Genre systems. Canonization of genres

When starting to study the issue of DRL genres, it is necessary, first of all, to focus on identifying the features of the genre formation process itself in medieval literatures. Likhachev writes: “The literary genres of Ancient Rus have very significant differences from the genres of modern times: their existence, to a greater extent than in modern times, is due to their application in practical life. They arise not only as varieties of literary creativity, but also as certain phenomena of the Old Russian way of life, everyday life, was in the broadest sense of the word. "

DRL genres are fundamentally different from the literature of modern times in their functional significance, practical purpose. Church genres (lives, sermons, teachings, chants) were used in church and monastery everyday life, chronicles in diplomatic practice, walks served the practical purposes of pilgrimage, etc.

In relation to the genres of DRL, the concept of "genre system" is used. This concept was introduced into scientific circulation almost simultaneously by Likhachev, Vinogradov and S. Volman. "Genres," writes Likhachev, "constitute a certain system due to the fact that they are generated by a common set of causes, and also because they act in interaction, support each other's existence and simultaneously compete with each other." According to the researcher, "genres are not equal and not homogeneous, but constitute a kind of hierarchical system" in which genres "primary" and "uniting" can be distinguished. "

The system of genres is also determined by the peculiarities of the world outlook of the ancient Russian man. The binary nature of the medieval world outlook is manifested in the delimitation of two main genre systems: ecclesiastical (spiritual) and secular (secular). It should be noted that partly the genre system of the Russian Middle Ages was borrowed from the Byzantine one.

The genre system of church literature is more conservative, there were no genres proper in the modern understanding of this term, but there were canons that were approved at church councils. Thus, the Gospel canon was adopted and legalized in 325 by a decree of the Council of Nicaea.

Naturally, under the supreme domination of theology in the Middle Ages, the genres of church literature occupied the ancient Russian book-writing of the 11th-13th centuries. leading place. Over time, this ratio changed, the share of secular literature gradually increased. But from the XI-XIII centuries, according to Volkov's estimates, 226 books of Holy Scripture, 221 liturgical books and only 7 books of a secular nature have survived.

The system of genres of church literature was associated with the ritual of the cult, church daily life. Within this system, genres were arranged in a certain hierarchical sequence: the gospel, the Apostle, the Apocalypse, the psalter, the Old Testament books (existed in Russia in collections of a special composition: Paremiynik, Explanatory Palei, Historical Paleya), the works of the church fathers (existed in the encyclopedic collections: Izbornik Svyatoslav 1073, Izbornik 1076, Zlatostruy, Izmaragd, Solemn, Chrysostom, Golden chain, Prologue). Further, in terms of authority, the genre of the life should be distinguished (the Menaion Chetya, collections of a special composition, a specific genre of the princely life has also formed in Russian literature), with which the patericus story is closely related. Walking travel takes a special place in the system of church genres.

In the Russian tradition, the genre of princely life and the genre of walking are on the verge of transition from the genre system of the church to the genre system of secular literature.

Such a strict hierarchy did not exist in secular literature. However, we can say that the dominant position is occupied by the historical chronicle narrative. In the literature of the XI-XIII centuries. a special place in the system of worldly genres should be given to the "Teaching to the Children" by Vladimir Monomakh, "Prayer" and "Word" by Daniel Zatochnik, "The Word about Igor's Host", "The Word about the Destruction of the Russian Land." Gradually, the genre system of secular literature was enriched and developed. In the 15th century, it was replenished with translated and original fiction stories. In the 16th century, the genres of not only church, but also secular journalism developed (treatise, message). Particularly turbulent processes in the secular system of genres take place in the 17th century - the transition from medieval literature to a new type of literature. It was at this time that a democratic story, a secular story, a satirical story appeared, versification and theater appeared.

In each historical period, genres are related to each other in different ways. They, according to D.S. Likhachev, “enter into interaction, support each other's existence and simultaneously compete with each other”; therefore, it is necessary to study not only individual genres and their history, but also “ the systemgenres of each given era ".

At the same time, genres are assessed in a certain way by the reading public, critics, creators of "poetics" and manifestos, writers and scientists. They are interpreted as worthy or, on the contrary, not worthy of the attention of artistically enlightened people; both high and low; as truly modern or outdated, exhausted; as backbone or marginal (peripheral). These assessments and interpretations create hierarchy of genresthat change over time. Some of the genres, a kind of favorites, happy chosen ones, receive the highest possible appreciation from any authoritative authorities, an assessment that becomes generally recognized or at least acquires literary and social significance. Genres of this kind, based on the terminology of the formal school, are called canonized. (Note that this word has a different meaning than the term "canonical", which characterizes the genre structure.) In the words of VB Shklovsky, a certain part of the literary era "represents its canonized crest," while its other links exist "dully" the periphery, without becoming authoritative and without attracting attention. Canonized (again after Shklovsky) is also called (see pp. 125–126, 135) that part of the literature of the past (337) which is recognized as the best, summit, exemplary, i.e. classics. At the origins of this terminological tradition is the idea of \u200b\u200bsacred texts that have received official church sanction (canonized) as indisputably true.

The canonization of literary genres was carried out by normative poetics from Aristotle and Horace to Boileau, Lomonosov and Sumarokov. Aristotelian treatise gave the highest status to tragedy and epic (epic). The aesthetics of classicism also canonized "high comedy", sharply separating it from the folk-farcical comedy as a genre of low and inferior quality.

The hierarchy of genres also took place in the minds of the so-called mass reader (see pp. 120–123). So, Russian peasants at the turn of the XIX-XX centuries. gave an unconditional preference to "divine books" and those works of secular literature that echoed with them. The lives of the saints (most often reaching the people in the form of books written in an illiterate, "barbaric language") were listened to and read "with reverence, with enthusiastic love, with wide eyes and with the same wide open soul." The works of an entertaining nature, called “fairy tales,” were regarded as a low genre. They were very widespread, but aroused a disdainful attitude towards themselves and were rewarded with unflattering epithets ("fables", "fables", "nonsense", etc.).

The canonization of genres also takes place in the "upper" layer of literature. Thus, in the era of romanticism, marked by a radical genre restructuring, a fragment, a fairy tale, and also a novel (in the spirit and manner of "Wilhelm Meister" by IV Goethe) were ascended to the top of literature. Literary life of the 19th century (especially in Russia) is marked by the canonization of socio-psychological novels and stories, prone to life-likeness, psychologism, everyday authenticity. In the XX century. experiments were undertaken (to varying degrees, successful) canonization of mystery drama (concept of symbolism), parody (formal school), epic novel (aesthetics of socialist realism of the 1930s – 1940s), as well as the novels of F.M. Dostoevsky as polyphonic (1960-1970s); in Western European literary life - the novel of the "stream of consciousness" and the absurdist drama of tragicomic sounding. The authority of the mythological principle in the composition of novels is now very high.

If in the era of normative aesthetics were canonized highgenres, then in times close to us, those genre principles that previously were outside the framework of "strict" literature rise hierarchically. As V.B. Shklovsky, there is a canonization (338) of new themes and genres, which until then were secondary, marginal, low: “The bloc canonizes the themes and rates of the 'gypsy romance', and Chekhov introduces the Alarm Clock into Russian literature. Dostoevsky elevates the methods of the tabloid novel into a literary norm. " At the same time, traditional high genres evoke an alienated and critical attitude, they are thought of as exhausted. “In the change of genres, it is curious that high genres are constantly being replaced by low ones,” noted B.V. Tomashevsky, noting the process of "canonization of low genres" in literary modernity. According to the scientist, followers of high genres usually become epigones. In the same spirit, M.M. Bakhtin. Traditional high genres, according to him, are prone to "stilted heroization", they are characterized by convention, "unchanging poetry", "monotony and abstractness."

In the XX century. new (or fundamentally updated) as opposed to those that were authoritative in the previous era. At the same time, the places of leaders are occupied by genre formations with free, open structures: the subject of canonization, paradoxically, turns out to be non-canonical genres, preference is given to everything in literature that is not involved in ready-made, established, stable forms.

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INTERNATIONAL LITERARY RELATIONS
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The genre system of ancient Russian literature is very different from modern one. Each genre has a utilitarian focus (that is, some kind of practical purpose - state, religious, and so on). And if so (then there were no novels, no stories), then we have only chronicles, sermons, life.

There are works of genres that are very widespread, and there are works that are unique in their genre (for example, “The Teachings of Vladimir Monomakh” is a spiritual testament, a message, and an autobiography. There is no other such teaching). There are genres that came to us from Byzantium (for example, this is the genre of life - it is known everywhere). There is a genre known only in Russian literature - this is the genre of the chronicle - writing by years / years, therefore, a completely different idea of \u200b\u200bdevelopment. There are small genres - they are not large in volume, but, as a rule, are included in large collections. There are collections of random composition, and there is a permanent composition, including works of a small genre: patericon genre (stories about the life of monks of one locality or one monastery - for example, the Kiev-Pechersk Paterikon). Collections called "Bagela" ("bee" - a collection of aphorisms) were widely distributed.

These monuments are serious, state and religious. Hence the pathos - state, civic.

STYLE OF MONUMENTAL HISTORISM.

Translated literature.

Translated literature originated outside of Ancient Rus.

The task of translated literature is to bring a new outlook on, new ideas about man, to tell about the first Russian saints.

There are several groups of translated works:

Translated literature
Christian bookishness (holiness, immutable texts)	Secular bookishness (changeable texts)
1. Holy Bible (historical, didactic, lyrical ("song of the song"), apocalyptic (the story of the end of the world). The transition to man became necessary. It was carried out by preachers. Holy Scripture is the basis of everything and everything); 2. Patristics/ homiletics (patristics - from the Latin “pater” - father. These are the works of the “church fathers.” The ideas of the Christian religion were substantiated. John Chrysostom - “Liturgy”, John Listvichnik. “Liturgy” - the main service of the day (“Mass”) - morning , Mass, Vespers. The text of the services was created. The meaning of this service is the transubstantiation of wine into the blood of Christ. Texts from the Holy Scriptures were also inserted (for example, verses from the Old Testament). "Church Fathers" made up most of the prayers (for example, the prayer that is pronounced by believers in John Chrysostom's “coming dream.”) They also delivered sermons (often not only with a liturgical purpose, but also with political significance - Ephraim the Syrian) .The main task is to convey to the believer the Christian commandments so that they pray in the morning and for the coming sleep, and before eating. Some "church fathers" (John Chrysostom) created collections ("Ladder"). Patristics explains the meaning of those postulates, which are discussed in the scriptures); 3. Life (a sample, a biography of a saint, a story about his fate. In the Byzantine capital, there were different types of life. Life \u003d hagiography (from the Greek "agios" - saint, "grafo" - I write). They are classified by volume, by composition (known lives extensive / linear - under the corresponding day, a certain saint. In particular, 3-part lives are known - the introduction, the main part, part of the miracles (canonical form). Proposed lives are shorter, called "prologue") and by the nature of the events ( lives - Novels: tells about the life of Christians, their struggle, which are persecuted by the pagans There were few such lives, since there was no such persecution of Christians; lives - Biographies: tell of saints who of their own free will subjected themselves to torture in order to strengthen their duty). The most famous life - biography - "The life of Alexis, the man of God" (begins with the introduction, where the author talks about his insignificance, that he is not worthy to write about the saint. This is necessary to influence the reader, in order to oppose an ordinary person to a saint, then there is a story about the saint's parents - they are either God-loving or not good. In Russia, it was common that the parents were God-loving, since the formation of the Christian religion and pagan ideas were very strong. This composition (canon) is successful, since it emphasizes the difference between an ordinary person and a saint).); four. Paterics (stories about the life of monks of one locality or one monastery - for example, the Kiev-Pechersk Paterikon); five. Apocrypha (“Books are not for everyone”, secret books, because the books are false, not recognized by the church. There is a legend among the apocrypha about the creation of Adam (\u003d 4th century) - it describes how God created man from 8 parts. The apocryphal is characterized by an abundance of miracles, fiction. Apocrypha for people who think. Primitivization is characteristic. Apocrypha are books of forbidden indexes, although written on biblical and gospel stories. They were brighter, more specific, more interesting, attracted attention, and besides, the indexes took a long time to reach Russia, and, rewriting the apocrypha, did not realize that they were false, false in the apocrypha: 1) how a person is portrayed too concretely, pagan specifics; 2) the kind of the creator - a skillful, skilled old man, swearing with the devil, a down-to-earth image; 3) the idea that not only God, but also the devil takes part in the creation of man: God creates the soul, the devil - the body).	1. Naturally - scientific works (describe the structure of the world. These include "The Six-Day", "Physiologist" - a story about animals and birds, "Christian Printing House" by Cosma Indikoplov - a description of the earth. "Six-Day" - a story about the world, each chapter contains images. Here scientific problems are posed: how many elements does the world consist of - 4 or 5? It tells about the division of the planet into belts. "Physiologist" - many chapters, each of which is devoted to a separate animal or bird. The chapter consists of two parts: the first describes the animal , the second is the symbolic content of this animal image); 2. Byzantine chronicles (about the structure of the world. The "Chronicle" of George Amartol and the "Chronicle" of John Malala were popular. Very different, dissimilar chronicles. G. Amartol reflects, is based on a huge number of sources, uses everything that is possible, tells a lot of interesting stories (for example, the discovery of red paint), talks a lot about historical and religious figures (talks about Bishop Sylvestrop; story about the baptism of Constantine I the Great, the first Byzantine emperor), many interesting stories.But they all carry the inevitability of the idea that A completely different "Chronicle" of John Malala. For him the story is a chain of amusing incidents (for example, a verse about the myth of Oedipus). Between chronicles and stories - "The History of the Jewish Wothnae" by Josephus Flavius. The main focus is the siege of Jerusalem by Roman troops); 3. Stories (tell what a person is, what a person should be who does not go to a monastery).

The Apocrypha are divided into:

Old - cherishedNew - cherishedApocalyptic

(talk about how (talk about how

God created Adam. Book of the Apocalypse of John. Connected

Prophet Avinil). themes of heaven and hell)

New - cherished apocrypha related to the themes of heaven and hell. There are numerous walks to hell (for example, “(The Virgin's Walking Through Torments"). What is drawn there, in fact, is also not entirely Christian. Hell, first of all, is in the human soul. with frescoes depicting the torment of sinners.In fact, this is described in the "Walk of the Mother of God in torment" (for example, it is said that she is hung by her tongue for lying).

It is difficult for a sinner to go to heaven: a bridge thinner than a finger leads there, and if you are a sinner, you will surely fall into the abyss under the bridge. The Mother of God took pity on all sinners who did not participate in the crucifixion of her son.

“The Virgin's Walking Through the Torment” is an apocryphal, since the Creator is portrayed here as very cruel.

“Agapius's Walking to Paradise”. Agapius went to the monastery early. There he thinks about why people strive to live in a Christian way. The Lord, hearing this, decided to show him: an eagle appeared to Agapius, brought him to the sea, where he (Agapia) was taken to a ship and taken to the island. There Agapius makes his way into the garden, but does not see the souls of the dead (they appeared to him in the form of bunches of grapes). This is an apocryphal.

Apocrypha, in fact, corresponds to the ideas of people, so they are common. People lack certainty. The Apocrypha fulfills this need. But they, the apocrypha, are interesting as a literary text, they reflect human psychology.

But man is also interested in the worldly destiny. Secular literature in translation tells about this.

Original Russian literature.

The genre that best defines the first period is chronicle genre ... What are the stages of the formation of this genre? What genre features were formed at one stage or another in the development of chronicle writing? What are the main genre features?

As you know, "The Tale of Bygone Years" has come down to us in two forms (second (1116) and third (1118) editions), the best are “Laurentian” (2) and Ipatiev (3) editions. These texts were processed Chess (a sample of philological thinking, reading). He draws attention to the fact that there are exact dates from the XI century (for example, the death of Prince Yaroslav, although the dates are not remembered! It is assumed that there were some texts before that), that there are very strange additions in epic legends / legends, which, like as if they added later (for example, the baptism of Russia and the choice of faith by Vladimir, when he asks the messengers: "Where am I baptized?", and then goes on a campaign to Korsun - a Greek city, and he says: "If so, I am baptized!" and eventually get baptized). Shakhmatov suggested that there are two versions - Korsun and Kiev.

Also Shakhmatov, comparing The Tale of Bygone Years with the Novgorod Chronicle, found that the first Novgorod Chronicle was written later than the Tale of Bygone Years. But it is shorter than The Tale of Bygone Years (one would think that this is the result of reduction. But no!). In the first “Novgorodskaya Chronicle” all references to the “Chronicle” of Georgy Amartol (both open and closed) are missing. If there weren't only open links, this could be a shortening option. But there are no closed references here either, when, when rewriting, the chronicler indicates where he took the material from. Since the Novgorod Chronicle is shorter, but not the result of reduction, it means that they (The Tale of Bygone Years and the Novgorod Chronicle) have a common source, which was in the hands of both the Kievites and the Novgorodians. Having made these observations, Shakhmatov decided that the code that these chroniclers were repelling was the code of the 90s ( oldest vault); but later discovered a vault of the 30s, which he called initial vault.

Likhachev's changes are important to this hypothesis. But the most radical approach to Shakhmatov's hypothesis is Academician Rybakov, who has a historical and political goal.

Indeed, the beginning of chronicle writing belongs to the 30s of the 11th century. But there were probably some records before that. It was hypothesized that there was some historical information in:

Oral form (in which detailing goes away, common places are added);

Records (which began with easter tableswhere he went the principle of weather recording. In each church there were Easter tables, in which the days of Easter were calculated for several years in advance, and the most significant facts were recorded from scratch (for example, about princes). But there was a second result of such records - a weather record form was found, which was the most closed system).

When the weather record was used? According to Shakhmatov, in the 30-40s, but Likhachev does not think so. He says no. He also observes, reads the text. Discovers that there are several stories, very similar stylistically, but scattered throughout the text of the Tale of Bygone Years (stories about peasants - Boris and Gleb, Vladimir). Likhachev suggested that all these episodes constituted one single text that was not yet chronicled, he did not have a weather record, and called this text “The Legend of the Initial Spread of Christianity in Russia”. According to Likhachev, the goal of the author of this legend is to prove to Byzantium that we have our own saints, that Russia is no worse than Byzantium, for them that the more saints, the more God loves Russia. But this is not a living either, because there is no biography of each of these heroes; there are descriptions of exploits (publicistic goal). The author uses there as a source of legend (Olga's baptism), records (about the murders of Gleb and Boris). The author has created a publicistic treatise, where there are chronicle features:

Ø striving to cover a sufficiently large chronological segment, and therefore to cover various episodes, to convey a sense of movement / meaning of the theory;

Ø compilation (use of various sources);

Ø journalistic orientation (to prove something to enemies, friends, our patriotic view of history);

From this source, we will deduce the history of the genre of living.

This text (“The Legend of the Initial Spread of Christianity in Rus”) goes to Nikon, who also has Easter tables, and he heard many legends, and talked with eyewitnesses (Vushata). Nikon outputs this into a weather record, which begins chronology. History takes on a length of time. At this time, the story "Looks like Oleg to Constantinople" appears. Are increasing those 3 features and a new chronicle feature appears - a sense of the flow of history (the most important feature of chronicle writing and the media), a movement in which everyone and everything is involved. Such a weather record also has a negative feature - “I write everything that I see and know”. But a new philosophy also arises - the equality of all events.

In the 70s, the chronicle takes on its form.

The code of the 90s reinforces the trends. Byzantine chronicles are used, that is, history goes beyond the history of Russia, history becomes world history. And politics is understood differently (speaking of journalism, we mean by them condemnation of strife, and not just attacks on the princes). The line of ancestral legends continues. The publicity is state, and the history is world-wide.

In 1113, Nestor (the chronicler) completes the creation of the chronicle as a genre that existed until the 17th century. Nestor introduces the biblical aspect - he connects everything with the biblical story (for example, the division of the earth between the sons of Noah). Nestor thinks in terms of world history, but he also remains a man of his tribe, and he mocks other tribes (he speaks of the Drevlyans: there was no marriage, we have no shame). This is local patriotism with a broad-mindedness. Before us is the state chronicle, hence - patriotism.

Nestor also acts as a researcher (his additions to the story about Olga's revenge from oral sources - legends), he reflects on what is reliable and what is not (for example, reflections on the emergence of Kiev. According to Kyu - Nestor rejects this version, since his this offended, he says that Kiy was a prince). As a result, the chronicle becomes official history.

Traits that influenced the emergence of the chronicle:

New philosophy;

Political acuteness;

World space;

Compilability.

Genre Life.

“The Legend of the Initial Spread of Christianity in Russia” is not yet a living, but there is a description of exploits, stories about death (for example, “Boris and Gleb”). From it grows the first Russian life, which does not have all the hagiographic features (the legend of Boris and Gleb).

Researchers are still figuring out which of the legends about Boris and Gleb appeared later: a legend or a reading. The reading was written by Nestor - this is the correct living, the canonical form.

Anonymous legend about Boris and Gleb grows from the chronicle history. The anonymous author expands and gives us a detailed description of how Boris and Gleb accepted death. There is no canonical introduction, their infancy and adolescence. Then a story about the sons of Vladimir, and then a story about the death of Boris and Gleb, who are killed by Svyatopolk, their brother (son of the murdered brother Vladimir). He was afraid of rivalry with his brothers as princes .. the princely family was then still perceived as one. But Yaroslav then defeated Svyatopolk. In this plot, all attention is a death event, which is described in great detail (it tells how they feel). The brothers' monologues are very similar (we see that Boris guesses what is happening: he is smart, and Gleb cannot believe in fratricide). A feeling of melancholy is described (the fact that the children did not bury their father. For him - Gleb - the father is still alive; his feelings are intensifying; the psychological state is well described). Also, after the death of his brother Gleb Boris, his feelings are even stronger.

But this is also not a canonical life (that is why it is so intense and emotional). Since it is not canonical, Nestor undertook to make it canonical. He added an introduction, a story about his youth (and since he knew little, he added what was needed: they read divine books, did not play with children). Nestor removed all the specifics (the name of the youth who tried to save Boris). Specificity belittled their actions, ground them down. When the specifics, sharpness, emotionality were gone, the so-called rhetorical exercises turned out. Nestor also edited some of the miracles (removes social motives, specifics). This is an unsuccessful model for constructing a living.

But at the same time, Nestor manages to create a rich, emotional life - "The Life of Theodosius of the Caves". This is the man with whom he lived next to in the monastery. It observed the Byzantine canon (correct). This is a deeply religious person who has lived a life traditional for a saint with the peculiarities of his personal life. Nestor begins and writes his life according to the rules. But Theodosius talks about the parents in detail (which is not required by the canon!). He says that his mother was domineering, rude, strong, she believed that she knew how to make her son happy. Theodosius does not play, wears bad clothes, he leaves home with the pilgrims and wanderers. Theodosius thinks about the soul, and his mother wants him to achieve earthly happiness. He leaves for Kiev and takes monastic vows. They don't want to cut him anywhere. The mother, having learned this, finds Theodosius and asks him to go out (he goes out for the third time, and on condition that his mother becomes a nun). He became the abbot (abbot) of the Kiev Pechersk Monastery. His exploits are standard. But he is also an educator and a builder (a story about the construction of new buildings in the Kiev Pechersk Monastery). As a result, Theodosius gets the opportunity to work miracles (since he was purified by his soul). Miracles are even amusing (the arrival of the baker to Theodosius and complaints about the demon - Theodosius closes himself in the bakery for the night, prays and the demon disappears. Veselovsky's wandering plot!). Humility is the most important virtue (obedience was inherent in Theodosius).

There are political things (for example, the clash of Theodosius with the Kiev prince).

The canon is observed here, but there is also emotionality and richness. Life of Minea. Moving towards the canon (Byzantine), keeping some of the features (for example, the life of the Menaion).

Patericon.

A remarkable monument - "Kiev - Pechersk Paterik". Preserved psychological and household details. It also speaks of the exploits of the holy monks (the story of Moses and Ungra). Monks perform feats and get the opportunity to work miracles (the story of Olympia). The land itself becomes holy.

A story about two brothers (at the beginning). There is no stench if the person is holy (to death).

Story about Mark. Mark dug graves, but with laziness (it often happened that his brother died, but the grave was not ready yet!). A story about the relationship between the monks (when Sid during the service ...?). Miracle - Titus is healthy, and Vagrius is numb, as if he had died a few days ago.

The name of Prokhor Lebednik was known (he ate one swan!). If people received bread from the hands of Prokhor, it (bread) was sweet, and the stolen bread was bitter. Prokhor made salt from ash, and in the courtyard of the king turned back into ash. This is a paterican novella.

Sermon.

Sermon is the word spoken by the minister before the service. The most syncretic and free genre (a combination of different arts). It is not only the word of the preacher that is important, but also architecture, painting, and to some extent music. These elements are used in different types of preaching.

Highlight Sermon:

Everyday (on ordinary days, it concerns everyday, and sometimes political issues);

Solemn (on major holidays, affects the audience).

Everyday sermon... Introduction, sequential presentation, conclusion. Should logically prove / convey something to the listener. The personality of the preacher is reflected.

Luka Zhidyata - a simple person. He is interested in relationships between people. He sets out all the provisions of Christianity on one plus page (what to believe; you need to go to church; the moral part; the conclusion - finishes what should / should not be done). He is a believer, but on an emotional level.

Theodosius in the sermon - a passionate man, a fanatic, which is aimed at the glorification of Orthodoxy and the fight against enemies - Catholics. Theodosius writes "The Word about the Christian and Latin Faith" in order to convince that in no case should one accept Catholicism. It would seem that the question is serious and it is necessary to start with why the churches dispersed. Theodosius begins with an incantation for the prince not to communicate with Catholics. The first argument is that the fathers commanded it; says - it is not the right to believe, they do not live purely. Reception of gradation (from harmless to disgust): "They eat soup and with cats and drink ... urine." Theodosius is a medieval man; everything else is bad. He approaches the main doctrine. The relationship has already been formed.

Image: a strong, fanatical, convinced person, convinces the prince of what he himself is convinced of.

Hilarion and Cyril - developed solemn sermon... Cyril spoke on very solemn holidays, an emotional person. All thin. the funds are aimed at making us feel like accomplices. He concretizes some things that we do not understand (for example, the ascension of Christ). His main artistic device is rhetorical amplification. Cyril wants us to experience the feeling that a peasant / Christian experiences.

Hilarion is the first Russian metropolitan. Demon of consent. His preaching has a philosophical and political significance. Writes "The Word of Law and Grace." The regularity of the replacement of Judaism by Christianity. Grace is Christianity, law is Judaism. He comprehends natural historical processes: the worldwide spread of Christianity was conceived by the Almighty from the very beginning, it was predetermined. But then people were not ready. God decides which people and when to accept faith. Everything is done according to the will of God.

Hilarion's biography is interesting. When we adopted Christianity, the metropolitans were Greeks. After the death of another Metropolitan, without anyone's consent, Yaroslav the Wise appointed Hilarion as Metropolitan. A few years later, the Metropolitan is Greek again. There is one hypothesis (but not reliable): Hilarion later became a monk in the Kiev-Pechersk monastery, became a monk and took the name Nikon! Hilarion belonged to a circle of scribes. He has the same interests as Yaroslav the Wise.

In his "Word on Law and Grace," Hilarion reflects (!) On the historical movement. Takes one aspect: the change of the Jewish religion to Christianity. Varies the scheme and comes to the conclusion that Judaism is a step to Christianity. The sermon is delivered in the temple, where there are frescoes on this occasion. Thus, he achieved syncretism (that is, the connection between different arts). One of the beautifully structured sermons. It is built on a system of parallels and synthesis.

judaism Christianity

law of grace

Ishmael and Hagar Sarah and Isaac

shadow, cold, moon light, warmth, sun

Law - a person's relationship with God is strictly regulated. Grace is a free choice, a moral choice every day. In Judaism, everything is predetermined (for example, in Judaism, you cannot cook dairy and meat in the same dish, you cannot work on Saturday, after marriage, women shave their heads). Law is opposed to grace. Hagar and her son Ishmael are contrasted with Sarah and her son Isaac.

"Before the shadow and then the truth" - teaches Hilarion. Here he is a philosopher. The philosophy of history is presented. Hilarion's goal is to prove that this change is a completely natural thing, foreseen by the creator. Hilarion gives many examples (for example, the coming of Grace to God); if Judaism is a natural step to Christianity, then there is no merit of Byzantium here (+ the independence of Russia). Everything is according to God's will. The theme is religious-philosophical, the idea is political. For a medieval person, any postulate must be based on a religious and philosophical basis. Hilarion is primarily a philosopher.

How did the media manifest itself (the style of monumental historicism)? Theodosius and Luke are not very; in Cyril: history for him is cyclical, that is, every year we live Christian events again and again, we live everything in a new way (for example, the beginning of the year according to the church calendar 1.09). Hilarion has a linear history. Kirill's point of view is closer, or rather. Linearity is characteristic of the old cherished perception.

Walking.

Travel genre. Arose after the adoption of Christianity. We must make sure of what is written. Many people wanted to become pilgrims, so pilgrimages to Constantinople begin. People are asking eternal questions (“+”), but great damage to the economy (“-”). The church has sharply characterized this movement: in the church it is an encroachment on its mission, the church is worried about what is happening (the fields are abandoned). Many texts condemned the pilgrimage. The Church convinces us that one does not have to go far, but one must read the description of the holy places.

Hegumen Daniel was the first to write. There is a hypothesis (h): Daniel's goal is political; Daniel carried out the diplomatic assignment of the Kiev prince Svyatopolk. At this time, there is the state of the Cross-bearers with King Baldwin, its support is just right (the beginning of the 12th century, the struggle with Monomakh, who is in full force, + the authority of Constantinople). Svyatopolk needs to put someone behind his back (but he did not succeed). Many documents prove this goal, according to which this hypothesis is quite probable. First, he is respected; Daniel alone is led to the tomb of the Lord and to the pillar of David. Daniel himself says that “filed, and they let him in” - everything is much simpler. Secondly: “The Walking of Abbot Daniel” - there was a reconstruction of the memorial list: the list is different in different copies, therefore we turn to the protographer, and there (in the memorial list) there are all senior, independent princes, therefore Daniel feels an intercessor (representative) of the whole Russian land. All these arguments in general confirm everything. Most likely Daniel is hegumen of one of the southern Russian (Chernigov) monasteries. His associations are similar to Russian. The most important thing that we see in the text is a special view of the world thanks to the composition.

The composition is justified by the purpose. Each chapter intersects past and present. Daniel is curious, wants to be convinced of everything. His gaze is the gaze of the person who is happy to be convinced that everything he believes in really exists. The inseparability of the past and the present, the bridge (feature of the media). He is a lively, curious person. This is confirmed by the details he describes. Everything is interesting to him. At the same time, he is a representative of the entire Russian land and sees the world like all representatives of the media. This "Walking" is a kind of guidebook.

§ 5. Genre systems. Canonization of genres

At the same time, genres are assessed in a certain way by the reading public, critics, creators of "poetics" and manifestos, writers and scientists. They are interpreted as worthy or, on the contrary, not worthy of the attention of artistically enlightened people; both high and low; as truly modern or outdated, exhausted; as backbone or marginal (peripheral). These assessments and interpretations create hierarchy of genresthat change over time. Some of the genres, a kind of favorites, happy chosen ones, receive the highest possible appreciation from any authoritative authorities - an assessment that becomes generally recognized or at least acquires literary and social significance. Genres of this kind, based on the terminology of the formal school, are called canonized. (Note that this word has a different meaning than the term "canonical", which characterizes the genre structure.) According to VB Shklovsky, a certain part of the literary era "represents its canonized crest", while other links exist "dully" the periphery, without becoming authoritative and without attracting attention to themselves. Canonized (again following Shklovsky) is also called (see pp. 125–126, 135) that part of the literature of the past that is recognized as the best, summit, exemplary, that is, a classic. At the origins of this terminological tradition is the idea of \u200b\u200bsacred texts that have received official church sanction (canonized) as indisputably true.

The canonization of genres also takes place in the "upper" layer of literature. Thus, in the era of romanticism, marked by a radical genre restructuring, a fragment, a fairy tale, and also a novel (in the spirit and manner of "Wilhelm Meister" by IV Goethe) were ascended to the top of literature. Literary life of the 19th century (especially in Russia) is marked by the canonization of socio-psychological novels and stories, prone to life-likeness, psychologism, everyday authenticity. In the XX century. experiments were undertaken (to varying degrees, successful) canonization of mystery drama (the concept of symbolism), parody (formal school), epic novel (aesthetics of socialist realism of the 1930s – 1940s), as well as the novels of F.M. Dostoevsky as polyphonic (1960-1970s); in Western European literary life - the novel of the "stream of consciousness" and the absurdist drama of tragicomic sounding. The authority of the mythological principle in the composition of novel prose is now very high.

If in the era of normative aesthetics were canonized highgenres, then in times close to us, those genre principles that previously were outside the framework of "strict" literature rise hierarchically. As V.B. Shklovsky, there is a canonization of new themes and genres that hitherto were secondary, marginal, low: “The bloc canonizes the themes and rates of the 'gypsy romance', and Chekhov introduces the Alarm Clock into Russian literature. Dostoevsky elevates the methods of the tabloid novel into a literary norm. " At the same time, traditional high genres evoke an alienated critical attitude towards themselves, they are thought of as exhausted. “In the change of genres, it is interesting to see the constant displacement of high genres by low ones,” noted B.V. Tomashevsky, noting the process of "canonization of low genres" in literary modernity. According to the scientist, followers of high genres usually become epigones. In the same spirit, M.M. Bakhtin. Traditional high genres, according to him, are prone to "stilted heroization", they are characterized by convention, "unchanging poetry", "monotony and abstractness."

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Topic of the article:	GENRE SYSTEM
Category (thematic category)	Literature

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It is very connected with extraliterary circumstances, with the practical needs of the ancient Russian society. Each literary genre served a specific area. For example, the chronicle was born out of the need of the state to have its own written history.

In the XI-XVII centuries. several genre systems: folklore, translated literature, business writing, liturgical, secular publicistic literature.

The genres of liturgical literature ("Prologue", "Book of Hours", "Apostle") are associated with the sphere of existence, very static.

Church genres - chants, lives. Secular literature - chronicle, war story. Unique genres, for example, hagiographies, are later not found in literature in their "pure" form (elements of hagiography are in Dostoevsky's Brothers Karamazov, Chekhov's Jumpers).

Especially: there was no love lyrics, theater, drama (until the 17th century).

At the root of distinguishing genres is the object of the narration: feats of arms - military stories, travel, pilgrimage - walking. Each genre had its own canon. The combined genre is the chronicle. Primary ones are a story, a legend, a life.

For example, the hagiographic canon (life \u003d hagiography):

The hero is a saint

Idealization of the hero: he is both a heavenly angel and an earthly man

3 parts: birth, exploits during life, miracles at the grave of the saint

· Florid, verbally embellished style.

The fate of genres:

Some genres have disappeared. Walking (or walking) gave the genre of travels of the 18th century, sketches of the 19th, the everyday story of the 17th century gave life to the novel, oratory was reflected in the poetics of the ode.

A TALE OF TIME YEARS AS A LITERARY MONUMENT OF THE XI-XII CENTURIES

These are the origins of Russian spirituality. Western European chronicles, the so-called royal or imperial ones, where the figure of the king is at the center of the narrative is widely known. In the Tale of Bygone Years, the figure of the prince is also in the center - but the accent is different - the author is worried about the fate of the entire Russian land.

Chronicle - written history of the state. This is a historical document of national importance, the chronicles included the Contractual Letters, the Testaments of the princes, the Resolutions of the feudal congresses. At the same time, fixing the most significant milestones in the historical development of ancient Russian society, the chronicler defended the idea of \u200b\u200bits POLITICAL, CULTURAL AND RELIGIOUS INDEPENDENCE., Depicted the history of Russia as part of the world process.

Unlike the Roman annals and Byzantine chronicles, the chronicle was built by years, and not by cycles (that is, the period of one king or dynasty). The chronicle was of a collective nature.
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The time of the origin of the annals is debatable in science. Perhaps they were in the X century. The writing of the chronicles took on a systematic and purposeful nature under Yaroslav the Wise, that is, not earlier than the 30s of the XI century. The first of the chronicles that have come down to us - the beginning of the XII century - ʼʼThe story of the bygone years of the monastic Fedosyev Monastery, where Ruska (written correctly) land came from ... and where the first princes began in it, and from where the Ruska land began to eat ... ʼʼ

The name is not about the genre, it reflects the object, theme, idea of \u200b\u200bthe work.

"The Tale of Bygone Years" is a collective collection, much has been written in "hot footsteps", that is, good historical awareness, I am exact topography, chronology .. Although there are later strata, insertions, for example, 4 revenge of Princess Olga, when she imposed Iskorotin a "light" tribute - by a sparrow and a pigeon - then to return, tying burning tow to the tails of the birds. This violated the principles of threefold action - Olga's threefold revenge (1.the buried ambassadors of the Drevlyans, 2.burned in the bathhouse, and 3.the enemy squad exterminated after the funeral at her husband's grave).

"The story ..." is a historical monument, but also a literary one. IN. Key: the chronicler is interested in man, his earthly and afterlife, the historian is interested in the mechanism of the development of society. The date of creation ʼʼPovets is about 1113, this is a genre of secular literature, but the scattered chronicles were united by the monk Nestor in the Kiev-Pechersky Monastery. Why did the monk create a secular work? Possibility of unity with people? Life with people, not unity? (Analyze the question, refer to Vasnetsov's painting "Nestor the Leitopist", pay attention tosymbolic details - and give an answer).

Medieval monks are ancient Russian intellectuals, and Nestor acts as a historian-researcher, but he also opposes the official history of Russia as the history of princely deeds - he praises folk wisdom, courage and patriotism (The Legend of the Belgorod Kissel, the legend of the youth Kozhemyak).

The new edition was made by Father Sylvester in 1116ᴦ. on the instructions of Vladimir Monomakh in order to correct the text “for himself.” Such “corrections” were also later. And all the same in the "Povesti ..." a single political concept is given and Russia is included in the world historical process on an equal footing with other states. In this literary monument, the pantheon of Russian saints was also entrenched, and the idea of \u200b\u200bthe chosenness of the Russian people was presented, and the call for the princes to stop civil strife (!) And thereby reduce the suffering of people. The Holy Scripture is quoted a lot, the goal is to give authority to the word.

The fact that this is really no less a literary monument with a focus on an aesthetic effect is evidenced by the following data:

· The art of composition (see A. Shaikin ʼʼSe Tales of Bygone Years ... from Kiy to Monomakhʼʼ. M., 1989).

Art of detail 9 details)

Rhythmic organization of the text

Psychological traits

How does the chronicler look at the world? In a Christian way: from pagan darkness to light, the main values \u200b\u200bare peacefulness, gentleness, meekness, quietness. Pride and arrogance are sin. Even princes must moderate their pride in order to save their homeland. But there are also many pagan "memories": the boat in Olga's riddle is a symbol of death, traditional among the pagans; Oleg's death from a horse and from a snake - a snake among the pagans is a symbol of the earth, which means that the prince is punished not only for distrust of the prediction of the Magi, but also for sins before the earth, etc.

It is interesting, but after all, global themes are already formed in the ʼʼPoves…: fathers-children, war-peace, crime - punishment. And the author himself believes in goodness and justice, and hopes that the Gorislavichi and the Cursed will not destroy the Russian land.

Independence of Russia

The superiority of Christianity over paganism

Call for unity of action

· To the conciliarity of the spirit of the Russian people, to enlightenment.

In general, the literary development of the XI-XII centuries is associated with the development of oratorical prose (the legacy of Byzantine eloquence): "the word about the Law and Grace" of the future Metropolitan Hilarion, "Teaching" Vl. Monomakh; and with the development of hagiographic literature.

And of course the miracle of Old Russian literature - "A word about Igor's regiment".

Museum of this literary monument in Yaroslavl, 5-volume encyclopedia, dictionary and countless number of scientific works.

The list of "Words ..." was found in the late 80s of the 18th century by the famous lover and collector of antiquities A.I. Musin-Pushkin. 9 There is a separate version that Musin-Pushkin is a genius hoaxer and he made nothing more than a fake. But if he “made” such a masterpiece, why didn't he create something else, why did he hide his remarkable talent ?, that is, he could hardly have been the author) At the end of the 18th century, M. Kheraskov and N. Karamzin made the “Word” available to the public, a number of copies were made, but the only one remained after the fire of 1812

The 2 most difficult cultural problems of Wordsʼʼ are:

The problem of authenticity

· The problem of correlation with another brilliant monument of Russian literature “Zadonshchina”: that is, which of these works appeared earlier and served as a “prototype”. There is a version that Zadonshchina is an earlier work. This point of view was defended by the French researcher of the twentieth century A. Mazon, the Soviet historian A.A. Zimin. The famous academician S.N. Azblev considered the "Word" a fake.

And all the same, a lot speaks for the fact that the "Word" is an original monument of literature of the XII - beginning of the XIII century. These are: the most accurate historical and "everyday" details; this is a linguistic analysis in favor of authenticity (the forger could not understand the process of the fall of the reduced sounds, which was really going on at the time of the creation of the text); it is also an amazing imagery, metaphor, inherent in many texts of this period, in fact, to drop a word, to measure space with thought (“Shestodnev” is a translated monument of the 12th century - “a man measures the power of God with thought”). And regarding the “Zadonshchina”: D.S. Likhachev, in the book "The Culture of Russia of the Times of Andrei Rublev and Epiphany the Wise", suggested that the author of the Zadonshchina was aware of the existence of the "Word ..."

Prince Igor himself (V. Chivilikhin, novel "Memory")

Yarovlavna (Efrosinya)

Boyarin Pyotr Borislavich (B.A. Rybakov ʼʼRussian chroniclers and author of ʼʼSlova ... ʼʼʼʼ)

About ʼʼWord ... ʼʼ and Old Russian literature in general it is not bad to look at:

· A. Suleimenov "Az and Ya".

V.P. Adrianova-Peretz Old Russian literature and folklore

A.S. Demin On the Artisticness of Russian Literature: Essays on the Old Russian Worldview from "The Story of Bygone Years" to the works of Avvakum.

D.S. Likhachev Poetics of Old Russian Literature

He is a Man in the literature of ancient Russia

· He is the Great Heritage: Classical Works of the Literature of Ancient Russia.

· I. Shklyarevsky ʼʼI read ʼʼWord… ʼʼʼʼ.

GENRE SYSTEM - concept and types. Classification and features of the category "GENRE SYSTEM" 2017, 2018.