Why is crying yaroslavny poetic pearl of Russian literature. Essays
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Ideological and artistic role of the episode "Lament of Yaroslavna"
"The Word about Igor's Regiment" is a monument of Old Russian literature. It was written in the XII century, during the period of early feudal statehood, when the country was in a state of fragmentation and the unity of the state was violated by civil strife and foreign invasions.
"The Word about Igor's Campaign", like every work of literature, has an ideological content and an artistic form, which is determined by the genre, genre, language, the whole system of means and techniques with the help of which the content is created. The composition of the work is closely related to this. Each episode is an important component, without which the work loses its meaning and form.
Yaroslavna's Lament is a very important episode in The Lay of Igor's Host. In this work there are some episodes that foreshadow the further development of events. Such episodes are: the moment when “the sun intervened for him (Igor) with darkness”; "Sleep of Svyatoslav", "Lament of Yaroslavna" - without them, the feeling of that time, the XII century, when the work was written, will be lost, since in Ancient Russia people deeply believed in various kinds of omens. The author creates an atmosphere with the help of this episode, thanks to such passages, the reader can now better understand the work.
The chronicle contained only a dry statement of facts, and the episode "Lamentations of Yaroslavna" is an element inserted by the author of the "Lay" to enhance the emotional sound of the work. Yaroslavna's Lament seems to bring us back to reality after the author's lyrical digression, in which he recalls the first Russian princes and their numerous campaigns against the enemies of Russia and contrasts them with contemporary events. In general, "The Lay of Igor's Campaign" was created in order to express the real reaction of the inhabitants of Russia to the events taking place, since this cannot be in the chronicle passage.
This episode carries a huge emotional load: the author's attitude to everything that happens is concentrated here. Apart from this episode, feelings are not expressed so openly anywhere else. The author was able to very accurately convey the suffering of Yaroslavna, thereby expressing the attitude of the entire Russian land to the events taking place. Indeed, for the history of Russia, this defeat was of no small importance. "The Lay of Igor's Campaign" is imbued with heroic and tragic pathos, that is, the emotional and evaluative attitude of the writer to the depicted. Also "Lament of Yaroslavna" is very important for the composition "The Lay of Igor's Host". Turning to the forces of nature, asking them for help, Yaroslavna seems to be preparing the flight of Prince Igor from Polovtsian captivity.
Without this episode, the logic of the narrative would have been violated, without it the idea, that is, the condemnation of the internecine war and the call of the princes to unite, and the problem is fragmentation and the path to unification, could not have been expressed so clearly in The Lay of Igor's Host.
The space in the "Word" is constantly changing, now expanding, now narrowing. At this moment, the artistic space in the work narrows to Putivl. In the episode itself, the space expands to enormous limits, since Yaroslavna, in her cry, reminiscent of a lyrical folk song, addresses all the forces of nature at the same time: to the wind, and to the Donets, and to the sun. “Nature in the Lay is not a background of events, not a decoration in which the action takes place - it is itself a character, something like an ancient chorus” (DS Likhachev). An appeal to all the forces of nature creates the feeling that a person is surrounded by a huge space. This conveys the views of people of that time, that is, of the XII century, on the world: “... medieval man strives to embrace the world as fully as possible, wider, reducing it in his perception, creating a“ model ”of the world - as it were a microcosm ...” ( Likhachev D.S. Poetics of Old Russian Literature // Poetics of Artistic Space).
I read "The Lay of Igor's Campaign" in two different translations - by D. Likhachev and in a poetic translation by N. Zabolotsky. I think that reading several different translations gives the reader an opportunity to look at events from different angles and understand them better. Each translation shows the personality of the translator - he is, as it were, the author of the text. Zabolotsky's language is closer to the public, even spoken:
What are you, Wind, whimpering viciously,
That you are swirling mists by the river ...
While Likhachev:
Oh wind, sail!
Why, sir, are you blowing towards?
But still, we still have the feeling that this is a translation of an ancient Russian work thanks to the inversion:
At dawn wailing in Putivl,
Like a cuckoo in early spring
Yaroslavna calls the young
On the wall is a sobbing city ...
Zabolotsky uses various artistic techniques in his translation: personifications, comparisons, inserts his own pieces to enhance the emotional coloring. For example, Likhachev does not have such lines:
The fogs will fly away,
Prince Igor will open his eyes ...
...................................
You, sowing arrows of the enemy,
You only blow death from a height ...
That is, Zabolotsky gives more detailed, artistic descriptions. Likhachev predominantly uses metaphors, while Zabolotsky uses comparisons in the same phrases, for example: "... an unknown cuckoo early cuckoo" (D. Likhachev), "... like a cuckoo calls to the Jurassic." In both translations, a large number of personifications are used, since Yaroslavna addresses the wind, the river and the sun, as if she were alive: “My glorious Dnieper!”, “The sun is three times bright!”, “What are you, Wind ...”
Thus, the episode "Yaroslavna's Lament" is of great importance, both semantic and emotional. In this episode, conveying the suffering of Yaroslavna, the author expresses the state of the entire Russian land at that time.
Bibliography
For the preparation of this work were used materials from the site bobych.spb.ru/
Lesson number 7. Topic: Analysis of the episode in "The Lay of Igor's Campaign" - "Yaroslavna's Lament".
Goals and objectives of the lesson:
Determine the role of Yaroslavna's crying in the artistic whole of the work.
Developing episode analysis skills.
Education of a culture of understanding of a work of art.
During the classes.
I. Checking the house. tasks.
Oral composition "How does the prince appear in the text of the poem ...".
II. Message topic and purpose.
III... The teacher's reading of Yaroslavna's Lament in Old Russian and translated by N. A. Zabolotsky. IV... Teacher's word. Yaroslavna is a typical image of a Russian woman, which occupies a significant place in the ideological concept of the poem. The image focuses on the themes of peace, family, home, love and devotion, self-sacrifice and boundless longing for a woman waiting for her husband from the military cause. So great is Yaroslavna's excitement that she is ready to turn into a bird, just to be next to her husband as quickly as possible and wash his wounds. Such metamorphoses were characteristic of folklore. The transformation of heroes into birds and animals is characteristic of ancient parables and songs. Yaroslavna is the daughter of her people, who has absorbed its culture and traditions, so it is not surprising that she speaks as characters of songs, laments and parables of her time. Motives and melodies of oral folk art are heard in every word of Yaroslavna's weeping. Yaroslavna's appeal to the forces of nature is also a way for the author to tell about the beauty of the Russian land, where the wind blows in the clouds, where the sun is "three times bright" at any time of the year, where stone mountains rise, where there are seas and rivers. All these beauties reflected the great and immense Russia, embodied in the image of a selfless Russian woman. In Yaroslavna's cry, one can hear not only suffering and sadness, in him every word is filled with love, tenderness and hope. The lyricism of a monologue brings reconciliation of feelings, softens the bitterness of loss and defeat. Yaroslavna's heart is breaking with grief, but her grief is bright, full of hope for a meeting with her husband. In her face, all Russian women and all Russian people hope and believe in a happy outcome of events.V. Analytical conversation.
Yaroslavna's lament opens the third part of the poem. As you can see, not only the Motherland suffers from the consequences of the campaign, but also close people.
With whose fate does Yaroslavna compare her fate? (With the bitter fate of the cuckoo).
Why does Yaroslavna want to turn into a cuckoo?
Teacher. The image of a cuckoo is a mediator between the world of the living and the world of the dead. Fairy tale tradition: the cuckoo brings living and dead water to revive the hero. Washing the wounds of Prince Igor with water from the Kajala River). - To whom is Yaroslavna addressing? (To the forces of nature - the wind, the sun, the Dnieper). Teacher.By the time of the events reflected in the poem, Russia adopted Christianity, however, from the artistic images of the poem, from Yaroslavna's cry, it is clear that the people have not yet forgotten their pagan past and the traditions of the beliefs of their ancestors are still strong in the memory of the author. An appeal to the forces of nature is a vivid confirmation of paganism: the wind, sun, river - personify the pagan gods. She then reproaches them for not providing assistance to the squad, then begs for support. And at the same time, Yaroslavna with the mighty forces of nature keeps on an equal footing, referring to them as "you": What are you, Wind, whimpering viciously, That you swirl the mists by the river You raise the Polovtsian arrows,Are you tagging them on the Russian regiments?
Work with an illustration of the artist V. Favorsky "Lament of Yaroslavna".
Let's look at an illustration from V. Favorsky's engraving.
How do you see Yaroslavna? (Yaroslavna stands in the center on a high city wall in Putivl. She stretches out her hands over the fields, peasant huts, over the whole immense world).
Why is Yaroslavna crying at this particular time? (In the original, the time of action is designated as follows: “early.” In translations, images of morning, dawn, spring appear).
What is a visor? Why is Yaroslavna crying on the visor, in the Jura? (Visor is the upper part of the city walls, on which one could walk. Yur is an open, crowded place. Yaroslavna's mountain is shared by all the people.).
Where is Putivl located? Why is Yaroslavna crying there? (Yaroslavna could not expect a husband in Putivl: she was supposed to be in Novgorod-Seversky, the capital of Igor's principality. The author of "The Lay of Igor's Host" deliberately distorts reality for a specific artistic purpose. Putivl is a city on the border of the Novgorod-Seversky principality).
How are the Danube, Kajala and Putivl geographically related?
Does the Kajala River really exist? (The chronicle does not mention the river on which Igor fought with the Polovtsians. One of the interpretations of the name of the river: from the verb “kayati” - “to regret, to mourn.” The river of death).
Why is Yaroslavna's voice heard on the Danube? (The spread of the voice of Yaroslavna throughout Russia. From Putivl, the voice of Yaroslavna through the Russian lands reaches the border river Danube. Personal grief (separation from her husband) acquires a common scale, significant for all of Russia).
Teacher. In "The Lay of Igor's Campaign" the image of Russia is created, which is at a crossroads, on the verge of death. You can draw a parallel between the image of Yaroslavna and the image of Russia.
Why is Igor's wife named by her patronymic, and not by her first name? (Name of the heroine by patronymic. What other heroine of "The Lay of Igor's Campaign" has a name? In the episode of the battle between the Russians and the Polovtsy, Vsevolod's wife is named Glebovna.
Why is Yaroslavna's voice heard on the Danube? (The spread of Yaroslavna's voice throughout Russia. At what distance are the Danube and Putivl from each other? Translation by A. Maikov: Igor hears Yaroslavna's voice (instead of pointing to the Danube). (separation from her husband) acquires a common scale, significant for all of Russia).
Why does Yaroslavna not mention Vsevolod, Igor's brother, in her lamentation? (Yaroslavna's lament is dedicated only to Igor, because he occupies a special hierarchical position - he is the prince of Novgorod-Seversky. Family interests are relegated to the background when the problem concerns all of Russia).
Teacher. In Yaroslavna's cry, the border between the personal and the general, the life of a person and the life of the clan, the life of the clan and the life of the people, is erased. But in some episodes, is the opposite situation observed? Igor and Vsevolod did not wait for the rest of the princes and went on a campaign alone in pursuit of personal glory.
Why is the episode called Yaroslavna's Lament?
What is crying? How is this word understood in relation to this work?
Crying is when they cry, shed tears for some reason. One of the meanings of the word “crying” is “a ritual mournful song” (dictionary of Ozhegov and Shvedova). Crying in "The Lay of Igor's Campaign" is a ceremonial (etiquette) form.
How many laments are there in the Lay of Igor's Host?
Teacher. Crying of Russian wives after defeat. The golden word of Svyatoslav is the male version of crying. Crying of Rostislav's mother, mentioned by Igor in a conversation with Donets (Rostislav is the young brother of Vladimir Monomakh).
Let us dwell on the cry of Rostislav's mother and compare it with the cry of Yaroslavna. What is the difference? Rostislav's mother is crying for the killed, and Yaroslavna - for the prisoner. In the mourning of Rostislav's mother, nature grieves for the deceased. In Yaroslavna's cry, nature should help Igor. In "The Lay of Igor's Campaign" only the text of Yaroslavna's lament is given. Rostislav's mother takes a passive position: she mourns the death of her son. Yaroslavna is active: she is trying to help her husband.
Is Yaroslavna's request being fulfilled? How are the two episodes connected: Yaroslavna's cry and Prince Igor's escape from captivity? (The forces of nature, to which Yaroslavna addresses, help Igor to escape).
Teacher. Seagulls and gogols, sensitive to the approach of a person, warn Igor about the approach of a chase.
Woodpeckers show Igor the way to the river. Woodpeckers live in thickets of trees growing in the valleys of steppe rivers.
What is the peculiarity of the word Yaroslavna? Elements of what verbal genre are present in Yaroslavna's cry? (Yaroslavna's cry is like a conspiracy, spell, prayer. Yaroslavna's word affects reality, transforms it).
Teacher. Appeal to the forces of nature and appeal to the Russian princes. Both contain a call to activity, to action. The escape of Prince Igor is a prediction that the author's word will also achieve its goal - the Russian princes will unite and save Russia.
Vi. Listening to crying performed by bunks. art. Russia A. Pokrovskaya (phono-restomatics for the textbook).
Vii. Pupils reading crying.
VIII. Summing up the lesson.
The poem "The Lay of Igor's Campaign" had an ideological and political significance, as it contained a call for the unification of the Russian lands against common enemies in the name of the prosperity of Russia and for the sake of future generations. And it is no coincidence that the poem ends on a major, optimistic, triumphant note: Glory to all who, sparing no effort. For Christians, he beat filthy shelves! Be healthy, prince, and the whole squad is healthy! Glory to the princes and squads, glory! Thus, the lament of Yaroslavna occupies an important place in the ideological and artistic content of the poem, since it expresses the general popular grief for the dead soldiers. With the immeasurable grief of a weeping woman, the author opposes the ideas of war and peace, affirms the idea of creation, and not the ideas of destruction and extermination that accompany any wars. In addition, Yaroslavna's cry reflected the typical character traits of a Russian woman, characteristic not only of our ancestors, but also of modern women in Russia. The author created an organic type of Russian woman, devoted to her husband and native country, whose sacrifice and love were later reflected in classical Russian literature. IX. Reflection.Guys, name one discovery that you made for yourself during the lesson.
X. Homework: Memorize Yaroslavna's cry. Prepare for your essay. Illustration (optional).
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On the campaign, he acted with exceptional courage, but he could not give up the pursuit of personal glory, and this led him to defeat. For the first time in the history of the struggle against the Polovtsy, the Russian princes - Igor and his brother Vsevolod - were captured. After...
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The genius of the author of a historical work has been recognized by literary critics of different eras. Most of them try to analyze the episode "Yaroslavna's Lament". Such a literary genre is extremely rare, it is closer to folk tales.
New genre
Literary critics have found in Yaroslavna's tears a resemblance to several literary genres: a song, an incantation, a lament, a cry. Song motives are confirmed by crying lyricism and repetitions. Crying can be sung, they add up to a single plot, reminiscent of the usual songs of women in various ritual events. The spell is related to content. A woman asks and demands at the same time. She seems to be casting a spell, standing on her feet, hoping to call all the forces of nature to her allies. A lament from a mother who was left alone and did not know how her fate would turn out. Lamenting is grief, suffering, it is this that lies at the heart of a woman's speech.
Yaroslavna's tears are a cry from the heart. Each line carries a special meaning. The sincere Russian soul of a woman is exposed and unites with nature. The author proves that the connection with the elements lies at the heart of the Russian character. A strong forest, a violent river, strong wind, warm sun are the epithets of female love. She is strong, durable and unshakable. Love lives throughout life, changing its strength, it warms and scatters dark clouds over the heads of its loved ones.
Turning to the river
The analysis of Yaroslavna's Lament begins with a woman's appeal to the elements of nature. In "Word ..." crying occurs several times. Scientists have counted and listed all the laments used in the text: Yaroslavna, the wives of Russian soldiers, the mother of Rostislav, Kiev, Chernigov, all of Russia. There is an increase in the significance of crying. From the tears of one woman, the author goes on to the grief of wives, widows and mothers. The cities are crying. The strongest cry is the entire Russian land. Russia cries with the wind, the rivers, the noise of the trees, the hubbub of birds.
Yaroslavna stands on the Jurassic, on the visors of the city fortress guarding Putivl. He flies like a cuckoo over the Danube and asks for help from the river. The Danube is a native river for a woman, it flows through the principality of her father. The flight of a woman is mental, figurative. She remembers the river, sees in it a huge force that should support her and help her husband.
Turning to the wind
Yaroslavna is crying in the wind. Such an appeal is familiar to many from the tale of A.S. Pushkin. A mighty wind blows under the clouds, cherishes ships, strokes the blue sea. The wind blew through the stone mountains. He passed easily through the Polovtsian lands. The good wind once helped Svyatoslav. The woman asks the natural element why she changed her attitude and turned away from the Russian soldiers. Yaroslavna's analysis "The Lay of Igor's Campaign" is interesting for the power of a woman's soul. She is like a bird not afraid of the wind. He flutters her wings, carries her thoughts, but there are no cruel impulses in him. The unity of the element and the woman can be traced here.
Turning to the sun
The sun gives everyone warmth. It is beautiful in the sky. All life on earth depends on him. Yaroslavna asks the sun why it burned the steppe, deprived her of water. Burning rays interfered with the Russian soldiers, tormented them with thirst. The sun twisted the bows. Istoma "shut up" the quivers. It was hard for the army of the prince. Yaroslavna sings the power of the sun and cries for the dead. The described battle through landscape paintings of a woman's speech becomes even more significant. All the hardships of the battle become clearer and more visible.
The meaning of nature
In crying, nature is not the background, she is the hero of the battle. The Russian landscape cries with Yaroslavna and rejoices at the return of Igor, his release from captivity. The crying song is connected with the wind, the sun, pours over the river. The fabulousness of the character and the reality of the event merge, making it impossible for the author to distract himself from the woman's speech. Nature like a magnet attracts the listener, distracts and calms the reader.
A woman's cry cannot be ignored. Crying in a work of art has the same effect.
It will become easier to write an essay "Analysis of the episode" Yaroslavna's Lament "with the help of the proposed reasoning, the information will be interesting and meaningful.
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The ideological and artistic role of the episode "Lament of Yaroslavna
"The Word about Igor's Regiment" is a monument of Old Russian literature. It was written in the XII century, during the period of early feudal statehood, when the country was in a state of fragmentation and the unity of the state was violated by civil strife and foreign invasions.
"A word about Igor's regiment", like every work of literature, has an ideological content and an artistic form, which is determined by the genre, genre, language, the whole system of means and techniques with the help of which the content is created. The composition of the work is closely related to this. Each episode is an important component, without which the work loses its meaning and form.
Yaroslavna's Lament is a very important episode in The Lay of Igor's Host. In this work there are some episodes that foreshadow the further development of events. Such episodes are: the moment when “the sun intervened for him (Igor) with darkness”; "Sleep of Svyatoslav", "Lament of Yaroslavna" - without them, the feeling of that time, the XII century, when the work was written, will be lost, since in Ancient Russia people deeply believed in various kinds of omens. The author creates an atmosphere with the help of this episode, thanks to such passages, the reader can now better understand the work.
The chronicle contained only a dry statement of facts, and the episode "Lamentations of Yaroslavna" is an element inserted by the author of the "Lay" to enhance the emotional sound of the work. Yaroslavna's Lament seems to bring us back to reality after the author's lyrical digression, in which he recalls the first Russian princes and their numerous campaigns against the enemies of Russia and contrasts them with contemporary events. In general, "The Lay of Igor's Campaign" was created in order to express the real reaction of the inhabitants of Russia to the events taking place, since this cannot be in the chronicle passage.
This episode carries a huge emotional load: the author's attitude to everything that happens is concentrated here. Apart from this episode, feelings are not expressed so openly anywhere else. The author was able to very accurately convey the suffering of Yaroslavna, thereby expressing the attitude of the entire Russian land to the events taking place. Indeed, for the history of Russia, this defeat was of no small importance. "The Lay of Igor's Campaign" is imbued with heroic and tragic pathos, that is, the emotional and evaluative attitude of the writer to the depicted. Also "Lament of Yaroslavna" is very important for the composition "The Lay of Igor's Host". Turning to the forces of nature, asking them for help, Yaroslavna seems to be preparing the flight of Prince Igor from Polovtsian captivity.
Without this episode, the logic of the narrative would have been violated, without it the idea, that is, the condemnation of the internecine war and the call of the princes to unite, and the problem is fragmentation and the path to unification, could not have been expressed so clearly in The Lay of Igor's Host.
The space in the "Word" is constantly changing, now expanding, now narrowing. At this moment, the artistic space in the work narrows to Putivl. In the episode itself, the space expands to enormous limits, since Yaroslavna, in her cry, reminiscent of a lyrical folk song, addresses all the forces of nature at the same time: to the wind, and to the Donets, and to the sun. “Nature in the Lay is not a background of events, not a decoration in which the action takes place - it is itself a character, something like an ancient chorus” (DS Likhachev). An appeal to all the forces of nature creates the feeling that a person is surrounded by a huge space. This conveys the views of people of that time, that is, the XII century, on the world: “... medieval man strives to embrace the world as fully as possible, wider, reducing it in his perception, creating a“ model ”of the world - as it were a microcosm ...” ( Likhachev D.S. Poetics of Old Russian Literature // Poetics of Artistic Space).
I read "The Lay of Igor's Campaign" in two different translations - by D. Likhachev and in a poetic translation by N. Zabolotsky. I think that reading several different translations gives the reader an opportunity to look at events from different angles and understand them better. Each translation shows the personality of the translator - he is, as it were, the author of the text. Zabolotsky's language is closer to the public, even spoken:
What are you, Wind, whimpering viciously,
That you are swirling mists by the river ...
While Likhachev:
Oh wind, sail!
Why, sir, are you blowing towards?
But still, we still have the feeling that this is a translation of an ancient Russian work thanks to the inversion:
At dawn wailing in Putivl,
Like a cuckoo in early spring
Yaroslavna calls the young
On the wall is a sobbing city ...
Zabolotsky uses various artistic techniques in his translation: personifications, comparisons, inserts his own pieces to enhance the emotional coloring. For example, Likhachev does not have such lines:
The fogs will fly away,
Prince Igor will open his eyes ...
...................................
You, sowing arrows of the enemy,
You only blow death from a height ...
That is, Zabolotsky gives more detailed, artistic descriptions. Likhachev predominantly uses metaphors, while Zabolotsky uses comparisons in the same phrases, for example: "... an unknown cuckoo early cuckoo" (D. Likhachev), "... like a cuckoo calls to the Jurassic." In both translations, a large number of personifications are used, since Yaroslavna addresses the wind, the river and the sun, as if she were alive: “My glorious Dnieper!”, “The sun is three times bright!”, “What are you, Wind ...”
Thus, the episode "Yaroslavna's Lament" is of great importance, both semantic and emotional. In this episode, conveying the suffering of Yaroslavna, the author expresses the state of the entire Russian land at that time.