband: “Yaroslavna cries on the wall in Putivl in the morning, chirping along”, “Yaroslavna cries on the wall in Putivl in the morning, chanting”, etc.

It is important that the image of this heroine is depicted in folk tones, emphasizing her connection with her native land, her truly Russian character. So, Yaroslavna is compared to a bird - "at the dawn of a lonely tap dance" (a method of psychological parallelism).

In the first part of the episode, only the great grief and despair of this heroine are shown. Having heard the terrible news, she strives for her "harmony", wants to be with him, endure all the torments together, or support him at the last minute: "I will cleanse the prince's bloody wounds on his hardened body."

The second part is turning to the wind. Yaroslavna reproaches him that he did not help Prince Igor and, "like feather grass," dispelled the heroine's joy. The third and fourth parts are the appeal of the princess to the river and the sun with a request for help.

Why does Yaroslavna appeal to these elements? It seems to me that for her and for the author of the Lay, the Don is the personification of the Russian land. And who else should a person turn to in difficult times, if not his dearest one - the motherland? Therefore, Yaroslavna asks Don: "Attach my harmony to me, So that you do not send me to him in the morning, at dawn I cry on the sea!"

And the last instance, the strongest and most powerful, for the heroine is the sun. But she also turns to him with a gentle, but reproach:

Why did you spread your hot ray on the warriors of my harmony,

That in the waterless steppe the bows were thirsty for them

And the Tula imprisoned their sorrow?

In my opinion, this speaks to the degree of the heroine's grief. She was not even afraid of the sun - the most revered deity among the Slavs - so strong was her love for her husband.

Thus, Yaroslavna is one of the most important characters in the Lay. This heroine is the embodiment of a truly Russian woman: faithful, devoted, loving, strong, ready to do anything for her husband. Among other images of the Lay, Yaroslavna's character helps to embody the author's patriotic idea, to glorify the Russian land and its people, to arouse admiration, pride and respect among readers.

Sadovnikova Anna, grade 11

Download:

Preview:

Old Yaroslavna quiet murmur of strings.

Your face is ancient, your face is bright, as before, young.

Or an unknown, wise singer, the one who sang "The Word",

Did you secretly spy on all the dreams of the centuries to come?

Or are the faces of Russian women all merged in you?

You - Natasha, you - and Liza: and Tatiana - you!

V. Bryusov

In the history of our literature, there are many interesting female images that have embodied the ideal of a Russian woman. Every person from school, I think, remembers Natasha Rostova from "War and Peace" by L. Tolstoy, Tatyana Larina from "Eugene Onegin" by A. Pushkin, Sonechka Marmeladova from "Crime and Punishment" by F. Dostoevsky and others and can tell about them ... But about Yaroslavna from "The Lay of Igor's Host" I personally remember only crying, and even then in general terms. I came across such a not very pleasant discovery for myself when I read the proposed essay topics for the 2014 Kajal Readings. Having decided to fill the gaps in my knowledge, I read a lot of literature, and the image of Yaroslavna appeared before me.

Yaroslavna - a real historical person, the wife of the Russian Novgorod-Seversky prince Igor Svyatoslavovich. Her parents were the Galician prince Yaroslav Osmomysl and Princess Olga Yurievna. They gave their daughter a beautiful, in my opinion, name - Euphrosinia, which means "joy". In Russia, it was customary to call a married woman not by her first name, but by her patronymic or by the name of her husband. So she became Yaroslavna, although at the time of the events described in the "Lay of Igor's Host" she was only 16 years old.

Ruined Russia, tormented by princely civil strife, was an easy prey for warlike nomads. "Slovo" tells about the campaign against the Polovtsy of Prince Igor, who went with his retinue to the enemies for the sake ofpersonal glory. The superior forces of the Polovtsians defeated Igor's army, and he himself was taken prisoner.

We get to know Yaroslavna when she cries at the gate in Putivl Grad, mentally striving to the place of Igor's battle with the Polovtsy, where, according to her ideas, the wounded prince lies, wanting to wash and heal his wounds:

I will turn around, poor, a cuckoo,
I will fly along the Danube River
And a beaver-edged sleeve
Bending over, I will wet in Kajala.

Why in Putivl, where Prince Igor's son Vladimir ruled, and not in Novgorod-Seversky? Maybe because it was much south of Novgorod-Seversky, and it was from the south that Igor's army was supposed to return? Or maybe Yaroslavna accompanied her husband to this city and stayed there to wait for him?
I can easily imagine the picture: here Yaroslavna is standing on the walls of the ancient Putivl Kremlin, her gaze is fixed on the endless distance; sadly clenching her hands, she appeals to the forces of nature for help. It is hard for this still young, but already so unhappy woman, who does not know if her husband is still alive. And tears of pain, despair are falling. Gentle and loyal, selfless and faithful, Yaroslavna pours out her grief in tears. But her crying is not a sorrowful lament about the deceased, not words of sorrow and memories of years lived together, but a prayer, an incantation to the forces of nature to help the prince and his soldiers. She directly addresses the gods: "About the wind, sail ..." - this is an appeal to Stribog, "O bright sun ..." - an appeal to Khors. In other words, she starts to play magic. That is why she goes to the Putivl fence (to the highest point of the area) early in the morning in order to remain “unknown”, that is, secretly.

With expressive spells, the princess turns to three forces of nature: the sun, the wind and the Dnieper, far from Kayala. And in her every appeal - a direct reproach. Yaroslavna reproaches "Wind Vetrila" for the fact that during the battle he blew from the side of the Polovtsians:

What are you, Wind, howling angrily,
That you swirl the mists by the river
You raise the Polovtsian arrows,
Are you tagging them on the Russian regiments?

In her address to Dnepr-Slavutych, she asks to “cherish” her sweet harmony to her:
Take care of the prince, lord,
Save on the far side
So that I forget tears from now on,
To make him come back to me alive!

Yaroslavna turns to the Dnieper because it is strong and mighty and was a loyal ally to other princes in campaigns against the Polovtsians:

My glorious Dnieper! Stone mountains
In the lands of the Polovtsian you struck,
Svyatoslav into the distant expanses
Until the regiments he wore the Kobyakovs.

The words of reproach are also heard from the princess' lips against the "thrice bright sun" for the fact that its hot rays turned out to be fatal for Igor's troops, which tormented the soldiers with thirst during the battle in the waterless steppe:

The sun is three times bright! With you
Everyone is welcome and warm.
Why are you the army of the prince daring
Did you burn it with hot rays?

In addressing the wind and the sun, as we see, no requests are made, but only implied: Yaroslavna mentally asks the natural elemental forces to change her anger to mercy and not interfere with Igor's salvation, his return to his homeland. But she turns to the forces of nature as to living and omnipotent deities, and the words sound like a conspiracy or prayer. And already in a different way you imagine Yaroslavna: she is directed into the sky in order to block the sun, which "has pulled off the marching bow with thirst," and to stop the wind, which "raises the Polovtsian arrows,
throws them on the Russian shelves. " Another moment, and Yaroslavna turns into a cuckoo and soars over the Danube, and the way to her "seems" to be swans rushing into the "unknown" land.

But why a cuckoo? A connoisseur of Slavic folk poetry F.I. Buslaev wrote that the cuckoo - slavic symbol a yearning woman: unhappy in marriage, and a lonely soldier, and a woman mourning the death of her husband, son or brother. But Yaroslavna - the cuckoo flies to her beloved not to mourn him on the battlefield, but to bring him back to life! In the Old Russian text it sounds like this: "I don’t know early to grumble with zegzice". I really liked the thought I read that the word “zigzitsa”, formed according to the rules of the Russian language from the word “zigzag”, means “double lightning”. V. Dal in his dictionary mentions a very similar word - zgitsa, that is, a spark. Therefore, the expression can make sense: throws lightning, calls on lightning from above - refers to the god of thunder Perun,patron of princes and squads.

How you need to love your betrothed in order to so desperately beg for his life not from people, but from the forces of nature! For centuries, the people observed pagan rituals, personifying the forces of nature, seeking to subordinate them to the prophetic word. And the heroine of "The Lay of Igor's Campaign" in the most difficult time for her turns to the faith of her fathers and grandfathers. Yaroslavna's feelings cannot leave indifferent people who have experienced love and affection for another person in their life. Who does Prince Igor appear before us? The first prince to be captured? A prince for whom the campaign ends in inglorious defeat? The prince, whose failure encouraged the Polovtsians, allowed them to believe in their own strength, which led to their new invasion of Russia? Yes exactly. But not for Yaroslavna, whose cry for her lost husband is saturated with tenderness, warmth, ardent sympathy. In her cry, Igor is a "falcon", "the sun is red." And the power of her love helps Igor escape from captivity and return home.

This is how the image of Yaroslavna, the first woman-heroine in Russian literature, appeared before me: the image of a selfless, loving woman with colossal strength - the power of love. And I would like to end the conversation about her with the words of N. Rylenkov:

Putivl shlyakh. Wormwood melancholy

Your waiting gaze through tears is blue-blue.

You entered Yaroslavna in the ages,

And in the mansion she remained Euphrosyne ...

Municipal budgetary educational institution

Aparinskaya secondary school

11th grade students

Sadovnikova Anna Ivanovna

Teacher - I.F. Bolgova

Option 1

"A word about Igor's regiment"

Crying Yaroslavna

1.1.1. Who is Yaroslavna? Whom does she personify in "The Lay of Igor's Campaign"?

The image of Yaroslavna is the first female image in ancient Russian literature. He combined the sorrow and courage of all Russian wives, mothers and daughters of the Russian land.

Yaroslavna is the patronymic of the wife of Prince Igor Efrosinya Yaroslavna, daughter of Yaroslav Galitsky, one of the most powerful Russian princes.

In The Lay of Igor's Regiment, she personifies all Russian wives who grieve for their husbands. This is eloquently indicated by her “crying”.

1.1.2. What is the role of the word “cuckoo” in the text of “The Lay of Igor's Campaign”: “…, early cuckoo with an unknown cuckoo. "I will fly," he says, "like a cuckoo on the Danube ..."

In oral folk poetry, the word cuckoo meant a single woman without a family. Cuckoo-crowing was popularly associated with the prophecy of the length of life. Calling herself a cuckoo, Yaroslavna expresses her bitterness from separation from her beloved husband. Yaroslavny calls himself an "unknown cuckoo", emphasizing his loneliness.

1.1.3. What means of artistic expression does the author use in Yaroslavna's Lament?

Yaroslavna's lament is very close to folklore. It uses the constant epithets "light-crescent sun", metaphors "dried their torment", "quivers fixed them in sorrow." Yaroslavna appeals to the forces of nature: to the sun, wind, to water (Dnieper). Rhetorical addresses are accompanied by interjections and exclamations: "O wind, sail!", "Bright and crackling sun!", "O Dnepr Slovutich!"

In Yaroslavna's cry, a threefold repetition is used (“Yaroslavna has been crying in the morning on the wall of Putivl, lamenting ...”, which makes him akin to the works of oral folk art.

In Yaroslavna's speech, words of a high style are used: "lord", "lord", "cherished". She calls her husband the word "fret", which in folk poetry meant "beloved."

1.1.4. What role does Yaroslavna's cry play in the text of The Lay of Igor's Campaign?

Yaroslavna personifies in "The Lay of Igor's Campaign" all Russian wives, whose lot has fallen to the bitter lot of mourning for their husbands who have found an untimely death on the battlefield. however, in this piece, she hopes to bring back her beloved. therefore, he turns with hope to all the forces of nature. In addition, Yaroslavna begs the forces of nature to protect not only her husband, but also his soldiers:"Why are you swinging the arrows of Khin on your light wings at the soldiers of my fret?"

The strength of her love, the strength of her civil feelings win - and a miracle happens: Prince Igor returns from captivity.

Yaroslavna's lament can be seen as a protest against war, destruction and sacrifice.

1.1.5. Compare the translation of "The Lay of Igor's Campaign" by N. Zabolotsky and the literal translation given above. What do these translations have in common? How is poetic translation different from literal translation?

Both the literal translation of Yaroslavna's lament and the poetic translation of N. Zabolotsky are based on folk poetry. In these works, the same images of the wind, sun and Dnieper are used, the appeal to these forces of nature is very close:

"O wind, sail! Why, sir, are you blowing so much? Why are you sweeping the Khin's arrows on your light wings at the soldiers of my fret?" (literal translation)

What are you, the wind, howling angrily

That you swirl the mists by the river

You raise the Polovtsian arrows,

Are you tagging them on the Russian regiments? (N. Zabolotsky)

Rhetorical questions also bring these passages closer together.

In the literal translation, the arrows are called "Khinovsky", and in the poetic translation - "Polovtsian". This is one and the same name, only in a literal translation it is written in Old Russian, and in Zabolotsky's - in Russian.

However, there are also differences between these works. In N. Zabolotsky's text, the picture is much wider than that presented by a literal translation.

Literally translated, we learn that Yaroslavna “has been crying since the morning. And N. Zabolotsky expands this picture: "Only the dawn breaks in the morning."

In the literal translation, the characteristics of Yaroslavna are not given, and N. Zabolotsky uses the epithets: “Yaroslavna, full of sadness... "and" Young Yaroslavna ". So you can see. that the poetic translation is more lyrical, it openly expresses the author's attitude towards the heroine.

Option 2

"Ode on the day of accession to the all-Russian throne of Elizabeth Petrovna, 1747"

1.2.1. What are the characteristic features of ode as a genre based on the example of this fragment?

Oda is an enthusiastic poem in honor of a significant event or historical person. "Ode to the day of the ascension ... 1847" refers to the high style. It uses the words of book vocabulary, Old Church Slavonicism: joy, dare, gold, delight. Old Slavicisms help to feel the solemn syllable of the poem, a sense of pride in their homeland.

1.2.2. What dignity of the Empress does she emphasize?

admires the beauty of Elizaveta Petrovna:

Her soul marshmallow is quieter

And the sight is more pleasant than Paradise.

Lomonosov shows not only the beauty, but also the generosity of Elizaveta Petrovna: "... your generosity encourages Our spirit and impel us to run ..." Lomonosov notes her desire for peace. She "put an end to the war."

And yet, the author calls the main advantage of the empress the desire to see the Russian people happy:

I delight Rossov with happiness,

I do not change their calmness,

To the whole west and east. "

1.2.3. What themes are reflected in this ode?

Various themes are reflected in the ode. First of all, this is the theme of the Motherland. The poet talks about the glorious past of Russia, about the merits of PeterI, who "I will trample Russia with rudeness, Raised it to heaven with me."

The theme of science is also reflected in the ode. Lomonosov writes:

... Here in the world to expand sciences

Elisabeth was pleased.

At the end of the ode we find the Hymn to Science and a message to the younger generation:

Oh, your days are blessed!

Dare now, emboldened ...

1.2.4. What means of artistic expression does the author use in the lines:

The joy of the kings and kingdoms of the earth,

Beloved silence ...

For what purpose does Lomonosov use this tool?

At the very beginning of the ode, he uses a paraphrase - a trope consisting in replacing the name of a person, object or phenomenon with a description of their essential features or an indication of their characteristic features:

The joy of the kings and kingdoms of the earth,

Beloved silence ...

What could be more desirable than peace? Lomonosov calls the world "earthly joy", "beloved silence", "bliss." The theme of peace is directly related to the image of the empress, who "brought back peace", put an end to the war with Sweden.

1.2.5. Compare Lomonosov's ode "On the day of the ascent ..." with the ode "Felitsa".

Find the similarities between these works.

In literatureIn the 18th century, strict adherence to the requirements of classicism was adopted. The works of high "calmness", to which the ode belongs, are characterized by an appeal to high themes or historical figures and the use of words in a high, solemn syllable. Her civic pathos, solemn language, full of oratorical exclamations and addresses, magnificent, Metaphors and comparisons often developed into a whole stanza, abundantly scattered Slavicisms and Biblical images, her, in the words of Lomonosov himself, "highness and splendor" served as a model for almost all Russian poets of the 18th century.

Odes of Lomonosov and Derzhavin are dedicated to women who played a significant role in the history of Russia: Elizaveta Petrovna and YekaterinaII. "Felitsa" is a hymn to the enlightened monarch, addressed directly to Catherine II, while the ode is addressed not only to Elizaveta Petrovna, but also to Russia, to its past and future.

Both Lomonosov and Derzhavin use the words of a solemn syllable, Old Church Slavonicism: virtue, transmits, bliss. However, in Derzhavin's ode there is a deviation from the norms of classicism. Derzhavin introduces colloquial words into an ode:

Keeping customs, rituals,

Don't donkishot yourself ...

This is how Derzhavin emphasized the difference between the empress and her confidants, whom in the text he calls “murzas”.

Both odes are characterized by the inclusion of compliments - flattering reviews of empresses. I. Lomonosov and Derzhavin showed the meekness of the empresses. Lomonosov writes:

Decent to divine lips,

Monarch, this gentle voice ...

Derzhavin also focuses on the virtues of CatherineII. It is important for both Lomonosov and Derzhavin that our state flourished through the merits of the Empress:

Yes, the sounds of your deeds in posterity,

Like the stars in the sky, they will excite.

Option 1

Ballad "Svetlana"

1.2.1. Prove that the work "Svetlana" belongs to the ballad genre.

The ballad is a work of the romantic genre. In it, the life of the heroes is presented in opposition to fate, as a duel between a person and the circumstances that prevail over him. The basis of the ballad plot lies in a person overcoming the barrier between the real and the other world.

The ballad creates a romantic atmosphere: night, fog, "the moon shines dimly", and the heroine is alone with her fears and experiences.

The ballad reflects romantic images and pictures. In the "dead silence" of the night, disturbing sounds were heard: the plaintive cry of the cricket "herald of midnight", the ominous croaking of a crow.

The ballad uses the image of a "snow-white dove" that protects Svetlana with its wings, as if answering her fervent prayer. This traces the romantic idea of ​​the ballad - love triumphs over death.

1.2.2. What role does the intro play in the ballad?

In the ballad "Svetlana" Zhukovsky attempted to create an independent work based in its plot on the national customs of the people - in contrast to the ballad "Lyudmila", which was a free translation of the ballad of the German poet Burger "Lenora". In Svetlana, the poet used an ancient belief about the fortune-telling of peasant girls on the night before Epiphany.

In describing fortune-telling, the poet uses colloquial words: "once in the Epiphany evening ...", "slipper", "ardent wax". This gives a national flavor to the picture of fortune-telling. By melodiousness, simplicity, this part of the ballad resembles folk songs, in which ritual poetry is reflected:

... Spread out the white board

And they sang in tune over the bowl

The songs are subtle.

1.2.3. Can you name the image of Svetlana in this ballad in a romantic way? Why do you think so?

Svetlana in the ballad can be called romantic heroine... She is silent and sad. She is surrounded by a romantic atmosphere - night, fog, moon. The main content of her life is love. This feeling captured her so much that she cannot think of anything as her sweetheart:

How can I, girlfriends, sing?

Dear friend far away;

I am destined to die

In lonely sadness.

Loneliness, thoughts of death, the desire to know "your lot" - all this corresponds to a romantic character.

Full of "secret timidity" of fear, from which she "a little ... breathes", Svetlana nevertheless decides to resort to fortune telling.

1.2.4. What means of artistic expression does the author use to convey his attitude towards the heroine?

Zhukovsky with special love and tenderness. Introducing the heroine, he writes: Silent and sad

Darling Svetlana.

The epithets "silent and sad" convey the poet's sympathy, and the epithet "sweetheart" helps not only to see the girl's pleasant appearance, but also to feel the author's sympathy.

The ballad ends with an optimistic conclusion:

O! do not know these terrible words

You, my Svetlana ...

The address "my Svetlana" conveys the author's love for the heroine.

To complete task 1.5, give a detailed coherent answer (5-8 sentences).

Argument your point of view based on this fragment or other episodes of the work.

1.2.5. Read the beginning of the ballad "Lyudmila" and compare it with the ballad "Svetlana". What unites the ballads "Svetlana" and "Lyudmila"?

The ballads "Lyudmila" and "Svetlana" are united by the similarity of the plot: both Lyudmila and Svetlana feel their loneliness, they are sad about their beloved, cannot think of anything else. The action in both ballads unfolds against the backdrop of a romantic landscape: at night the groom comes for each of them and takes them away with him. At the beginning of the ballads, both heroines mentally address their beloved.

Or won't you remember me?

Where, which side are you in?

Where is your abode? ("Svetlana")

"Where are you, honey? What's the matter with you?

With a foreign beauty,

Know, on the far side

Cheated, unfaithful, to me;

Or a premature grave

Has extinguished your bright gaze. "(" Lyudmila ")

The questions of Svetlana and Lyudmila remain unanswered. Uncertainty of fate gives rise to despondency and thoughts of death. Svetlana says to her friends:

Dear friend far away;

I am destined to die

In lonely sadness.

And Lyudmila, assuming that her dear friend died in the war, says:

"Make way, my grave;

Coffin, open; live fully;

Not to love the heart twice. "

O! do not know these terrible words

You, my Svetlana ... ("Svetlana")

Where, Lyudmila, is your hero?

Where is your joy, Lyudmila?

Oh! forgive hope-sweetness! ("Lyudmila")

Ballads differ in the ending: Lyudmila dies, sharing the fate of her fiancé, and her fiancé comes to Svetlana in the morning.

Option 2

"THE RIVER OF TIME IN ITS STRIP ..."

1.2.1. What lyrics does the poem belong to? Why do you think so?

The poem "The River of Times in its Striving ..." refers to philosophical lyrics. In it, the poet focuses on the problem of life and death. The poet reflects on the fact that there is nothing eternal in life. He sadly claims that even creativity (lyres and trumpets) is subject to oblivion.

1.2.2. What images are presented in the poem?

, reflecting on the life of a person, uses the image of time in the poem. He calls it "the river of times" and "the mouth of eternity." The river, which cannot be stepped on twice, is traditionally associated with human life, which flows quickly and sometimes unpredictable. Time is moving inexorably forward, one generation is replaced by another. This is the meaning of life.

1.2.3. How do you understand the expression: all "eternity will be devoured by the throat"?

Reflecting on time, the poet comes to the conclusion that everything that a person lives with will sooner or later end, "be devoured" by "eternity". The word "vent" means a narrow and deep hole. The colloquial word "devour" gives rise to the image of a millstone grinding grain. It can be assumed that the poet means that in the course of time nothing remains of the present life, that everything "will sink into oblivion."

It is known that this poem was used as an epigraph to the ode "God", which says that only God is "eternal in the course of time."

1.2.4. What means of artistic expression does the author use in a poem?

In the poem "The River of Times in its Striving ..." metaphors are used: "the river of times", "the abyss of oblivion", "eternity will be devoured by the throat", "the common fate will not go away!" All these metaphors prompt the reader to think that everything that a person lives with is temporary, that everyone is equal before death: and simple people, and kings.

Sound writing plays an important role in the poem. It alternates between hard and soft tense sounds [р] and [р ′]:

[R'] eka in [R'] emen in his st [R'] lodgings

……………………………………………..

On the [ R] odes, tsa [ R] state and tsa [R'] her.

Alliteration on [p] and [p ′] makes it possible to understand the author's idea that everything in our life is changeable.

1.2.5. Compare the poem "The river of times in its striving ..." with the poem "Waterfall". What do these poems have in common?

The poem "The river of times in its striving ..." with the poem "Waterfall" combines a high, solemn syllable. In the poem "The River of Times in its Striving ..." Old Slavonicisms are used: striving, oblivion. And in the poem "Waterfall" there are also Old Slavonicisms: "silver", "through the stream", "by the river of the milky". The high syllable makes it possible to feel the significance of the paintings presented by the poet.

In these poems, we can see the same image of the river. However, in the poem "The River of Times in its Striving ..." the river personifies the flow of time, and in the poem "Waterfall" the river has a direct meaning of the movement of water: "... the waves are quietly pouring, / Like a Milky River".

One more image unites these poems - "mouth". In both poems, he means extreme point... In the poem "The River of Times in its Striving ..." it is "the mouth of eternity", and in the poem "Waterfall" - an all-consuming abyss:

In the person of Chatsky, Famusov sees a young generation of people who do not live according to established traditions, but in their own way. Famusov dismissively calls the younger generation "proud" and considers it necessary to instill in him the need to live as "their fathers" lived.

Throughout the monologue Famusov uses plural forms, speaking not only about young people (“you are all proud”, “how do you think”, “you, the present ones”), but also about his generation (“we, for example,” “according to - ours "). This emphasizes the idea that the conflict between generations is not a personal, but a social problem.

1.1.4. Find rhetorical questions and rhetorical exclamations in Famusov's monologue. Indicate their role.

Famusov in the above monologue considers it necessary to give instruction to young people like Chatsky, who do not know how to live the way the "elders" lived.

For this purpose, rhetorical questions are used in the monologue: “Would you ask how the fathers did?”, “They were pleased to laugh; how is he? "," Huh? what do you think? "

Famusov expresses in his monologue admiration for people who have achieved public recognition and respect, therefore, rhetorical exclamations are used in his speech: “Maxim Petrovich! A joke! "," Maxim Petrovich! Yes!"

At the same time, both for moralizing and for expressing his attitude towards Maxim Petrovich Famusov uses both rhetorical questions and rhetorical exclamations:

Who hears a friendly word at court?

Maxim Petrovich! Who knew honor before everyone?

Maxim Petrovich! Joke!

Such examples show Famusov's confidence in the correctness of his life position.

1.1.5. Read Chatsky's monologue "And the light surely began to become stupid ..." and compare it with Famusov's monologue "That's it, you are all proud !. What do these monologues have in common?

Famusov and Chatsky are representatives of different generations, they have a different attitude to life. Both of them are smart and understand that they are the spokesmen for different ideologies. Famusov is conservatively opposed to any kind of transformation in society, and Chatsky represents the interests of young nobles who cannot put up with the remnants of the past. Both of them relate to the same theme: "the present century and the past."

For Famusov, there is no other way than to continue the traditions of the "fathers", which is why he cites the life of his uncle Maxim Petrovich as an example.

Chatsky hates the old way of life. He calls past century"Direct" century of "obedience and fear."

If Famusov is delighted with the way Maxim Petrovich lived and believes that servility towards high-ranking officials is not negative feature, then Chatsky condemns this servility, calling people like Maksim Maksimych "hunters to do the same everywhere." And Famusov, in turn, calls his uncle a smart man who "fell ... hurt, got up well" and therefore "knew honor at court." Calling the new generation "current", Famusov condemns its inability to live.

Chatsky scoffs at this path to a prosperous life:

A peer, and an old man

Another, looking at that jump,

And crumbling in shabby skin,

Tea said: "Ax! If only me too!"

Of course, Chatsky expresses the advanced ideas of the beginningXIX century, but he does not know life, unlike Famusov. Chatsky is mistaken when he says: "Yes, today laughter is frightening and keeps shame in check ..." Chatsky underestimates the strength of the "past century", and therefore experiences "a million torments" after being declared insane.

Option 2

... Elegy "Sea"

1.2.1. What are the features of the elegy as a genre of lyric poem? Expand them using the example of the poem "The Sea".

Elegy - a poem - a philosophical reflection on life, love, nature, the passage of time. The elegy is usually imbued with a romantic mood, romantic images. Behind real objects and phenomena, the romantics hide something else unspoken, unspoken. The poem "The Sea" presents the main image of the sea in a calm state, in a storm and after it. For the lyrical hero, it is imbued with some kind of mystery: "Reveal to me your deepest secret."

1.2.2. How are the images of the sea and the sky correlated in the poem?

The images of the sea and the sky complement each other. The calm sea surface reflects the pure azure of the sky, and the "golden clouds" and the glitter of the stars. The harmony in nature is felt. Zhukovsky writes about the sea:

You burn with evening and morning light,

You caress his golden clouds

In a storm, the sea is restless, it breaks, howls, torments "a hostile mist, and the clouds leave.

The union of sea and sky is shown in the closing lines:

And the sweet splendor of the returned skies

Silence does not return you at all;

1.2.3. How does the lyrical hero of the poem "The Sea" appear before us?

The lyrical hero of the poem "The Sea" is close to nature. He is attracted by the power and mystery of the sea. For the lyrical hero, the sea is like a living being. This is indicated by impersonations:

I stand enchanted over your abyss.

You lively; you breathe; confused love,

Anxious duma filled with you.

1.2.4. What lexical means of expressiveness help the author convey the state of the lyric hero in this poem?

The poet conveys the state of the lyric hero through the description seascape... The poem is an elegy. The tetrameter amphibrach in the elegy's white (non-rhymed) verses conveys both the silence of the sea and the movement of waves. The refrain (lines repeated like a chorus in a song) "silent sea, azure sea" helps to create the image of a beautiful, calm sea. In describing the storm, the poet uses alliteration, that is, he skillfully groups the same or similar consonant sounds [z], [p] and [p "], [w]:" be s rumor "," la s at R noe "," you bie w oh, howling w b, you waves rise w b, you R ve w b and those pz ae wь hostile darkness ... "

When reading, the illusion of a hiss of boiling, bubbling waves is created.

The sea seems to be a living, subtly feeling and thinking creature, which is fraught with a "deep secret". Hence - metaphors, metaphorical comparisons, personifications: the sea "breathes", it is filled with "troubled love, anxious thought." The poet uses rhetorical questions, addresses the sea with a question, as if to a man: “What drives your immense bosom? What does your tense chest breathe? "

The poet gives the answer to this question as an assumption. In solving the "mystery" of the sea, views on the life of a romantic Zhukovsky are revealed. The sea is in captivity, like everything on earth. Everything on earth is changeable, unstable, life is full of losses, disappointments and sorrow. The image of the sea is accompanied by the image of the sky. Only there, in heaven, everything is eternal and beautiful. That is why the sea stretches “from earthly bondage” to the “distant, bright” sky, admires it and “trembles for it”.

1.2.5. What brings the poem "The Sea" closer to the following poem "How good are you, O night sea ..."?

In the poem "How good you are, O night sea ..." as well as in the elegy "Sea" centrally is the image of the sea. But Tyutchev focuses on the night landscape, and, like Zhukovsky, Tyutchev's sea is changeable:

How good you are, oh night sea, -

It is radiant here, it is gray-dark ...

In both poems, the poets express their admiration for the sea:

Silent sea, azure sea

The sea is drenched with dull radiance,

How good you are in the solitude of the night! (Tyutchev)

Both poets use a high syllable, a solemn style in describing the colors of the sea: at Zhukovsky, the sea is "azure", it glows with "radiant azure," at Tyutchev's, the sea is "radiant", it "shines" under the glow of the moon.

The lyrical hero of Zhukovsky and Tyutchev animates the sea element, as indicated by the personifications: “you breathe; troubled love, you are filled with anxious thought "(in Zhukovsky)," as if alive, walks and breathes "(in Tyutchev).

Both poets use sound writing extensively in describing the sea. Tyutchev, like Zhukovsky, has an alliteration to [z], [p]

Z you are great s are you mo R skye,

Whose is it R a s dnik so n R a s are you dying?

Waves rush, thunder and light R kaya,

Empathetic s the stars look from above.

Like Zhukovsky, Tyutchev uses rhetorical questions "Whose holiday are you celebrating this way?" and exclamations "How good you are in the solitude of the night!"

Both poets convey admiration for the unbridled element and experience shyness and confusion in front of it:

I stand enchanted over your abyss. (Zhukovsky)

All, as in a dream, I stand lost

Oh, how gladly in their charm

I would drown my soul all ... (Tyutchev)

Option 1

Famusov's monologue "Taste, father, excellent manner ..."

1.1.1. In the monologue presented by Famusov, the unwritten "laws" of a secular society are revealed. Formulate these laws.

The comedy "Woe from Wit" reveals the typical features of the life of the highest noble society. Famusov is a representative of this society. In his monologue “Taste, father, excellent manner ... "it covers the basic principles of life of the nobles, who" and all have their own laws. "

First of all, they were proud of the nobility and treasured the fact that they could pass on their title by inheritance, after all, "honor by father and son." In a noble society, a person was evaluated according to the degree of his wealth:

... Be bad, but if you have enough

There are two thousand generic souls, -

He and the groom.

Famusov says that. that their society accepts all "invited and uninvited, especially from foreign ...". A person is judged by wealth and nobility, and not by high moral qualities:

Though an honest man, though not,

For us equally, dinner is ready for everyone.

A defender of the autocratic-serf system, Famusov admires the old order, the loyalty of high-born Muscovites to noble traditions, the old foundations of life.

1.1.2. How does Famusov relate to youth? Why do you think so?

Since this monologue is addressed to Colonel Skalozub, Famusov is complacent.Famusov shows that he is not always satisfied with the younger generation. This is indicated by the metaphor "zhurim". However, he speaks fondly of children and grandchildren, admiring their intelligence:

We scold them, and if you disassemble them, -

At fifteen, teachers will be taught!

1.1.3. How Famusov characterizes his attitude to female half secular society?

Famusov, in the presence of Skalozub, maintains small talk. We will not see his sincere attitude towards women.Famusov speaks disapprovingly of the fact that they can revolt with a common rebellion, "but at the same time admits that the role of women in secular society significant:

However, this is only beautiful words! And yet Famusov respectfully names the most famous names

Tatyana Yuryevna! Pulcheria Andrevna!

And whoever saw daughters, hang everyone's head ...

He wants to marry Sophia to Skalozub, who “is both a golden bag and marks the generals,” and therefore calls his daughters patriots for their interest in the military.

1.1.4. What means of artistic expression does Griboyedov use in the lines:

... we have been doing it from time immemorial,

What honor is there for father and son;

Be bad, but if you have enough

There are two thousand generic souls, -

He and the groom.

Be another at least quicker, inflated with all sorts of arrogance,

Let yourself be reputed to be a wise man,

And they won't be included in the family. Don't look at us.

After all, only here they also value the nobility.

This excerpt uses the metaphors "from olden times", "there will be two thousand souls of the clan", "inflated with all sorts of arrogance" to show why a person is valued in a noble society.

Famusov uses the colloquial words "reasonable", "at least be quicker", "don’t look at us" to show that the nobles do not tolerate smart people who do not have wealth.

"And they won't be included in the family." What kind of family can we talk about? Of course, about a noble society, where they are proud of their origin and wealth. This means that the words nobility and "family" with the stress on the first syllable can be considered as contextual synonyms.

1.1.5. Read the dialogue between Chatsky and Molchalin. What in Molchalin's remarks is consonant with the thoughts expressed by Famusov in the monologue “Taste, father, excellent manner ...

In Molchalin's remarks, we see confirmation of Famusov's idea that women play important role in the life of a noble society. Famusov told Skalozub:

Command before the frunt!

Attend send them to the Senate!

Irina Vlasyevna! Lukerya Aleksevna!

Tatyana Yuryevna! Pulcheria Andrevna

Molchalin, teaching Chatsky, also calls the name of Tatyana Yuryevna - a very influential woman in high society, because

Officials and officials -

All her friends and all her relatives ...

Famusov's monologue echoes admiration for Moscow:

I will resolutely say: barely

Another capital is found, like Moscow.

And Molchalin's remark reveals admiration for the life that the nobles lead in Moscow:

Well, really, what would you like to serve with us in Moscow?

And take awards and have fun?

The whole meaning of the life of the nobles boils down to moving up the career ladder with the help of "the right people."