Compositional parts of the word not related to the plot. When and how did Russian literature begin? II

Piece of art, although close to the chronicle; Topic: unsuccessful campaign against the Polovtsy of Seversky Prince Igor at the end of April - beginning of May 1185; Time of writing: shortly after the hike; Other sources telling about this campaign: Laurentian Chronicle, Ipatiev Chronicle.

“in the old speech,” but “without chasing Boyan in thought.” Manner of presentation Tell about the “time of troubles” from the time of Vladimir to Igor; Glorify Igor. The purpose of the "Word..." is the harm of civil strife and a call for the unification of Russian lands; Reflections on ambition and human pride. main idea

Ipatiev Chronicle 1. Igor's march 2. Solar eclipse 3. Vsevolod's Bur-Tur joined the army 4. The first successful clash with the Polovtsians 5. Failures of the second battle 6. The wounding and capture of Igor 7. The Polovtsians' raids on Russia 8. Igor's escape from captivity 1. … 2. … 3. … 4. … 5. … 6. … 7. … 8. … 9. … 10. … 11. … “The Tale of Igor’s Campaign”

1. Introduction 2. Getting ready for the hike, solar eclipse 3. First battle 4. Dream 5. Second battle 6. History of battles with the Polovtsians 7. Defeat of Igor’s army 8. Lyrical digression about civil strife 9. Svyatoslav’s Dream, Svyatoslav’s “Golden Word” 10. The Author’s Appeal to the Russian Princes 11. Yaroslavna’s Lament 12. Igor’s Return from Captivity 13. Igor’s Welcome Meeting

The author tries to understand why the brave, courageous prince and his experienced squad were defeated; he recalls the times of Igor’s grandfather - Oleg (11th century) Reason plight Russian land in the past and present, the reason for Igor’s defeat is the disagreement of the Russian princes, their discord.

Svyatoslav's dream is “vague”; Svyatoslav is given knowledge about Igor’s campaign, his defeat and the invasion of Rus' by enemies. This emphasizes the role of the leader. Prince of Kyiv as heads of the Russian princes and the entire Russian land; Hood. the function of Svyatoslav’s dream is to justify the latter’s right to the “golden word”, in which he acts as a unifier of Russian princes in the fight against enemies; The dream images are symbolic. Part II chapter 1

He is “dressed” with a black papilloma, that is, with a funeral veil, as if he were dead; Seeing a bed in a dream too Bad sign according to dream books: to illness or death; In ancient times, yew was considered the most valuable species for a coffin and, therefore, was a symbol of death; drinking wine in a dream, especially cloudy wine, is a “bad omen”, “a sign of sadness and annoying news”; Scattering pearls are a symbol of tears in dreams.

The meaning of Svyatoslav’s Dream: Svyatoslav, sitting “in Kyiv on the mountains,” formidable and great, in a dream sees himself not in the capital of Kyiv Kievan Rus, its center, and on the very outskirts, near the small border town in the southwest of Rus', Plesnsk. Instead of the “golden table” of Kiev (a symbol of power, strength, might), he finds himself in a dream in a funeral sleigh (a symbol of non-life, inability, non-existence), in which he is carried to the sea, a symbol of the “other world” and at the same time a place stay of the Polovtsians, they were captured. In a dream, what happened to Svyatoslav in reality happened to Igor and the other princes participating in the campaign.

A look at Igor's campaign from the point of view. the fate of the entire Russian land. Direct condemnation of Igor and Vsevolod; He accuses them of an ambitious desire to appropriate past glory for themselves and share the future among themselves; Does not doubt their personal courage, does not humiliate their dignity; Svyatoslav = Author. Part II chapter 5

Svyatoslav’s “Golden Word” turns into an appeal to the Russian princes; Reminds the princes of how in the past strife weakened the Russian land and led to the death of its princes; Reminds each of the princes of his strength, intelligence, power; Calls on the princes to be filled with the military spirit, to unite their forces and return Rus' to its former glory and power. Svyatoslav = Author of Part II of chapters 6-13

On the city wall in Putivl, Igor’s wife Yaroslavna is crying; She does not reflect, does not condemn, but simply grieves and grieves; Turns to the forces of nature, asks her husband for help; Yaroslavna mourns for all Russian soldiers, not only for her husband; This collective image– the voices of all Russian women, their sadness and tenderness, the suffering from wars and civil strife of all Russian women. Part III chapter 1

1. Who does Igor go on a hike with? 2. When is “The Word...” written? 3. What does the Author admire about Igor? 4. How are the events presented (manner of presentation) in the “Word...”? 5. Describe the Author of the “Word...”. 6. For what purpose is a solar eclipse described? 7. Why does the Author refer to the times of Oleg?

Differs in grandeur; Dan in motion: “Black clouds are coming from the sea...” “The earth is humming, rivers are flowing muddily, dust is rushing over the fields...” The wind, sun, clouds, clouds are the background against which the action of “The Word...” unfolds, and at the same time - characters. (reception?)

These are, first of all, the Russian people; The author talks about the peaceful work of the Russian “rataev” (plowmen), disrupted by the strife of the princes; about the wives of Russian soldiers mourning their husbands; about the grief of the entire Russian people after the defeat of Igor and about the joy of all residents of cities and villages upon his return. The army of Igor Novgorod-Seversky is, first of all, “Russians,” and, crossing the border of Rus', they say goodbye not to the Novgorod-Seversky principality, but to the Russian land as a whole.

Homework: read “The Lay” translated by N. A. Zabolotsky; prepare your favorite passage for expressive reading (or by heart); individual task: prepare comparative plans for the narrative of Igor’s campaign “from the catch” and according to the Ipatiev Chronicle.

Lessons 3–4

“The Word” as highly patriotic
and a highly artistic work
(idea, image system, landscape, influence of folklore)

CelAnd: introduce the figurative system of the “Word”, its main idea; give the concepts of patriotism, ambition; work on expressive reading.

Progress of lessons

I. Checking homework.

Comparative analysis of the Ipatiev Chronicle and the Lay.

(The plans are reflected on the board.)

– What are the most striking compositional parts that are not related to the plot, characteristic only of “The Lay”? (Lyrical digression about civil strife, Svyatoslav’s “golden word”, Yaroslavna’s cry.)

2. Expressive reading(or reading by heart) favorite passages with subsequent comments.

II. Learning new material.

– How “soul-piercing patriotism” manifested itself in them unknown author?

– What is the universal human meaning of the history of Prince Igor’s campaign? (These are thoughts not only about ambition and human pride, but also about love for the Motherland.)

2. Characteristics figurative system"Words".

1) What images of “The Word” do you remember?

2) How do you imagine them?

3) Compare your idea with the illustrations of V. A. Favorsky (p. 13 of the textbook).

4) Who main character"Tales of Igor's Campaign"?

Opinion exchange.

Prince Igor? No. More is said about him than about other princes, but almost always in a lovingly reproachful tone.

Igor's regiment? But the latter was defeated, opening the road to Rus' Steppe.

Yaroslavna? She is beautiful, touching, heroic, but she is still an episodic person, a character, perhaps the best, but the only chapter of the poem.

Svyatoslav of Kyiv? He is the embodiment of state wisdom and paternal nobility, an expresser of judgments about current events, he is the second poetic “I”, it is not for nothing that his speech, called the Golden Word, imperceptibly turns into the author’s appeal to the princes.

Teacher. The real hero of the poem is the Russian land. The singer gives her all the heat of his heart, immeasurable love, filial affection and fidelity.

For the author, the princely squads are “Russian sons”, “Russian regiments”, whom “Russian wives” are waiting for. The brave warriors mentioned four times in the poem are “Rusichi”. In the context of the poem, this word has an epic sound, it is as if it is forever carved in granite: “... the great Russians, the fields of infested shields, are fenced.” Or: “...that feast is the end of the brave Russians.”

The author is an extraordinary figure of pre-Mongol Rus'; his patriotic pathos was not the product of personal sentiments and beliefs. The value of the poem for that time was that it expressed in unsurpassed artistic form what was ripening in the minds the best people era. So, in the Ipatiev Chronicle, in the entry under the year 1168, the prince exclaims: “God forbid that we should lay down our heads for the peasants and for the Russian land.”

In the Lay the Russian land appears in all its historical and natural beauty. Through the eyes of the author, the people seemed to look for the first time at their native and long-lived places. Spread over vast expanses - from Volkhov to the Black Sea - the Russian land was “beautifully decorated” with cities, villages, and fortresses.

We can say that Rus' has grown and hardened in the fight against the Steppe. Defending, and often going on the offensive, Rus' defended its people, statehood, and its young, undoubtedly extraordinary culture, and served as a shield for Europe in the East. It is not for nothing that Igor’s song recalls with such pride the “campaign of Svyatoslav” - the formidable and great one, who, advancing on the Polovtsian land, trampled down hills and ravines, stirred up rivers and lakes, dried up streams and swamps, and captured Khan Kobyak.

But a sad time came when, according to Igor the singer, brother began to challenge brother, and the princes began to talk about small things “that are great.” Because of the strife, the “filthy” from all sides began to come with victories to the Russian land. The author not only recalls past victories, not only mourns the misfortunes of modern times that have befallen the Russian land. The poet calls to stand up for “the insult of this time,” for the Russian land.

There is even an assumption that the “word” spoken at the meeting of the princes forced them to stop fighting for several years and vigilantly monitor the machinations of the nomads, that is, it gave them a brief military respite.

The singer of “The Lay,” with a hawk’s gaze examining all the edges of his native land, plunging into bygone centuries, was an active son of a turbulent time, he knew all the joys, sorrows, defeats and victories of his years.

He was the first to choose the Russian land as the main character of the work, laying the foundation for a heroic tradition that has lived for centuries.

3. Study of the composition “Words”.

– What is the composition of “The Lay”?

Teacher. Of course, it is complex, it is called inconsistent, emotional, mosaic. The author constantly moves from one topic to another, transfers the scene of action from the Russian land to the Polovtsian steppe and back, then talks about the events of 1185, then interrupts the story with memories of the past. However, this inconsistency has its own artistic logic. Let's look at the text.

Expressive reading of the fragment (part I, chapter 12, pp. 17–18).

Teacher. The author manages time in his own way, and in the midst of the battle, when every moment is precious, he makes a lyrical-historical digression, recalling the deeds of previous years and, above all, the strife started by the founder of the current Olegovichs who are now fighting, Oleg Svyatoslavich. Temporary distraction is necessary not only so that we understand the historical predetermination of what is happening - the inevitability of defeat as a consequence of princely strife. "Help-pause" executes here and artistic purpose. We see Igor's recklessness and unreasonableness against a broad historical background. Igor is what time has made him, the poem convinces.

It is no coincidence that in abstract the moral maxim is given that in the past boasts have already brought princes to the judgment of God and turned into a funeral veil. A meaningful message prepares us to understand: Igor is in the same position as the participants in past strife, and he will not escape punishment for his daring foray into the Field, for his desire for personal glory, for his unwillingness to moderate his ardor and be with other princes "for one heart."

– Let’s see, how does nature “respond” to current events?

In “The Lay” we are present at the miracle of the birth of that feeling of nature, which centuries later will find its full expression in Tyutchev’s poetic stanza:

Not what you think, nature;

Not a cast, not a soulless face, -

She has a soul, she has freedom,

It has love, it has language...

Let us take a closer look at the appearance and character of the steppe in which the main actions of the campaign unfold.

The steppe greets the army walking along the road with the roar of a thunderstorm, the howling of wolves through the ravines, the screeching of eagles; the army hears how the foxes “breach” onto the red shields. At night the steppe resounds with the “tickling” of nightingales, in the morning the squad is awakened by the chatter of jackdaws... Round the clock the steppe sounds, speaks in feather-grass speech, full of unusually important meaning. The poet loves the symbolic field landscape, when nature itself - “friendly” to “its own” - tries to warn brave knights about the upcoming massacre. For this purpose, sharp color strokes are thrown onto the artistic canvas. From afar, changing colors are visible: “bloody dawns herald the light,” “black clouds are coming from the sea,” “blue lightning trembles.” The rain coming from the Don showers the army with arrows...

At the time of Igor’s flight - with all the drama of the story - our gaze stops at the steppe rivers spreading green grass, on the sandy banks, where swans, seagulls, and ducks swarm in the reed thickets. Everything is marked by sharp pictorial expressiveness and intense dynamism.

Expressive reading of the fragment (part III, chapters 2–5, pp. 30–32).

– Dividing the “Word” conditionally into parts, title them:

1) A story about Igor’s campaign.

2) Dream and “golden word” of Svyatoslav.

3) Yaroslavna's lament.

4) The story of Igor’s escape from captivity.

– Where does the “Word” begin? (From a short introduction, in which the author reflects on how to conduct his story. But, admiring the art of the old singer Boyan, he refuses to conduct his narrative-story “according to Boyan’s plan”, he intends to narrate “according to the stories of this time” - closer to the real ones events.)

– Why do you think the author invites us to see Igor’s campaign through the eyes of people with different life experience, evaluate it from different points of view? (The story about Igor’s campaign is structured in such a way that we were able to see him through the eyes of a warrior and admired the daring courage of the prince; we heard the voice of a wise state ruler and thought about the fate of the Russian land, were imbued with the correctness of his passionate call to stand up for the Russian land; we were touched and captivated by Yaroslavna’s grief, grieving for her husband and striving to help him. And in each of these visions of events there is its own truth, its own “reality”. But in all the responses to Igor’s campaign there is pain. The author’s soul hurts for Igor, for the fate of the Russian land.)

The author’s ideal is the power of the Russian land, the unity of the princes. He wants to see princes as brothers, capable of feeling someone else's pain and helping in grief. “The Word” is a lesson in compassion, empathy and love for one’s land. (Write in notebook.)

4. Study of the influence of folklore on the “Word”.

Teacher. When they talk about the folkloric nature of the Lay, they usually remember the wealth of pre-literate creativity, and indeed the entire oral poetic element that has always lived among the people, and consider how this wealth was reflected in Igor’s song.

Orally folk literature stable ideas about the national character have developed. It is enough to compare the passion and youth of Igor and the prowess of Vsevolod with the actions of Dobrynya Nikitich, Ilya Muromets, Alyosha Popovich, and it will become clear that their actions - violence in battle, unwillingness to balance strength with danger - are no exception. They behave like sons of the era.

Yaroslavna, wailing on the city wall, embodied the best features of epic heroines.

The most striking hero of the Lay is Vseslav of Polotsk, whose image combines the features of a real (“chronicle”) prince with the wizard Volkh Vseslavich, a folklore werewolf who ruled people during the day and reigned over animals at night.

– Using any fragment as an example, show folklore basis"Words". (V write down examples constant epithets, fairy-tale motifs, repetitions, methods of animating nature, etc.).

III. Summary of lessons.

Homework: write home essay on one of the topics:

 The image of the Russian land on the pages of the Lay;

 Yaroslavna’s lament translated by Zhukovsky and Zabolotsky ( benchmarking);

 Which episode of “The Word” was most interesting to you and why?

Lesson 5

“Eternal Images” in “The Tale of Igor’s Campaign”

(extracurricular reading)

CelAnd: continue to introduce students to greatest monument ancient Russian literature, with interpreters of the “Word” in music, on stage, in painting, graphics, lacquer miniature.

During the classes

Literary and musical composition “Images of the “Word” in painting, graphics, sculpture, music.”

1. introduction teachers.

The musical, graphic, pictorial “Word” entered our spiritual life and became its integral part. The heart is filled with pride when the names of Alexander Borodin, Viktor Vasnetsov, Ivan Golikov, Vladimir Favorsky are heard... These first-class masters do not limit the list of those who have enriched and multiplied the visual and musical tradition embodiment of the "Word".

Why is “The Word” so attractive for an artist? why are his images eternal?

The slide “Dmitrov Cathedral in Vladimir” is shown.

Researchers have more than once compared the song of Igor’s campaign with the white-stone handsome hero – the Dmitrov Cathedral in Vladimir, built during the time of Vsevolod the Big Nest. IN last years The sculptural Vladimir bas-reliefs, combining Christian and pagan motifs, are of increasing interest.

Slide “St. George’s Cathedral in Yuryev-Polsky.”

A peculiar stylistic echo of the images of “The Tale of the Regiment and Grief” with the sculpture of the facades of St. George’s Cathedral in Yuryev-Polsky was noticed: “The sculptures of St. George’s Cathedral, like Old Russian poet, trying to convey the present more clearly, they recreate pictures of the past, evaluate events in historical aspect... The relief of Dmitry Solunsky, dedicated to Vsevolod III, is a kind of typological parallel literary image poems... In the sculpture of St. George’s Cathedral, as in “The Tale of Igor’s Campaign,” military motifs sound with particular force. Both the poem and the sculptural decor, complementing each other, can serve encyclopedic dictionary on the history of Russian weapons" * (see note). This is how the world of the poem of pre-Mongol Rus' was depicted in plastic.

Every more or less remarkable scientist, writer, historian, poet, teacher admired this work and sought to say their word about it. Artists were not left out either. The illustrations by Mikhail Zichy, born in 1854, deserve attention.

P rendering of the slide "Yaroslavna".

In 1880, one of the famous Itinerant artists V. G. Perov painted the painting “Yaroslavna’s Lament.”

2. Student’s speech about V. M. Vasnetsov.

In 1880, Viktor Vasnetsov completed his painting “After the Massacre of Igor Svyatoslavich with the Polovtsians,” which is now in Tretyakov Gallery.

Reproduction display.

There is always a crowd of spectators near the huge canvas admiring the artist’s creation. Vasnetsov understood “The Lay” as a work in which “the whole appearance of the people” is reflected. On the field lie the brave Russians who fell in the battle for their fatherland. Full of epic calm beautiful faces soldiers who gave their lives defending native land. The moon, as if washed in blood, rises above the steppe ocean; calmness is diffused throughout the entire landscape, and one involuntarily recalls the words of the poet: “...that bloody wine was not enough, that feast was finished by the brave Russians: they searched for matchmakers, but they themselves suffered for the Russian land.” Vasnetsov saw the Battle of Igor through the eyes of an epic painter as one of the courageous legends with which our history is replete. Vasnetsov’s “Massacre” – embodiment people's ideals and high patriotic feelings. Admiring Vasnetsov’s creation, Repin praised it in a letter to Stasov: “For me, this is an unusually wonderful, new and deep poetic thing.”

3. A student’s story about A.P. Borodin.

There are combinations of names that seem almost symbolic. This is the meeting of Alexander Porfiryevich Borodin, a composer whose work is marked by traits of courage and epic breadth, with the song of Igor’s campaign.

Borodin owed his appeal to the Lay, which turned out to be so happy, to Vladimir Vasilyevich Stasov, his spiritual, artistic and historical insight. The birth of the epic opera “Prince Igor” is inseparable from the social and musical atmosphere “ Mighty bunch", the famous Balakirevsky circle, which performed in the 60s. XIX century for national, democratic, folk art. Deeply interested national history, the “kuchkists” turned to plots that allowed them to reveal folk characters in their spiritual bloom.

Stasov loved The Lay immensely and correctly assimilated its national essence. he emphasized brightly expressed feeling nature found in the poem. It was Stasov who wrote the first script for the future opera, which, although later revised by Borodin, nevertheless formed the basis of the work.

Alexander Borodin, working on the music and libretto, significantly modified Stasov's script, trying to bring the opera closer to the text of the work, taking care to convey the epic nature of Igor's song. According to Stasov, the opera was supposed to begin in the mansion of Yaroslavna, thoughtful and sad, knowing nothing about Igor, who had gone on a campaign. The opera, as we know, opens with a majestic scene of the performance of Igor’s army, whom Borodin made the main character. His image is most fully revealed in the cavatina “No sleep, no rest for the tormented soul...”, which became famous.

Cavatina sounds.

In the opera there is no “golden word” of Svyatoslav, new heroes are introduced - Prince Vladimir Galitsky, gudoshniki, Konchakovna.

The changes made by Borodin were dictated solely by the composer's desire to “write an epic Russian opera.”

Borodin introduced into the opera text the scene of Igor getting ready for the campaign, an ominous eclipse, farewell to Yaroslavna and the people; emphasized the action in the opera Space Force, who unleashed their wrath on Putivl, introduced a dramatic alarm bell scene - after all, the “Word” itself was a call. The Polovtsian scenes painted by Stasov satisfied Borodin, but he enlarged the depiction of the figures of Igor and Khan Konchak.

The third act was outlined by Borodin only in a dotted manner; later it was developed in detail by A.K. Glazunov and N.A. Rimsky-Korsakov.

And finally, the fourth and final act was written by the composer as a national celebration, imbued with joy at the return of Igor.

Rimsky-Korsakov later recalled that Borodin, while working on the opera, suffered from visual hallucinations: as soon as he closed his eyes, he saw the faces, clothes, and eyes of his characters in every detail.

Constantly distracted by scientific duties (after all, he was one of the leading chemists of his time), Borodin composed the opera not act by act, but in “pieces,” creating those scenes that most attracted him at the moment.

No matter how Borodin built the grandiose opera building brick by brick, all sorts of musical, scientific and everyday affairs constantly distracted him from work; Alexander Borodin was not destined to complete the opera. In 1887, shortly before his death, the composer played excerpts from the opera for a gathering of friends. After Borodin's death, Prince Igor was completed by his friends. Rimsky-Korsakov recalled on this occasion: “It was decided between me and Glazunov that he would complete everything that was missing in Act III, will write down from memory the overture, played many times by the author, and I will re-orchestrate, compose and bring into system everything else, unfinished and not orchestrated by Borodin.”

In April 1890, “Prince Igor” was first staged Mariinsky Theater in St. Petersburg, to then begin a triumphal procession through theaters around the world.

4. The teacher's word.

Musical embodiment“Words,” which occurred almost a hundred years after the happy discovery of Musin-Pushkin, was to some extent a new birth of the work. Decorative artists, such as, for example, the expert on pagan antiquity N.K. Roerich (in his foreign wanderings, he called: “Love the Russian people!”), and great singers, and wonderful conductors, also joined the old epic.

The revolutionary explosion of 1917 and the civil war forced poets and prose writers to more than once resort to images and metaphors of the “Word”, reinterpreting them in a modern way. People's Artist from Palekh, Ivan Golikov resurrected all the immense joy of colors that lived in the poetic masterpiece born of Kievan Rus.

Demonstration of a reproduction of I. Golikov’s painting “Battle”.

5. Student’s message about Ivan Golikov.

In the 20–30s. XX century The Academia publishing house was popular. Art editor there was the energetic M.P. Sokolnikov, who knew Palekh very well and was friends with I. Golikov in his youth. It was Sokolnikov who came up with the idea of ​​publishing The Lay with Palekh illustrations.

I. Golikov perceived the order as a matter of life.

Usually Golikov painted without any preliminary preparation. Seeing, for example, flowers on the field, Golikov wrote “Fight,” striking everyone with the heroic movements that conveyed the heat of the fight. x the artist did not accept any preliminary sketches, did not make any preparations.

The happiness of Ivan Golikov lay in the fact that all of him, his artistic ideas, were the green shoot of a mighty trunk growing from an acorn, which was “The Tale of Igor’s Campaign.”

The book was published in 1934.

A reproduction of the title cover of the first edition of “The Tale of Igor’s Campaign” with illustrations by I. Golikov is demonstrated.

Its circulation was 3200 copies. Golikov's originals, currently stored in the Tretyakov Gallery, have undergone significant changes when turning into printing sheets. By appearance the book resembled a Palekh box with a black lacquer background, on which the color highlights glow like small suns.

6. Student’s speech about V. A. Favorsky.

After Golikov, it was not easy to turn to the visual side of Igor’s Song, because in his works the poem and its visual embodiment coincided. But there was another meeting with the “Word”, which turned out to be extremely modern and original.

It's about about the graphic embodiment of “The Lay” by Vladimir Favorsky.

Favorsky first turned to “The Lay” in 1937, creating small screensavers for chapters that combined legend and history, the sweetness of legend and documentary.

Recalling his work, Vladimir Andreevich later said: “I designed and illustrated The Tale of Igor’s Campaign because this work always delights me. It is difficult, in my opinion, even in world literature to find epic work, equal to "Word". The book published by Detgiz is my last work on The Word. This edition is distinguished by the fact that in the book, on a double page, opposite each other, the ancient text and the translation were placed. And so it was natural to make illustrations in a spread that occupied both pages. With such a composition, all illustrations have an elongated shape, like a frieze in architecture, which, it seems to me, helps to convey the epic character of the whole thing. Small pictures in the margins and letters accompany the entire story and should unite the entire book into one song.”

Examination of Favorsky’s illustrations in the textbook.

7. Final word teachers.

There is no doubt that “The Word” will continue to find its new incarnation in the forms of cinema, plastic arts, ballet, and music. Poets will continue to create variations on the themes of the “Word”, and composers will extract new and new sounds from the endless artistic and musical space poems.

“The Tale of Igor’s Host” is an inexhaustible source, generously bestowing gifts on those who fall to its living water. The knowledge of the “Word” is of a nationwide nature, representing a beautiful and exciting, ever-living phenomenon. national culture» (D.S. Likhachev).

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The unknown author created his work hot on the heels of events. He believed that all historical vicissitudes and details were well known to contemporaries. The author’s task was to give a political and artistic assessment of the event, to show his contemporaries what significance the failure of Igor’s campaign had for historical fate the entire Russian land.

In the fact of the defeat of the Russian troops on Kayal, the author of the Lay saw not a manifestation of God’s wrath, punishing Igor for his sins - reprisal against the inhabitants of the city of Glebov, which he took as his shield, but a manifestation of terrible evil feudal fragmentation, lack of unity between the princes, non-compliance by the vassals with their obligations towards the overlord - the Grand Duke of Kyiv, a manifestation of the selfish policy of princes thirsting for personal glory. This led to the fact that a “gloomy time” came for Rus', when the princes began to talk about small things, and the “filthy” began to come to the Russian land with victories and collect tribute per squirrel from the courtyard.

Igor’s defeat evokes deep thought for the poet-citizen and patriot about the fate of the Russian land, and the main idea of ​​the “Word” is a passionate appeal of the Russian princes for unity. This idea is clearly embodied throughout artistic structure work, and above all in its plot and composition.

“The Word” opens with a short introduction. It is not directly related to the course of the story. In it the author reflects on artistic principles presentation of the material and, as it were, conducts a dialogue with the reader. The introduction emphasizes the general pathetic, solemn pathos of the work. Next, the author moves on to the narration of the events of the campaign. The exhibition gives a laconic, expressive characteristic Igor and emphasizes that his campaign against the Polovtsians was undertaken in the name of the Russian land.

The march of the Russian troops forms the plot of “The Lay.” Unlike the chronicle story, the initiative of the campaign is attributed not to Igor, but to Vsevolod, who appeals to his brother to saddle his greyhound horses. The author does not say when and where Igor came from, or what the route of the Russian troops was, but he introduces bright pictures nature, full of deep symbolic meaning. Compared with chronicle story events are developing rapidly. The author gives a short, emotionally uplifting story about the first clash between the Russians and the Polovtsians and about the rich spoils taken by the Russians. A sharp contrast to this episode is the symbolic landscape on the eve of the second battle. Bloody Dawns; the clouds coming from the sea are full of ominous omens. In the description of the battle, the author focuses on the heroic figure of the buoy-tur Vsevolod and limits himself to mentioning Igor, who is trying to return the fleeing Kovuys to the battlefield.

The defeat of the Russian troops constitutes the climax of the plot. The author shows what painful consequences this defeat had for the entire Russian land. He emphasizes that as a result of the defeat of Igor’s troops, the successes of the coalition campaign of the Kyiv prince Svyatoslav against the Polovtsians were negated.

The symbol of the united Russian land is Kyiv and the Grand Duke of Kiev. Therefore, the action of “The Lay” is transferred to the capital of the Russian land. A symbolic picture of a “turbid” (heavy) dream that Svyatoslav sees is introduced. This dream is interpreted by the boyars: they report the defeat of Igor. According to the chronicle story, Svyatoslav learns about Igor’s defeat in Chernigov from Bslovod Prosovich. Svyatoslav expresses the feeling of grief caused by the painful news in his “golden word,” mixed with tears. The monologue of the Grand Duke of Kiev develops into a passionate journalistic appeal from the author of the Lay, addressed to the princes to stand up “for the earthly Russians,” to avenge “the wounds of Igor’s great Svyatoslavlich!”, and to stop centuries-old internecine strife.

denouement - Igor's escape from captivity. Igor returns to Kyiv (according to the chronicle story, Igor first came to Novgorod-Seversky) and thereby, as it were, admits his guilt - violation of obligations to the overlord, to the Russian land. The “Word” ends with the proclamation of “glory” in honor of the princes - Igor, Vsevolod, Vladimir Igorevich and their squad.

Thus, “The Tale of Igor’s Campaign” does not give a consistent story about the campaign and even deviates from the series historical facts. The author takes only the most significant episodes, which allow him to more clearly express his attitude to events and convey the main idea to his listeners. It is the civil patriotic idea that firmly cements all parts of the work into a single artistic whole. Definition political thought, lyrical emotion, journalistic passion, breadth of historical thinking, high artistry - all this makes “The Tale of Igor’s Campaign” “a beautiful fragrant flower of Slavic folk poetry worthy of attention, memory and respect."

• When and how did Russian literature begin?

• What works of ancient Russian literature do you remember?

• Are the names of their authors known?

• What genres of ancient Russian literature do you know?

Civil strife

• Civil strife

• Cumans

• Chronicle

• Patriotism

• Ambition

• The historian, collector, Count Musin-Pushkin discovered an ancient manuscript in the library of the Spaso-Yaroslavl Monastery in a collection of the 16th century.

• In 1812, Napoleonic troops entered Moscow. Mansion A.I. Musina-Pushkin on Razgulyai did not die in the fire, but the count's library was destroyed. An ancient collection with the only ancient copy of the “Words” was also lost.

• In 1185, without warning the Kyiv prince Svyatoslav and other princes, the Novgorod-Seversky prince Igor Svyatoslavovich went on a campaign against the Polovtsians with his son, brother and nephew.

“Our ancestors loved their homeland, of course, no less than we do, and patriotic consciousness medieval Rus' developed many centuries earlier than European peoples. Hegumen Daniel, having come from near Chernigov to Jerusalem, back in 1108, in his notes, remembered his native river Snov six times and asked the Crusader king Baldwin for permission to light a candle from the entire Russian land. The soul-piercing patriotism of “The Tale of Igor’s Campaign” cannot be compared with anything! This is the 12th century. In Europe, for the first time, the thought of the homeland, as main value people, Francesco Petrarch said only in the middle of the 14th century...” (V. Chivilikhin. “Memory”).

Ipatiev Chronicle

• Ipatiev Chronicle

• Performance on Igor's campaign.

• Solar eclipse.

• Joining Vsevolod's army.

• The first successful clash with the Polovtsians.

• Failures of the second battle.

• Igor's wounding and capture.

• Polovtsian raids on Rus'.

• Igor's escape.