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Mysterious places "The Tale of Peter and Fevronia of Murom"

The fact that Saints Peter and Fevronia of Murom are the patrons of the family and marriage, and the day of their memory is declared a federal holiday of family, love and fidelity, is known to almost every inhabitant of Russia. And this is good news. But since a special holiday was established in their honor and the veneration of Peter and Fevronia has gained a wide scope, disputes around their names have not ceased. Most of the confusion and questions are caused not by their canonical life, included in the Menaion of St. Demetrius of Rostov, but by the famous "The Tale of Peter and Fevronia of Murom." Some consider it the only and unconditional source of information about the noble princes, others consider it a fiction and a beautiful legend that has nothing to do with them. real biography. Let's try to figure out whether this wonderful monument of Russian writing is so legendary and folklore. By the way, even completely secular researchers consider "The Tale ..." one of the best examples of ancient Russian creativity, the pinnacle of domestic literature XVI century.
This legend is the creation of the cathedral priest Yermolai-Erasmus, written by him by order of Metropolitan Macarius after the canonization of the holy faithful Peter and Fevronia at the Moscow Cathedral of 1547. However, Metropolitan Macarius did not include this work in his famous Great Menaion. Apparently, he considered it not quite suitable in style and content to the usual hagiographic genre.

How much can we trust The Tale of Peter and Fevronia? The fact is that Father Yermolai was not at all some kind of storyteller, laboring in the artistic and literary genre. He was an outstanding theologian, writer, publicist, highly educated person. At that time, he had already written a significant number of works, so Saint Macarius, himself a very learned man, instructed him to compile the lives of the Murom miracle workers. The fact that he, of course, did not invent this legend himself, but only processed the existing legends about the faithful Peter and Fevronia, is not doubted even by the harshest critics of the Tale .... Unfortunately, Ermolai-Erasmus, apparently, really relied in his research only on oral folk traditions about the Murom prince and his wife. But how far did he go from the annals, and can the "Tale of Peter and Fevronia" be considered a real source of information about their life?

The fact is that popular veneration and testimonies about the life and miracles of saints are still a very serious source in compiling the lives of canonized saints. And in the 16th century and, of course, in the earlier period, oral creativity was the most important source of information. Tsar Ivan Vasilyevich the Terrible decided to canonize the faithful Peter and Fevronia, but it is known that the popular veneration of these saints began long before their church glorification. For the compiler of the lives of saints, folk oral stories, traditions about the life of ascetics of piety are the same source as chronicles. We learn about many saints almost exclusively from their lives, others written sources it just didn't survive.

The lives of the saints are special genre very close to literature. Thus, St. Demetrius of Rostov includes in his multi-volume collection the Lives of the Martyrs, written on the basis of the martyrdoms that were conducted in the Roman Empire, but we see that at the same time, these biographies also include numerous dialogues and details that could not have been contained in dry court documents.

The merit of Priest Yermolai is that he carefully collected all, in his opinion, reliable legends and legends about Saints Peter and Fevronia and, having edited them, conveyed to the reader. It is thanks to him that we have not only chronicle data about them, but also preserved oral information about the holy Murom couple. And for this, many thanks to him from grateful descendants. The error of this ancient writer is that he did not combine oral traditions with the data of annalistic historical documents.

In addition to the very brief canonical life included in the Menaion of St. Demetrius, in addition to other later, but much more complete lives, and directly to the “Tale ...” of Yermolai-Erasmus itself, there is another life of Peter and Fevronia. In my opinion, it is the most objective and historically verified source. This biography was compiled by St. Philaret (Gumilevsky), a brilliant theologian, a very authoritative historian of the 19th century, and included by him in the book Selected Lives of the Saints. Why is the work of St. Philaret especially valuable for us? He, as a professional historian, relies on historical sources: Russian chronicles (Nikonovskaya, chronicles of Pereslavl of Suzdal and others), the genealogy of the Murom princes, the history of the Ryazan and Murom principalities, the Prologue, the works of historians Tatishchev and Karamzin. Therefore, his life can be called the most reliable from a historical point of view.

But back to the "Tale ..." Yermolai. The fact that this work is also a source of information about the life of the most beloved Russian saints is beyond doubt, because even St. Philaret (Gumilevsky), despite the fact that he approaches the “Tale ...” critically, nevertheless widely uses it when writing his version of life. He corrects some places and removes everything, from his point of view, unnecessary.

But it is time to turn to the Tale of Peter and Fevronia itself. It will be very interesting to figure out what in this legend can be recognized as quite reliable from the spiritual and hagiographic points of view, and what is in doubt. It is not possible to check some events and moments from a historical point of view due to the prescription of years and the lack of documentary sources. But since the "Tale ..." has become so firmly established in our Orthodox everyday life and enjoys such fame and respect among the church people, we cannot but recognize its right to be a source of information about the earthly life of the heavenly patrons of marriage. Let's see what mysterious places immediately catch the eye in Ermolaev's "Tale ...".

Princely names

In The Tale of Peter and Fevronia, the princes of Murom have the baptismal names Peter and Fevronia, and at the end of their lives they become monks with the names David and Euphrosyne. This is, of course, a clear mistake. According to the annals and genealogies of the princes of Murom, from 1205 to 1228, the princely couple David Yuryevich and his wife, Princess Euphrosyne, ruled in Murom from 1205 to 1228. St. Philaret (Gumilevsky), relying on the “Genealogical Book of Russian Princes and Nobles and Emigrants” and other sources, writes: Fevronia". In the notes to his work, St. Philaret says that in the "Tale ..." the secular names of the saints are confused with the monastic ones, and that this error has also passed into the printed "Complete Menology".

Why did Father Yermolai make this inaccuracy? Without checking the chronicle, he relied more on oral stories, which could not remember the exact name of the princes. Among the people they were better known as Peter and Fevronia, so the popular consciousness decided that the saints had such names before monasticism. I think that this mistake is quite excusable, especially for an ancient Russian person. After all, in Rus' many people, and princes in particular, sometimes had several names. For example, the holy baptist of Rus' Equal-to-the-Apostles Vladimir glorified with his Slavic name, and his baptismal name - Vasily - is not known to everyone. There were princes who went down in history under a double name, for example, the eldest grandson of Vladimir Monomakh, the holy noble prince Vsevolod Mstislavich, who is often called Vsevolod-Gabriel.
Generally speaking, if a saint takes tonsure, then, as a rule, we glorify him already with a monastic name (although there are also exceptions to this rule). We pray to St. Sergius of Radonezh, and not to Bartholomew, to St. Seraphim of Sarov, and not to Prokhor Moshnin. So, I think, the popular veneration, which began long before the canonization of the 16th century, adopted precisely the monastic names of the righteous of Murom. Another princely name raises a question in The Tale of Peter and Fevronia. According to her, in Murom, before Prince Peter (David), his brother Pavel reigned. Chronicle sources, indeed, say that Prince David accepted the throne of Murom after the death of his older brother, whom he respected very much. But there he is called not Paul, but Vladimir. What can be said here? Most likely, here again we are faced with the princely custom of giving and using several names at once in everyday life. The name Vladimir is purely Slavic, meaning "owning the world." Apparently, at birth he was given exactly this, a well-known and glorious name in Rus'. And at baptism, he already accepted the second, in honor of his heavenly patron, the Apostle Paul.

winged serpent

From the "Tale ..." we learn that Prince Paul (Vladimir) had a wife. And so “the devil, from time immemorial, hating the good of the human race, sent the prince’s wife an evil winged serpent for the fornication” (hereinafter, “The Tale ...” is quoted in Russian translation. - Archpriest P.G.). For some reason, this snake is seen by some researchers as the most fantastic and unrealistic character in this legend. Skeptical, they immediately begin to see here the tales of the Fire Serpent and draw parallels with some completely non-Slavic myths.

The serpent mentioned in the “Tale…” is, of course, just a kind of virtual hassle, a disguise assumed by the enemy of the human race, whom the Holy Scripture calls “the great dragon, the ancient serpent…” ( open 12:9). The devil, as you know, is a fallen angel, an incorporeal spirit, but he can take the form of any animate being or inanimate object. In ancient times, the devil liked to appear to our ancestors (and to other peoples too) in the form of a monstrous, often fire-breathing lizard. That is why in epics the image of a snake, a dragon, with three heads or one is so common.

This monster in the minds of the people of the past was the personification of evil, evil spirits. It is not for nothing that goblin, mermaids, all kinds of grandmother-hedgehogs, snakes-gorynychi, other fiery snakes were briefly called evil spirits - as representatives of the infernal world. And for a man of antiquity, this whole world was the same reality as for us the poltergeist and other otherworldly paranormal, dark phenomena.

So, an unclean spirit in the form of a serpent flies to the wife of the prince and commits fornication with her. That this is not just some kind of reptile, but a dark spiritual entity, is evident from the fact that the serpent appears in two guises: as a lizard and as a man. He takes the form of Prince Paul. Moreover, the snake soon became so insolent that he no longer hides his vile appearance in front of the princess, but in front of others, for the purpose of conspiracy, he appears in the form of a prince. “And it seemed to strangers that it was the prince himself with his wife sitting.” Finally, the princess cannot stand it and tells everything to her husband. He advises his wife to find out from the serpent by cunning what can cause his death. In a moment of frankness, the villain blurted out that "death is destined for me from Peter's shoulder, from Agrikov's sword."

Paul shares his grief with his brother, Peter. Some time later, during a prayer, a certain youth appears (probably an angel) and points out in the cleft of the wall of the altar of the Church of the Vozdvizhensky Monastery the place where the sword is hidden. Peter takes Agrikov's weapon, finds a convenient time, breaks into the princess's chambers and kills the insidious snake. But before he retired to his underworld, the serpent splashed Prince Peter with his blood. The prince falls seriously ill: ulcers appear all over his body.

Let's dwell on this point for now and consider whether such a story could actually happen. If we abstract a little from the undoubtedly epic, poetic description of the miracle with the serpent, which is given to us by "The Tale ...", we do not see anything mythological in this episode from the point of view of hagiography and the spiritual experience of the Church. The prince's wife, apparently, was separated from her husband for a long time. The princes then fought all the time and, going on long campaigns, left their wives alone for a long time.
Taking advantage of this, the devil gives her the temptation of fornication. The enemy always first finds a weak link in a person in order to make a hole in his soul and then destroy him, captivating him with some passion. In this case, he apparently took advantage of the longing for her husband and the prodigal dreams associated with it. Having mastered the mind of a woman, he proceeds to virtual fornication with her, as he can take the form of not only a snake, but also her lawful spouse. And although the "Tale ..." says that "the serpent took possession of her by force", but such an enemy influence cannot occur without the person himself not succumbing to temptation. How could this happen? Can the devil, a disembodied spirit, commit such fornication? Yes, the devil has no flesh, but he can invade our material world and perform certain actions here. He can even inflict real beatings on people, which is described in many lives, he can turn into a horse and carry a person over great distances, as is told in the life of St. John of Novgorod, and he is capable of much more. Is Satan, who has been practicing deceit and evil for many millennia, more stupid than man? Now, when modern technology allows you to create the illusion of complete presence, we cannot be surprised by such tricks. For example, films in 4DX format, when you, sitting in a cinema chair, get a completely real feeling that you are in the thick of events taking place on the screen. Satan learned how to create various three-dimensional models with the full effect of presence a long time ago. The episode of the seduction of the princess by the snake contains several very important points pointing to the reality of this event. This, as they say, you can’t imagine on purpose. The fact is that the experience of the Church and patristic literature testify that the devil, when seducing people, can appear in human form and perform almost real fornication with them. The prodigal demon can take the form of both a man and a woman. As an example, we can cite the case described in Lavsaik, a work of the 5th century, which tells about the life of holy ascetics. Here is what Abba Pachomius says: “The enemy took the form of an Ethiopian girl whom I saw in my youth when she was collecting straw in the summer. It seemed to me that she was sitting with me, and the demon brought me to such an extent that I thought that I had already sinned with her. In a frenzy I slapped her and she disappeared. Believe me, for two years I could not endure the unbearable stench from my hand.
It is interesting that the idea of ​​a fiery serpent - an unclean spirit that is able to take on the form of a dragon, then the appearance of a man and seduce women into fornication - we really find in ancient East Slavic legends. According to them, the serpent is those women who violated the prohibition to grieve strongly for the dead or yearn for their husband who is away. The serpent also gained access to a woman who had lost her virginity before marriage. Of course, someone can call these legends remnants of paganism. But demons very often appeared to our ancestors in those images that have been known since pagan times.

In Western Christian demonology, the demon of fornication that tempts women was called an incubus. If the demon, on the contrary, took the form of a woman, he was called a succubus. By the way, medieval Catholic treatises say that the demon incubus, in addition to human form, also takes the form of a goat, dog, deer, bull, snake and other animals.

But I will give two examples not from the Middle Ages, but from our modern reality. One of my friends, a middle-aged woman, lost her husband. Some time after the death of her husband, she told me that her husband began to come to her and even lies with her on the bed. This widow was a church person, she often confessed and took communion. But she had some kind of demonic stupefaction. She seemed to be well aware that the one who came to her was not her late husband at all. Especially since then she told me absolutely terrible things. She told me that this imaginary husband could then turn into a dog with burning eyes and, jumping onto the balcony railing, jump down. But seeing all these nightmares in reality, realizing with her mind that something was wrong, she did not feel fear at all, moreover, she seemed to be lured by all these visions.

Other story. One elderly lady asked me to bless the apartment. Her husband had died shortly before. Arriving at her home, I saw that she was not a very religious person, and therefore I asked: “Why did you decide to consecrate your home?” And she admitted that after her death her husband began to appear to her: “I go into the room, and he is sitting in this chair. It happens that he will ask him to cook something, for example, fry fish. “But a strange thing,” she added, “his legs are somehow different, not like those of people, but like those of a horse, covered with wool and with hooves.” To be honest, after all these revelations, a very noticeable chill went down my back. But, most surprisingly, the woman told all these horrors in a completely calm voice, as if something already familiar to her. However, thank God, she felt the danger of such phenomena and asked the priest to bless the apartment.

I should note that both the first woman I knew and the second were at that time in their right mind and sober memory. Nothing they saw could be a painful hallucination. For myself, I noted an interesting detail: people, communicating with a demon that took the form of their husband, did not experience fear. Although, of course, they were aware of the abnormality of everything that was happening. Note: in The Tale of Peter and Fevronia, the wife of Prince Paul also does not experience much fear, despite the fact that she is well aware of who is to her and seduces her into fornication. Remember, the serpent had already taken power over the unfortunate princess so much that he did not hide in front of her, appearing in his satanic guise? She calmly talks with him to find out how to defeat him. The demon also appeared to women familiar to me, almost without hiding, either turning into a dog with fiery eyes, or showing its hooves. A sort of "Satan's laugh". Having captivated a person, the devil no longer hides, but openly mocks his victim. At the moment of this demonic captivity, even the fear inherent in us from God, the instinct of self-preservation are turned off. So let everyone decide for himself whether believable story about seducing the princess with a snake or not. Personally, I do not see anything fabulous in this story. If we read the lives of the already repeatedly mentioned Saint Demetrius of Rostov, then there we can find no less wonderful phenomena of the other world.

Now a little about the mysterious "Agrikov's sword" and how Peter could kill with the help of some kind of sword an incorporeal and immortal dark spirit. It must be said that St. Philaret (Gumilevsky) considered the episode with Agrik's sword "a fiction of the people's imagination", since this sword is also mentioned in the famous epic about Dobrynya. Apparently, for the same reason, the saint is careful and does not include the story of the serpent in the life compiled by him. However, he does not write anything about the fact that the serpent is also a fairy-tale character and fiction.

The fact that the story of the confrontation between the faithful Peter and the serpent is an integral part of the biography of the saints of Murom wonderworkers is evidenced by another fact. In the service to Saints Peter and Fevronia on June 25 (July 8, according to the new style), the fact of the victory of the faithful Peter over the serpent is repeatedly mentioned. For example, in the second troparion of the third song of the canon at Matins: “As if sometimes you killed a snake, you betrayed it to final obscurity, so now the fatherland of those who fight victory, treblebless, let us glorify you.” Any enlightened church person knows that liturgical, liturgical texts are part of Sacred Tradition. Unlike Protestants, we Orthodox have a firm foundation not only in Holy Scripture, but also in Holy Tradition. What does it include? Canons and rules of the apostles and holy councils, works of the holy fathers, lives of the saints and liturgical tradition, liturgical texts. Since the Church considered it necessary almost immediately after canonization to include an episode about the serpent in the text of the service to Saints Peter and Fevronia, then so be it - this is part of the Orthodox Church Tradition.

But what about the Agric Sword? With all my great respect for St. Philaret, I still allow myself to disagree with him. The fact that the same sword is mentioned in the epic about Dobryn means absolutely nothing. In epics, quite real historical figures and events were often mentioned. The most famous hero of Russian epics, Ilya Muromets, actually existed, and some legends about him have a historical basis. Although, of course, most of them have little in common with his real life. Even the hero Dobrynya is sometimes identified with the governor Dobrynya, the uncle of the holy prince Vladimir.

What is "Agrikov's sword", no one really knows. Most likely, this is just a symbol of spiritual strength, which is given after a prayer to Prince Peter to defeat the serpent. Maybe this sword really belonged to some unknown holy person. Well, it is no secret for us that not only the relics of the saints, but also their personal belongings are endowed with special spiritual energy, the power of God, and through them the Lord works miracles and grants victory over enemies.

Disembodied spirit and bodily disease

Now about whether Peter could kill the devil with a sword. Yes, in the "Tale ..." it is said that the serpent died from the sword of Peter. But, as already mentioned at the beginning, this work is a poetic, literary work. Of course, the demon is immortal, but it is quite possible to defeat him, make him safe, drive him away from the person and send him back to the "father of lies". And there are many examples of this.

Can representatives of different worlds - spiritual and material - fight with each other? Yes they can. And the most famous example- this is the miracle of the Great Martyr George about the snake. True, there we see a mirror situation: after his death, St. George appears to save the king's daughter from a terrible lizard, to whom human sacrifices were made. And this monstrous reptile, apparently, had not an infernal, but a completely earthly origin. Some researchers consider it one of the surviving dinosaurs. We know that St. George pierced the serpent with a spear, after which the great martyr ordered the serpent to be taken to the city, where he was shown to the inhabitants and beheaded with the sword of the same George.

During the battle, the serpent inflicts wounds on Peter: where his blood has fallen, ulcers appear, from which the prince experiences severe suffering - he is afflicted with a disease similar to leprosy. Is it possible? Can an incorporeal spirit damage flesh? How else can! And "we hear a lot of examples of this in history." The Apostle Paul himself says: “A thorn in the flesh, O angel of Satan, has been given to me to oppress me, so that I will not be exalted” ( 2 Cor. 12:7). One day the devil armed himself with Saint Anthony Great and subjected him to such terrible beatings that he lay motionless for a long time after that, unable to say a word. He himself said that the torment inflicted on him exceeded all human suffering. Saint Epiphanius of Cyprus was beaten by demons for ten days. In the lives of the saints, we often read about the grave consequences of demonic influences. By the permission of God, demons can inflict not only spiritual, but bodily wounds and ulcers on a person.

Let's continue the study of "The Tale of Peter and Fevronia of Murom" and from the fight of the prince with the serpent we will move on to the most important moment of this monument - the acquaintance of the future spouses. This meeting of Peter (David) and Fevronia (Euphrosyne) also haunts the critics of the "Tale ...".

So, we remember that Peter is seriously ill. He was able to overcome the enemy, but, by the permission of God, the demon inflicts bodily ulcers on him, which spread throughout the body in scabs like leprosy.

The prince sought help from many doctors, but no one could heal him. Hearing that there are many good healers in the Ryazan land, the Murom ruler orders him to be taken there. In search of doctors, one of the prince's servants (lads) wandered into the village of Laskovo and went into the house of a certain "dart frog", that is, a collector of wild honey. Here he met an unusual girl: she was weaving a canvas, and a hare was jumping at her feet. At first, the lad did not take her seriously and said that he wanted to talk with the owners of the house. The girl, seeing such an attitude towards herself, did not give direct answers - she spoke to the guest in riddles. Togo was struck by her wisdom, and he finally told that he had been sent to the Ryazan Territory to find a doctor for his ill master.

Fevronia (I will call both the prince and the princess by their generally accepted hagiographic names) answered the youth: “If someone took your prince for himself, he could cure him.” (In another translation of the “Tale…” it is not said “took”, but “demanded”, which is closer to the ancient Russian source.) “What are you talking about ?! - cried the lad. Who can take my prince for himself? If anyone cures him, the prince will richly reward him. But tell me the name of the doctor who he is and where his house is. She answered: “Bring your prince here. If he is sincere and humble in his words, he will be healthy.”

“The young man quickly returned to his prince and told him in detail about everything he had seen and heard. Blessed Prince Peter commanded: "Take me to where this girl is." And they brought him to the house where the girl lived. And he sent one of his servants to ask: “Tell me, girl, who wants to cure me? May he heal and receive a rich reward.” She answered bluntly: “I want to cure him, but I don’t demand any reward from him. Here is my word to him: if I do not become his wife, then it is not fitting for me to treat him. And the man returned and told his prince what the girl had said to him.

Prince Peter, however, treated her words with disdain and thought: “Well, how is it possible for the prince to take the daughter of a poison dart frog as his wife!” And he sent to her, saying: “Tell her - let her heal as best she can. If she cures me, I will take her as my wife.”

This is how the Tale of Peter and Fevronia describes the background to the healing of the prince.

Let's reflect on the mysteries of Fevronia and on her no less mysterious words about the method of healing the ailing prince.

Riddles of the wise maiden

I will not quote verbatim the very interesting and poetic riddles of the wise maiden; I think that everyone who is interested should familiarize themselves with them in the very text of the Tale .... Our task is different: to understand what is an undoubted historical fact in the great monument of ancient Russian writing, what can be recognized as quite reliable, and what can be attributed to folk element. So, for many researchers, it is the riddles of Fevronia that seem to be one of the most folklore, fabulous components of the Tale. Indeed, there is a clear echo with folk oral art: with sayings, proverbs, riddles, which we find in abundance in Russian fairy tales and epics. But it is important to understand whether the words of the maiden Fevronia are “folklore”, or whether the future princess simply actively uses the figurative folk word in her speech.

Let's start with the fact that the life of the old Russian peasant of the XIII century was simply inseparable from everything that we now call folklore. Young peasant girls spent their leisure time singing songs, telling fairy tales, and guessing riddles. Russian people sang lingering, fabulous songs while they were working. Even the classical literature of the 19th century constantly puts sayings, proverbs, jokes into the mouths of the villagers. Fevronia, of course, was very familiar with all this. Hence her manner of constantly using proverbs, parables and riddles in her speech, many of which are known to us from other folklore sources.

Second point: Fevronia is not a simple girl. She is a person not of this world, if you like - a little holy fool. Her behavior is extraordinary. Even the fact that she keeps a forest dweller, a hare, in her room is unusual. But all this is not surprising to us: holy people often behaved strangely, unusually for those around them, and their words sometimes had a mysterious, enigmatic meaning, which was revealed later. By the way, the hare tamed by Fevronia should not cause much surprise, because many holy people, living in harmony with nature, were friends with wild animals. Let us remember how St. Sergius of Radonezh and Father Seraphim of Sarov fed bears bread, and St. Gerasim of Jordan tamed a lion and even carried water on it for the monastery.

Adherence to folklore was characteristic not only of Saint Fevronia. Some of our Russian ascetics also loved him extremely. The Optina elder Ambrose in his letters to various people not only constantly used popular expressions of the Russian language, but also invented sayings and proverbs himself. Saint Theophan the Recluse also often resorts to folk phraseological units in his teachings.

Saint Fevronia was the flesh of the flesh of the simple Russian people, and there is nothing surprising in the fact that she knew oral folk art well and loved it.

Forced marriage or knowing the will of God?

But a more difficult riddle is not the allegories that Fevronia speaks with the prince's youth, but her words that only the one who takes or even demands the prince for himself can cure the prince. Of course, this is not just about the fact that the doctor took the patient to his house and treated him, so to speak, permanently. This was already implied, because in the “Tale ...” it is said that the prince was already so weak that he could not sit on a horse: he was brought to the Ryazan lands on a cart. In addition, the text does not say "to itself", but "to itself". No, it's much deeper than that.

I am very close to the explanation of these words of the wise maiden, which is given by the famous philologist, researcher of ancient Russian writing Anna Arkhangelskaya. According to her, Fevronia says with this allegory: “Healing is an intervention in someone else's body. “If I am not his wife, then how can I treat him?” She's not a professional doctor." Indeed, nowhere is it said that Fevronia was engaged in healing. The princely envoy came across her dwelling, as it seems to him, by accident. He just wants to ask for directions to the well-known doctors in this area. And those who see in Fevronia some kind of practicing folk healer are completely wrong.

But in fact, this meeting is not at all accidental. And its goal is not even the cure of the prince, but the fulfillment of the will of God. It is not known whether Fevronia had the gift of healing or it was simply revealed to her from God that the Lord would heal Peter through her, but it is certain that she knows the will of God. And the will of God always leads a person to salvation. The girl knew - it was revealed to her from the Lord - that the prince would recover only if he promised to become her husband. It was revealed to her that she was chosen for this path. By the way, in the lives of the saints, the theme of being chosen, the knowledge of the saint himself or his relatives about his special life path, is quite common.

So, Fevronia did not at all take advantage of the moment to successfully marry a rich and noble groom, as it may seem to many. She is submissive to the will of God, which was revealed to her. And the Lord revealed to her that it was this path that would lead both her and the prince to holiness and salvation. Therefore, the idea that Fevronia somehow manipulates Peter, blackmails him and forces him to marry her is simply blasphemous.

One more thing: yes, the righteous married life of Saints Peter and Fevronia is a model for us family life. But in no case should we blindly copy the experience of the saints, without any reasoning, imitate them in everything. Saints are special people who were sometimes revealed to have very great knowledge about their future life. In some ways, we, of course, should follow them, but some moments of their lives are their personal, unique feat. As an example, I will cite the life of St. Alexis, a man of God. After his marriage, he left home on his wedding night, leaving his young wife and parents behind. Having spent many years in great deeds and wanderings, Alexy returned to native home, but already in a completely unrecognizable guise of a beggar. He was sheltered in the entrance hall, where he lived for several years, unrecognized by anyone, and only before his death wrote a letter to his parents, where he spoke about his life. Why did he do this? For us it is a secret. But one thing is clear: the Lord revealed His will to him, and he followed this path. Is it worth it for us, who do not know the mysteries of God's Providence, to act in this way? Of course not.

But back to the "Tale ...". So, Prince Peter, although outwardly he accepted the condition of Fevronia and promised to take her as his wife if he was healed, was not at all going to keep his word. But the wise maiden warned: “If he is sincere and humble in his words, he will be healthy!” Further, the legend once again shows that Fevronia knew everything that should happen later. She sends the patient to take a steam bath, and at this time she prepares an ointment from sourdough bread. At the command of the girl, the prince smears all the scabs with this remedy, except for one. The next morning his whole body was healthy. Peter sends gifts to the beekeeper's daughter, but he does not want to fulfill his promise to marry her. Shortly after the arrival of the prince in Murom, his body again becomes covered with ulcers. He returns to Fevronia, repents and shamefully asks for forgiveness. “She, not in the least angry, said:“ If she becomes my husband, she will be healed. He gave her a firm word that he would take her as his wife, ”says“ The Tale ... ”. The treatment is repeated, and the prince marries a commoner. This is such an instructive story. As folk wisdom says: “Without giving a word, be strong; and davshi - hold on.

By the way, the prince, as a person endowed with power from God, and therefore a purely responsible person, doubly should not break his word. The sin of the prince also lies in the fact that he goes against the will of God, although he understands that Fevronia is endowed with the knowledge of this will. His servant told him about this, and before taking the treatment, he himself arranged a test for his healer, marveling at her wisdom later.

Boyar rebellion

Some time after the wedding, Peter's older brother died, and the prince became the ruler of Murom. But not everyone liked the young wife of the new prince, and not everyone liked him either. The power-hungry boyars conceived a "palace coup". The reason was the marriage of their ruler to a simple peasant woman. "The Tale ..." describes this episode, of course, very artistically.

At the instigation of their wives, the boyars first began to turn the prince against his wife. They blamed her for the thrifty peasant habit of picking up crumbs from the table after a meal in her hand. Peter, having decided to check the words of the nobles, somehow after dinner opened the palm of Fevronia and ... saw grains of fragrant incense. To many, this plot may remind you of the well-known fairy tale about the Frog Princess. Remember how Vasilisa the Wise poured drinks from the table into her sleeve and collected bones? Yes, there are certain similarities. But Vasilisa did it on purpose, and not out of the habit of thrift. And the wives of the senior princes even began to imitate her, trying to repeat the miracle of turning the remnants of food into a lake with swans, but nothing came of them.

Apparently, having caught too obvious consonance with folklore in this place of the biography of the holy princes, St. Philaret (Gumilevsky) did not include it in his life of the faithful Peter and Fevronia. As he did not use another episode from the history of the boyar turmoil:

“A considerable time passed, and then one day the boyars came to the prince in anger and said: “Prince, we are all ready to faithfully serve you and have you as autocrat, but we do not want Princess Fevronia to command our wives. If you want to remain an autocrat, you will have another princess on your way. Fevronia, taking wealth as much as she wants, let her go wherever she wants! Blessed Peter, in whose habit it was not to be angry at anything, meekly answered: “Tell Fevronia about this, let's hear what she will say.”

Furious boyars, having lost their shame, decided to arrange a feast. They began to feast, and when they got drunk, they began to conduct their shameless speeches, like barking dogs, depriving the saint of God's gift, which God promised to keep her even after death. And they say: “Madam Princess Fevronia! The whole city and the boyars are asking you: give us whom we will ask you!” She replied: “Take whoever you ask!” They, as with one mouth, said: “We, madam, all want Prince Peter to rule over us, but our wives do not want you to rule over them. Having taken as much wealth as you need, go wherever you wish!” Then she said: “I promised you that whatever you ask, you will receive. Now I tell you: promise to give me whom I ask of you.” They, the villains, rejoiced, not knowing what awaits them, and swore: “Whatever you name, you will immediately receive without question.” Then she says: “I don’t ask for anything else, only my wife, Prince Peter!” They answered: “If he wants to, we won’t say a word to you.” The enemy clouded their minds - everyone thought that if there was no Prince Peter, they would put another autocrat: and yet in their hearts each of the boyars hoped to become an autocrat.

Blessed Prince Peter did not want to break God's commandments for the sake of reigning in this life, he lived according to God's commandments, observing them, as the God-voiced Matthew prophesies in his Gospel. For it is said that if a man drives away his wife, who is not accused of adultery, and marries another, he himself commits adultery. This blessed prince acted according to the Gospel: he equated his property to manure, so as not to violate the commandments of God.

Interestingly, St. Philaret, with his characteristic historical accuracy, notes that the Murom boyars, in their desire to overthrow the prince, were incited by his closest relatives who claimed to reign: his younger brother and nephew. St. Philaret describes the story of the expulsion of noble princes very briefly. The boyars approach the prince and put forward an ultimatum to him: “either let him let go of his wife, who offends noble wives with her origin, or leave Murom. The prince firmly remembered the words of the Lord: “What God has combined, let no man separate. Whoever lets go of his wife and marries another, he is an adulterer” (see: Matt. 19:6, 9). Therefore, faithful to the duty of a Christian spouse, the prince agreed to renounce the principality. He was left after that with poor means of subsistence, and sad thoughts involuntarily came to his mind. But the clever princess told him: “Do not be sad, prince, the merciful God will not leave us in poverty.” In Murom, irreconcilable strife soon opened up, seekers of power grabbed their swords, and many of the nobles lost their lives. The Murom boyars were forced to ask Prince David and Princess Euphrosyne to return to Murom. So the prince, true to his duty, triumphed over his enemies.

Why does St. Philaret greatly shorten the story of the rebellion of the boyars? I think not only because he sees in it some parallels with Russian fairy tales. Indeed, the details of this story are described quite folklore. Although the story of turning crumbs into incense, in my opinion, is quite acceptable for the life of the saints. Yes, Fevronia's cunning, thanks to which she takes the prince with her, has very similar analogues in Russian folk tales: when a wife is forced to part with her husband, she asks to take the most precious thing from home and, of course, takes her beloved. But, as we know, Fevronia is a connoisseur of folklore, so is it any wonder if she acts "in a fabulous way." In addition, the plot “about the most expensive” is not only Russian, but, so to speak, universal. What should be the most precious thing for a woman? Of course, beloved man. The wives of the German city of Weinsberg did the same: when the besiegers allowed them to leave and take with them as much as they could carry on their shoulders, they, of course, took - carried - their husbands.

But this is not what confuses in the story of the princely exile. Peter does not make a decision himself - he sends the unbridled nobles to his wife: they say, ask her what she thinks about it. Could this be in the XIII century, and even in the family of the prince? Of course not. For the Russian Middle Ages, such a situation is absolutely unbelievable. I think it was precisely for this reason, and not because of its folklore nature, that this episode was not included in the life of both St. Demetrius of Rostov and St. Philaret (Gumilevsky). It can be assumed that such a not very plausible version of the story about the expulsion of the noble princes ended up in the Tale ... because it was written according to oral folk traditions about the holy couple: its main author was the simple Russian people. Therefore, the peasant woman Fevronia appears as her most important character. And the prince, bowing before her wisdom, consults with her in everything.

I like Filaret's version of the prince's conversation with the boyars much more than the same dialogue in "The Tale ...". Peter firmly remembers the words of the Gospel about the indissolubility of marriage and, true to Christian marital duty, prefers to renounce the principality. But the old Russian princes often forgot about their family duty. Ivan Vasilyevich the Terrible, under whom the faithful Peter and Fevronia were canonized, imprisoned two of his wives in a monastery. His father, Vasily III, tonsured his legal wife Solomonia Saburova as a nun for her infertility and married Elena Glinskaya. It should also not be forgotten that in the 13th century, siblings killed each other in order to add another allotment to their lands. So to give up reigning for the sake of preserving the family and love for his wife is the greatest feat for the ruler of that time. And they also say that in the life of Peter and Fevronia nowhere is it said about their love. That's true love! And for this feat of love, the Lord returns the principality to Peter.

Saint Philaret, as if to confirm the story of Peter's exile, gives another example of his humility. Based on the chronicles, he tells that the noble Murom prince helps to restore justice to the Grand Duke Vsevolod and participates with him in the struggle against the Pronsk and Ryazan princes. As a reward for this, Peter received from Vsevolod the rich Principality of Pronsk. When the former princes of Pronsk went to war against him, meek Peter “sent to say to them: “Brothers! I did not occupy Pronsk by myself: Vsevolod put me here. Pronsk is yours.” And calmly returned to Murom. What high disinterestedness! What deep respect for the duty of love and honor!” exclaims St. Philaret. Such disinterestedness was, indeed, a great rarity in times of princely civil strife. But Peter was not at all some kind of pacifist. According to the chronicles, he was a brave warrior, took part in several military operations. And in 1220 his troops were on a glorious campaign against the Volga Bulgars.

Filaret includes in his biography of the holy princes and the case of a man who, forgetting about his wife, stared at the beauty of Fevronia. This episode is given in full, along with the answers of the wise princess, but for some reason the saint refers it not to the time of the exile of the princes, but already to their peaceful reign, which followed after their return.

It is interesting that when you are in Murom, you cannot get rid of the feeling of the reality of everything that is described in the "Tale ...". This small town simply breathes with antiquity, "there is a Russian spirit, there it smells of Russia." Of course, the buildings of the times of Peter and Fevronia have not been preserved, but all the same, in their hometown you quite noticeably touch their life. And when you pray at the relics of the blessed couple, and when you just wander along the streets of Murom, and when you stand on the Oka embankment and look at the church of Saints Cosmas and Damian, erected by Ivan the Terrible ... And it seems that now the boats are sliding down the river, carrying the prince and princess to the other side, away from the rebellious boyars.

St. Philaret, speaking of the pious life and wise Christian rule of the saints after their return to Murom, writes that it “was truthful, but without harsh severity, merciful, but without weakness. The intelligent and pious princess helped her husband with advice and charity. Both lived according to the commandments of the Lord, loved everyone and did not love either pride or unrighteous self-interest; rested the wanderers, alleviated the fate of the unfortunate, honored the monastic and priestly rank, protecting him from needs.

Children of the "childless couple"

Another stumbling block, and, by the way, not only for secular critics, but also for some Orthodox, is the lack of a mention of their children in The Tale of Peter and Fevronia. Even in the works of modern theologians, one has to come across the idea that Saints Peter and Fevronia allegedly deliberately renounced bodily marital communion for the sake of the purely feat of abstinence and chastity. And hostile critics use the lack of information about the children of the couple in the life as a counterargument in polemics with the Orthodox: they say, what kind of family patrons are they if they deliberately refused to have children?

Let's start with the fact that for a medieval Russian ruler, childlessness was a great tragedy. Above, I mentioned that some rulers even went against the conscience and canons of the Church for the sake of the birth of an heir. A particularly difficult problem was childlessness for the prince during the feudal fragmentation. Each prince wanted his sons and grandsons to continue to manage his allotment. Otherwise, after the death of the prince, the principality could pass to his relatives, who were sometimes his enemies. None of the princes, even out of a sense of responsibility to the people and the lands entrusted to them, would consciously refuse to procreate - even for the sake of feats of chastity. It is very unlikely that St. Peter of Murom would have agreed to this.

Note: the fact that the pious Murom couple had children, which for some reason even some church writers deny, is completely irrefutable from a historical point of view.

In the first part of the article, I already spoke about the historical identification of Saints Peter and Fevronia, and the historicity of these Murom princes is confirmed by a large number of very authoritative sources.

The Genealogy of the Princes of Murom, and the Genealogy of the Princes of Vladimir and Suzdal, and the Laurentian Chronicle, and the lives of the Blessed Prince Svyatoslav of Vladimir and his son, the Blessed Prince Demetrius, testify about the children of the noble princes of Murom ... By the way, the holy prince Svyatoslav was the son-in-law of Peter and Fevronia, and the right-believing Prince Dimitri - their grandson.

Peter and Fevronia had three children: the eldest son Yuri, who inherited his throne after the death of his father, Svyatoslav and daughter Evdokia. The names of their grandchildren are also known: Yaroslav - the son of Yuri; John and Vasily - the children of Svyatoslav - and the son of Evdokia Dimitri.

Prince Yuri accepted the Principality of Murom in 1228, was a brave warrior, fought against the Mordovians, according to the Novgorod Chronicle, fought with Batu. In 1230 he died fighting the Mongols.

Svyatoslav in 1220, together with his father, participated in a campaign against the Volga Bulgars. The Laurentian Chronicle says that he died in 1228, on Easter week, a few days before the righteous death of his parents.

The daughter of Peter and Fevronia Evdokia married the son of Vsevolod the Big Nest - Prince Svyatoslav. By the way, the chronicle says that her father, Prince Murom, was at this wedding. Evdokia had a son, Dimitri, who, after the death of his father, became Prince Yuryev-Polsky. I managed to visit this wonderful little town, now a little neglected, but still beautiful, with ancient monasteries, temples and other ancient monuments. And there they keep the memory of the Yuriev prince Dimitri - the grandson of Peter and Fevronia.

Both the son-in-law of Peter and Fevronia, Svyatoslav, and the grandson Dimitri were glorified by the Church as holy noble princes.

Why, then, does The Tale of Peter and Fevronia not give us information about the children of the holy princes, despite the fact that their names were very well known at the time of its writing? I think this gap is explained quite simply. The lives of the saints, as a rule, tell about the children of ascetics when they somehow took part in their feat or were themselves saints. In the life of Peter and Fevronia, compiled by St. Demetrius of Rostov, their children are not mentioned, most likely also for the same reason. And St. Philaret writes about only one son of the Murom couple - Svyatoslav; it can be assumed that he is of interest to the compiler of the life because he died on the same Easter week with his parents.

Day of death or name day?

As we know from the Tale of Peter and Fevronia, from all their lives, as well as from chronicle sources, the noble princes passed away to the Lord on the same day. Saint Philaret, relying on historical documents, says that they reposed in April, during the Paschal week of 1228, and, according to their will, were buried in the same coffin. He does not mention that foolish people wanted to break the testament of the saints and put them in separate coffins, and each time they ended up together again. But this does not mean at all that this episode is fictional: in the lives of the saints we find descriptions of much greater and incomprehensible miracles. The life compiled by St. Philaret is rather short; his task was to subject Yermolai-Erasmus' Tale to critical historical analysis and, if possible, to select verified and most reliable facts.

Why do we celebrate the day of the repose of the faithful Murom princes not in the spring, in April, but on June 25 according to the old style (respectively, July 8 in a new way)? The saint writes: “If, according to the chronicle, they died in April, then the 25th day of June must be recognized as the day of the discovery of the relics.” That is, he believes that the day of the celebration of the death of the holy couple (so as not to make it a passing day because of the Easter week) was simply timed to coincide with the day of finding the relics. But this is only an assumption. Neither in the time of St. Philaret, nor even more so in our days, was it found out on what exact day the relics were opened.

Regarding the memory of Saints Peter and Fevronia, it is on June 25 (July 8) that I have my own version. Very often, when the exact day of the memory of the saint is unknown to us, the celebration of his death is set on the name day. IN church calendar we can find many saints with the same name, but who lived at completely different times, whose memory falls on the same day. June 25 is the day of the Martyr Fevronia the Virgin, a saint of the 4th century. She is the heavenly patroness of the faithful Fevronia of Murom - there is no other Fevronia in the calendar. But there are a lot of saints with the name Peter. Therefore, not knowing the exact day of the death of the Murom miracle workers, they set the day of their memory to be celebrated on June 25th.

days church holidays- this is not always the exact date of some historical event. We know that even the date of the Nativity of Christ is conditional, and Easter is generally a passing holiday.

There is an absolutely false opinion that the day of veneration of Saints Peter and Fevronia as the heavenly patrons of the family and marriage is a completely new, modern trend. Say, they wanted to come up with a Russian analogue of Valentine's Day, so they established in 2008 the Day of Family, Love and Fidelity. Yes, in our time, the day of Saints Peter and Fevronia has acquired special meaning. New churches are being built to these saints, monuments are being erected, more and more people are celebrating their memory, and most importantly, they are beginning to pray to them. But Peter and Fevronia have been revered as patrons of the family for a long time. In the 19th century, St. Philaret wrote that the holy princes “in their lives were a model of Christian marriage, ready for all hardships for the gospel commandment of indestructible union. And now, with their prayers, they bring down a heavenly blessing on those entering into marriage. This is how many experiences of their afterlife show. And they turned to Saints Peter and Fevronia for help in family life long before the 19th century.

More about legends and myths

Some researchers, mainly philologists and cultural scientists, like to compare The Tale of Peter and Fevronia with Celtic and other Western European legends, especially with the novel about Tristan and Isolde. And indeed, if you wish, you can find in the Old Russian "Tale ..." something similar to this chivalric legend. What is this? Did Yermolai-Erasmus' Tale really incorporate European legends that somehow penetrated Rus', or is it just a coincidence?

Let's start with the fact that the priest Yermolai collected materials for writing the life of the holy noble princes in the Murom and Ryazan regions, that is, in the Central Russian zone. These are legends not even of Kievan, but of Vladimir Rus. It is very difficult to assume that at a time when the penetration of foreigners into the central part of Russia was minimal, some Western legends were brought to the Vladimir region.

There are many works that provide a comparative analysis of "The Tale ..." and the novel about Tristan and Isolde. I have read quite a few articles on the subject, but none of them have explained these coincidences. Academician D.S. Likhachev in his work "The Tale of Peter and Fevronia of Murom" does not at all insist on any borrowing of Western legends. He admires The Tale..., its amazing poetic language, images, and writes that "there is something in common... with the Western European medieval story of Tristan and Isolde." But are these two stories so similar?

I re-read the novel about Tristan and Iseult as presented by Joseph Bedier. To be honest, if you do not set the task of finding parallels in it with Erasmus' Tale ..., you may not notice any commonality between these two works at all. In the whole novel, I see only two episodes similar to those in the biography of the Murom princes. Tristan also defeats the dragon and becomes ill from its poison, putting the dragon's tongue in his pocket. He is found unconscious, brought to Isolde's house, but it is not she who heals him, but her mother, the queen: it is she who prepares the potion, and Isolde only helps her. And the second similar moment is the death of Tristan and Isolde: they also die on the same day. At the same time, Bedier's novel is a rather voluminous work, several times larger than The Tale .... Tristan performs various feats (killing the dragon is not the most important of them), a lot of events happen to him and Isolde, completely different from the events in the life of Peter and Fevronia. The plot of the legend is very cunningly gossip, and Isolde is not alone at all - there are two Isolde in the novel. And most importantly: "The Tale of Peter and Fevronia" is a hymn to marital love and fidelity. Spouses carry their love through all earthly life, and then have its continuation in eternity. And the chivalric novel about Tristan and Isolde is quite the opposite: it is a story about adultery, about adultery. About two lovers who cannot be together and unite, dying on the same day. By the way, there are versions of the novel from which this sad ending has been removed.

We will not dwell on the dragon in detail. Legends about snakes and serpent fighters are among many, many peoples. Dragons were fought not only in Rus' and in Western Europe, but also in Iran, Babylon, Greece, not to mention China, Japan and India. With whom they just did not compare, for example, St. George, who defeated the snake! Where legends about dragons come from, we have already discussed in the first part of the article. The serpent, the dragon is the favorite mask of the devil in ancient times, therefore, among many peoples, the dragon is the embodiment of evil (although not everywhere; in some countries, dragons were deified, but, nevertheless, they fought with them). There is also a theory that dragons are preserved ancient lizards.

It is much more important to explain the similarity of the death of the characters of the Celtic legend and Russian saints. But first of all, let's not forget that, unlike the fictional characters of the novel, Peter and Fevronia - real people, and their death on the same day is not fiction, but historical fact. Further: in Bedier's novel, Tristan and Iseult are placed to the right and left of the chapel, and then a thorn bush grows that connects their two graves. And if here it is just a beautiful poetic image, then the joint burial of Peter and Fevronia is, again, a reality: they really were buried together. By order of Ivan the Terrible, the Church of the Nativity of the Virgin was built over the graves of the saints. They lay together under the south side of the church. Later, their relics were opened and transferred to the temple itself. Now they rest in the women's Trinity Monastery, where they were transferred in our time.

As for the motive for the death of people who love each other passionately on the same day, it is not European or Russian, but universal. K.G. Jung called this the "collective unconscious". There is a "collective unconscious" inherent in a separate ethnic group, and there is a universal human unconscious. All humanity was created by God as a single human race, and with all the ethnic and cultural differences, all peoples have a lot in common. Therefore, it is not surprising that in similar situations we think in the same way and very close images emerge in our minds. In support of the fact that the motif of death on the same day is common to completely different peoples, we can cite the poem of the 15th-century Turkic author Alisher Navoi about two lovers "Leyli and Majnun". Here are the lines from it, telling about their death: “The beloved raised her hands, / she gave her soul to her beloved. / The beloved bowed without breathing, / his soul went to his beloved.

We know that Peter and Fevronia had an ardent desire to leave together and asked God "to die by them at the same time." And the Lord fulfilled the petition of two loving hearts.

A little more about amazing coincidences, universal images and the collective unconscious. There are works on the study of the origin of myths, in which one can find very interesting comparisons. Here is a European legend about King Arthur: in London, in the center of the city, there was a chapel; near it lay a stone with a sword sticking out of it; the sword, which no one could draw, was drawn by the young man Arthur; after some time, the hand of the Lady of the Lake, appearing above the waters, will give him the sword Excalibur. And now the Vietnamese legend: the spirits commanded the nobleman Le Loi to lead an uprising against the Chinese invaders; from the lake near which he lived, a giant tortoise swam out with a sword in his mouth. The hero takes this sword, drives off the Chinese with the help of a wonderful weapon and becomes king. It seems? It will be cooler than Tristan and Isolde.

Let's sum up some results. "The Tale of Peter and Fevronia of Murom" is a wonderful and very instructive work of ancient Russian literature. Over the centuries, "The Tale ..." has firmly entered into church life and enjoys great popularity and authority among Orthodox people. Yes, it was not included in Makaryev's Cheti-Minei, but was included in other collections of lives, such as Godunov's and Milyutin's Menaia.

We do not find in it any obvious absurdities and distortions of church teaching. It can be said that the only factual error of the "Tale ..." is the confusion with princely names.

The Church is a living organism, she herself rejects everything that is harmful and accepts what is beneficial.

Compiling the biographies of the saints, no one has ever strived for absolute, documentary accuracy. Something else was important: the spiritual authenticity of life. There is a lot of literary content in Father Erasmus' "Tale...", but the famous "Lives of the Saints" by St. Demetrius of Rostov are also very literary. Lyrical digressions, details, dialogues, prayers that he puts into the lips of the saints are clearly artistic in nature. In addition to historical data, folk tales about ascetics are also widely used in his lives.

Many generations of our Orthodox ancestors were brought up on Dimitriev's Menaia. People have been reading for centuries hagiographic literature and receive spiritual benefits. "The Tale of Peter and Fevronia" also brings edification to many, spiritual consolation and serves as a textbook of marital love and fidelity.

Archpriest Pavel Gumerov

The first Russian chroniclers reported the death of Prophetic Oleg from a snake bite: this is mentioned in the Tale of Bygone Years, as well as in the First Novgorod Chronicle. According to legend, the Magi predicted the prince's death from his own horse. Oleg parted with the animal, and when the horse died, he remembered the prediction and, laughing at the Magi, ordered to show him the remains. Seeing the bones of the horse, Oleg put his foot on his skull, when a poisonous snake crawled out from there and mortally stung the prince.

Application

A poem by A.S. gave a second life to the myth of Oleg's death from a snakebite. Pushkin. The dramatic denouement of the "Song of the Prophetic Oleg", vividly stated by the poet, formed a stereotype that the death of the prince was just like that.

Reality

The Russian historian of the 19th century pointed out the legendary nature of the chronicle legend about the death of Oleg. N.M. Karamzin, who called "the imaginary prophecy of the Magi or sorcerers" "an obvious folk fable, worthy of remark for its antiquity."

Indirectly, this is evidenced by the appearance of a similar plot in the medieval Icelandic epic. The protagonist of the Viking saga Orvar Odda, compiled in the 13th century based on ancient legends, died from a snake bite on the grave of his own horse - such a death to him in childhood, when the future Viking was 12 years old, was predicted by a sorceress. In order to prevent the prediction from coming true, Odd and a friend killed a horse, threw it into a pit, and covered the corpse with stones. Which plot, about Oleg or about Odda, appeared earlier, has not yet been established.

Establishing the exact circumstances of the death of the prince was a difficult task for scientists. Talking in detail about how Oleg died, the chronicles do not provide exhaustive answers to other important questions: where exactly did Oleg die, and where is he buried.

According to the Tale of Bygone Years, his grave is located in Kyiv on Mount Shchekovitsa. The Novgorod chronicle reports that the prince was buried in Ladoga, but at the same time says that he went "beyond the sea."

Academician B.A. Rybakov in 1987 combined these two versions and came to the conclusion that the prince spent most of his life in Ladoga, owned the throne of Kiev for some time, and after the campaign against Byzantium disappeared without a trace, falling out of sight of Russian chroniclers.

In 2000, researcher A.A. Vlasov tried to estimate the probability of Oleg's death from a snake bite, based on the assumption that the chronicle legend could be true. Having studied the habitat of snakes in the possible places where the prince was, he suggested that if Oleg was in the Kiev region at the time of the events described, he could have suffered from the bites of three types of snakes: an ordinary viper, a steppe or a forest-steppe.

A.A. Vlasov put forward a hypothesis that a meeting with a steppe viper should have been fatal for Oleg - in his opinion, the prince's horse was most likely kept in a steppe pasture. At present, this snake is not found in the Kyiv region, its habitat is much to the south, but the climatic conditions of the 10th-12th centuries were different, and the presence of the snake in possible place The death of the prince was quite probable, the researcher notes.

This period was dry and warm, forest fires and droughts were often noted in the annals. The way the vegetation is described in The Tale of Bygone Years was also quite conducive to the presence of these snakes in the region. In addition, marmots were found in those parts at the indicated time, and their habitat almost completely coincides with the boundaries of the range of vipers.

However, even if we assume that all these circumstances really coincided in this way, the prince could receive a fatal snake bite in the leg with a minimum degree of probability. For this, A.A. Vlasov, it is necessary that the victim be completely without shoes, and the princes at that time, according to archaeological data, wore heavy and thick boots, which the snake could not bite through.

At the same time, even if the viper could somehow get to the unprotected parts of Oleg's body, its bite - despite all the possible health problems - could not be fatal.

Thus, even under the most fantastic set of circumstances, if the snake had bitten the prince, this could not have caused his death: in this case, Oleg could have died only from improper treatment, sums up A.A. Vlasov.

Toxicologists suggest that the most dangerous and often fatal solution in such cases is an attempt to apply a tourniquet to the swollen limb after a bite: the victim may develop "turnstile shock", poisoning the body with toxins as a result of prolonged deprivation of the affected body part of the blood supply.

Sources and literature

Vlasov A.A.. What kind of viper bit the Prophetic Oleg? // Steppes of Northern Eurasia: Proceedings of the II International Symposium, 2000.

Karamzin N.M. History of Russian Goverment. Volume 1-12. M., 2004.

Rybakov B.A. The paganism of ancient Rus'. M., 1987.

Literature work program in grade 7 "B"

for 2015-2016 academic year

EXPLANATORY NOTE

The work program in literature for grade 7 was created on the basis of the federal component of the state standard of the main general education Ministry of Defense of the Russian Federation and the exemplary program of educational institutions "Literature" edited by V.Ya. Korovina, M. "Enlightenment". The study of the course is implemented through the teaching materials: the textbook “Literature. Grade 7, edited by V.Ya Korovina. The textbook is included in the federal list of textbooks recommended for use in educational institutions implementing educational programs of general education and having state accreditation (Order of the Ministry of Education and Science of the Russian Federation dated March 31, 2014 No. 253 “On approval of the federal list of textbooks recommended for use in the implementation having state accreditation of educational programs of primary general, basic general, secondary general education”).

The following documents became the initial documents for compiling the program:

Federal Law No. 273-FZ of December 29, 2012 “On Education in the Russian Federation” (with subsequent amendments and additions).

Order of the Ministry of Education of the Russian Federation dated March 5, 2004 No. 1089 “On Approval of the Federal Component of State Standards for Primary General, Basic General and Secondary (Complete) General Education” (with subsequent amendments and additions).

Order of the Ministry of Education of the Russian Federation dated March 9, 2004 No. 1312 “On Approval of the Federal Basic Curriculum and Exemplary Curricula for Educational Institutions of the Russian Federation Implementing General Education Programs” with amendments and additions.

Order of the Ministry of Education and Science of Russia dated March 31, 2014 No. 253 “On approval of the federal list of textbooks recommended for use in the implementation of state-accredited educational programs for primary general, basic general, secondary general education” (with subsequent changes and additions).

Order of the Ministry of Education of the Orenburg Region No. 01-21/1063 dated August 13, 2014 “On Approval of the Regional Basic Curriculum and Exemplary Curricula for General Educational Organizations of the Orenburg Region” (as amended and supplemented).

Main educational program MBOU "Akbulak secondary school No. 3" (level of basic general education).

The curriculum of MBOU "Akbulak secondary school No. 3" for the 2015 - 2016 academic year.

general characteristics subject

Literature - the basic academic discipline that forms the spiritual image and moral guidelines younger generation. She holds a leading place in the emotional, intellectual and aesthetic development of the student, in the formation of his worldview and national identity without which the spiritual development of the nation as a whole is impossible. The specificity of literature as a school subject is determined by the essence of literature as a cultural phenomenon: literature explores the world aesthetically, expressing the richness and diversity of human existence in artistic images. It has a great power of influencing readers, introducing them to the moral and aesthetic values ​​of the nation and humanity.

The exemplary program is drawn up taking into account the continuity with the elementary school program, which lays the foundations for literary education. At the level of basic general education, it is necessary to continuework to improve the skill of conscious, correct, fluent and expressive reading, the development of the perception of a literary text, the formation of reading skills, the development of interest in reading and books, the need to communicate with the world of fiction.

The basis of the content of literature as an academic subject is reading and textual study works of art that make up the golden fund of the Russian classics. Each classical work is always relevant, as it is addressed to eternal human values. The student comprehends the categories of goodness, justice, honor, patriotism, love for a person, family; understands that national identity is revealed in a broad cultural context. A holistic perception and understanding of a work of art, the formation of the ability to analyze and interpret a literary text is possible only with an appropriate emotional and aesthetic reaction of the reader. Its quality directly depends on the reader's competence, which includes the ability to enjoy works of verbal art, a developed artistic taste, the necessary amount of historical and theoretical and literary knowledge and skills that meet age characteristics student.

The course of literature is based on the following activities for mastering the content of works of art and theoretical and literary concepts:

conscious, creative reading of works of art of different genres;

expressive reading of a literary text;

various types of retelling (detailed, brief, selective, with commentary elements, with a creative task);

answers to questions revealing knowledge and understanding of the text of the work;

memorization of poetic and prose texts;

analysis and interpretation of the work;

drawing up plans and writing reviews of works;

writing essays based on literary works and life experiences;

purposeful search for information based on knowledge of its sources and the ability to work with them.

The subject "Literature" is one of the most important parts of the educational field "Philology" . The relationship between literature and the Russian language is due to the traditions of school education and the deep connection between communicative and aesthetic function words. The art of the word reveals all the richness of the national language, which requires attention to the language in its artistic function, and the development of the Russian language is impossible without constant reference to works of art. Mastering literature as an academic subject is the most important condition for a student's speech and linguistic literacy. Literary education contributes to the formation of his speech culture.

Literature is closely connected with other subjects and, first of all, with the Russian language. The unity of these disciplines is ensured, first of all, by the common subject of study for all philological sciences - the word as a unit of language and speech, its functioning in various fields, including aesthetic. The content of both courses is based on the foundations of fundamental sciences (linguistics, stylistics, literary criticism, folklore, etc.) and involves the comprehension of language and literature as national and cultural values. Both the Russian language and literature form communication skills and skills underlying human activity, thinking. Literature also interacts with the disciplines of the artistic cycle (music, fine arts, world artistic culture): at the lessons of literature, an aesthetic attitude to the world around is formed. Together with history and social science, literature addresses problems directly related to the social essence of a person, forms the historicism of thinking, enriches the cultural and historical memory of students, not only contributes to the development of knowledge in the humanities, but also forms students an active attitude to reality, to nature, to the whole world around.

One of the components of literary education is literary creativity students. Creative works of various genres contribute to the development of analytical and figurative thinking the student, to a large extent forming his general culture and social and moral guidelines.

Goals:

The study of literature in primary school is aimed at achieving the following goals:

upbringing a spiritually developed personality, the formation of a humanistic worldview, civic consciousness, a sense of patriotism, love and respect for literature and the values ​​of national culture;

development emotional perception of a literary text, figurative and analytical thinking, creative imagination, reader culture and understanding of the author's position; the formation of initial ideas about the specifics of literature in a number of other arts, the need for independent reading of works of art; development of oral and written speech of students;

development texts of artistic works in the unity of form and content, basic historical and literary information and theoretical and literary concepts;

mastery of skills reading and analysis of works of art with the involvement of basic literary concepts and necessary information on the history of literature; revealing in the works of concrete historical and universal content; competent use of the Russian literary language when creating your own oral and written statements.

The Place of Literature in the Federal Basic Curriculum

The basic curriculum of MBOU "Akbulak secondary school No. 3" allocates 102 hours for the compulsory study of the subject "Literature" in the 7th grade (at the rate of 3 hours per week: 2 hours - from the federal component, 1 hour - from the component of the educational organization).

REQUIREMENTS FOR THE LEVEL OF TRAINING OF STUDENTS

As a result of studying literature, a 7th grade student should

know/understand

• figurative nature of verbal art;

  the content of the studied literary works;

  the main facts of the life and career of A.S. Griboyedov, A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol;

  studied theoretical and literary concepts;

be able to

perceive and analyze literary text;

highlight the semantic parts of a literary text, draw up abstracts and a plan of what was read;

determine the type and genre of a literary work;

highlight and formulate the theme, idea, problems of the studied work; characterize the characters

characterize the features of the plot, composition, the role of visual and expressive means;

compare episodes of literary works and compare their heroes;

express your attitude to what you have read;

own different types of retelling;

build oral and written statements in connection with the studied work;

participate in a dialogue on the works read, understand someone else's point of view and reasonably defend one's own;

write reviews of self-read works, essays (essays - only for graduates of schools with Russian (native) language of instruction).

use the acquired knowledge and skills in practical activities and Everyday life For:

creation of a coherent text (oral and written) on the necessary topic, taking into account the norms of the Russian literary language;

determining your circle of reading and evaluating literary works;

search necessary information about literature, about a specific work and its author (reference literature, periodicals, television, Internet resources).

INTRODUCTION - 1 hour

The image of a person as the most important ideological and moral problem of literature. The relationship of characters and circumstances in a work of art. The work of the writer, his position, attitude to the imperfection of the world and the desire for a moral and aesthetic ideal.

ORAL FOLK CREATIVITY - 9 hours

Traditions. Poetic autobiography of the people. Oral story about historical events. "Accession Ivan the Terrible", "Magpie Witches", "Peter and the Carpenter".

Epics.Volga and Mikula Selyaninovich. The embodiment in the epic of the moral properties of the Russian people, the glorification of peaceful labor. Mikula is the bearer of the best human qualities (hard work, skill, self-esteem, kindness, generosity, physical strength).

Kyiv cycle of epics. "Ilya Muromets and the Nightingale the Robber". Selfless service to the Motherland and people, courage, justice, self-esteem dignity - the main character traits of Ilya Muromets. (One epic of your choice is being studied.) For extracurricular reading.

Novgorod cycle of epics."Sadko". The originality of the epic, Poetry. Thematic difference between the Kyiv and Novgorod cycles of epics. The peculiarity of the epic verse."Kalevala" - Karelian-Finnish mythological epic. Image of the life of the people, his national traditions, customs, working days and holidays. Blacksmith Ilmarinen and witch Loukhi as representatives of the light and dark worlds of Karelian-Finnish epic songs (For extracurricular reading).

Theory of Literature. Tradition (development of ideas). Hyperbole (development of representations). Bylina. Runes. Mythological epic (initial representations).

Proverbs and sayings. Folk wisdom proverbs and sayings. The expression in them of the spirit of the national language. Collections of proverbs. proverb collectors. Accuracy and accuracy of language. brevity and expressiveness. Direct and figurative sense proverbs. Proverbs of the peoples of the world. Similarities and differences of proverbs from different countries of the world on the same topic (epithets, comparisons, metaphors).

Theory of Literature. Heroic epos, aphoristic genres of folklore. Proverbs, sayings (development of ideas).

FROM OLD RUSSIAN LITERATURE -6 hours

"Instruction" by Vladimir Monomakh (excerpt) The Tale of Peter and Fevronia of Murom. Moral precepts of Ancient Rus'. Attention to the individual, anthem love and fidelity.

Theory of Literature. Teaching (initial representations).

"The Tale of Bygone Years". Excerpt "On the Benefits of Books" Formation of a tradition of respect for the book.

Theory of Literature. Chronicle (development of ideas).

FROM RUSSIAN LITERATURE OF THE XVIII CENTURY -3 hours

Mikhail Vasilievich Lomonosov. A short story about a scientist and a poet.

"To the statue of Peter the Great", "Ode on the day of accession to the All-Russian throne of Her Majesty the Empress Empress Elisaveta Petrovna 1747"(excerpt). Lomonosov's confidence in the future of Russian science and its creators. Patriotism. call to the world. Recognition of work, deeds for the good of the Motherland as the most important feature of a citizen.

Theory of Literature. Oda (initial performances).

Gavriil Romanovich Derzhavin. A short story about the poet.

“The river of times in its striving ...”, “On bird ... "," Recognition ". Reflections on the meaning of life, on destiny. Affirmation of the need for freedom of creativity.

FROM RUSSIAN LITERATURE OF THE XIX CENTURY – 57 hours

Alexander Sergeevich Pushkin. A short story about the writer.

"Poltava" ("Poltava battle"), " Bronze Horseman» (introduction "On the shore of desert waves..."), "The Song of the Prophetic Oleg". Pushkin's interest in the history of Russia. Mastery in depicting the Battle of Poltava, glorification courage and bravery of Russian soldiers. Expression of feeling love for the motherland. Comparison of commanders (Peter I and Charles XII). Author's attitude to the characters. Chronicle source of "Songs about the prophetic Oleg". composition features. The peculiarity of the language. The meaning of the comparison of Oleg and magician. Artistic reproduction of life and customs Ancient Rus'.

Theory of Literature. Ballad (development of ideas).

"Boris Godunov" (scene in the Miracle Monastery). The image of a chronicler as an image of an ancient Russian writer. Pimen's monologue: reflections on the chronicler's work as a moral feat. Truth as the goal of chronicle narrative and as a testament to future generations.

« Stationmaster». The image of the "little man", his position in society. Awakening of human dignity and sense of protest. Tragic and humanistic in the story.

Theory of Literature. The story (development of ideas).

Mikhail Yurjevich Lermontov. A short story about the poet.

"A song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov." poem about historical past of Rus'. Paintings of everyday life of the 16th century, their importance for understanding the characters and ideas of the poem. The meaning of the collision of Kalashnikov with Kiribeevich and Ivan the Terrible. Protection Kalashnikov human dignity, his willingness to stand up for the truth to the end. Features of the plot of the poem. Author's attitude to depicted. The connection of the poem with the works of oral folk art. Evaluation of heroes from the standpoint of the people. Images of guslars. The language and verse of the poem.

“When the yellowing field is agitated ...”, “Prayer”, “Angel”. The poem "Angel" as a memory of perfect harmony, of "heavenly" sounds left in the memory of the soul, the experience of bliss, the fullness of life forces associated with the beauty of nature and its manifestations. “Prayer” (“In a difficult moment of life ...”) - readiness rush towards the familiar harmonious sounds, symbolizing the expected happiness on earth.

Theory of Literature. Folklorism of literature (development of ideas).

Nikolai Vasilyevich Gogol. A short story about the writer.

Taras Bulba. Glorification of military partnership, condemnation of betrayal. The heroism and selflessness of Taras and his fellow Cossacks in the struggle for the liberation of their native land. Contrasting Ostap to Andriy, the meaning of this contraposition. Patriotic pathos of the story. Features of the image of people and nature in the story.

Theory of Literature. Historical and folklore basis of the work. Types of literature: epic (development of the concept). Literary hero (development of the concept).

Ivan Sergeevich Turgenev. A short story about the writer.

"Biruk". Image of the life of peasants, the author's attitude towards the disenfranchised and disadvantaged. Mastery in the depiction of the landscape. Artistic Features story. "Bezhin Meadow". Reflection of the essential features of the Russian national character in the stories. Author's reflections on the life of the people. The role of the psychological detail. landscape craftsmanship

Poems in prose. « Russian language". Turgenev about the wealth and beauty of the Russian language. Native language as a spiritual support of a person. "Gemini", "Two rich men". Morality and human relationships.

Theory of Literature. Poems in prose.

Nikolay Alekseevich Nekrasov . A short story about the writer.

"Russian women" ("Princess Trubetskaya"),Historical basis poems. The greatness of the spirit of Russian women who followed their convicted husbands to Siberia. Artistic features of Nekrasov's historical poems.

"Reflections at the Front Door". The pain of the poet for the fate of the people. The originality of Nekrasov's muse.

Theory of Literature. Poem (development of the concept). Three-syllable meters of verse (development of the concept).

Alexey Konstantinovich Tolstoy . Poet's word.

historical ballads "Vasily Shibanov" And Mikhailo Repnin. Reproduction of the historical flavor of the era. Truth and fiction. Old Russian theme "chivalry", opposed to autocracy.

Theory of Literature. Ballad (development of the concept).

Mikhail Evgrafovich Saltykov-Shchedrin. A short story about the writer.

Features of the plots and problems of "fairy tales for children fair age". Exposure of the moral vices of society, a satire on lordly Rus'. The image of the people in fairy tales. Reflection of the paradoxes of folk life in fairy tales. Strong and weak sides folk character. Aesopian language. allegory, fantasy, folklore motifs in fairy tales. "Wild landowner". For independent reading.

Theory of Literature. Grotesque (initial representations).

Leo Nikolaevich Tolstoy. Short story descriptor.

"Childhood". Chapters from the story: "Classes", "Natalya Savishna", "Maman" and others. Relationships between children and adults. Manifestations of the hero's feelings, ruthlessness towards himself, analysis of his own actions.

Theory of Literature. autobiographical piece of art(development of the concept). Hero-narrator (development of the concept).

Anton Pavlovich Chekhov. A short story about the writer.

"Chameleon". living picture mores. Ridicule of cowardice and servility. Meaning of the title of the story. " Speaking surnames as a means of humorous characterization.

"Intruder", "Scum". The versatility of the comic in the stories of A.P. Chekhov. (For reading and discussion.)

Theory of Literature. Satire and humor as forms of the comic (development of ideas).

“You are my land, my dear land!” Poems by Russian poets of the 19th century about their nativenature.F. Tyutchev “The kite rose from the clearing …» A. Fet "I won't tell you anything...

V. Zhukovsky."The Coming of Spring"; A. K. Tolstoy.“You are my land, my dear land ...”, “Blagovest”. Poetic depiction of native nature and expression of the author's mood, world outlook.

FROM RUSSIAN LITERATURE OF THE XX CENTURY - 22 hours

Ivan Alekseevich Bunin. A short story about the writer.

"Numbers". Raising children in the family. The hero of the story: the complexity of mutual understanding between children and adults.

"Lapti". The spiritual wealth of a simple peasant.

Maksim Gorky. A short story about the writer.

"Childhood". The autobiographical nature of the story. Depiction of the "lead abominations of life". Grandfather Kashirin. "Bright, healthy, creative in Russian life" (Alyosha, grandmother, Tsyganok, Good Deed). Image of life and characters. Faith in the creative forces of the people.

"Old Woman Izergil" ("The Legend of Danko").

Theory of Literature. The concept of the theme and idea of ​​the work (initial representations). Portrait as a means of characterization of the hero.

Leonid Nikolaevich Andreev. A short story about the writer.

"Nipper". A feeling of compassion for our smaller brothers, the heartlessness of heroes. The humanistic pathos of the work.

Vladimir Vladimirovich Mayakovsky A short story about the writer.

The author's thoughts on the role of poetry in human life and society. originality poetic rhythm, Mayakovsky's word creation.

« Good attitude to the horses." Two views of the world: indifference, heartlessness of the tradesman and humanism, kindness, compassion of the lyrical hero of the poem.

Theory of Literature. Lyrical hero(initial representations). Enriching knowledge of rhythm and rhyme. Tonic versification (initial representations).

Andrey Platonovich Platonov. A short story about the writer.

"Yushka". The protagonist of the work, his dissimilarity to the people around him, spiritual generosity. Love and hate of the people around the hero. Yushka is an inconspicuous hero with a big heart. Awareness of the need for compassion and respect for a person The uniqueness and value of each human personality.

"In the beautifulAndfurious world." Labor as the moral content of human life, the ideas of kindness, mutual understanding, life for others. The originality of the language of Platonov's prose (for independent reading).

Boris Leonidovich Pasternak. A word about a poet.

"July", "No one will be in the house ...". Pictures of nature transformed by Pasternak's poetic vision. Comparisons and metaphors in the artistic world of the poet.

Alexander Trifonovich Tvardovsky. A short story about the poet.

“The snows will darken blue ...”, “July is the crown of summer ...”, “At the bottom of my life ...”. The poet's reflections on the relationship between man and nature, on the inseparability fate of man and people.

Theory of Literature. Lyrical hero (development of the concept).

On the roads of war

Interview with a poet - participant of the Great Patriotic War. Heroism, patriotism, selflessness, difficulties and joys of the terrible years of the war in the poems of poets - participants in the war: A. Akhmatova, K. Simonov, A. Tvardovsky, A. Surkov, N. Tikhonov and others. Rhythms and images of military lyrics.

Theory of Literature. Publicism. Interview as a genre of journalism (initial presentations).

Fedor Alexandrovich Abramov. A short story about the writer.

What do horses cry about? Aesthetic and moral-ecological problems raised in the story.

Theory of Literature. literary traditions.

Evgeny Ivanovich Nosov. Brief story O writer.

"Doll" ("Akimych"), "Living Flame" The strength of the inner, spiritual beauty of man. A protest against indifference, lack of spirituality, indifference to the surrounding people, nature. Awareness of the huge role of beauty in the human soul, in the surrounding nature. The relationship between nature and man.

Yuri Pavlovich Kazakov. Short story descriptor.

"Quiet Morning" Mutual relations of children, mutual assistance, mutual assistance. Features of the character of the heroes - rural and urban boys, understanding of the surrounding nature. The feat of the boy and the joy of his own good deed.

Dmitry Sergeevich Likhachev."Native land" (chapters from the book). Spiritual advice to youth.

Theory of Literature. Journalism (development of ideas). Memoirs as a journalistic genre (initial presentations).

Writers smile.

M. Zoshchenko. A word about a writer.

Story "Trouble". Funny and sad in the stories of the writer.

"My Quiet Homeland"

Poems about Motherland native nature, own perception of the environment (V. Bryusov, F. Sologub, S. Yesenin, N. Zabolotsky, N. Rubtsov). Human and nature. Expression of spiritual moods, human states through the description of pictures of nature. General and individual in the perception of native nature by Russian poets.

Songs to the words of Russian poets of the XX century

A. Vertinsky."Daughters"; I. Goff."Russian field" B. Okudzhava."On the Smolensk road ...". Lyrical reflections on life, fast-flowing time. Light sadness experiences.

FROM THE LITERATURE OF THE PEOPLES OF RUSSIA - 1 hour

Rasul Gamzatov. A short story about the Dagestan poet.

“Again, behind my back is my native land ...”, “I came here again and I don’t believe it myself ...” (from the cycle "Eight Lines"), "About my Motherland". Return to the origins, the foundations of life. Understanding the maturity of one's own age, the maturity of society, a friendly disposition towards people around different nationalities. Artistic features imagery of the Dagestan poet.

FROM FOREIGN LITERATURE - 5 hours

Robert Burns. Features of creativity.

"Honest Poverty" People's ideas about justice and fairness. Folk - poetic nature of the work.

George Gordon Byron."You ended the path of life, hero!". A hymn to the hero who fell in the struggle for the freedom of the Motherland.

Japanese haiku(three lines). The image of the life of nature and human life in their indissoluble unity against the backdrop of the cycle of the seasons. A poetic picture drawn with one or two strokes.

Theory of Literature. Features of the haiku (haiku) genre.

O.Henry."Gifts of the Magi". The power of love and devotion. Sacrifice in the name of love. Funny and sublime in the story.

Ray Douglas Bradbury. "Holidays".

Fantastic stories by Ray Bradbury as an expression of the desire to protect people from evil and danger on Earth. A dream of a miraculous victory for good.

Final lesson - 1 hour.

Educational - thematic plan for literature in grade 7

Chapter

Qty

hours

Of them

Development

speeches

extracurricular reading

Test papers

Introduction.

Folklore.

From ancient Russian literature.

From Russian literature of the 18th century

From Russian literature XIX century.

From Russian literature of the XX century.

From the literature of the peoples of Russia.

From foreign literature.

Results of the year.

Total:

102

12

7

3

The main forms of control of knowledge and skills of students are:

1. Composition.

   Extended answer to the question.

   Test.

   An oral monologue on a given topic.

   Expressive reading of the text (an announcer, by heart).

   Written analysis of a lyrical work.

   Written analysis of the episode.

Thematic planning educational material Literature in Grade 7 (102 hours)

№ lesson

Number of hours

Lesson topic

date according to the plan

actual date

1 quarter

Introduction. The image of a person as the most important ideological and moral problem of literature.

Folklore. Traditions. "The Accession of Ivan the Terrible", "Magpie Witches", "Peter and the Carpenter".

Bylina. "Volga and Mikula". Moral ideals of the Russian people.

ext/h

Kyiv cycle of epics. "Ilya Muromets and the Nightingale the Robber". Character traits of Ilya Muromets.

ext/h

Novgorod cycle of epics. "Sadko". The peculiarity of the epic. Poetic language.

6-7

ext/h

Epic "Sadko"

R/r

Oral composition based on the painting by V. Vasnetsov "Heroes"

Karelian-Finnish epic "Kalevala"

Russian proverbs and sayings. Proverbs and sayings of the peoples of the world. The wisdom of the peoples.

Old Russian literature. Vladimir Monomakh - sovereign and writer. "Instruction" by Vladimir Monomakh. An excerpt from "The Tale of Temporary Children" "On the Usefulness of Books".

"The Tale of Peter and Fevronia of Murom".

The Tale of Peter and Fevronia of Murom. Moral ideals and precepts of Ancient Rus'.

High moral character main character. A celebration of love and fidelity.

R/r

Class essay "Man and his spiritual values ​​in ancient Russian literature"

K/r

Test on the topic "Russian folklore and ancient Russian literature"

Works of Russian writers of the 18th century.

M. V. Lomonosov. A word about a poet and a scientist. "To the statue of Peter the Great".

M. V. Lomonosov"Ode on Ascension Day" (excerpt)

G. R. Derzhavin. Introduction to creativity. “The river of times in its course”, “On the bird”, “Recognition”.

Works of Russian writers of the 19th century. A. S. Pushkin. A word about a poet. Pushkin's interest in history.

"Poltava" (excerpt) Mastery in depicting the Battle of Poltava

R.R.

Peter 1 and Karl 12. Comparative characteristics.

Preparing for home composition"Comparative characteristics of Peter 1 and Charles 12"

A. S. Pushkin "The Bronze Horseman" (excerpt). An expression of love for one's country.

A. S. Pushkin "The Song of the Prophetic Oleg" and its chronicle source

2 quarter

The meaning of the comparison of Oleg and the sorcerer.

R/r

The development of the concept of the ballad. Features of the content and form of the ballad. The peculiarity of the genre.

A. S. Pushkin is a playwright. "Boris Godunov". Scene in the Miracle Monastery.

A. S. Pushkin "Tales of the late Ivan Petrovich Belkin." "Station Master"

Images of Samson Vyrin and Dunya.

R/r

Composition based on the story "The Stationmaster"

33-34

M. Yu. Lermontov. Pages of life and creativity. Song about the merchant Kalashnikov. Pictures of everyday life of the 16th century and their role in understanding the characters and ideas of the poem.

Moral duel between Kalashnikov and Kiribeevich and Ivan the Terrible. Fistfight on the Moscow River.

Folklore beginnings in the "Song about the merchant Kalashnikov" .. The image of the guslars and the author.

Features of the plot and artistic form of the poem

R/r

Preparation of an essay based on the poem "Song about the merchant Kalashnikov ..."

ext/h

A. Tolstoy"Prince Silver"

M. Yu. Lermontov. "When the yellowing field is agitated." The problem of harmony between man and nature. Nature in poetry and painting.

M. Yu. Lermontov "Prayer", "Angel".

Expressive reading lesson.

N. V. Gogol. pages of life.

The history of the creation of the story "Taras Bulba" A lesson in the primary perception of Gogol's story "Taras Bulba"

N. V. Gogol. Taras Bulba. Historical commentary. Taras Bulba and his sons.

Moral character Taras Bulba and his fellow Cossacks. Zaporizhzhya Sich in the story.

The meaning of the opposition of Ostap and Andriy. Patriotic pathos of the story.

The tragedy of Taras Bulba

3 quarter

Features of the image of nature and people in Gogol's story. The development of the concept of a literary hero.

49-50

R/r

Composition "The meaning of the comparison of Ostap and Andriy in Gogol's story."

K/r

Testing on the works of Pushkin, Lermontov and Gogol.

I. S. Turgenev. The history of the creation of "Notes of a hunter".

"Biryuk" as a work about the disenfranchised and destitute.

Turgenev's skill in depicting pictures of nature and internal state person. Artistic originality of the story.

I. S. Turgenev. Poems in prose.

A lesson in expressive reading of a poem in Turgenev's prose "Russian language"

N. A. Nekrasov. "Russian women". The historical basis of the poem. The greatness of the spirit of a Russian woman.

Analysis of the episode "Meeting of Princess Trubetskoy with the Governor of Irkutsk"

The originality of the poetry of N. A. Nekrasov. N. A. Nekrasov "Reflections at the front door." The pain of the poet for the fate of the people.

M. E. Saltykov-Shchedrin .

"The Tale of How One Man Feeded Two Generals." A satirical depiction of the moral vices of society.

The meaning of the opposition of the generals and the peasant.

Vn/h

M. E. Saltykov-Shchedrin "The Wild Landowner". The meaning of the name of the 12.02 fairy tale. The concept of 12.02 grotesque.

c/r

Testing based on the works of Turgenev, Nekrasov and Saltykov-Shchedrin

L. N. Tolstoy and Yasnaya Polyana.

"Childhood" (chapters). History of creation.

The autobiographical nature of the story

The protagonist of L. N. Tolstoy's story "Childhood", his feelings, actions, spiritual world. Preparing to write an essay.

R/r

Excellent essay on the story "Childhood".

I. A. Bunin"Numbers". Difficulty understanding children and adults.

I. A. Bunin "Bastes". Moral meaning of the story.

A. P. Chekhov Biography of the writer.

"Chameleon". Living picture of morals.

Means of creating the comic in A.P. Chekhov's story "Chameleon".

1

A.P. Chekhov "Intruder"

72

1

“You are my land, my dear land ...” Poems by Russian poets of the 19th century about native nature

73

1

Works of Russian writers of the 20th century.

M. Gorky. Biography of the writer. "Childhood" (chapters). The autobiographical nature of the story.

74

1

Depiction of the "lead abominations of life"

76

R\R

1

Essay-characteristic of a literary hero.

77

1

"The Legend of Danko" from the story of M. Gorky "Old Woman Izergil". Romantic character of the legend.

78

1

V. V. Mayakovsky"An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha."

4 quarter

79

1

V. V. Mayakovsky "Good attitude towards horses."

80

1

L. N. Andreev"Nipper". Compassion and heartlessness as criteria of human morality. The story "Petka in the country"

81

1

A. P. Platonov"Yushka". Friends and enemies of the protagonist.

82

V\h

1

A.P. Platonov "In a beautiful and furious world."

83

R.R.

1

Cool essay “Do you need sympathy and compassion in life?”

84

1

B. L. Pasternak. "July", "No one will be in the house ..."

85

1

Interview with the poet-participant of the Great Patriotic War. Poetry A. T. Tvardovsky. Philosophical problems in the lyrics of A. T. Tvardovsky. The development of the concept of a lyrical hero.

86

1

Difficulties and joys of the formidable years of the war in the poems of Akhmatova, Simonov, Surkov, Tvardovsky, Tikhonov. Songs of the war years.

87

1

F. Abramov What do horses cry about?

88

1

The concept of literary tradition. Literary traditions in the story.

89

1

E. I. Nosov"Doll". Moral problems of the story.

90

1

E. I. Nosov "Living Flame". Education holistic analysis epic work.

91

1

Yu. P. Kazakov"Quiet morning" Heroes of the story and their actions.

92

1

D. S. Likhachev."Native land"

93

1

Poems of poets of the 20th century about the motherland, native nature.

94

1

M. Zoshchenko"Trouble". Funny and sad in the stories of the writer.

95

1

Songs to the words of Russian poets of the 20th century

96

1

Rasul Gamzatov. A story about a poet. Reflections of the poet about the origins and foundations of life.

97

1

Foreign literature. R. Burns"Honest Poverty"

98

1

D. G. Byron. A word about a poet. "You ended the path of life, hero ..." as a glorification of the feat in the name of the freedom of the Motherland.

99

1

Japanese haiku. genre features.

100

1

O.Henry"Gifts of the Magi" Devotion and sacrifice in the name of love.

101

1

R. Bradbury. A word about a writer. "Holidays".

102

1

Summarizing. Recommendations for the summer

Criteria for assessing the knowledge, skills and abilities of students in literature.

1. Evaluation of oral responses

When evaluating oral answers, the teacher is guided by the following main criteria within the program of this class:

knowledge of the text and understanding of the ideological and artistic content of the studied work;

the ability to explain the relationship of events, the nature and actions of the characters;

understanding the role of artistic means in revealing the ideological and aesthetic content of the studied work;

knowledge of theoretical and literary concepts and the ability to use this knowledge in the analysis of works studied in class and read independently;

the ability to analyze a work of art in accordance with the leading ideas of the era;

be able to master monologue literary speech, logically and consistently answer the question posed, fluently, correctly and expressively read a literary text.

When evaluating oral responses in literature, the following criteria may be used:

Mark "5": the answer reveals solid knowledge and a deep understanding of the text of the studied work; the ability to explain the interconnection of events, the character and actions of the characters, the role of artistic means in revealing the ideological and aesthetic content of the work; use text to support your conclusions; reveal the connection of the work with the era; be fluent in monologue.

Mark "4": is set for an answer that shows a solid knowledge and a fairly deep understanding of the text of the work under study; for the ability to explain the interconnection of events, the characters and actions of the characters and the role of the main artistic means in revealing the ideological and aesthetic content of the work; the ability to involve the text of the work to substantiate their conclusions; have a good command of monologue literary speech; however, allow 2-3 inaccuracies in the answer.

Mark "3": the answer is evaluated, indicating mainly knowledge and understanding of the text of the work under study, the ability to explain the relationship of fixed assets in revealing the ideological and artistic content of the work, but insufficient ability to use this knowledge when analyzing the work. Several errors are allowed in the content of the answer, insufficient fluency in monologue speech, a number of shortcomings in the composition and language of the answer, and a discrepancy between the reading level and the established standards for this class.

Mark "2": the answer reveals ignorance of the essential issues of the content of the work; inability to explain the behavior and characters of the main characters and the role of the most important artistic means in revealing the ideological and aesthetic content of the work, poor command of monologue speech and reading technique, poverty of expressive means of the language.

2. Evaluation of essays

Evaluation criteria

Assessment of knowledge in literature and writing skills is also carried out on the basis of essays and other written test papers (answer to a question, abstract, etc.). Being an integral part of the system of work on literature, they are carried out in a certain sequence and constitute an important means of developing speech.

Reducing the volume of the essay against the approximate norms does not affect the mark for the content if it meets the requirements for the corresponding assessment, just as exceeding the volume does not lead to an increase in the mark.

Any essay is checked no later than a week in V-VIII and is evaluated with two marks: the first is for content and speech, the second for literacy.

The specified volume of essays is approximate because the volume of the student's text depends on the style and genre of the essay, the nature of the topic and intention, and the pace of the students' writing. their general development and handwriting.

The essay is evaluated by two marks: the first is for the content and speech design (observance of language norms and rules for choosing stylistic means), the second - for the observance of spelling and punctuation norms. The first mark (for content and speech) counts as the Literature mark.

The content of the essay is evaluated according to the following criteria:

- compliance of the student's work with the topic and the main idea;

- completeness of disclosure of the topic;

- the correctness of the actual material;

- sequence of presentation.

When evaluating the speech design of essays, the following is taken into account: the diversity of the dictionary and the grammatical structure of speech; stylistic unity and expressiveness of speech; the number of language errors and stylistic flaws.

Spelling and punctuation literacy is assessed by the number of mistakes made by students (Norms for assessing the knowledge, skills and abilities of students in the Russian language). The content and speech design is evaluated according to the following criteria:

Mark "5" put if: 1) the content of the work is fully consistent with the topic; 2) there are no factual errors; 3) the content is presented sequentially; 4) the work is distinguished by the richness of the dictionary, the variety of syntactic constructions used, the accuracy of word usage; 5) stylistic unity and expressiveness of the text has been achieved. The work is allowed 1 defect in the content, 1-2 speech defects. 1 grammatical error.

Mark "4" put if: 1) the content of the work basically corresponds to the topic (there are minor deviations from the topic); 2) the content is mostly reliable, but there are single factual inaccuracies; 3) there are minor violations of the sequence in the presentation of thoughts; 4) the lexical and grammatical structure of speech is quite diverse; 5) the style of work is distinguished by unity and sufficient expressiveness. The work is allowed no more than 2 shortcomings and content, no more than 3-4 speech defects, 2 grammatical errors.

Mark "3" it is put if: 1) there are significant deviations from the topic in the work; 2) the work is reliable in the main, but there are some factual inaccuracies in it; 3) some violations of the sequence of presentation were made; 4) the vocabulary is poor and the syntactic constructions used are monotonous, incorrect word usage occurs; 5) the style of work is not distinguished by unity, speech is not expressive enough. The work is allowed no more than 4 shortcomings in the content, 5 speech defects, 4 grammatical errors.

Mark "2" put if: 1) the work does not correspond to the topic; 2) there are many factual inaccuracies; 3) the sequence of presentation of thoughts in all parts of the work is broken, there is no connection between them, the work does not correspond to the plan; 4) the dictionary is extremely poor, the work is written in short sentences of the same type with a weakly expressed connection between them. there are frequent cases of incorrect word usage. the stylistic unity of the text is broken. The paper contains 6 shortcomings in the content, up to 7 speech shortcomings and up to 7 grammatical errors.

Note:

1. When evaluating an essay, it is necessary to take into account the independence, originality of the idea of ​​the student's essay, the level of its compositional and speech design. Having an original idea good implementation allow you to increase the first grade for the essay by one point.

2. If the volume of the essay is one and a half to two times more than specified in these standards, then when evaluating the work, one should proceed from the standards increased for the mark "4" by one, and for the mark "3" by two units. For example, when assessing literacy, "4" is given with 3 spelling, 2 punctuation and 2 grammatical errors or with the ratios: 2-3-2. 2-2-3; "3" is placed at ratios: 6-4-4. 4-6-4, 4-4-6. When setting the mark "5", the excess of the volume of the essay is not taken into account.

3. The first assessment (for content and speech) cannot be positive if the topic of the statement is not disclosed, although the essay is written satisfactorily for other indicators.

4. The assessment of the essay is subject to the provisions on the same type and non-gross errors, as well as corrections made by the student (Norms for assessing the knowledge, skills and abilities of students in the Russian language).

Content and speech

Literacy

"5"

Allowed:

1 content flaw And

1 - 2 speech defects.

Allowed:

1 non-rough spelling or

1 punctuation or

1 grammatical error

"4"

Allowed:

no more than 2 flaws in the content And

no more than 3 - 4 speech defects

Allowed:

2 spelling + 2 punctuation + 2 grammatical errors;

1 spelling + 3 punctuation + 2 grammatical errors;

0 spelling + 4 punctuation + 2 grammatical errors;

"3"

Allowed:

no more than 4 shortcomings in the content And

5 speech defects

Allowed:

0 spelling + 5 - 7 punctuation (taking into account repetitive and non-rough);

1 spelling + 4 -7 punctuation + 4 grammatical errors;

2 spelling + 3 - 6 punctuation + 4 grammatical errors;

3 spelling + 5 punctuation + 4 grammar;

4 spelling + 4 punctuation + 4 grammar

"2"

1. The work allowed significant deviations from the topic.

2. There are factual inaccuracies.

3. Violations of the sequence of presentation are allowed.

4. The dictionary is poor, the syntactic constructions used are monotonous, there is an incorrect word usage.

5. The style of work is not distinguished by unity, speech is inexpressive.

Allowed:

5 or more gross spelling errors, regardless of the number of punctuation;

8 or more punctuation errors(taking into account repetitive and non-rough) regardless of the number of spelling errors.

The total number of spelling and punctuation errors is more than 8 in the presence of more than 5 grammatical ones.

3. Evaluation of test papers

When conducting test work on literature, the evaluation criteria are as follows:

mark

Test

"5"

90 – 100 %

"4"

78 – 89 %

"3"

60 – 77 %

"2"

less than 59%

EDUCATIONAL AND EDUCATIONAL SUPPORT

Training and metodology complex

Korovina V.Ya. Literature. Grade 7: Textbook for educational institutions. At 2 pm / Ed. V.Ya. Korovina. M: Enlightenment, 2010.

Phonochrestomathy for the textbook “Literature. Grade 7 ": Electronic textbook
on CD -R OM / Comp. V.Ya.Korovina, V.P.Zhuravlev, V.I. Korovin. M.: Education, 2010.

We read, think, argue...: Didactic materials on literature: grade 7./Author - compiler Korovina V.Ya. M.: Education, 2009.

Korovina V.Ya., Zbarsky I.S. Literature: Grade 7: Methodological advice. - M.: Education, 2010.

printed manuals

Albetkova R.I. Learning to read lyrical work. - M.: Bustard, 2007.

Belyaeva N.V. Lessons in the study of lyrics at school: Theory and practice of a differentiated approach to students: A book for a teacher of literature / N.V. Belyaev. - M.: Verbum - M., 2004.

Demidenko E.L. New control and verification work on literature. 5-9 grades. - M.: Bustard, 2006.

Egorova N.V., Makarova B.A. Universal lesson developments in literature: Grade 7. M.: VAKO, 2011.

Eremina O.A. Literature lessons in grade 7: A book for the teacher. M.: Education, 2008.

Kolokoltsev E.N. Album of illustrations: Literature: Grade 7. M.: Education, 2005.

Control and measuring materials. Literature: Grade 7 / Comp. N.S. Koroleva. M.: VAKO, 2011.

Tumina L.E. Creative tasks. 5-7 classes. - M.: Bustard, 2007.

School dictionary of literary terms and concepts. 5-9 cells / Ed. M.B. Ladygina. – M.: Bustard, 1995.

multimedia aids

Russian literature: from Nestor to Mayakovsky Year of publication: 2009, Medium: CD-ROM

Russian poetry of the 17th - 20th centuries (DVD-BOX)Year of publication: 2010, Medium: CD-ROM

Audio materials

Laser discs on literature "100 poets of the XX century": poems in the author's performance.

Video and DVD - materials

film "Taras Bulba"

m / f "Gorky's Childhood"

m/f "The Tale of How One Man Feeded Two Generals"

Internet resources for student and teacher:

http://www. age . edu ://

7th grade

Option 1

1. Continue definition

Tradition is a genre of oral folk art, which

Epics are…

b) works about nature and animals;

c) works about modern science and technology;

____

The orata's hat is downy,

And his caftan is black velvet...

For epics Novgorod cycle characteristic:

c) heroes: Sadko, V. Buslaev;

e) the place of action is Novgorod;

f) the place of action is Kyiv

6. Who is the author of the work "Instructing his children"?

________________________________________________________

7. What features of the tale are present in the Tale of Peter and Fevronia?

____________________________________________________________

____________________________________________________________

____________________________________________________________

8. Arrange the plot elements in the correct order

the complete cure of Peter, the killing of the serpent, the expulsion from Murom, the visit of the boyars and their repentance, the adoption of monasticism, posthumous miracles, the reader's acquaintance with Fevronia, death on the same day, marriage.

Test work on ancient Russian literature

7th grade

Option 2

1. Continue definition

Epics are a genre of oral folk art, which _________________________________________________________________________________________________________________________________

2. Find the right answer

Tradition is...

a) oral works folk poetry about Russian heroes and folk heroes;

b) works about nature and animals, which addresses issues of their protection;

c) an oral story that contains information about historical persons, events, passed down from generation to generation;

d) works of folklore about good and evil

3. What two cycles of epics do you know

________________________________________________________________

4. From which epic are the lines below

Sat down on a white combustible stone

And he began to play guselkiyarovchaty.

_______________________________________________________________

5. Choose the right statements

For epics Kyiv cycle characteristic:

a) heroes: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich;

b) the theme of trade and travel;

c) heroes: Sadko, V. Buslaev;

d) the theme of the protection of Russian lands;

e) the place of action is Novgorod;

e) the place of action is Kyiv?

6. What is the theme of "Teachings of Vladimir Monomakh"? (about what?)

________________________________________________________________

7. What features of life are present in the Tale of Peter and Fevronia?

________________________________________________________________

________________________________________________________________

________________________________________________________________

8. Fill in the gaps with the right events

The serpent and its death, ______________________________________, an attempt to be cured, _____________________, marriage, _________________________,

the boyars' request for forgiveness, ______________________________________, death on the same day _____________________________________________.

Exemplary texts of control and measuring materials (tests).

Control work (testing) on ​​creativity

A.S. Pushkin, M.Yu. Lermontov and N.V. Gogol

7th grade

1. What are the dates of the life of A.S. Pushkin.

a) 1799-1837 c) 1809-1852

b) 1814-1841 d) 1828-1910
2. A. Pushkin in 1811 enrolled to study:

a) to the school of guards ensigns and cadets in St. Petersburg

b) to the Tsarskoye Selo Lyceum;

c) to the Nizhyn Gymnasium of Higher Sciences;

d) Moscow University.

3. The first poem by A.S. Pushkin was called:

a) "Russian women";

b) "Ruslan and Lyudmila";

c) "Vasily Shibanov";

d) "Mtsyri".

4. A poem is:

d) a work created by folk fantasy, where the real and the fantastic are combined.
5. The following works of A. Pushkin are devoted to the historical theme (specify the excess):

a) "Poltava"; c) "Boris Godunov";

b) "The Bronze Horseman"; d) "The Song of the Prophetic Oleg".
6. Match obsolete words and their meanings:

a) a charter a) in ancient Rus', an assembly of townspeople

b) order b) solemn promise, obligation

c) vow c) old manuscript, document

d) veche d) in the Muscovite state of the XVI-XVII centuries, an institution
7. Indicate the number of stories that were published in 1831 under the title "The stories of the late Ivan Petrovich Belkin, published by A.P."

a) 4; b) 6; at 8; d) 5.

8. Samson Vyrin is the main character of the story:

a) "Stationmaster" c) "Snowstorm"

b) "Shot" d) " Young lady-peasant».

9. Tale - This:

a) a poetic story on a legendary or historical theme, where the real is sometimes combined with the fantastic;

b) one of the types of lyro epic works: it has a plot, events (which is typical for an epic work) and an open expression by the author of his feelings (as in lyrics);

c) one of the types (genres) of epic works. In terms of coverage of events and characters, it is more than a story, but less than a novel.

d) a work created by folk fantasy, where the real and the fantastic are combined.

1. How does M.Yu. Lermontov Tsar Ivan Vasilievich?

1. cruel, heartless ruler

   good king father

   fair and wise ruler

2. What family is Kiribeevich from?

1) Sigismund 3) Malyuta Skuratov

2) Boris Godunov 4) Vasily Shuisky

3. Why did the merchant Kalashnikov fight in a fistfight?

1) wanted to show his prowess in front of the king

2) for younger brothers

3) for the honor of the family

1. for the motherland

4. What was Alena Dmitrievna most afraid of?

1) royal court 3) people's rumor

2) husband's disfavor 4) fierce death

5. What item of Alena Dmitrievna did Kiribeevich have?

1) ring 3) earring

2) veil 4) pendant

6. To whom did Kalashnikov not bow before the fight?

1) wife 3) God

2) king 4) rival

7. What is the name of the visual medium used by Lermontov in “The Song about ... the merchant Kalashnikov”: “He turned pale, like an autumn leaf"," Fell down, like a pine»?

1) hyperbola 2) litote

3) metaphor 4) comparison

8. Correlate the parts of the composition “Songs about ... the merchant Kalashnikov” and the corresponding moments of the work: for each element of the first column, select an element of the second column. Write the numbers in the desired sequence separated by commas.

COMPOSITION ELEMENT POINT OF WORK

a) exposition 1) Kiribeevich's meeting with Alena Dmitrievna

b) plot 2) execution of Kalashnikov

c) climax 3) story about the grave

d) denouement 4) feast at Grozny

e) epilogue 5) fisticuff scene

9. “A poem about love for the Motherland” by V.G. Belinsky called the work:

1) “Taras Bulba”; 2) “The story of how I. I. quarreled with I. N.”.

10. Words: “Kiss with your pig, and if you don’t want it, then with the devil!” - belong to:

1) Taras Bulba; 2) Ivan Nikiforovich.

11. “He endured all the torment and torture, like a giant. Neither a cry nor a groan was heard even when they began to interrupt the bones on his arms and legs ... ”- this is a portrait:

1) Taras Bulba; 2) Ostap;

3) Ivan Ivanovich.

12. The heroic struggle of the Russian and Ukrainian people with the Polish gentry is the theme of the story:

1) “Taras Bulba”; 2) “The story of how I. I. with I. N. quarreled.”

13. Irony is the main technique used by the author in the work:

1) “Taras Bulba”; 2) “The story of how I. .. with I. N. quarreled.”

14. Which collection of works included both studied stories:

1) “Mirgorod”; 2) “Evenings on a farm near Dikanka”;

3) "Petersburg stories".

15. The meaning of life for old Taras is:

1) raising sons; 2) maintaining the traditions of the Zaporozhian Sich;

3) protection of the native land.

16. “It’s boring in this world, gentlemen!” What is in this phrase:

1) grief for the dead hero; 2) a sentence to the philistine.

17. The action of the story takes place:

1) in Poland; 2) in Ukraine;

3) in Russia.

18. Name the reason why Andrew committed the betrayal:

1) the desire for glory; 2) revenge;

3) love.

19. Heroes-Cossacks with epic heroes related:

1) the struggle for the freedom and independence of the Motherland; 2) physical strength;

3) the desire for glory.

Literature tests on the work of I.S. Turgenev, N.A. Nekrasov,

M.E. Saltykov-Shchedrin.

7th grade. 1 is an option.

1. The theme of the work of I.S. Turgenev "Biryuk": A) Biryuk's life

b) father-daughter relationship

C) the hard life of Russian serfs

2. Indicate whose portrait this is in the work of I.S. Turgenev "Biryuk": “Rarely have I seen such a young man. He was tall, broad-shouldered and well built. His mighty muscles jutted out from under his wet shirt. A black curly beard half covered his stern and courageous face.

3. Determine the genre of the work of N.A. Nekrasov "Russian Women"
a) short story b) poem c) short story

a) admires her courage
c) condemns the heroine

5. What did one of the generals bite off from the other in “The Tale of How One Man Feeded Two Generals”?
A) order B) sleeve C) collar
6. What is hyperbole?

7. What qualities of the generals does the author ridicule in "The Tale of How One Man Feeded Two Generals"? How does he treat the man? Give a detailed answer.

Literature tests on the work of I.S. Turgenev, N.A. Nekrasov, M.E. Saltykov-Shchedrin. 7th grade. Option 2.

1. Which of the great writers (poets) wrote a poem in prose "Russian language"? a) A.S. Pushkin b) I.S. Turgenev c) N.V. Gogol

2. Indicate whose portrait this is in the work of I.S. Turgenev "Biryuk": " He sat motionless on the bench. By the light of a lantern, I could see his tired, wrinkled face, hanging yellow eyebrows, restless eyes, thin members ... "

A) author B) peasant C) Biryuk

3. After what historical event in Russia did N.A. Nekrasov write the poem “Russian Women”? 1) the war with Napoleon in 1812. 2) the uprising of the Decembrists 3) the abolition of serfdom 4. What is the author's attitude towards Princess Trubetskoy?
a) admires her courage
b) does not share the beliefs of the heroine
c) condemns the heroine 5. To what genre do we attribute the studied works of M.E. Saltykov-Shchedrin? 1) story 2) poem 3) fairy tales 6. What is satire? Name the satirical works of M.E. Saltykov-Shchedrin. 7. What qualities of the character of Princess Trubetskoy does N.A. Nekrasov admire in the poem “Russian Women”? Give a detailed answer.

In ancient times, a prince lived in Murom with his princess. But now a werewolf snake began to fly to the princess. And then the prince advises his wife to find out from the snake, from which death can happen to him. The princess found out from the werewolf that he was destined to die "from Peter's shoulder, from Agrikov's sword."

The prince's younger brother Peter finds this sword and kills the snake. But the blood of the serpent fell on his face and hands, and he was covered with sores and scabs. Hearing that the Ryazan land is famous for its healers, he orders to take himself there. In the village of Laskove, a servant of the prince enters one of the houses and sees: a girl is sitting in the upper room at a loom, and a hare is jumping in front of her. Having learned why the servant came, the girl promises to cure the prince if he takes her as his wife. Peter was forced to agree. Fevronia prepares a potion and orders the prince to be washed in a bathhouse and to lubricate all of his ulcers, except for one. The prince is healed of his illness, but does not fulfill his promise. And then again covered with ulcers. Fevronia again treats him, and Peter marries her. However, the boyars and their wives cannot come to terms with the fact that the daughter of a poor "dart climber" has become a princess. They fix all sorts of intrigues on her and finally expel Fevronia together with her husband from Murom. But then strife arises between the boyars, and they are forced to ask Peter and Fevronia to return home, where they live in full harmony to old age. And when the prince felt the approach of death, he sends for Fevronia. She comes and they die together.

Such, in brief, is the plot of The Tale of Peter and Fevronia, one of the most ancient folk traditions. After reading it, it is easy to make sure that the "Tale ..." was composed at a time when Christianity had not yet taken deep roots in Rus' and Fevronia was a pagan before meeting with Prince Peter. The envoy of Peter, entering the house of Fevronia, did not see the icons and, therefore, could not exchange Christian greetings with her, but “going into the temple and in vain the vision is wonderful: the girl is sitting alone, weaving is red, before her the hare is jumping.” oral legends they clarify that Fevronia prayed not in the church and not in the hut in front of the goddess, but under a walnut bush (how can one not recall pagan actions in sacred groves!) - this bush and two holes in the ground from the knees of Fevronia were shown by the inhabitants of the village of Laskovo back in the 20 th years of our century. And the healing of Prince Peter was carried out by her in a purely pagan tradition: “she is very small, draw her sour and dunu and rivers:“ Yes, establish a bath for your prince and let him anoint them on his body ... and be healthy. No prayer of the Mother of God, no "God bless", not even the overshadowing of the cross. It was a real sorcery, sorcery, witchcraft. However, in 1547 Fevronia became a Christian saint, that is, unconditionally a Christian.

But the most curious thing in The Tale... is marriage. The ceremony looked very impressive: the young prince, accompanied by the boyars, came to the bride's house from afar, brought rich gifts. On the eve of the upcoming wedding, a bathhouse was arranged for the groom ...

The Russian wedding ceremony and the rituals performed at the same time, the texts of ritual songs and lamentations, their musical language, the nature of the performance have been studied for a long time. However, the wedding ceremony is also interesting from a historical point of view. For example, as the Soviet historian A.I. Kozachenko established, one of the most colorful figures of the Russian wedding - the thousand man - entered the rite in the second half of the 13th century. The real thousand man is a significant person of ancient Novgorod, where at that time he represented the interests of the craft people, and the church was its administrative center. One can imagine how this people's tysyatsky, the "owner" of the craft settlement, led the wedding processions, and each ceremony took on the character of a demonstration of Novgorod's freedoms - "Truth of Novgorod". Of course, a real tysyatsky could not be in time for all the weddings, and besides, from the beginning of the 14th century, this position was eliminated by the boyars. Therefore, his presence involuntarily began to turn into a game, and being fixed by tradition, into a ritual action. Thus, a new wedding rite appeared, which, like many other Novgorod inventions of the period of the Mongol-Tatar invasion, soon spread throughout Rus'.

However, in the Russian wedding ceremony there was a rank, by feudal standards, immeasurably higher than a thousand. This is the prince, who was here called the hero of the occasion - the groom. But when and under what circumstances did this person appear in the rite? Why does the rite call the young peasant guy in the role of the groom the prince, and the friends accompanying him - the boyars? Why should the “prince”, even if he lives in the same village where the bride lives, not go to her house on foot, but come by horse-drawn train, bring gifts? Moreover, the bride, who is by no means called a princess, must then be taken away: without a ride, a wedding is not a wedding.

And here the Tale of Peter and Fevronia involuntarily attracts attention, where the central event describes an unusual, with a sharp violation of class barriers, marriage: a specific prince marries a peasant girl. And although church tradition points to the time of the life of the heroes of the "Tale ..." and identifies Prince Peter with the real Murom prince David Yuryevich, his personality is largely legendary. So, we can assume that everything that happens to him should be attributed not to the beginning of the 13th century, but to the time of the creation of the Tale ..., that is, to the first half of the 16th century. The story entirely reflected the views of the people of that particular era, and they relate both to the problems of family and marriage, and the attitude of the Russian people to Christianity, since in 1547 Peter and Fevronia were canonized as saints.

What did the author of this legend want to say to his readers and listeners? Judging by the fact that "The Tale ..." immediately became one of the most popular literary works, it carried some powerful and relevant idea. Indeed, some similarity with the "family chronicle" of Peter of Murom comes through in the story of the marriage of a more reliable and more significant prince - the baptist of Rus' Vladimir. As the so-called Korsun legend tells, his bride lived somewhere far away and, in order to get her, the prince made a long trip. Here it is important to note that the very marriage of Prince Vladimir, biasedly described by the chronicler, and some of its circumstances were not an accidental or secondary insertion into the chronicle. The meaning of increased attention to this private history, apparently, is that Rus', which adopted Christianity, had to accept the Christian marriage ceremony, which is shown on the personal example of Prince Vladimir. That is, this wedding became a prologue to the adoption of Christianity by Vladimir himself, and then to the baptism of the people of Kiev and residents of other cities. It can be assumed that the details of this marriage ceremony were also reflected in the wedding ceremony of the ruling class of then Rus' - matchmaking here is likened to trade (“you have goods, we have a merchant”): Vladimir gives away the city besieged by his army and then conquered.

So, the wedding of Prince Vladimir organically fits into the program of the “baptism of Rus'”. However, the marriage of Prince Peter, which somewhat repeats it, being described more than five centuries later, is at least puzzling: to whom was the show of the princely wedding at the beginning of the 16th century intended, if Rus' had long been baptized and church marriage just as long ago became an ordinary phenomenon ?

The fact that the baptism of Prince Vladimir did not actually affect even the feudal elites of the then Rus', the most convincing evidence was given by archeology. Along the entire path of the Mongol-Tatar invasion in 1237-1241, many treasures were found in old Russian cities containing gold and silver dresses of princesses and boyars - diadems, kolts, bracelets. According to the nature of the symbolism, all products fall into two categories: the more ancient ones carry images of birds - Sirins, griffins, simargls, ideograms of water, sun, vegetation - a complete pagan nomenclature. But since the beginning of the 13th century, the symbolic language of jewelry has changed dramatically: the deesis tier, Jesus Christ, and various saints appear on the things of this time. It turns out that for two centuries after the "baptism" Russian feudal lords lived in a world of pagan images and ideas. And the process that took place at the turn of the 12th-13th centuries, for all its depth and spontaneity, is obviously associated with a change in worldview: in choosing personal things, people hardly lied to themselves. Consequently, the time of the actual adoption of Christianity by the ruling class of Rus', perhaps, was the end of the XII - the beginning of the XIII century.

This situation, strange at first glance, can probably be explained by the fact that the adopted Christianity was necessary for the ancient Russian state to solve problems, mainly of an international nature. At the level of the individual, the need for a new religion at the end of the 10th century had not yet matured. Therefore, conversion to Christianity everywhere took place by force - the missionaries convinced the common people more with weapons than with sermons. “Volodimer sent an ambassador throughout the city, saying: if anyone does not turn on the river ... let it be disgusting to me,” the Kiev chronicler wrote. The meeting of the Novgorodians with the missionaries resulted in a "battle of evil", after which the conquered townspeople were forcibly christened: "warriors who do not want to be baptized, the Vlachakha and the Kreschakha, the men are above the bridge, and the wives are below the bridge."

But in the future, Kievan Rus, officially considered Christian, showed a rather cool attitude towards the performance of Christian duties. Russian scribes compiled more than a dozen "Words" and "Teachings" in which they denounced the unwillingness of the townspeople to attend churches - especially on days of great pagan festivities - to marry, to baptize children. True, they managed to gather the parishioners to the church, but here they amused themselves by drawing caricatures on the plastered walls, writing anything they liked, even cursing, or even cutting down the pieces of church frescoes they liked.

Elements of Christianity have not yet penetrated into the home life of the townspeople of this time. The chronicler condemned this phenomenon with a short but expressive phrase: "... the word is called peasants, but living in scum." The same situation is reflected in the artistic document of the end of the XII century - "The Tale of Igor's Campaign". From the descriptions of the daily life of the princes and the retinue (with the exception of two phrases at the end of the work) it is impossible to draw absolutely no information about the role and place of Christianity, as if it does not exist at all. The princes do not know their patron George, Yaroslavna does not call either the Virgin Mary or Paraskeva-Pyatnitsa, Svyatoslav of Kyiv does not appear in a dream, neither Sophia - the Wisdom of God, nor one of the lamps of the Christian pantheon. It is unlikely that all this can be explained by the artistic intention of the author. Chronicles of the entire Kievan period clearly show that Christian values ​​were a mere formality for most of the princes: the kissing of the cross, which strengthened oaths, was violated, at least with excellent ease. In the heat of the internecine struggle, the victorious prince dealt not only with the retinue of the vanquished, but also ruined churches, considering them nothing more than stores of valuable property. So, for example, in 1177, Prince Gleb of Ryazansky, fighting near Vladimir, “created much more evil in the church of Bogolyubskaya ... that church was ordered to plunder the doors with filthy ones ... and many churches were set on fire.”

Baty's invasion directly and menacingly touched Ancient Rus' in the winter of 1237/38, when Ryazan, Kolomna, Moscow, Vladimir, Suzdal, Rostov, Yaroslavl, Kostroma, Dmitrov, Torzhok were burned. Monuments of art and architecture were destroyed, handicraft centers were ruined, craftsmen were driven away to the full ... However, material ruin in the form of paying tribute to the Horde did not prevent the princes from accumulating significant funds and preparing to overthrow the yoke. And here the need for unity in the face of a formidable enemy became a powerful Christianizing factor: the preaching of universal brotherhood in Christ helped unite people. In Rus', with the beginning of the Batu invasion, it covered the lower classes of the urban settlement. On the sheets of chronicles, one after another, news appears, indicating that christian symbols have become a real value for the city people. So, under the year 1255, in connection with the arrival of the Batu's "numerals" "kissing the holy Mother of God of the Menshia, how should everyone - either belly or death for the truth of Novgorod, for their fatherland"; under 1259 - "we will die honestly for St. Sophia"; under 1293, the artisans of Tver forced the boyars to kiss the cross in that they would not betray Duden in the face of the Mongol-Tatar troops ... The movement of the settlement to the church gave the lower classes of the city new moral strength, the opportunity to feel the whole city (including "hail" or "krom" ) as "one's own", as a whole.

Thus, the beginning of the actual adoption of Christianity by the urban settlement, apparently, is the second half of the XIII century. This assumption is also confirmed by data from other areas of culture created by the population of the settlement, which mastered Christianity creatively. And the church was forced to accept the nomination of living carriers Christian idea, such as it was understood by the city's lower classes - soothsayers, accusers, martyrs (direct successors of the tradition of pagan sorcerers), - they were called holy fools, blessed and were later canonized as saints. The Russian Church canonized 17 holy fools, the earliest of them is considered to be Procopius of Ustyug, who died around 1330. But besides the officially recognized ones, of course, there were (especially in the early days) spontaneous preachers who did not receive such an honor. This is also confirmed by the fact that the very promotion of the posad holy fools was a kind of protest against the lethargy of the ruling church, against the inactivity of that Christianity, the bearers of which were the boyars so often condemned by the posad. "Let's die honestly for Saint Sophia" - this was not the cry of a priest of this temple and not a boyar, this is the voice of one of the predecessors of the city ascetics.

The townspeople began to take a fresh look at some Christian saints of Greek origin, who then acquire unexpected, previously unknown functions. So, biblical prophet Ilya became a thunderer, the owner or source of thunder and lightning; the local Thracian saints Flor and Laurus, who were masons in their homeland, that is, builders, in Novgorod are already “horse breeders”. The time and reasons for the emergence of the “horse breeding” cult are indicated by the fact that on all early icons the saints were depicted in military armor, and the horses, if they were shown separately, were saddled in a military way. It turns out that this cult is not agricultural, but urban, and its authorship, obviously, belongs to the townsman, who, with the beginning of the Mongol-Tatar invasion, rose to defend his cities. The whole phenomenon as a whole dates back to the second half of the 13th century on the basis of icon painting: it was then that the Grecophile traditions were actively overcome and the basis of national art was created. This is especially true of Novgorod painting, the peculiar style of which was later called "Novgorod letters".

Posad craftsmen and Christian churches began to build in a new way - small stone churches, differing and appearance, and the interior. Such, for example, is the Church of St. Nicholas on Lipno, built in 1292. Appearance of these churches reflected the tastes of the merchant and artisan population, it has a markedly large influence of wooden architecture. The creative approach to the construction of a Christian shrine suggests that the posad masters built each temple to fulfill their religious needs.

Yes, and the epic genre - in the form in which it survived until the 19th century - took shape during the years of the Mongol-Tatar invasion. Even N. A. Dobrolyubov made such an assumption. At first glance, this is strange, because the central epic character is Vladimir the Red Sun. And why did these legends, reflecting the life of the squad and ascending to the feast "glories" performed at princely feasts, suddenly sang by the people? But after all, the process of Christianization of the settlement was going on, and it is quite real that ordinary people, having mastered the genre and the main set of plots, began to compose their own “old times”, reflecting in them their understanding of what was happening. For example, the marriage of Prince Vladimir, sung in the epic, only remotely resembles an annalistic story. As in the Korsun legend, it is said that the bride lives quite far away and a battle is needed to get her, in this case, the beating of the retinue of the future father-in-law. The bride is the daughter of the "king" of the Golden Horde, but Christian realities - such as the cathedral church, priests, deacons, weddings - occupy a rather high place here.

However, there is still a lot of paganism in the marriage rituals. So, for the hero Danube Ivanovich, who married at the same time as Prince Vladimir, the betrothal to the bride consisted of bypassing the “circle of the willow bush”. This was followed by a wedding in the church, after which - a feast, joint with Vladimirov, which is represented by the main act in the legalization of marriage.

So, the gap between the actual adoption of Christianity by the ruling class and the lower classes of the urban settlement was relatively small - about half a century. Is it possible to see in this a manifestation of a certain regularity and to admit that after another half a century the peasants also became Christians? Such a picture would have turned out to be very harmonious, but it would not correspond to the truth.

No information was found in chronicles about the Christianization of Russian farmers. Most likely they do not exist at all. In the opinion of the church and church writers, all Russians from the moment of the "baptism" of Rus' are Christians (in pre-Mongolian Rus', all Russians were called that). During the years of the Mongol-Tatar invasion, this term to the greatest extent denoted the “taxable population” (including farmers), then it increasingly moved to the agricultural estate, and by the end of the 15th century, all Russian farmers began to be called “Christians”. However, any sympathy of the farmers for the church was not recorded. And what could the monastery scribe have noted if the peasants really showed an increased interest in Christianity? That they became Christians? So formally they were them before. No, the peasants were introduced to the new faith gradually. At the end of the 15th century, they began to involve " the best people” from the black-haired peasantry, each of which had to undergo the procedure of “cross-kissing”. This means that in the Russian countryside at that time, in direct connection with the stratification of property, Christians could appear. But those were certainly isolated cases.

We do not really know how the Russian people of the 14th-16th centuries looked at the problem of the Christianization of the peasants. The above view is just a hypothesis, widely accepted today because it is the most understandable to us. However, it is very likely that a person of the distant past, who thought in other categories, approached the issue of the religion of farmers differently. The life of the Russian Middle Ages was clearly divided into two poles: state life, concentrated in cities (“the state”, “the sovereign's business”), the church adjoined it; and people's life - "land", "zemstvo business". These were areas that, until the zemstvo reform of Ivan IV, did not mix and did not have any points of contact, except for economic (annual payment of dues). That is, until the middle of the 16th century, the state did not interfere in the inner world of the peasants, which, by the way, was a condition for the formation of folk culture. It is no coincidence that the people's sphere was called "land": arable land and a person on arable land seemed to be a single whole. It does not matter how this person lives, what he believes in, it is enough that the arable land bears fruit and delivers its fruits to the city. Based on this view, the city simply did not see and did not know the religious life of the village and simply could not write about it.

When did the Russian peasants begin to consider themselves Christians? Let's try to approach this problem "from the contrary" - consider the epochs during which the farmers were definitely not them. So, in the XIV century, burial mounds with things were widespread - a purely pagan rite. In the mounds of the village of Matveevskoye near Moscow (now within the boundaries of Moscow), among the accompanying things, Christian crosses and icons were found, but their position (not at the neck, but on the headdress) suggests that they served not as an object of worship, but as an adornment - also a pagan device . Burials under mounds were practiced as early as the 15th century, and in "deaf places" - at the beginning of the 16th century. The concept of "deafness" is relative here. In 1534, Archbishop Macarius of Novgorod wrote to Vodskaya Pyatina (directly bordering Novgorod), censuring the “Christians” for the fact that they “lay their dead in the villages and along mounds and kolomisches ... but they don’t take them to churches to graveyards.” In the future, news of this kind is no longer found, therefore, the transition from pagan to Christian rites occurred at the border of the 15th-16th centuries.

However, with the help of a calendar, it turns out that this can be established even more accurately. Russian people took Julian calendar, that is, he switched to the church calendar from the previous pagan one and transferred to it the entire volume of his agrotechnical signs and predictions - starting from the 16th century, since June 12 and December 12 are considered to be the days of the solstices in the calendar - really being in this century. Calendar (Vlasov V. About the Russian calendar style. - "Around the World", 1986, No. 8.) - the core of the whole peasant life, the essence of which is: when to plow, when to sow, when to "awaken" fruit trees, when to observe dew, fog, hoarfrost - and make broad predictions based on them. At that time, the calendar is the guardian of a special life rhythm, expressed in the alternation of holidays and ritual actions, in their inseparable unity with economic activity.

The seven-day week, acquaintance with which in Rus' was noted before the adoption of Christianity, became a regular calendar phenomenon from the end of the 10th century, while the names of the days of the week were used Slavic (Bulgarian). From that time to this day, the church calls the week (seven days) "week", and its seventh day - "week" (from the expression "no work"). And it was gradually introduced into urban life by the church. There is reason to believe that in folk culture the seven-day rhythm with the last non-working day was unknown. Why suddenly every seventh day it became impossible to work? The famous researcher of Slavic antiquities L. Niederle noted this surprise among the Pomeranian Slavs, in Russia it resulted in the creation of a new term for the seventh day of the week - "resurrection", which happened in the 16th century. For Christian concepts, it is not new: this is the name of the day of Easter - "bright Sunday of Christ", which falls on a "week" every year. Of the 52 "weeks" of the Christian calendar, one is called "Sunday", is considered the largest annual holiday that requires serious preparation (seven weeks of "Lent"). And suddenly, “Sundays” (Easters) begin to be called every non-working day of the seven-week cycle. In the conditions of a stable Christian culture, this metamorphosis is absolutely impossible: over the five previous centuries, a strong and unshakable tradition should have developed that did not allow encroachment, and even more so blasphemous - to force the Christian god to resurrect weekly. The lack of understanding by the peasants of the essence of Christian Easter is easily linked with the spectacle of a large mass of peasants who suddenly found themselves in the city, who moved here or were brought here for construction (“city affairs”): they were amazed by the rigid city routine, where the non-working day was determined not by the peculiarities of the craft and not by the vagaries of the weather, but just a schedule. And if they caught the Easter holiday, then each new non-working “week” was “like a Sunday” for them, and over time, just a “Resurrection”.

But, one wonders, why did people then switch from the calendar, where the main holiday milestones were Yarila - Kupala - Kolyada, to the calendar with Easter - Trinity - Christmas? Obviously, because of the interest in the rites of the new festivities and in the place where these rites are performed, that is, in the church. After all, the Russian peasants adopted at that time the annual Christian ritual cycle - they joined the church and Christianity.

So, at the end of the 15th century, a powerful process of adoption of Christianity by the main and most numerous class of Russia, the agricultural class, was born and from the beginning of the 16th century, which is almost not noted by history, only a few indirect evidence of this got on the pages of documents, imprinted in cultural monuments.

The life of the Vologda ascetic Herodion of Iloezersky reports that in the period from 1538 to 1541, the surrounding population began to bury the dead in his monastery, baptize babies, make marriages, and in the warm refectory "eat meat and drink drunken offerings and piyakha that." Yesterday's pagan habitually believed that the main part of the sacred service should be a feast. In Stoglav in 1551, a number of cases of incorrect performance of Christian rites and amazement at the very behavior of the flock were noted: “in the churches of God ... they stand without fear and in tafyas, and hats, and with staffs ... and talking, and grumbling, and everything contradiction, and conversations, and shameful words. The authors of Stoglav were embarrassed by the seething activity of the parishioners, but it becomes understandable and natural if one sees behind it the traditions of pagan festivities, which are alien to stiffness and silence.

If, with the Christianization of the township, townsman holy fools began to appear among the Russian saints, it is natural to expect that the introduction of peasants to Christianity should cause a similar phenomenon. And indeed: the peasant ascent to the Christian Olympus began at the very end of the 15th century and mainly took place in the first half of the 16th century. The life of Anthony of Siy, who died in 1556, is richest in everyday details. He comes from "from the village, the verb of Kekhta, from the limits of the Dvina region, even near the Studenago sea of ​​akiyan." His life is far from a biography, but it is quite revealing. The most acute moment here is the canonization of the representatives of the peasantry - this indicates that the Christianization of Russian farmers has reached such a level when a conscious need arose in their midst for their own intercessors and intercessors before God. Therefore, most Russian saints appear in the 16th century.

So, there are quite enough grounds to consider the first half of the 16th century as the time of the actual adoption of Christianity by the Russian peasants. And when this time came, they were obliged to learn the church wedding, but with a new rite, making such a sharp change in marriage traditions understandable and inevitable. Why? Yes, because it was performed by holy people. And instead of going around the sacred bush three times and splashing in the water, you have to go with the groom and his retinue (to the volost or monastery church), since the maiden Fevronia once left with Prince Peter (to Mur, where they got married). When the wedding entered the Christian mainstream, the groom in the eyes of every Russian girl became like a prince - the wedding ceremony was replenished with a new rank.

It turns out that the literary display of the wedding ceremony at the beginning of the 16th century was quite a topical matter: it was needed by the Christianizing village. The severity of the situation, apparently, consisted in the fact that the existing rite, dating back to the marriage of Prince Vladimir, turned out to be unacceptable for the peasants. And in order for the main part of the urban rite to take root in the village, a new legend was created that extremely grounds the image of the prince: he does not make an aggressive, but deeply humble campaign and finds a bride - not a Greek princess, but a Russian peasant woman.

Why did Prince Peter marry Fevronia? In Russia of the 16th century, he is the bearer of the old, centuries-old Christianity. And he got married because it was at that time that Christianity and Christian marriage came to the Russian village. The legend tells about a little-known, most likely unreal, semi-legendary prince. He is a purely nominal prince and does not in the least evoke the idea of ​​​​supreme power. After all, Christianity did not come to the village "from above", not through the efforts of the Moscow government and the metropolitan see. But then why did Fevronia marry Prince Peter and even initiated the marriage? Yes, because the Russian village at that time adopted Christianity, concentrated until then in the city.

7th grade

Option 1

1. Continue definition

Tradition is a genre of oral folk art, which

Epics are…

b) works about nature and animals;

c) works about modern science and technology;

The orata's hat is downy,

And his caftan is black velvet...

The epics of the Novgorod cycle are characterized by:

c) heroes: Sadko, V. Buslaev;

e) the place of action is Novgorod;

f) the place of action is Kyiv

________________________________________________________

7. What features of the tale are present in the Tale of Peter and Fevronia?

____________________________________________________________

____________________________________________________________

____________________________________________________________

8. Arrange the plot elements in the correct order

the complete cure of Peter, the killing of the serpent, the expulsion from Murom, the visit of the boyars and their repentance, the adoption of monasticism, posthumous miracles,acquaintance of the reader with Fevronia,death in one day marriage,

Verification work on ancient Russian literature

7th grade

Option 2

1. Continue definition

Epics are a genre of oral folk art, which _________________________________________________________________________________________________________________________________

2. Find the right answer

Tradition is...

a) works of oral folk poetry about Russian heroes and folk heroes;

b) works about nature and animals, which addresses issues of their protection;

c) an oral story that contains information about historical persons, events, passed down from generation to generation;

d) works of folklore about good and evil

3. What two cycles of epics do you know

________________________________________________________________

4. From which epic are the lines below

Sat down on a white combustible stone

And he began to play guselki yarovchata.

_______________________________________________________________

5. Choose the right statements

For epics of the Kyiv cycle is characteristic:

a) heroes: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich;

b) the theme of trade and travel;

c) heroes: Sadko, V. Buslaev;

d) the theme of the protection of Russian lands;

e) the place of action is Novgorod;

e) the place of action is Kyiv?

6. What is the theme of "Teachings of Vladimir Monomakh"? (about what?)

________________________________________________________________

7. What features of life are present in the Tale of Peter and Fevronia?

________________________________________________________________

________________________________________________________________

________________________________________________________________

8. Fill in the gaps with the right events

The serpent and its death, ______________________________________, an attempt to be cured, _____________________, marriage, _________________________,

the boyars' request for forgiveness, ______________________________________, death on the same day _____________________________________________.