A trip to the great wonder. “The Word” in literature
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TwitterUntil 912, Kievan Rus was ruled by Prince Oleg on behalf of Igor, since the latter was still very young. Being modest by nature and upbringing, Igor respected his elders and did not dare to lay claim to the throne during the life of Oleg, who surrounded his name with a halo of glory for his deeds. Prince Oleg approved the choice of wife for the future ruler. The Kiev prince Igor married in 903 a simple girl, Olga, who lived near Pskov.
Beginning of reign
After Oleg died, Igor became the full-fledged prince of Rus'. His reign began with war. At this time, the Drevlyan tribe decided to leave the power of Kyiv and the uprising began. The new ruler brutally punished the rebels, inflicting a crushing defeat on them. This battle began numerous campaigns of Prince Igor. The result of the campaign against the Drevlyans was the unconditional victory of Rus', which, as a winner, demanded additional tribute from the rebels. The following campaigns were aimed at confronting the Pechenegs, who, having expelled the Ugor tribes from the Urals, continued their advance to the West. The Pechenegs, in the fight against Kievan Rus, occupied the lower reaches of the Dnieper River, thereby blocking the trade opportunities of Rus', since it was through the Dnieper that the route from the Varangians to the Greeks passed. The campaigns carried out by Prince Igor against the Polovtsians met with varying success.
Campaigns against Byzantium
Despite the ongoing confrontation with the Cumans, new wars continue. In 941, Igor declared war on Byzantium, thereby continuing the foreign policy of his predecessors. The reason for the new war was that after the death of Oleg, Byzantium considered itself free from previous obligations and ceased to fulfill the terms of the peace treaty. The campaign against Byzantium was truly outstanding. For the first time, such a large army was advancing on the Greeks. The Kiev ruler took with him about 10,000 ships, according to the chroniclers, which was 5 times more than the army with which Oleg won. But this time the Russians failed to take the Greeks by surprise; they managed to gather a large army and won the first battle on land. As a result, the Russians decided to win the war through naval battles. But this did not work out either. Byzantine ships, using a special incendiary mixture, began to burn Russian ships with oil. Russian warriors were simply amazed by these weapons and perceived them as heavenly. The army had to return to Kyiv.
Two years later, in 943, Prince Igor organized a new campaign against Byzantium. This time the army was even larger. In addition to the Russian army, mercenary detachments were invited, which consisted of Pechenegs and Varangians. The army moved towards Byzantium by sea and land. The new campaigns promised to be successful. But the surprise attack failed. Representatives of the city of Chersonesus managed to report to the Byzantine emperor that a new large Russian army was approaching Constantinople. This time the Greeks decided to avoid battle and proposed a new peace treaty. The Kiev prince Igor, after consulting with his squad, accepted the terms of the peace treaty, which were identical to the terms of the agreement signed by the Byzantines with Oleg. This completed the Byzantine campaigns.
End of the reign of Prince Igor
According to records in the chronicles, in November 945, Igor gathered a squad and moved to the Drevlyans to collect tribute. Having collected tribute, he released most of the army and with a small squad went to the city Iskorosten. The purpose of this visit was to demand tribute for himself personally. The Drevlyans were outraged and planned murder. Having armed the army, they set off to meet the prince and his retinue. This is how the murder of the Kyiv ruler took place. His body was buried not far from Iskorosten. According to legend, the murder was characterized by extreme cruelty. He was tied hand and foot to bent trees. Then the trees were released... Thus ended the reign of Prince Igor...
“The Tale of Igor’s Campaign” is a patriotic monument to our history, which tells the story of the unsuccessful campaign of Novgorod-Seversky Prince Igor Svyatoslavovich against the Polovtsians. Despite the unsuccessful outcome of the battle with the Polovtsians, the work contains optimistic principles and hope for a bright future, some call for the unity of the princes and the defense of the integrity of the Russian land.
The purpose of the campaign, alas, is not solid; the prince is driven by vanity and blind ambition, which is why he organizes an attack with a small army on the entire army of the Polovtsians. Blinded by the coveted recognition, Igor advances alone without the support of other princes, which entails not only defeat, but also the death of his brother Vsevolod... A special place in the “Word” is occupied by Mother Nature, who, through signs, tries to point out to the prince the futility of his actions, which he unfortunately ignores.
However, what is important here is not the purpose of the campaign, but its consequences and the lesson that Prince Igor learns after a failed battle. While being captured by Khan Konchak, the prince finds the courage to admit that his entire policy is a failure, and internecine wars only weaken the Russian state. Igor becomes ashamed and bitter for his attitude towards the common people, for the sense of ambition that blinded him and resulted in the death of innocent people.
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Chapter I. ABOUT THE OBJECTIVES OF PRINCE IGOR’S CAMPAIGN AND THE FIRST STORIES ABOUT THIS CAMPAIGN
1.1. About the goals of Prince Igor’s campaign
By the end of the 12th century, the negative consequences of the collapse of the once united Russian state were clearly manifested. Princely strife not only disrupted economic activity in the eternally conflicting principalities, but also led to a weakening of their military power in the face of external threats. Not only individual princes, but also entire dynasties were at enmity with each other. For example, the descendants of Oleg Svyatoslavovich of Chernigov (Olgovichi) were constantly in conflict with the sons and grandsons of Vladimir Vsevolodovich Monomakh - the Monomashichs. In their strife, the Russian princes increasingly involved nomads, with whose leaders they were in close family ties. So, Vsevolod Yaroslavovich the Quiet, the son of Yaroslav Vladimirovich the Wise, after his first wife - the daughter of the Byzantine Emperor Constantine Monomakh, the mother of Vladimir Vsevolodovich Monomakh, had a second wife, Polovtsian Anna, who was the mother of Rostislav Vsevolodovich. Svyatopolk (Mikhail) Izyaslavovich Pylky, the son of Izyaslav Yaroslavovich the Gentle, the grandson of Vladimir the Holy, had a wife Elena - the daughter of the Polovtsian prince Tugorkan, from whom he had four sons - Mstislav, Izyaslav, Yaroslav and Bryacheslav and two daughters - Sbyslava and Preslava. The founder of Moscow, Georgy (Yuri) Vladimirovich Dolgoruky, the son of Vladimir Monomakh, had his first wife - the daughter of Aepa, the Polovtsian khan. Prince Igor on his mother’s side was the grandson of a Polovtsian woman and the great-grandson of the Polovtsian Khan Aepa. Rurik Rostislavovich, co-ruler of Svyatoslav in Kyiv, was married to the daughter of Beglyuk, sister of Gzak, the Polovtsian khan, and had two sons - Rostislav and Vladimir. Oleg Svyatoslavovich Seversky was married in his first marriage to Feofaniya Muzalon, and in his second marriage to the daughter of the Polovtsian prince Osulka (Osoluk), who is the mother of Svyatoslav Seversky and the grandmother of the main characters in “The Lay...”. Thus, Prince Igor Svyatoslavovich on his father’s side was the grandson of a Polovtsian woman, the great-grandson of the Polovtsian Khan Osoluk. Igor Svyatoslavovich’s son Vladimir Igorevich married the daughter of the Polovtsian Khan Konchak, and Igor Svyatoslavovich’s grandson was also Konchak’s grandson.Close family ties between the Russian, Polovtsian, and Chernoklobutsky elites encouraged the steppe inhabitants to take an active part in the political life of Rus'. The princely strife, superimposed on the continuous conflicts in the Steppe, did not at all contribute to the strengthening of Russian statehood.
Events took on a particularly threatening character after the unsuccessful campaign of the appanage Novgorod-Seversk prince Igor Svyatoslavovich against the Polovtsians. About the purpose of this campaign, the researcher of ancient Russian literature V. Ya. Keltuyala wrote: “Igor, together with his brother Vsevolod from Trubchevsk, son Vladimir and nephew Svyatoslav Olgovich from Rylsk, went to the Don horde, intending to take possession of the historical heritage of the latter, which was once captured by the Polovtsians from the northerners - the Don waterway , and even, if successful, such an important trade and military position as Tmutarakan" [Keltuyala, 1928, p. 80]. This point of view is confirmed by the words of the boyars commenting on Svyatoslav’s dream in the “Word ...”: “... behold, two falcons flew from the table of gold to look for the city of Tmutarakan.”
The strategic goals of the campaign planned by Prince Igor tend to be ignored by researchers who explain the reasons for this campaign solely by Igor’s prowess. Indeed, Prince Igor’s small army could not ensure the protection of the Don waterway, which ran at a great distance from Russian cities, but this does not at all give grounds to deny Prince Igor’s far-reaching plans. The fact is that he could establish control over the Don with the help of his Polovtsian allies and relatives. To do this, it was necessary to ensure their hegemony in the steppe.
In January 1180, Igor became the prince of the Seversk land. His first action was to conclude an alliance with the Cumans. The allies took an active part in the princely strife. In the battle for Kyiv in 1181, their troops were defeated and Igor and Konchak miraculously escaped retribution by sailing away on the same boat. Igor’s friendly relations with Konchak are explained, in particular, by Igor’s blood relationship with the Polovtsians. In 1146, Svyatoslav Olgovich (Igor’s father), challenging the right to the Kiev throne from Izyaslav Mstislavovich, asked his “uyev” (Polovtsian maternal uncles) to help him in the fight against Izyaslav.
Igor became Konchak's matchmaker before his campaign against the Polovtsians. This fact may indicate not only Igor’s desire to strengthen his ties with Konchak in every possible way, but also his desire to make the most of them. His army could successfully fight with individual Polovtsian khans and contribute to the growth of Konchak’s authority. It is quite possible that it was Konchak who brought Igor’s regiments against Kzak’s rival horde, demanding a corresponding quid pro quo. The consolidation of the Polovtsians under the leadership of Konchak could lead to the implementation of Igor’s strategic goals, which did not contradict the interests of Rus'. They also did not contradict the interests of the Polovtsian ethnic group, which keenly felt the need for centralized power in the face of external threats.
The first battle with the Polovtsians ended very successfully for the Russians, however, the next day the Polovtsians surrounded the Russian army and captured the wounded Igor along with other princes and the remnants of the army. Researchers who view these battles as an interethnic conflict tend to gloss over the friendly relations between Konchak and Igor, which were not at all darkened during these battles. Meanwhile, facts are increasingly prompting researchers to talk about this friendship. So, for example, A. L. Nikitin in the article “Igor’s Campaign: Poetry and Reality” expressed the idea that Prince Igor’s campaign in 1185 was not intended as a military campaign at all. Based on the fact that this campaign led to the marriage of Igor’s son to Konchak’s daughter, A. L. Nikitin believes that the campaign was actually an element of a wedding ceremony, and the description in the “Word ...” of the first battle of Igor’s troops with the Polovtsians, which ended in an amazingly easy victory, “in historical reality... corresponds to an ordinary staging of a bride kidnapping” [Nikitin, 1984, p. 132]. The day after the wedding ceremony began, the Russians were completely unexpectedly attacked by other, hostile Polovtsians led by Gzak; Konchak arrived in time and saved his matchmaker, taking him on bail. Thus, the plot “at that time... widespread in courtly literature” was reflected [Ibid. P. 181]. B. A. Rybakov was also forced to state: “Summarizing all the facts and considerations, we must say that we have no information about Igor’s hostility towards Konchak, as well as about Konchak’s hostile actions against his faithful (since 1180) ally and matchmaker Igor. If we summarize the signs of friendly relations in 1185 between Konchak and Igor, we get the following.
Igor did not attack Konchak’s yurt.
Konchak did not organize Igor’s entourage.
Konchak was one of the last to arrive at Kayala, when the Russian camp was already surrounded.
On the battlefield, Konchak “vouched” for Igor, captured by the Targolovites (ransomed him?), as his matchmaker, the father of Konchakovna’s groom.
After the victory over the Seversk regiments, Konchak refused to participate in the defeat of the disarmed Seversk principality.
Konchak provided Igor with a free and comfortable life in captivity.
After Igor escaped from captivity, Konchak refused to shoot his son as a hostage.
The agreement to marry Vladimir Igorevich to Konchakovna came to fruition: by 1187, Igor and Konchak had a common grandson. Probably, for this wedding and the preliminary baptism of the pagan Konchakovna, Igor the prisoner needed a priest with a clergy" [Rybakov, 1991, p. 84-85]. The idea that Konchak ransomed Prince Igor is confirmed in the “Word...”. This will be shown when analyzing Svyatoslav’s sleep.
The idea of consolidating the Polovtsian ethnic group by establishing its hegemony in the Steppe could seem quite realistic to Konchak after familiarizing himself with the policies pursued by the Russian princes, and in which he actively participated. The idea of attracting representatives of another ethnic group to establish his hegemony was also suggested to him by the practice of the great Russian princes. Thus, the idea that Konchak led Russian regiments against Gzak’s horde should not seem far-fetched. It should also be taken into account that Gzak was in close family ties with Rurik Rostislavovich, Svyatoslav’s co-ruler in Kyiv. The defeat of Gzak increased the political weight of the Olgovichi, and not only in the Steppe.
The Polovtsian khans were vitally interested in having agents of influence in the Russian camp for a great variety of reasons. With the help of such agents, it was possible not only to avoid a surprise attack by the Russian army, but also to expose their competitors to the blow of the coalition of Russian princes and their steppe allies. It is also necessary to take into account the fact that it was not customary among the steppe inhabitants to keep relatives in captivity. Taking into account this kind of realities allowed the authoritative researcher of “The Lay...” A. N. Robinson to suggest that the escape of Prince Igor was “not an arbitrary and random action, but a purposeful act that was part of the peace agreement between the prince and the khan” [Robinson, 1928, p. 148-154]. The pursuit of the Polovtsians for Prince Igor, described in the “Tale...”, and also mentioned in the Laurentian Chronicle, had, according to A. N. Robinson, a purely “demonstrative” character. The rumors that the Polovtsians were going to kill the Russian princes were far-fetched, and the concern that sounds in the dialogue of the Polovtsian khans, galloping on the trail of Prince Igor, was also invented: “Even as a falcon flies to its nest, all the falcons are entangled in the red maiden.” And Gzak’s speech to Konchakovich: if he is entangled with the red maiden, neither the falcon will be with us, nor the red maiden with us, then the birds will begin to beat him in the Polovtsian field.” The fact is that this concern did not prevent the Polovtsians from releasing their son Igor and his young wife to Rus', and this was done without any staging.
The idea that Prince Igor’s escape is a consequence of a separate conspiracy with the Polovtsians is shared by an increasing number of researchers. For example, the famous archaeologist S. A. Pletneva shares the views of A. N. Robinson and B. A. Rybakov on the relationship between Igor and Konchak. She admits that Konchak “reasonably managed the results of the victory”: he ransomed Igor, attacked the possessions of his enemy - Vladimir Glebovich, gave his daughter to Igor’s son, and also “created the conditions for Igor’s escape from captivity” in order to acquire a reliable ally not only in the person of Igor himself, but also of his entire family [Pletneva, 1986, p. 46]. Both the author of “The Lay...” and his contemporaries understood perfectly well that it was not the Polovtsians that Igor feared when he decided to return to Rus'. Ignoring the brewing scandal, it makes no sense to discuss the reason for the appearance, as well as the ideological orientation of “The Word...”.
“Let us begin, brothers, this story from the old
Vladimir to the current Igor, who
strengthened my mind, sharpened my heart with courage and,
filled with military spirit, he led his brave regiments
to the Polovtsian land for the Russian land"
(“The Tale of Igor’s Campaign”).
Plan.
- Introduction: historical and literary information about the “Word”.
- Characteristics of Igor and description of the campaign.
- The performance of the Russian army on a campaign.
- Igor's courage.
- His patriotism.
- Entry into the Polovtsian land.
- Russian victory on the first day.
- Terrible slaughter the next day:
a) the battle and defeat of the Russians,
b) Igor’s nobility. - Igor's political frivolity and ambition.
The heroic poem “The Tale of Igor’s Campaign” is a valuable monument of Russian fiction. It tells about the campaign of Prince Igor of Novgorod-Seversk against the Polovtsy and the defeat of the Russians in this campaign. The main character of the poem is the organizer of the campaign, Prince Igor. In 1185, in Novgorod, Prince Igor gathered his army to go on a campaign against the Polovtsians. Just before the performance, a solar eclipse began. Igor addressed the warriors with a call to reach the great Don or lay down their heads. Igor's behavior before the campaign speaks of his courage. “Brothers and squad! - he said. “It’s better to be killed than captured.” Bad omens do not frighten Igor. He remains true to his work. His courage is shown throughout the entire work. The Kiev prince Svyatoslav, for example, says that Igor’s heart is forged from hard damask steel and tempered in courage.
But Igor was not only a brave man who enjoyed battle. This trait of a medieval knight is alien to him. The goal of the campaign undertaken to the “Polovtsian land for the Russian land” is dear to Igor. He loves his homeland, he is a patriot of the Russian land.
Igor's warriors, uniting with the squad of his brother Vsevolod, crossed the border. Far beyond the mound the Russian land remained. Nature warns daredevils at every step: wolves call for a thunderstorm, eagles call animals to bones, foxes bark at red shields. The next day, the Russians crushed the Polovtsian regiments, captured many prisoners and rich booty. The brave Russian army has gone far. And Gzak is already running to the aid of the Polovtsians like a gray wolf.
The next day the bloody dawn rose early. The Polovtsians are coming from all sides: from the sea, from the Don, and from the steppe. They surrounded Igor's squad. From morning to evening, from evening to dawn, the formidable battle lasted. The author of the Lay describes it this way:
There wasn't enough blood wine here; here the brave Russians finished the feast: they gave the matchmakers drink, and they themselves died for the Russian land.
Igor's army was defeated, and he himself was captured. In this battle, Igor’s nobility was revealed. The prince could have escaped with part of the army, but he “is wrapping up the regiments because he feels sorry for his dear brother Vsevolod!”
Igor himself is to blame for the heavy defeat of the Russians. He wanted to defeat a dangerous enemy alone with a small squad. This turned out to be his ambition and frivolity. With good reason, the Kiev prince Svyatoslav reproaches Igor and his brother: “But you said: “Let us alone be courageous, alone we will seize the future glory, and we ourselves will share the former.”
"The Tale of Igor's Campaign" in literature, music and painting
Topic: "The Tale of Igor's Campaign" in literature, music and painting
The purpose of the lesson: repetition and consolidation of knowledge; revealing the living connection of the “Word” with the literature of the 19th-20th centuries and other forms of art.
Equipment: music player, portraits of Borodin, Favorsky, engravings of Favorsky.
During the classes
I. The teacher's word.
Communication with the “Word” always gives rise to deep thoughts and strong experiences in a person, awakens the soul and imagination. And this is understandable. “The Word” is the youth of Russian literature, the youth of dreams, noble impulses, passionate desire to help the fatherland, desire for heroic deeds. That is why it is unusually fresh, like a wild flower. He called “The Word” a wild flower of the field, “fragrant, fresh, bright.” And it remains so to this day. And therefore it is not surprising that for more than two centuries the “Word” has been in the field of view of translators, poets, artists, and composers.
2. Checking homework: (computer presentation)
Answers to test questions
Test for the story “The Tale of Igor’s Campaign”
1.What real historical fact was used as the basis for “The Tale of Igor’s Campaign”?
a) Igor’s unsuccessful campaign against the Polovtsians in 1185;
b) victory over the Polovtsians, won by the Kyiv prince Svyatoslav in 1184;
c) campaign against the Polovtsy of Vladimir Monomakh;
d) internecine feuds of the southern Russian princes
2. The main idea of “The Tale of Igor’s Campaign” is:
a) glorification of Igor’s feat;
b) condemnation of Igor’s campaign;
c) a passionate appeal to the Russian princes for unity;
d) glory to the Kyiv prince Svyatoslav
3. Which of the heroes of “The Tale of Igor’s Campaign” “uttered a golden word mixed with tears”?
a) Efrosinya Yaroslavna, Igor’s wife;
b) Svyatoslav, Prince of Kiev;
c) Vsevolod, Igor’s brother;
d) Prince Igor himself
4. Indicate how “The Tale of Igor’s Campaign” ends (in terms of plot):
a) the death of Igor and his squad;
b) Igor’s escape from captivity and return to his homeland;
c) Igor remains in captivity;
d) execution of Igor
5. Indicate what type of literature “The Tale of Igor’s Campaign” can be classified as.
b) lyrics;
d) lyro-epic
b) Vsevolod;
c) Svyatoslav; d) Yaroslavna
Quiz answers
Questions for the quiz based on the story “The Tale of Igor’s Campaign”
1. What question does “The Tale of Igor’s Campaign” begin with?
3. Who is the legendary singer Boyan compared to in the creative process: “if anyone wants to create a song, then...”
4. Is the translation accurate: “mice” is a thought?
5. With whom did Prince Igor go on a campaign?
6. How does Prince Igor define the purpose of his campaign: “to drink...”? What does this expression mean?
7. Which Polovtsian khans are mentioned in the Tale...?
8. Will we find out the name of Konchak's daughter?
9. What refrain, dedicated to farewell to one’s native land, sounds in “The Lay...”?
10. On the bank of which river was Prince Igor defeated?
12. What “word” does the Kiev prince Svyatoslav pronounce?
13. What forces of nature does Yaroslavna conjure, asking her to return her beloved, to help her “lada”?
14. Who helped the prince escape from captivity?
15. Heroes are often compared to birds and animals. Give examples.
17. By whom and when was one of the lists of “Words...” found? What was its subsequent fate?
18. What poetic translations of “The Word…” do you know?
19. What musical and pictorial works can you name based on the themes of “The Words...”?
Answers to the test based on the story “The Tale of Igor’s Campaign”: 1 a) 2 c) 3 b) 4 b) 5 a) 6 c)
Answers to the quiz based on the story “The Tale of Igor’s Campaign”
1. “Isn’t it stupid for us, brothers, to begin with the old words of difficult stories about Igor’s campaign, Igor Svyatoslavlich?”
2. Boyana - the legendary Russian singer.
3. Stick to actual events (however, he himself turns to fiction, Svyatoslav’s dream)
4. “...will spread like a cape over a tree, like a gray wolf across the earth, like a gray eagle under the skies” (“mice” is translated either as a thought or as a squirrel)
5. With brother Vsevolod, son Vladimir and nephew Svyatoslav
6. “...by the shelom of the Don2. Drinking water from the river of a defeated country is a symbol of victory.
7. Gzak and Konchak
8. No, the khans call her “red maiden”
9. “Oh Russian land, you are already over the hill1”
10. Kayaly – from the verb “kayati” (to mourn, to regret).
11. With plowing and harvest, with feast, with thunderstorm
12. “Golden word mixed with tears”
13. Wind, Dnieper and the sun: the first patronizes the Polovtsians, the latter – the Russians, and the Dnieper Slovutich is the border Slavic river (in Pushkin, Prince Elisha refers to the wind, the sun and the month)
14. Polovchanin Ovlur
15. Igor gallops like a wolf, an ermine, swims like a gogol, flies like a falcon; Yaroslavna cries like a zegzice, “a lonely cuckoo crows early in the morning”
17. Collector of ancient manuscripts - Pushkin in the 90s of the 19th century. The original burned down during the Moscow fires in 1812
18. V. Zhukovsky, A. Maykov, K. Balmont, N. Zabolotsky, V. Stelletsky. I. Shklyarevsky, V. Sosnory
19. Borodin “Prince Igor” Vasnetsov “After the massacre of Igor Svyatoslavovich with the Polovtsians”, V. Perov “Yaroslavna’s Lament”, K Vasilyeva “Yaroslavna”, V. Schwartz “Boyan”
3. Individual response
ON RESEARCH ON "THE TELL OF IGOR'S CAMPAIGN" |
Many enthusiasts and lovers of the ancient history of our country, including Musin-Pushkin, Sulukadzev and others, took part in the research of the mysteries associated with the ancient manuscript “The Tale of Igor’s Campaign”, including Musin-Pushkin, Sulukadzev and others. Since the 70s of the 20th century. to this day, the “Museum of the Word of Igor’s Campaign” operates on a voluntary basis, where writers, poets, scientists and others present the results of their research on the problems of the “Word...” and the history of our peoples. Trips were repeatedly organized to the places where Igor’s regiments traveled in search of battle areas and burial places of fallen soldiers. Articles and books by both domestic and foreign researchers, including Chinese ones, were published in the press about the results of the research. |
Byzantium, pushing Igor on this campaign, pursued its political and economic goals: expanding the territory of Christian influence of Byzantium, and establishing control over land and water trade routes in the Don and Volga basin. To solve these problems, Igor first wanted to capture the headquarters (capital) of the Polovtsians, which was located 10 km south of the modern village of Sovetskaya on the western bank of the river. Chir. |
In the manuscript “Words...” there is the name of the mysterious bird “Zegzitsa”. Zegsica is a waterfowl, larger than a wild duck, reed-colored and with a large aura (energy field). It has been exterminated on the territory of Ukraine. Currently, this bird species is preserved in India, Thailand, and Sri Lanka. The size of the zegzitz along the body: up to 40 cm in height, and in length with beak and tail - up to 70 cm. There are fewer secrets of the “Word...”.4. “The Word” in literature.
Teacher's message
“The Tale of Igor’s Campaign” has become a living phenomenon not only of ancient literature, but also of modern literature - the 19th-20th centuries. Poets not only translated, but also used his images in their works. Radishchev (in “Songs sung at competitions in honor of ancient Slavic deities”), V. Zhukovsky (in “The Singer in the Camp of Russian Warriors”), (in the poem “Ruslan and Lyudmila”) introduced poetic inlays from “The Lay” into their poetry. , K. Ryleev (in the poems “Boyan”, “Vladimir the Holy”, “Rogneda”), A. Ostrovsky (in the drama-fairy tale “The Snow Maiden”). The images of the “Word” were used with amazing skill in poems about Blok and in the works of I. Bunin. B. Lavrenev populates his story “The Bloody Knot” with images of the “Word”; “The Word” sounds in the poems of Prokofiev, Tychina, Rylsky, Bazhan and many others. Expressive reading by heart of an excerpt from A. Blok’s cycle about Russia “On the Kulikovo Field.”
The images of “The Word..” carry amazing poetic power; they were used by poets along with images of folk poetry. Introduced into modern poetry, they help to feel the connection of times, the eternity of patriotic feelings, the eternity of the landscapes of our Motherland - especially the steppe ones. “The Word” was translated by many word artists: Zhukovsky, Maikov, Mei, Balmont, Zabolotsky.
5. Reading the textbook article “The Word in Literature”
6. Expressive reading of poems (see textbook)
7. “Word” in music.
1) The first student makes a report about.
“A first-class chemist, to whom chemistry owes a lot...”
“Equally powerful and talented in symphony, opera, and romance.”
“Founder, guardian, champion of women’s medical courses, support and friend of students”
This is what contemporaries and the first Russian women doctors said about the same person - about Alexander Porfiryevich Borodin, who was a brilliant composer, one of the creators of organic chemistry, and an outstanding teacher. Borodin possessed two passions: a passion for chemistry and a passion for music. Chemists complained that music distracted Borodin from science, and fellow artists complained that science did not allow him to study music
“Unfortunately, the academic service, committees and laboratory... terribly distracted Borodin from his great work” (critic Stasov)
“Borodin would have stood even higher in chemistry and would have brought even more benefits to science if music had not distracted him too much from chemistry” (Mendeleev)
And yet, how much he did!
42 scientific works, a number of chemical compounds obtained for the first time, powerful symphonies, a large number of chamber instrumental and piano works, romances and songs, often with the words of Borodin himself (he was also a poet!), brilliant articles about music and musicians - this is an incomplete list of what that Borodin created.
Borodin combined in himself what is usually considered incompatible. The question inevitably arises: how could he be both a chemist and a composer? After all, these are such different areas, far from each other. But are they as far away as they seem? The sun of the creative mind illuminates the way for science and art as they search for the truth of life.
Teacher: Many scientific discoveries belong to Borodin, and he wrote many musical works, but Borodin’s most cherished dream, as he admitted, was to write an epic Russian opera.
2) Second student talks about working on the opera “Prince Igor”.
This dream was destined to come true. Borodin began composing the opera in the late 60s of the 19th century. Music critic Stasov suggested to him “The Tale of Igor’s Campaign” as a subject. This captivated the composer. Thus began the composer’s inspired and painstaking work on the opera “Prince Igor”.
Borodin's thoroughness as a scientist was also reflected in his approach to composing. The list of historical sources - scientific and literary, which he worked through before starting to create the opera, speaks volumes. Here are various translations of the Lay, and all the fundamental research on the history of Russia. Not only that, Borodin studied Russian chronicles, studies about the Polovtsians, Russian folk songs and tales, songs of Turkic peoples and much more.
But loyalty to historical truth did not blind Borodin to the lofty poetry of the main source from which he himself created the libretto. This literary monument formed the basis of the opera “Prince Igor”.
3) Third student reveals the ideological content of the opera
Like the author of “The Lay,” Borodin wanted to emphasize that the failed campaign of the Seversky prince was only one episode of the centuries-old clash of peoples. In this clash, land-owning Rus' is on one side, and the nomadic East is on the other. Pechenegs, Polovtsy, Tatars replaced each other like wandering waves of the sea, trying to flood the earth.
It was a struggle between two eras, culture and barbarism, advanced and backward - that struggle in which the destinies of peoples and the destinies of people were forged.
Borodin saw in the Lay not just the campaign of one of the Russian princes against the Polovtsian khans, but a powerful movement of an entire people against the barbarian invasion.
The opera is called “Prince Igor”. But Igor is presented in it not as an individual person, but as an exponent of the will of many thousands of Russian people.
In Borodin, the image of the people appears generalized, strong, calmly majestic. And in his music there is not only determination, strength, but also captivating beauty, which speaks of physical and spiritual power, of the high morality of the Russian person.
4) Fourth student talks about the images of the opera.
The lyrical images of the opera “Prince Igor” also attract attention. These images complement the heroic principle and are the embodiment of high spirituality, complementing the physical beauty and strength of the Russian person.
The central image of the opera is that of Prince Igor. For Igor, being a prince means serving the Russian land, protecting it, fighting its enemies. Igor is the embodiment of the idea of patriotic duty, the embodiment of honor.
To fall with honor or defeat enemies
And return with honor.
The image of Yaroslavn was especially dear to the composer. When he first started working on the opera, he began by writing “Yaroslavny’s Dream.”
...Yaroslavna is crying early on the wall, wailing...
There are few works in world poetry where the power of love, more powerful than all the forces of nature, is so beautifully expressed.
Borodin managed to create in music what the author of “The Lay” created in poetry
In “Yaroslavna’s Lament” we hear the living voice of a woman who has long been no longer in the world. It sounds the eternal grief of many mothers and wives. This is a groan that will not cease until the roar of battles ceases forever throughout the entire earth.
An excerpt from the opera “Prince Igor” is played.
8. “Word” in painting
Teacher: Thanks to the talented music and its originality, the opera “Prince Igor” occupies one of the first places in Russian classical music. But opera is an extraordinary musical genre. This is a genre that combines theatrical performance, music and painting.
1) First student talks about Roerich’s decorations for the opera “Prince Igor”.
Noisy, well-deserved success befell Roerich in 1909, when the first “Russian season” opened at the Chatelet theater in Paris. Diaghilev brought the achievements of Russian art to the attention of the demanding French public. The music of Mussorgsky, Glinka, Tchaikovsky, Borodin sounded in the hall. Chaliapin and Smirnov sang. Pavlova, Karsavina, Fokine, Nijinsky danced. The scenery and costumes were made according to sketches by Benois, Korovin, and Roerich.
“These are the colors! What a decoration! I just returned from Russia, and it’s like this everywhere!” - said the artist Maurice Denis.
He was unanimously supported by other famous masters. Jacques Blanche admired: “I would like to visit the Chatelet every evening precisely for these colors, to saturate my vision with them.”
Roerich designed “Polovtsian Dances” from the opera “Prince Igor” by Borodin
The same Jacques Blanche wrote to the Le Figaro newspaper: “I do not have the honor of knowing Roerich personally. I judge him only by the scenery in “Chatelet” and find it wonderful... As for the scenery of “Igor”, from the very beginning it is a complete enchantment for the eye.”
Roerich's success was also welcomed by his compatriots. V. Serov wrote to Nikolai Konstantinovich: “I congratulate you on the success of your decorations in Paris - I really liked them.”
In 1908 – 1909 he wrote sketches of “Putivl”, “Galitsky’s Courtyard”, “Yaroslavna’s Tower”.
Teacher: “The Tale of Igor’s Campaign” is a literary work. A literary work lives in a book. Every book is made richer by being decorated with illustrations. Especially famous are the illustrations for “The Lay” made by the Palekh artist Golikov, as well as engravings by Favorsky. Let's turn to them.
2) Student messages about Favorsky's engravings
V. And Favorsky admitted: “I really love the epic poem “The Tale of Igor’s Campaign.” I designed and illustrated “The Lay” because this epic work, when you turn to it, always delights me. It is difficult, in my opinion, even in world literature to find anything epic equal to “The Word.” Its characteristic feature is that which is also characteristic of ancient Russian painting: in Russian art, painting and poetry, one encounters monumental painting.”
When an artist undertakes to illustrate a perfect literary work of art, one of the most difficult tasks facing the book artist is to convey the style of the literary work in design. And the artist coped with this task.
Favorsky read “The Tale” wonderfully, and therefore, thanks to his sensitive understanding of the text, he managed to create a synthesis of a poetic legend with a historical document.
The people living in the engravings are full of human passions and psychological in the best sense. As Fedin wrote, “the fabulous life of our forefathers is understandable, close, and touching to us, as if it happened in our memory and is quite real.” The story about Igor's tragedy is perceived as an imperishable fairy tale, filled with song charm and sublime.
With his heart and mind, the master approached that epic time and heard within himself the wonderful voice of the author of the “Word”, enriched the poetic essence of the “Word” into visible images full of majestic beauty.
The heroes of the poem live and act among nature, their life resonates in it.
How wonderfully the closeness of man to nature and the worship of her powers are expressed in the scene “Yaroslavna’s Lament”! Conquers the quiet vastness of the distances - the word of man is addressed to them. Yaroslavna’s poetic recitative finds a full-voiced response in the bushes across the river, and in the waters of the Dnieper, and in the radiance of the sun:
I'll fly like a cuckoo along the Danube,
I’ll wet the beaver sleeve in the Kayala River,
In the morning the prince will see his bloody wounds
on his mighty body.
Nature in Favorsky’s illustrations is not indifferent to the fate of the Russian people! A bright song of joy sounds in the meadows, fields and forests of his native land, along which Igor hurries from captivity.
People are rejoicing, the earth is flooded with festive light. And how convincingly this idea is expressed! We cherish the bearded ancestors who send greetings to the prince with dignity. And the wonderful children, running wildly to meet the recent captives!
I would like to say about the engravings in the words of Pushkin: “What depth! What courage and what harmony!..”
The main advantage of Favorsky's engravings is that they are organically fused with the book, with the text.
Precision and depth of thought are the primary quality of book engraving. When a person picks up a book, he is prepared for the active work of thought.
Favorsky's engravings for the Lay do not distract, but help to read. As he noted, “tears fall on such drawings, the Russian soul lives on.”
Work with engravings by Favorsky. Exercise: choose titles for the engravings using lines from the “Words”.
Teacher: The subjects of “The Lay” were widely used in Russian painting. Let us recall Schwartz’s paintings “Yaroslavna’s Lament” and “Boyan”, Perov’s painting “Yaroslavna’s Lament”, Maksimov’s “Prophetic Eclipse”. Particularly famous is the painting by V. M. Vasnetsov “After the Battle of Igor Svyatoslavich with the Polovtsians.”
3) Student message about the picture.
The large historical canvas was completed by Vasnetsov in 1880. This work, which resurrected the distant past, uniquely reflected the thoughts and feelings that worried the artist’s contemporaries. Vasnetsov, in a beautiful military story imbued with sadness, “The Tale of Igor’s Campaign”, found thoughts and images that were in tune with his time.
The epigraph to Vasnetsov’s work is the lines of “The Lay”:
Igor's regiments fell.
There's not enough bloody wine here,
Here the brave Russians finished the feast, |
They got the matchmakers drunk and died themselves
For the Russian land.
Being an artist of a lyrical nature and passionately loving his homeland, Vasnetsov found poetic motives for his future work in “The Lay”. His painting is an epically majestic work that evokes deep admiration for the heroic death of the heroes who fell for their homeland.
Solemn silence reigns on the battlefield. The steppe is covered with the bodies of killed soldiers - Russians and Polovtsians. Russian heroes rest majestically. They died the death of heroes. A deep impression is left by the mighty hero who fell with his arms outstretched wide, and by the beautiful young man pierced by an arrow in the heart. These images determine the idea of the painting - the greatness, nobility and beauty of the accomplished feat.
All over the field next to the Russians lie defeated Polovtsians. They died in convulsions and lay face down, on their sides, on their backs, twisting painfully. Eagles fight in the air. In the foreground on the left is an eagle preening its feathers. The horizon is covered with blue clouds, the moon is dark, red, as if washed in blood. Dusk falls on the steppe.
Landscape plays a big role in the film “After the Massacre.” It is poetic and epically deep. The whole tone of the landscape with gloomy thunderclouds, a heavy blue veil, the reigning dead stillness, which is not disturbed by the eagles grappling in battle, and the alarmingly gloomy appearance of the rising moon are expressed by the inspired images of “The Lay.” The entire structure of the picture and its pictorial solution are poetic and expressive. It comes from the imagery and mood of the “Word”
9. Final word from the teacher.
On one Greek tombstone the following words are read: “I was not, - was, - never will be.”
These words need to be argued. Dying, a person continues to live - he lives in his affairs. And it is important to note that only the best has lived, lives and will live in man. The best in man is immortal. This applies even more to monuments of art. The best works of art and, in particular, the best works of literature continue to participate in the life of the people and their literature.
That is why “The Lay,” which continues to live in the works of the 19th and 20th centuries, we have the right to consider a work not only of ancient, but also, to a certain extent, of modern literature. It is alive and active, infects with poetic energy, teaches literary skill and love for the homeland.
For more than seven and a half centuries, the “Word” has lived a full-blooded life, and the power of its influence not only does not weaken, but continues to grow and expand. Such is the power of “The Lay of Igor’s Campaign” over time, its living connection with the worldview and creativity of the entire people.
Used Books.
1. D. Likhachev. “The Tale of Igor’s Campaign” - the heroic prologue of Russian literature” - Leningrad, ed. “Fiction”, 1967
2. P. Belikov, V. Knyazeva “Roerich” ZhZL - M.: White Guard, 1973
3. M. Ilyin, E. Segal “Alexander Porfiryevich Borodin” - M.: Pravda, 1989
4. M. Tretyakova “Russian music of the 19th century” - M.: Education, 1976.
5. “The Tale of Igor’s Campaign” in engravings - M.: Art, 1987
6. Old Russian literature. - M.: Bustard: Veche, 2002.
7. Abas-, teacher of Russian language and literature Development of a literature lesson “The Tale of Igor’s Campaign” in literature, music and painting
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