Integrated lesson: literature and MHC. The lesson is devoted to the analysis of the "Tale of Peter and Fevronia of Murom", and also considers the creation of icons dedicated to these saints. Integrated lesson: literature and MHK. Analysis of "The Tale of Peter and Fevronia of Murom". Peter and Fevronia in icon painting.

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6th grade

Literature

Integrated lesson: Literature, MHC

Lesson type: information project– collection and processing of information on significant issue for the purpose of presenting it to a wide audience.

Subject: Peter and Fevronia of Murom in ancient Russian literature and painting.

Target : disclosure of the idea of ​​the omnipotence of love and its embodiment in the "Tale ...", the definition of the moral character of a person Ancient Rus'.
1. Educational:

1. determine the versatility of displaying the character of the characters;
2. to uncover author's attitude to the heroes
3. improve the skills of compiling the characteristics of heroes;
4. development of the ability to compare and draw their own conclusions.

2. Educational:

1. bring up moral qualities: kindness, devotion, fidelity in friendship and in love, the ability to forgive;
2. cultivate respect for culture home country and native language.

3. Developing:

1. develop logical thinking, oral speech, communication skills (work in groups);
2. develop research skills.

Lesson type: lesson - protection of the project (using interactive techniques); the nature of the project is intra-class; by duration - mini-project (1 lesson)
Equipment: , multimedia projector, computer, student drawings, student presentations.

Project participants:

Linguistic translators:

Purpose: to acquaint with the Old Russian text,explain the words, translate passages of the text into Russian.

Agrik (Agrikov's sword), from Peter's shoulder, ceramides, span, child-loving, from time immemorial, crafty deceiver, told, slyness, wonderful sight, marveled, wise virgin, slander, blessed, pure souls, monastic clothes, repose, cover (air with the faces of saints), riza, synclit,righteous, pious, faithful, cancer with relics.

Translate excerpt:These are ubo in the Russian land of the city, called Murom ....

... Hearing, as if many are a healer within the Ryazan land and commanded yourself to tell there, it’s not possible for you to sit on horses from a great illness. He was brought to the borders of the Ryazan land and sent his entire synclit to seek doctors.

One young man evaded those coming to him into the whole, calling Affectionately. And you came to a certain house by the gate and saw no one. And vniide into the house, and not be, who would have kept him. And I went into the temple and in vain the vision is wonderful: the girl is sitting for one, weaving is red, before her the hare is jumping.

Literary critics:

1. Who is Yermolai Erasmus? What genre does The Tale of Peter and.... belong to? When was it created? Can we attribute this work to pure life? What do the researchers say about it? + reader according to DRL p. 568 (red), + reader according to DRL (black) p. 189, 191.

2. Task: to determine which folk legends can be traced in the plot of the "Tale .."

3. Task: to determine the versatility of displaying the character of the "wonderful" Fevronia.

4. Task: to determine what is the relationship between Fevronia and the heroines of Russian folk tales.

5. Task: to determine the originality of the disclosure of the character of the "glorious" Peter.

Image of Peter.

Meaning of wrestling with a snake. (pages from the magazine p.14, 15)

6. Task: to reveal the features of the composition of the story (four short stories, united by the idea of ​​all-conquering love)

7. Task: to uncover the chanting of an ideal married life and the wise administration of a principality. Determine the attitude of the author towards the characters.

8. Task: compare "The Tale .." with the novel about Tristan and Isolde. (sheets from the magazine. Page 15), identify similarities and differences.

Artists

Task: dramatization of an excerpt from the arrival of a young man to Fevronia and their dialogue (Messenger at Fevronia)

Art critics: icons dedicated to the image of Peter and Fevronia.

Dictionary (on the board)

Ancestor - a very distant, legendary, impersonal ancestor.

Charter and semi-charter -handwriting types of ancient Slavic manuscripts

Hagiography - (lat. Agiographia from the Greek. hagios - "saint" and grapho - "I write") - church and life literature, biographies of the saints of the Christian church)

During the classes:

1. Introductory speech of the teacher.

Motivation

Guys, why do you think we, living in the 21st century, need to know the works of ancient Russian literature?

Students' answers: Know your history, literature, moral and spiritual precepts of your ancestors, which are not outdated to this day. Only a person who knows all this can consider himself a patriot of his country, his Motherland.

What is Motherland?

Here is how Alexei Tolstoy wrote in his article "Motherland" (1941):

“... Motherland is the movement of the people across their land from the depths of centuries to the desired future, in which they believe and create with their own hands for themselves and their generations. This is an ever-dying and ever-born stream of people carrying their own language, their spiritual and material culture…

The Russian people created a huge oral literature: wise proverbs and tricky riddles, funny and sad ritual songs, solemn epics about the glorious deeds of heroes, heroic, magical, everyday tales.

Literature was the dignity and mind of the people. She made and strengthened him moral character, was his historical memory and filled with deep content his whole measured life ...

... It was not without reason that the ancestor wove the magic web of the Russian language, it was not without reason that his generations composed songs, it was not without reason that Moscow people sat in the evenings at wax candle over books and meditated on human truth and wrote down their thoughts in charter and half charter.

All the broad, creative, passionate soul of the Russian people is reflected in literature and art.

Today we turn to the hagiographic literature (see chalkboard entry), namely, to the Tale of Peter and Fevronia of Murom, and also talk about icons, and icon-painting portraits depicting these saints.

Tell me, who were counted among the saints?

(The church considered those most famous for their deeds of self-sacrifice and faith to be saints. Contemporaries and descendants told about them in works called lives and served as the main type of reading in the Middle Ages. Descriptions of the facts of reality were wonderfully intertwined in the lives with legends and fantasies).

slide 1

slide 2

slide 3

slide 4

2. Literature. (slide 5)

Teacher:

The poetic heritage of Ancient Rus' includes more than one work. However, in depth artistic thought, according to the subtlety of psychological analysis and the perfection of the form, "The Tale of Peter and Fevronia" rightfully occupies a special place among the Old Russian literary monuments and in world literature.

How do you understand contemporary meaning wordsstory? (The story is a literary narrative work with a plot less complex than in the novel.

Modern and Old Russian meaning wordsthe story is different from each other. In ancient Rus', this is not genre definition works, and "story" means "narrative".

Let's remember who wrote this work?

Slide 5.

I. Ermolai-Erasmus (Yermolai the Sinful - Russian writer And publicist16th century, author of the storyPeter and Fevronia of Murom.

His literary work dates back to the 40-60s of the 16th century, heyday falls in the middle of the century. Biographical information about him are scarce and are known mainly from his own writings.

Ermolai-Erasmus was not only a publicist and church writer. He owns two works - the Tale of Peter and Fevronia and the Tale of the Ryazan Bishop Vasily, which can be characterized as works of artistic prose.

Yermolai-Erasmus achieved perfection in the development of the plot in the Tale of Peter and Fevronia. This story differs sharply from the lives written at that time.

The Tale of Peter and Fevronia tells the story of love between a prince and a peasant woman.

What language is this work written in? (in Old Russian).

A word to linguists-translators.

Literary critics:

This story has a vital basis:

Firstly, the heroes of the story are historical figures, they reigned in Murom in the 13th century. In 1547 the church canonized them as saints, so a life was written.The work was written after the canonization of Peter and Fevronia at the Moscow Church Cathedral in1547.

Life features.

Life (translated from Church Slavonic - "life") - a description of the life of the saints, their deeds.

Lives had a certain structure. Introduction - an appeal to God (praise and prayer for help) Actually life - the birth of a saint, a righteous life, death and miracles. Conclusion - praise to the saint

The story is written in the form of a hagiography, but there is no construction of a work traditional for the hagiographic genre (the beginning does not correspond to the hagiographic beginning, the trials that Peter and Fevronia go through are not sent to them by the devil, but created by the envy of people; only the ending is a classic example of life). But still, there are features of life in the story.

Second, g Heroes live according to the “commandments of God, in difficult times they turn to God.

Thirdly, they perform miracles during life and after death (they prophetically predicted their death, died on the same day and hour, did not part after death; at the place of their burial, believers receive healing from the most serious ailments.

II. This is a story about the power and beauty of love that overcomes everything. life's troubles and conquering death.

Features of the story.

Story - prose genre gravitating towards newsreel reproducing the natural course of life.

Despite the hagiographic form of presentation, a story technique is used to convince readers that everything written is true, that this is exactly what happened.

The authenticity of the "Tale ..." is given by the names of specific places of action (the city of Murom, Ryazan land, the village of Laskovo).

Heroes of the story - real people. (Peter and Fevronya reigned in Murom at the beginning of the 13th century, died in 1228).

In the center of the work is the image of a simple peasant girl who has to go through serious real trials.

The story reflects one of the most acute conflicts of the 16th century - the story of the boyars rushing to power, who killed each other in civil strife.

1. Folk legends in the plot of Yermolai-Erasmus. Poetic fiction, dating back to the traditions of oral folk art.

However, only the names are historical in the story, around which a number of folk legends have formed, which form the basis of the plot.

(plot - series of events taking place in work of art and built for the reader).

Yermolai-Erasmus was greatly influenced by the folk legend “About the peasant woman Fevronia from the village of Laskovo”, the legends about the prince of Murom and his wife, that he, a well-educated church writer, who was tasked with giving a biography of the saints, created a work that was essentially far from living genre. The story of Peter and Fevronia differs sharply from the lives written at that time. Poetic fiction also goes back to the traditions of oral folk art, namely, to a fairy tale.

Fairy tale - a work of oral folk art about fictional events, with the participation of magical, fantastic forces.

In the story we find the following fairy tale features:

Fairy-tale beginning: “There is a city in the Russian land ... a prince named Pavel ruled in it”;

The exact time is not indicated, it is counted from the last event: “in a year”, “in a day”, “next morning”;

The first part of the "Tale ..." is similar to a fairy tale about a tempting snake, the second - to a fairy tale about a wise maiden;

There are magical things: an agric sword;

Good conquers evil (Peter defeated the serpent);

Puzzles.

2. Features of the composition of the story.

The composition of the story is interesting, where 4 short stories are combined, connected by the idea all-conquering love: 1. About the fiery serpent; 2. About the wise virgin;

3. healing of Peter; 4. The reign of Peter and Fevronia.

In the opinion of other scientists, the story combines two folk-poetic plots: a fairy tale about a fiery serpent and a tale about a wise maiden. Other scientists say that the story does not have an artificial authorial nature, but features of a slightly revised historical tradition. A characteristic feature of the story is the reflection in it of the details of peasant and princely life - this was new in ancient literature.

Can we say that this work belongs only to hagiographic literature?

No.

Slide

Tale of Petre and Fevronia(full original name « A Tale from the Life of the Saints of the New Miracle Workers of Murom, the Blessed and Reverend and Most Praiseworthy Prince Peter, named in the monastic rank of David, and his wife, the Blessed and Reverend and Praiseworthy Princess Fevronia, named in the monastic rank of Euphrosyne"") - a monument of ancient Russianhagiographic literature 16th century left Yermolai-Erasmusbased on oral legend, and therefore not a typical examplehagiographic literature.

Most likely, this is a hagiographic story with elements of a folk-tale character.

3. Fevronia's relationship with the heroines of Russian folk tales about the wise maiden.

From oral-poetic folk tradition the image of the central heroine - Fevronia is connected. This is especially evident when Fevronia, in the form of riddles, answers Peter's messenger. Her answers have parallels in oralfolk art, namely in riddles: The groom came to the bride and began to ask:

Where is father? - Father left 100 rubles for a nickel to change ( dog hunting). _ Where is the mother? - I went out to cry. I would gather you, fiance, to have lunch, but dinner at the chicken under the tail (egg).

And Fevronia's answers about a chock and a bunch of flax are very similar to folk tale about smart granddaughter.

4. The versatility of displaying the character of "wonderful Fevronia".

slide (plan)

The character of Fevronia in the story is multifaceted. The daughter of a Ryazan peasant is full of self-esteem, female pride, extraordinary strength of mind and will.

Linguists read the text in Old Russian (slide), translate.

Artists show a staging - a messenger at Fevronia)

(See The beginning of all beginnings p. 146)

5. The peculiarity of the disclosure of the character of "glorious Peter"

6. The chanting of an ideal married life and the wise management of the principality (“they ruled the city with their truth and meekness, and not with fury”)

In the eyes of others, Fevronia is a "seer", possesses the gift of foresight, reveals moral and mental superiority over the prince. For the author, she is the ideal of moral wealth and spiritual beauty. Yermolai Erasmus writes about her with deep sympathy, glorifies wisdom, fidelity in love, holiness of feelings, high moral qualities of a peasant girl. In all manifestations of her feelings, actions, deeds, peace of mind and serenity. Even at the moment when she decides to die simultaneously with her loved one, without fuss, without exclamations and groans, Fevronia interrupts her work, wrapping a needle with thread and sticking it into the air that she embroidered for the church. To some extent, this detail is perceived as a symbol of the end of earthly life and the beginning of the afterlife.

8. Similarities and differences in the "Tale .." with the novel about Tristan and Isolde.

Teacher:

III. Conclusion

"The Tale of Peter and Fevronia" is an original highly artistic work that had a significant impact on the formation of secular literature in Ancient Rus'. The story is a hymn to the Russian woman, her mind, selfless and active love.

MHC

Peter and Fevronia in painting.

Monuments and the Feast dedicated to Peter and Fevronia (presentation)

D \ W in literature. Answer the questions: “What attracts us to Peter and Fevronia today and what the heroes of the ancient Russian “Life” teach us.

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Slides captions:

Project Peter and Fevronia of Murom in ancient Russian literature and painting.

The original text of "The Tale of Peter and Fevronia

Defenders of the project: Linguists-translators Literary critics Artists Art critics

Literature Ideological and artistic originality of "The Tale of Peter and Fevronia of Murom"

Ermolai-Erasmus (Yermolai the Sinful) - Russian writer and publicist of the 16th century, author of the story about Peter and Fevronia of Murom. His literary work dates back to the 40-60s of the 16th century, heyday falls in the middle of the century. Biographical information about him is scarce and is known mainly from his own writings.

linguists-translator and Agrik (Agrik’s sword), from Peter’s shoulder, ceramides, span, child-loving, from time immemorial, crafty deceiver, told, cunning, wonderful sight, marveled, wise virgin, slander, blessed, pure souls, monastic clothes, repose, cover (air with the faces of saints), riza, synclite, righteous, pious, faithful, cancer with relics.

Life features. Life (translated from Church Slavonic - "life") - a description of the life of the saints, their deeds. Lives had a certain structure. Introduction - an appeal to God (praise and prayer for help) Actually life - the birth of a saint, a righteous life, death and miracles. Conclusion - praise to the saint The story is written in the form of a life story, but there is no traditional construction of a work for the hagiographic genre (the beginning does not correspond to the hagiographic beginning, the trials that Peter and Fevronia go through are not sent to them by the devil, but created by the envy of people; only the finale is a classic example of a life ). But still, there are features of life in the story. First, the author glorifies the saints by creating ideal images. Secondly, the heroes live according to the “commandments of God, in difficult times they turn to God. Thirdly, they perform miracles during life and after death (they prophetically predicted their death, died on the same day and hour, did not part after death; at the place of their burial, believers receive healing from the most serious ailments.

Features of the story. The story is a prose genre, gravitating towards a chronicle plot that reproduces the natural course of life. Despite the hagiographic form of presentation, a story technique is used to convince readers that everything written is true, that this is exactly what happened. The authenticity of the "Tale ..." is given by the names of specific places of action (the city of Murom, Ryazan land, the village of Laskovo). The characters in the story are real people. (Peter and Fevronya reigned in Murom at the beginning of the 13th century, died in 1228). In the center of the work is the image of a simple peasant girl who has to go through serious real trials. The story reflects one of the most acute conflicts of the 16th century - the story of the boyars rushing to power, who killed each other in civil strife.

Folk legends in the plot of Yermolai-Erasmus. Poetic fiction, dating back to the traditions of oral folk art. However, only the names are historical in the story, around which a number of folk legends have formed, which form the basis of the plot. (plot - a series of events taking place in a work of art and lined up for the reader). Poetic fiction also goes back to the traditions of oral folk art, namely, to a fairy tale. A fairy tale is a work of oral folk art about fictitious events, with the participation of magical, fantastic forces. In the story we meet the following features of a fairy tale: - a fairy-tale beginning: “There is a city in the Russian land ... a prince named Pavel ruled in it”; - the exact time is not indicated, it is counted from the last event: “in a year”, “in a day”, “next morning”; - the first part of the "Tale ..." is similar to a fairy tale about a snake-tempter, the second - to a fairy tale about a wise maiden; - there are magical things: agric sword; - good conquers evil (Peter defeated the serpent); - puzzles.

The story of Peter and Fevronia (the full original name “The Tale of the Saints of the Saints of the New Chudovorets of the Murom, the Blessed and the Monk and the Oblovalnago Prince Peter, who was called David, and the spouses of his noble and reverend and the princes of the Fevronia, rolled in a monastic efrosinia”) - a monument of ancient Russian hagiographic Literature XVI century, compiled by Yermolai-Erasmus on the basis of an oral legend, and therefore is not a typical example hagiographic literature. Most likely, this is a hagiographic story with elements of a folk-tale character.

Old Russian language I heard that many people are healers within the Ryazan land and ordered myself to lead there, not without power, to sit on horses from a great illness. He was brought quickly to the chapels of the Ryazan land and the ambassador of the synod in his entire search for doctors.

Translation of the excerpt I heard that there are many healers in the Ryazan land and ordered himself to be taken there, since he himself could not sit on a horse due to illness. They brought him to the Ryazan land, and he sent messengers to look for a healer.

Linguists-translators: Translate the excerpt: These are ubo in the Russian land and the city, called Mur .... ... Hearing, as if many are a healer within the Ryazan land and commanded yourself to tell there, it’s not possible for you to sit on horses from a great illness. He was brought to the borders of the Ryazan land and sent his entire synclit to seek doctors. One young man evaded those coming to him into the whole, calling Affectionately. And you came to a certain house by the gate and saw no one. And vniide into the house, and not be, who would have kept him. And I went into the temple and in vain the vision is wonderful: the girl is sitting for one, weaving is red, before her the hare is jumping.

The versatility of displaying the character of " wondrous Fevronia": a) self-esteem; b) extraordinary strength of mind and will (“you had the wisdom of holy men in a woman’s head”); c) gentle, sensitive, loving heart; d) the ability to fight for your love; e) nobility of deeds, Christian virtues.

The Tale of Peter and Fevronia "- an original highly artistic work that had a significant impact on the formation of secular literature in Ancient Rus'. The story is a hymn to the Russian woman, her mind, selfless and active love.

MHK Images of Peter and Fevronia of Murom on icons and icon-painting portraits

Monuments to Peter and Fevronia in Arkhangelsk in Ulyanovsk in Sochi in Yaroslavl in Abakan in Yeysk in Murom

D\Z in literature. Answer the questions: “What attracts us to Peter and Fevronia today and what the heroes of the ancient Russian “Life” teach us.

Abstract of a lesson in fine arts in grade 3 according to the Federal State Educational Standard (using reproductive reading techniques) EMC "Planet of Knowledge"

Subject:"Portraits fairytale heroes»
Compiled by: Stepanova Tatyana Sergeevna, teacher of fine arts, Debesskaya secondary school, Debesy village, Udmurt Republic.
Lesson type: lesson on the integrated use of knowledge
Lesson Objectives:
- by content: to know about a decorative fictitious portrait, as a kind of portrait; about the features of his drawing;
- according to the method of work: to master the techniques of depicting a portrait of a fairy-tale hero using the technique of drawing “from the spot”.
Lesson objectives:
- bring up careful attitude to fairy tales and fairy-tale heroes;
- cultivate a love of reading;
- to continue the formation of knowledge about the portrait, its types and ways of conveying mood through colors, facial expressions;
- to develop the ability to compare and make a choice, to give an aesthetic assessment of the works of illustrators;
- develop fantasy and imagination, skills of independent creative thinking;
- develop the ability to work with text, evaluate, analyze the information received.

UUD
Personal:
- be aware of the need for a respectful attitude to the book and to the fairy-tale hero; develop logical and abstract thinking, creative imagination, concentration of attention;
- to develop the ability to create an artistic image, aesthetic evaluation of the works of Russian illustrators;
- develop motivation and love for reading books.
Regulatory: apply the established rules in solving the problem.
Cognitive: to search and highlight the necessary information.
Metasubject: developing the ability to work with text, evaluate and apply the information received;
Subject: master the basic techniques for conveying mood in the portrait of a fairy-tale hero, as well as drawing using the “from the spot” technique.
Visual and didactic materials: images of fairy tale characters, presentation, handout cards for performing semantic reading exercises.
Literary series: Yuri Entin's poem "There are many fairy tales in the world ...", poem "", poems about fairy-tale heroes.
Equipment For the teacher: samples of portraits of fairy-tale heroes, computer, projector, board, presentation, gouache, brushes, A-3 format, handout cards. For students: gouache, brushes, album.
Used methods and techniques of reproductive reading:
- "Associative bush";
- "thin" and "thick" questions;
- Sincwine.

For reference:
"Associative Bush"- one of the main methods of working with information. The teacher gives keyword or the title of the text, students write down all possible associations around it, indicating the semantic connections between them with arrows. This allows you to update existing knowledge, activate cognitive ability students and motivate them to keep going.

"thin" and "thick" questions- one of the main methods of working with information after reading, which allows you to systematize and consolidate the knowledge gained. "Thick" questions require ambiguous answers "Give an explanation why ...?"; “Why do you think…?”; "Find the differences and similarities ..."; “Guess what will happen if…?”. "Subtle" questions require a simple answer "Who?"; "What?"; "When?"; "Do you agree?".

cinquain- one of the main creative techniques for working with information after reading, which allows you to systematize and consolidate the knowledge gained. Cinquain is a short, non-rhyming poem of five lines.

The first line is the theme of the syncwine, one word, noun or pronoun;
the second line is two adjectives or participles that describe the properties of the topic;
the third line - three verbs or gerunds telling about the actions of the topic;
the fourth line is a four-word sentence expressing the personal attitude of the author of the syncwine to the topic;
fifth line - one word (any part of speech) expressing the essence of the topic; kind of summary.

Portrait of a fairy tale hero
Bright, decorative
Drawing, fantasizing, imagining
The portrait conveys the mood of the hero
Genre

During the classes:

Organizing time.
- Hello guys! Sit nicely, straighten your backs, straighten up! Well done!
Explanation of the new topic.
- I would like to start today's lesson with a poem by Yuri Entin. Please listen carefully (the poem appears on slide 1):

- Guys, what are these lines about?
- Right! They are about fairy-tale heroes! Let's put this concept on the chalkboard (a sign “Fairy-tale hero” appears on the class board)
- Guys, what kind of fairy-tale heroes are they? How can we characterize them? Let's remember again the lines from the poem we read. We will write down all associations with fairy-tale characters on the board, around the plate (a discussion arises in the class, we write down associations around the tablet, for example, evil and good, magical, unusual images, etc.)
- That's right! Fairy-tale heroes can be evil and kind, with their own character, like people - they are all different. But we have now written general associations about all fairy-tale heroes! Now, I would like you each to try to pick up and write down associations to a specific hero of the fairy tale. Each of you has a leaflet with tasks on your desks, where you see a diagram with a specific fairy-tale hero and a poem about him. First read the poem, and then write down all the associations that you have around the fairy-tale hero in this diagram. Independent work 2-3 minutes.

- Well done! I see you did your job! Now look at the screen (slide 2, a poem about the portrait of A. Kushner). Let's read a poem by Alexander Kushner:

Guys, what is this poem about?
- Right! It's about a portrait. (the teacher attaches a sign with the concept of "Portrait" to the board).
- And now, based on these two concepts "Fairy-tale hero" and "Portrait", formulate the topic of today's lesson!
- Right! The topic of our today's lesson is "Portraits of fairy-tale heroes"! The teacher attaches a sign with the inscription “Portraits of fairy-tale heroes” to the board and opens closed portraits of fairy-tale heroes on the blackboard (teacher’s visual aid drawn on A4 formats)
- Guys, look carefully at these portraits! What fairy tale characters do you see? Each character of the fairy tale has its own character and it is reflected in these images with the help of colors, lines, facial features.

- Let's see how fairy tale characters were portrayed by illustrators. Before us are illustrations by the artist Irina Petelina (slide 3). Guys, to analyze the illustrations of artists, we will answer some questions.

- Now consider the illustrations of the artist Ivan Bilibin (slide 4).
Working with illustration analysis

- We will also consider the illustration by Viktor Vasnetsov for the fairy tale “Ivan Tsarevich and Gray wolf", which depicts the princess and Koschei the Deathless (slide 5).
Working with illustration analysis

- You can depict a fairy-tale hero realistically and decoratively, but the portrait will be fictional in any case (slide 6). Consider this on the example of illustrations for the fairy tale "Little Red Riding Hood" (slide 6).

- Now I will show you how to draw a fairy-tale character using the “from stain” technique.
The teacher draws a pedagogical drawing (fairytale king):
1. We write the face of a fairy-tale hero “from the spot”. We mix white, a drop of red and a drop of yellow.
2. While the gouache on the face dries up, the eyes and other facial features cannot be drawn, so we first write “from the stain” the clothes, hair, crown, beard of the fairy-tale king.

3. Drawing the face and others small parts, for example, patterns on clothes.
4. Background - it can be plain background or depict the environment in which the hero is at that moment, for example, a city, inside a hut, a clearing, etc.

Introduction

Social fairy tales are closer in content to fairy tales about animals. The satirical principle was especially pronounced in them, expressing the social sympathies and antipathies of the people. Their hero is a simple man: a peasant, a blacksmith, a carpenter, a soldier... Storytellers admire his life.

Fairy tales according to their plot structure complex genre. They include heroic tales about the fight against snakes, Kashchei the Immortal, and stories about the search for curiosities - the golden-horned deer, the firebird, and the story of the stepmother and stepdaughter, and many others.

Note that artistic images fairy tales represent a single art system expressing folk ethical and aesthetic ideas. Each of the traditional images has its own permanent characteristic and acts in a fairy tale according to its aesthetic function.

Purpose: To characterize the traditional images of heroes and anti-heroes in Russian fairy tales.

V.Ya. Propp, who studied the fairy tale according to the functions of the characters, establishes seven main characters in the fairy tale: the pest (harms the hero, his family, fights him, pursues him), the donor (gives the hero a magic tool), helper (moves the hero, helps him in the fight with a pest), the queen (the desired character), the sender (sends the hero), the hero, the false hero.

To give an analysis of the main artistic techniques, with the help of which the central image receives an in-depth characterization;

Explore the varieties of magical Russian fairy tales that depict the image of heroes and anti-heroes.

Artistic techniques, with the help of which the central image receives an in-depth characteristic

The sequence of functions of characters leads to a uniform construction of fairy tales, and the stability of functions leads to uniformity. fabulous images. However, the actual number of characters does not correspond to the number of actors, since different characters are assigned the same function. So, a snake, Koschey, a little man with a marigold, a baba-yaga and others act as a pest, a backyard grandmother, wonderful birds, etc. act as a donor. There are other characters in fairy tales. Evil is represented in them by fantastic, disgusting monsters. This is, first of all, Koschey the Immortal - a terrible, strong old man who kidnaps women - as a rule, the mother, wife or bride of the hero of a fairy tale. This is Baba Yaga - " bone leg, herself on a mortar, nose to the ceiling, one foot to the right corner, and the other to the left. This is the Serpent Gorynych, bursting with fire, with three, six, nine or twelve heads. It can be “a man with a fingernail - a beard with an elbow”, etc. These monsters bring death to people and kingdoms. They are unusually strong and aggressive. But the evil inclination embodies and human characters. This is the stepmother who hates her husband's children, these are the older brothers of the hero, etc.

With all of them, the main characters are fighting not for life, but for death. fairy tales- Ivan Tsarevich, Ivan the Fool, Ivan Bykovich. They are distinguished by modesty, diligence, fidelity, kindness, willingness to help, disinterestedness. All this makes us admire. We sympathize with them in difficult times, rejoice in their victories. Together they embody the unwritten moral code people. Ivan Bykovich, without hesitation, goes to protect the people from the Serpent; Ivan Tsarevich goes in search of his mother, who was suddenly kidnapped by Koschey; Ivan the Fool unquestioningly fulfills the request of the deceased parent to come to his grave.

Fairy tales say: he will emerge victorious in the fight against the enemy, who loves his people, honors his parents, respects his elders, remains faithful to his beloved, who is kind and fair, modest and honest.

With all the plot differences, fairy tales have unity. poetic structure. This is expressed in the strict correlation of motives that form a consistently developing action from the plot through the development of the action - to the climax leading to the denouement. The action of the fairy tale is built on the principle of growth: each previous motive explains the next one, preparing the events of the main, climactic, which conveys the most dramatic moment of the plot action: Ivan Tsarevich defeats Koshchei, fulfills the difficult orders of the sea king, Ivashka burns the witch, the king reveals the witch's intrigues and returns to his wife , turned into a lynx, the image of a beautiful queen, Culminating, or, in other words, central, the motif is specific to each plot. The rest can vary, i.e., be replaced by motives similar in content within the framework of a given plot.

Conflict, expressed in a sharp opposition of the main characters, is an indispensable condition for plot action. In a fairy tale, she is always motivated. The traditional motivations that determine the actions of heroes are marriage, the desire to receive wonderful objects, the destruction of an enemy that causes some harm to the hero (his family or people in general), for example, the destruction of crops, the abduction of a princess, etc. One fairy tale can contain two motivations ( for example, Ivan Tsarevich defeats a snake and at the same time finds his wife in the underworld). Depending on the direction of the plot, motivations can receive heroic, everyday or social overtones. The composition of a fairy tale is simple in its own way, but this simplicity is the clarity of the complex, the result of centuries-old polishing of a fairy tale in the process of its existence. The stepdaughter politely replies to Frost and he rewards her, the stepmother's daughters are rude to Frost and die.

When taking into account plot differences, author's interpretations, fairy-tale characters appear as a wide gallery of typical images. Among them, the image of the hero is especially important, because it largely determines the ideological and artistic content of fairy tales, embodying folk performances about justice, kindness, true beauty; everything is concentrated in it best qualities of a person, thanks to which the image of the hero becomes an artistic expression of the ideal. The high moral qualities of the heroes are revealed through their actions. However, in fairy tales you can find elements psychological nature, attempts to transfer inner world heroes, their spiritual life: they love, rejoice, grieve, are proud of the victory, experience betrayal and infidelity, look for a way out of difficult situations, sometimes they make mistakes. That is, in a fairy tale we already find outlines of the image of a person.

And yet, it is possible to speak about the individualization of images with a certain degree of conventionality, since many features inherent in the hero of one plot will be repeated in the heroes of other fairy tales. Therefore, the opinion about the image in fairy tales of a single folk character is fair. This folk character was embodied in different types heroes - male and female images.

The fairy-tale hero is essentially nameless. The name Ivan allows any substitutions - Vasily, Frol, Ivan peasant son, Ivan Medvedko and others.

At the beginning of the tale, he is named among other characters: "Once upon a time there was a king, he had three sons" - this is the typical beginning of most fairy tales. To make a hero stand out secondary characters, the tale introduces a number of traditional positions and situations associated only with the hero. He is young, among the brothers he is always the youngest and therefore he is not trusted. The definition of "junior" can be not only

age, but also social: Ivan the Fool is despised by his older brothers, he is disinherited, Ivan the peasant son, as the youngest, is opposed to the royal sons.

It is not uncommon for a hero to be distinguished miraculous birth: the queen eats a pea, drinks water from a well or stream - she gives birth to twin sons. Ivan Medvedko will be born from the marriage of a man and a bear, a miraculous fish is eaten by a queen, a servant and a cow, each of them has a son, but the son of a cow (Ivan Bykovich) shows the features of a hero in the future.

These motifs that begin the tale, due to their traditional nature, are, as it were, signal situations that draw the attention of listeners to the hero and, accordingly, determine the attitude towards other characters. This bias enhances emotional perception.

In most fairy tales, the hero, unlike other characters, is endowed with extraordinary power. His heroism is already revealed in childhood, he "grows by leaps and bounds", "goes out into the street, grabs someone by the hand - hand away, grabs someone by the leg - foot away." He is only capable of a wonderful horse, which awaits the rider on its own in the dungeon, chained with twelve chains. Setting out on his journey, the tsarevich orders himself a club worth twelve poods. The same power is hidden in Ivan the Fool (“Sivka-Burka”): “...He grabbed the nag by the tail, skinned it and shouted: “Hey, flock, jackdaws, hags and magpies! Here is the father sent you a stern "

It should be noted that any quality the hero of the tale gives is not like sparing the animals; Ivan the Fool ransoms a dog and a cat with the last money, frees a crane that has fallen into a snare; the hunter, in need, feeds the eagle for three years. The same manifestation of ideal qualities is the fulfillment of duty, honoring elders, following wise advice. Usually advice comes from old men and women who embody life experience, the ability to foresee events. These characters often act as wonderful helpers. In the tale of the three kingdoms, Ivan Tsarevich, setting off in search of his kidnapped mother, defeats a many-headed snake, following her order "not to strike with weapons twice" or rearrange the barrels with "strong and powerless water." The plot “Go there, I don’t know where” is all based on the fulfillment by the archer of the wise advice of his wife. Failure to comply, violation given word are regarded as a misdemeanor and carry grave consequences: miraculous objects, the bride, are stolen from Ivan Tsarevich.

The initial erroneous behavior gives special persuasiveness to the right actions. Ivan Tsarevich thinks where to get the heroic horse. When asked by an oncoming backyard grandmother, what he thought about, he answers with rudeness, but then changes his mind, asks the old woman for forgiveness and receives the necessary advice.

The personality of the hero is manifested in his actions, in his reaction to the outside world. The plot action (situations in which the hero is placed) serves to reveal and prove the truth. positive qualities of a person, the correctness of his actions, as corresponding to the norms of human behavior in society. For every good deed the hero is rewarded with magical items: an invisibility cap, a self-collected tablecloth, wonderful animals - a heroic horse, helper animals. The reward can be in the form of advice - where to find a horse, how to find the way to the betrothed, to overcome the snake.

A fairy tale knows two main types of heroes: Ivan Tsarevich - the hero of magical and heroic plots (“Three Kingdoms”, “Kashchei the Immortal”, “ Rejuvenating apples", etc.) and Ivan the Fool - the hero of the fairy tales "Sivka-Burka", " magic ring», « Miraculous Gifts”, “Humpbacked Horse”, etc. The existence of various types of heroes finds its historical and aesthetic conditionality, the latter is determined by the desire to comprehensively reveal the national ideal. The goal of the hero in different plots is different: to return to people the light that the snake swallowed, to get rid of

monster mother and find the brothers, restore the sight and health of the old man, turns the queen into a white duck, and then tries to kill her children.

Revealing the images of its heroes, the fairy tale conveys folk ideas about people, their relationships, affirms kindness and fidelity. The image of the hero is revealed in a complex system of plot oppositions. Antithesis - this is an artistic technique by which the central image receives an in-depth characterization. Contrasting the hero with his opponent (the pest) is of particular importance, since the relationship of these characters is an expression of various life principles and thus become a means of disclosure ideological content fairy tales.

The main types of heroes - active (Ivan Tsarevich) and passive (Ivan the Fool, stepdaughter) - the types of opponents also correspond. Conventionally, they can be divided into two groups: monstrous opponents of the "other" kingdom - snakes, Kashchei, Baba Yaga and others, and opponents of "their" kingdom - the king, princess, brothers, etc.

Monstrous Enemies - Characters of heroic stories. Folk fantasy paints them as fantastic monsters. Intentionally portraying the characters externally ordinary people - good fellow, a red maiden, the tale resorts to hyperbole when describing enemies: a nine-headed snake, a peasant with a marigold - a beard with an elbow. All of them are aggressive, bring death and destruction to people: they kidnap women, children, burn kingdoms. But the more monstrous the enemy, the more determination and courage the hero must have.

The antagonistic relationship between the hero and his opponent is plot basis all fairy tales. But at general similarity plot plot none of the tales, however, repeats the other. This difference lies, in particular, in the plot diversity, which is largely due to the numerous images of opponents. Each of them has

a specific traditional function in the plot, hence the differences in appearance, attributes, properties that give rise to special forms of struggle with them. The number of opponents of the hero will increase even more if we take into account that different characters can be hidden behind one name.

Thus, in addition to the main characters - the hero and his opponent - there are many other characters in the fairy tale, each of which has its own purpose in the plot action; among them, the group of characters who give miraculous helpers, and the miraculous helpers themselves, is especially numerous. These are characters from a fairy tale.

In fairy tales, domestic and wild animals always stand on the side of the hero: the horse helps to defeat the snake, the cow Burenushka does hard work for her stepdaughter, the cat, etc. a dog returns the ring stolen by the princess, a bear, a wolf, a hare help the prince get Kashchei's death or deal with the sorcerer - his sister's lover.

Since ancient times, wishing to save oneself from illnesses and accidental dangers, striving to ensure good luck in all matters, the popular imagination endowed bread, water, fire, as well as a wide variety of objects with a magical function: flint, towel, needle, mirror, ring, knife, etc. This belief finds confirmation in numerous rites and customs, it was reflected in a peculiar way in the fairy tale about the miraculous properties of individual objects, with the help of which the hero performs difficult assignments and avoids danger. Miraculous objects in a fairy tale are, as a rule, outwardly ordinary household items - a comb, a brush, a towel. Miraculous properties are contained in their action: a tablecloth feeds all the hungry, a towel spreads like a river, a comb turns into an impenetrable forest.

The sequence of functions of characters leads to the uniform construction of fairy tales, and the stability of functions leads to the uniformity of fairy tale images. However, the actual number of characters does not correspond to the number of actors, since different characters are assigned the same function. So, a snake, Koschey, a little man with a marigold, a baba-yaga and others act as a pest, a backyard grandmother, wonderful birds, etc. act as a donor. There are other characters in fairy tales. Evil is represented in them by fantastic, disgusting monsters. This is, first of all, Koschey the Immortal - a terrible, strong old man who kidnaps women - as a rule, the mother, wife or bride of the hero of a fairy tale. This is Baba Yaga - "a bone leg, itself on a mortar, nose to the ceiling, one leg to the right corner, and the other to the left." This is the Serpent Gorynych, bursting with fire, with three, six, nine or twelve heads. It can be “a man with a fingernail - a beard with an elbow”, etc. These monsters bring death to people and kingdoms. They are unusually strong and aggressive. But the evil principle is also embodied in human characters. This is the stepmother who hates her husband's children, these are the older brothers of the hero, etc.

With all of them, the main characters of fairy tales, Ivan the Tsarevich, Ivan the Fool, Ivan Bykovich, are fighting not for life, but for death. They are distinguished by modesty, diligence, fidelity, kindness, willingness to help, disinterestedness. All this makes us admire. We sympathize with them in difficult times, rejoice in their victories. Together they embody the unwritten moral code of the people. Ivan Bykovich, without hesitation, goes to protect the people from the Serpent; Ivan Tsarevich goes in search of his mother, who was suddenly kidnapped by Koschey; Ivan the Fool unquestioningly fulfills the request of the deceased parent to come to his grave.

Fairy tales say: he will emerge victorious in the fight against the enemy, who loves his people, honors his parents, respects his elders, remains faithful to his beloved, who is kind and fair, modest and honest.

With all the plot differences, fairy tales have a unity of poetic structure. This is expressed in the strict correlation of motives that form a consistently developing action from the plot through the development of the action to the climax leading to the denouement. The action of the fairy tale is built on the principle of growth: each previous motive explains the next one, preparing the events of the main, climactic, which conveys the most dramatic moment of the plot action: Ivan Tsarevich defeats Koshchei, fulfills the difficult orders of the sea king, Ivashka burns the witch, the king reveals the witch's intrigues and returns to his wife , turned into a lynx, the image of a beautiful queen, Culminating, or, in other words, central, the motif is specific to each plot. The rest can vary, i.e., be replaced by motives similar in content within the framework of a given plot.

Conflict, expressed in a sharp opposition of the main characters, is an indispensable condition for plot action. In a fairy tale, she is always motivated. The traditional motivations that determine the actions of heroes are marriage, the desire to receive wonderful objects, the destruction of an enemy that causes some harm to the hero (his family or people in general), for example, the destruction of crops, the abduction of a princess, etc. One fairy tale can contain two motivations ( for example, Ivan Tsarevich defeats a snake and at the same time finds his wife in the underworld). Depending on the direction of the plot, motivations can receive heroic, everyday or social overtones. The composition of a fairy tale is simple in its own way, but this simplicity is the clarity of the complex, the result of centuries-old polishing of a fairy tale in the process of its existence. The stepdaughter politely replies to Frost and he rewards her, the stepmother's daughters are rude to Frost and die.

When taking into account plot differences, author's interpretations, fairy-tale characters appear as a wide gallery of typical images. Among them, the image of the hero is especially important, because it largely determines the ideological and artistic content of fairy tales, embodying folk ideas about justice, kindness, true beauty; it is as if all the best qualities of a person are concentrated in it, thanks to which the image of the hero becomes an artistic expression of the ideal. The high moral qualities of the heroes are revealed through their actions. However, in fairy tales one can find elements of a psychological nature, attempts to convey the inner world of heroes, their spiritual life: they love, rejoice, grieve, are proud of their victory, experience betrayal and infidelity, look for a way out of difficult situations, sometimes they make mistakes. That is, in a fairy tale we already find outlines of the image of a person.

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FEVRONIA

PETER AND FEVRONIA - the heroes of the old Russian "The Tale of Peter and Fevronia of Murom", which took shape from the second half of the 15th century. based oral legends and legends. The narrative finally took shape in connection with the canonization of P. and F. (1547) in the middle of the 16th century. Literary processing The story about the Murom saints was carried out by the writer and publicist of the clergy Yermolai-Erasmus, who was part of the circle of employees of Metropolitan Macarius who worked on the Great Menaion of the Four. About the popularity of the story says big number lists that have survived to this day. The narrative united two ancient folklore motif- about the serpent fighter and the wise maiden. In a number of lists, the "Tale" is called a life, but Yermolai-Erasmus could not deviate from the folk poetic tradition in the depiction of heroes, in plot construction. Probably, due to this genre uncertainty, the predominance of folklore beginnings in the narrative of the “new miracle workers of Murom”, the work of Yermolai-Erazm was not included by Metropolitan Macarius in the composition of the Great Menaion of the Four.

The image of the “wise maiden” F. goes back to a Russian fairy tale. The daughter of a beekeeper ("tree climber") from the village of Laskovo, Ryazan land, is famous for good deeds, intelligence and insight. She is a faithful and caring wife who knows how to fight for her happiness. F. embodies love that neither evil people nor the force of circumstances can defeat. Researchers have compared old Russian story With Western European novel about Tristan and Iseult, who also meet various obstacles on the way to happiness.

The main character is active, she herself creates her own fate and the fate of Prince Peter, over whom she wins a moral victory. The image of P. plays a less noticeable role in the narrative, it is, as it were, overshadowed by the bright and colorful figure of F.

Prince P. of Murom, standing up for the honor of his brother's wife, fights with a flying kite that has become accustomed to her. Having mastered the Agric sword, P. wins, but the snake's poisonous blood causes incurable ulcers and scabs on his body. F. heals the prince, putting forward the condition: she will cure P. if he takes her as his wife. The prince does not want to marry a simple peasant woman. But after a second appeal to F. for help, the ashamed prince takes the peasant girl as his wife.

F.'s wisdom is manifested not only in deeds and deeds, but also in the ability to speak in allegory, riddles. So the princely envoy does not understand her, in response to whose questions F. says: “It’s bad when the yard is without ears, and the house is without eyes”; "Father and mother went on loan to cry, and the brother went through the legs of death to look into the eyes." F. herself explains the meaning of what was said: the ears of the house are a dog, and the eyes are a child. They, each in their own way, will warn the owner of the approach of a stranger. The heroine's father and mother went to the funeral, and the beekeeper's brother went about his dangerous trade, climbing tall trees. With wise speeches, F. confounds her future husband.

After F. becomes the prince's wife, the wicked boyars and their wives, "like psi laking," do not want to be ruled by a woman of peasant origin, seek to drive F. out of the city, to separate the heroes. However, even here the power of love prevails. F. wants to take with him the most precious thing - his spouse. P. refuses to reign, leaves Murom together with F. The heroes of the story do not value power and wealth. So the love of P. and F. overcomes social obstacles. In this episode, a certain anti-boyar tendency is noticeable. The creator of the story emphasizes that the "evil" boyars quarreled because of power: each "although to be powerful." The townspeople beg P. to rule Murom as before. Returning to the city, P. and F. rule not with rage, but with truth and justice, they treat their subjects not as mercenaries, but as true shepherds. They are compared to gracious and cordial child-loving parents.

Neither social inequality, nor "evil" boyars can separate the heroes. They are inseparable in the face of death. At the same time, having accepted the monastic rank, P. and F. pray to God: “Yes, in one hour there will be a repose by her”; and bequeathed to be buried in one tomb.

The description of the death of the saints is especially expressive. Before her death, "blessed" F. embroiders "air" with the faces of saints for the cathedral. The prince, feeling his imminent death, sends to tell his wife that he is waiting for her in order to leave this world together. F. asks her master to wait until she finishes her work. After P.’s third appeal to her (“I’m leaving this world, I can no longer wait for you”), the nun princess, who managed to embroider the face and hand of the saint, responds to the call of her husband. Having stuck the needle into the unfinished cover and wrapped the thread around it, F. sends to P. to say that she is ready.

Even the posthumous miracle - an important element in the composition of the hagiographic narrative - reaffirms the inseparability of the marital ties of the characters. People who sought to separate P. and F. during their lifetime separate them twice after death: P.’s body was laid in the city, “in the cathedral church of the Most Pure Mother of God,” and F.’s body was buried “outside the city,” in the Vozdvizhensky church of the convent. In the morning, everyone sees a miracle: the bodies of the prince and princess are in a common tomb.

The images of P. and F., beloved by the people, were captured more than once by icon painters. By order of Tsar Fyodor Ivanovich and Tsarina Irina, the cover of the relics of the Murom miracle workers was embroidered - a wonderful monument of gold embroidery medieval Rus' (1594).

Old Russian narration attracted the attention of writers and composers of modern times. So, the heroine of the story by I.A. Bunin “ Clean Monday"(1944), who has chosen the path of a nun for herself, quotes from memory two fragments from the story (the opening lines and words about the end of the earthly life of the saints). "Inseparable love" of the heroes of the ancient legend inspired A.M. Remizov. His work "Peter and Fevronia of Murom" (1951), which was not published during the life of the writer, was first published by R.P. Dmitrieva in TODRL (T. XXVI. L., 1971).

On the material of the story, combined with the Kitezh legend, N.A. Rimsky-go-Korsakov’s opera The Legend of the Invisible City of Kitezh and the Maiden Fevronia was created (1904 - libretto by V. Belsky).

Lit.: Dmitrieva R.P. Ermopay-Erasmus (Yermolai the Sinful)

// Dictionary of scribes and bookishness of Ancient Rus'. L., 1988. Issue. 2, part 1. pp. 220-225; Likhachev D.S. Great Legacy: classical works Literature of Ancient Rus'. M., 1975. S.253-258; The Tale of Peter and Fevronia. Preparation texts and research by R.P. Dmitrieva. L., 1979; Skripil M.O. The Tale of Peter and Fevronia of Murom and its relation to the Russian fairy tale

//TODRL. M.; L., 1949. V.7. pp.131-167.

A.A. Pautkin

literary heroes. - Academician. 2009 .

Synonyms:

See what "FEVRONIA" is in other dictionaries:

I, female; unfold Fevronya, and; simple. to Khavroniya, and Khavronya, and. Derivatives: Fevronyushka; Fevronya; Feva; Fesh; Khavronyushka; Khavrokha; Khavrosh; Howrah (Howrah); Khorya. Name days: July 8, Oct 10, Nov 10 Dictionary of personal names. Fevronia See Khavronya ... Dictionary of personal names

Exist., number of synonyms: 2 name (1104) fevronya (2) ASIS synonym dictionary. V.N. Trishin. 2013 ... Synonym dictionary

- (in the world Euphrosyne) saint, wife of Prince David of Murom, in monasticism Peter, also canonized. Information about it has come down to us of a later origin, in all likelihood the 16th century, which appeared, as one might suppose, at the same time ... ...

Fevroniya- Fevre onya, Fevre onya ... Russian spelling dictionary

Fevroniya- Russian female name … Dictionary of personal names and patronymics

Fevroniya- Martyr (III IV c.); lived in Mesopotamia, in the mountains. Sivapol; suffered in 310. Her memory is June 25 ...

Fevroniya- saint (VI VII c.). She was the daughter of Emperor Heraclius and early youth moved in solitude. Memory of St. Fevronia October 28 ... Complete Orthodox Theological Encyclopedic Dictionary

Saint, wife of Prince David of Murom, in monasticism Peter. About Fevronia, news of a later origin, in all likelihood of the 16th century, has come down to us, which appeared, as one might assume, simultaneously with the canonization of the Murom miracle workers. ... ... Biographical Dictionary

Fevronia, 1670 73 igum. Arkhangelsk. Nikol. Mon., Nizhny Novgorod Bishop Russian biographical dictionary in 25 volumes. Ed. under the supervision of the chairman of the Imperial Russian Historical Society A. A. Polovtseva. Saint Petersburg: Type. I. N. Skorokhodova ... Big biographical encyclopedia

Fevronia, 1766 72 igum. Trinity Penza Mon. Russian Biographical Dictionary in 25 volumes. Ed. under the supervision of the chairman of the Imperial Russian Historical Society A. A. Polovtsev. St. Petersburg: Type. I. N. Skorokhodova, 1896 1918 ... Big biographical encyclopedia

Books

• Peter and Fevronia. Tales of the holy spouses and that love is stronger than death, Trostnikova Elena Viktorovna. The holy spouses Peter and Fevronia of Murom are widely revered in Russia as patrons of the family and marriage, the day of their memory has become official holiday love and fidelity. An ancient legend about them in ...