Orthodox traditions in literature and art. Orthodoxy and Russian classical literature

All Russian literature is impregnated by the Spirit of Orthodoxy. Otherwise, it could not be, since the Russian people have always been deeply believes. And only with the statement of Soviet power, when everything related to the religion was prohibited, appeared in mass quantities and the state-promoted secular works of anti-religious orientation. Soviet people were brought up on them, they were inspired that religion was supposedly opium for the people. However, pre-revolutionary literature could not be finally predicted by oblivion, as the people cannot live without their spiritual roots. For these purposes, the Soviet writers chosen those works that, from their point of view, do not constitute any danger to anti-religious propaganda. The works of great Russian writers and poets have always been interpreted as patriotic, lyrical, but not like religious. We will consider the works of the most famous writers and poets, namely: Pushkin, Dostoevsky, in order to clarify what role the Orthodox spirituality occupies in their works.

Extensive literature about Pushkin almost always tried to bypass such a topic and in every way put it either as a rationalist, or as a revolutionary, despite the fact that our great writer was the full opposite of such concepts. The exceptional property of the artistic talent of Pushkin, so deeply exciting the entire inner life of his reader, is that it describes the various states of the human soul, not as an external observer, a label grabbing original and characteristic manifestations of life and human spirit: no - Pushkin describes his heroes as From the inside of them, reveals their inner life as it identifies the described type itself. In this regard, Pushkin exceeds other ingenious writers, for example, Schiller and even Shakespeare, in which most of the heroes are a solid incarnation of one passion and therefore inspire horror and disgust. At all at the Pushkin: here we see a living whole person, although they subjected to some passion, and sometimes suppressed by it, but still in it not exhaustive, who wants to fight and, in any case, experiencing grave flour conscience . That is why all his heroes, no matter how viciously, they excite in the reader not contempt, but compassion. These are his stingy knight, and Angelo, and Boris Godunov, and his happy rival Dmitry Samozvana. This is the same and His Eugene Onegin is a proud and idle person, but still a conscurable conscience, constantly reminding him of a killed friend. So, the very description of human passions in Pushkin's poetry is the celebration of conscience.

Oh! I feel: nothing can us
Among worldly seals to calm down;
Nothing, nothing ... united conscience.
So, hello, she will enthusiasm
Above angry, over dark slander ...
But if in it a single spot,
One by chance
Then - trouble! as a casualties
Soul burns, the heart of poison hills
As a hammer knocks in the ears of reproach,
And everything is nauseous, and the head is spinning,
And the boys bloody in the eyes ...
And I am glad to run, but nowhere ... terrible!
Yes, the pitiful pity, in whom the conscience of the unclean.

Pushkin was interested, first of all, vitally true, sought to moral perfection and in continuation of his whole life bitterly mourned his falls.

The repentance of Pushkin in his youthful sins was not just a splash of a valid feeling, but there was a close connection with his public and even government convictions. Here, what death words are wound in the mouth of the dying king Boris Godunov to his son Feodoro:

Keep, keep holy clean
Innocence and proud shortness:
Who feelings in vicious pleasures
In junior days I got used to drown,
He, indignant, sulling and blood
And his mind darkens it untimely,
In the family of his own, it is always glad;
Mother read, but conquer himself -
You are husband and king; love your sister
You can stay one keeper.

Dalted was Pushkin from the generally accepted paradox now that the moral life of everyone is exclusively its private thing, and its social activity is completely unnecessary to the first. Pushkin constantly thought about the inevitable outcome of human life:

I say: the years will be used
And how much you can see us,
We will all go under the eternal vaults -
And someone is close enough.

However, the thought of death inspires him not despondency, but the submission of the will of God and reconciliation with her lot:

... I visited again
That corner of the earth where I spent
Exile two years of invisible ...

The religious feeling of Pushkina did not only have a strictly individual character: before his consciousness, the image of the inspirational prophet was to be, to whom he turned out not once. It should be noted that the historical and critical literature of that time Pushkin did not understand. The genius poet discovered Fedor Mikhailovich Dostoevsky for us, who spoke at the solemn honoring of the poet in the "Pushkin Days" of 1880 in Moscow, when a monument was placed in the first-heart capital. Here F.M. Dostoevsky traded the Pushkin "Prophet". At these moments, both great writers were merged into a single creature, obviously, attaching to themselves the vision of the Prophet Isaiah, which Pushkin outlined in his poem:

Above it was mentioned about the religious experiences of the poet, who were inherent in him, regardless of his national and public attitudes. However, in these experiences, Pushkin affected not only as an Orthodox Christian, but also as a Russian man, whose beloved prayer was prayer. Ephraim Sirina, repeated in the temple during a great post with numerous earth bonquers:

Fathers Hoods and wives are immaculate,
So that the heart is amended in the region,
To strengthen it, the medium of luxury storms and battles,
There are many divine prayers;
But none of them fails me,
As the one priest repeats
During the days of the sad great post;
All more often it comes to mouth
And the fallen fastening unknown force:
Vladyko for my days! the spirit of idleness is sad
Lovely, snakes hidden this
And celebrations do not give my soul -
But let me be angry with my, oh god, more precise,
Yes my brother from me will not accept convicts,
And spirit of humility, patience, love
And the chastity in my heart is expelled.

With love reproducing the motives of Russian Christian piety in the types of Boris Godunov, the elder of Pimen and Patriarch Iova (Contemporanik Godunova), the poet does not repeat, of course, mocking reservations of other writers when they concern the Old Russian history. From his poems and dramas it is clear that he considers the religious mood of antiquity more spiritual, more evangelical than the mood of the modern society, and the latter prefers the piety of the simple Russian people:

When in the city, thoughtful, I wander
And I go to the public cemetery
Lattices, columns, elegant tombs,
By koim, all the dead of the capital rot ...
Above the inscriptions and in prose and in verse
About virtues, about the service and ranks ...
Such vague my thoughts aroused everything,
That evil on me is despondent ...
But how do you like
Autumn sometimes, in the evening silence,
In the village, visit the cemetery of the generic,
Where the dead is dreamed in solemn rest ...
Near the stones of age-old coated with yellow moss,
Sylinine with prayer and with a sigh;
In place of idle urns and small pyramids,
Manless geniuses disheveled harit
There is a wide oak over important coffins,
Hesitating and noise ...

Without allowing himself jokes over piety of pure church, Alexander Sergeevich indignantly at the Intelligent Headache, in which religiosity merges with pride, and clearly understood how popular piety was imbued with the beginning and to the end of the Smith-diversion, elevated and cleaner and merchant piety. An example is the above poem, in which it compares urban and rural cemeteries.

Thus, the life of the Great Poet represented its constant struggle with himself, with his passions. It may seem that these passions won, so we know that, yielding to the feeling of strong jealousy, he called hecker on a duel, that is, to a fight, the outcome of which should be the murder - mortal sin. However, being wounded, being on the mortal apparent, he was reborn spiritually, as evidenced by the memories of near A.S. Pushkin. "And especially remarkably, - Writes Zhukovsky - that in these last hours of life, he seemed to be different: a storm, which in a few hours worried about his fierce passion, disappeared, disappeared without leaving no trace on it; Not a word, below memories of the duel. " But it was not a loss of memory, but internal increase and purification of moral consciousness. When his comrade and second (for duels), "says Prince Vyazemsky," he wanted to know in what feelings for heckker he dies and would not entrust whether to dismiss the murderer, then Pushkin answered: "I demand that you will not be amended for my death; I forgive him and want to die a Christian. " Before his death, the poet was involved in the communion of the Holy Taine.

One of the outstanding Russian writers is Fedor Mikhailovich Dostoevsky. It belongs to that relatively small part of mankind, which is referred to as people who carry fire, never ceasing their souls in the search for truth and following it. It was a man burning a search, looking for a shrine, the highest truth - not a philosophical distracted and therefore the dead truth, mostly not a binding person, but the truth of the eternal, which should be incarnate and maintain a person from spiritual death. Only from the point of view of eternity it is possible, for Dostoevsky, talking about the truth, for it is God himself, and therefore the renunciation from the idea of \u200b\u200bGod will inevitably lead humanity to death. In the melting demon in the "Karamazov brothers", Dostoevsky vague the following significant words: "In my opinion, it is not necessary to destroy anything, but you only need to destroy the idea of \u200b\u200bGod in humanity, that's where to make a business! From this, it is necessary to begin with this, - oh, blind people, not understanding anything! Once mankind will renounce the magnitude of God, then herself, without anthropophage, all the former worldview will fall and, most importantly, all the former morality, and everything will come. People copulate to take everything she can give from life, but certainly for happiness and joy in one world world. A person will be exalted by the Spirit of God, Titanic Pride and the man will appear ... And he is "everything is allowed" ... there is no law for God! Where God becomes - there is already the place of God! Where I will become, there will be the first place now ... "Everything is permitted" and Shabash! "

The thought of the great meaning for a man of faith in God and the immortality of Soul Fedor Mikhailovich expresses and develops in many of his writings and performances, and it undoubtedly concludes the main rod of his life and creativity, the source of his bomochety, who led him to Christ and the Orthodox Church .
The main subject of the thought of Dostoevsky is the heart, a man's soul.

But the person considered Dostoevsky not usually, not like most. He saw his task not in a simple image of his life, all visible, not in realism, often reminiscent of naturalism, but in the disclosure of the very essence of a man's soul, the deepest driving ones began, from where all feelings, mood, ideas, all human behavior arise . And here Fedor Mikhailovich showed himself an unsurpassed psychologist. His appearance comes from the Gospel.

It opened him the mystery of man, discovered that a person is the image of God, who, although in his god-farmful nature, is clean, it is beautiful, but in the virtue of the fall deeply distorted, as a result of which his heart began to grow on Earth. Thus, in the fall of a person, the nature of which is now called natural, at the same time there are also seeds of good, and the spillings of evil. What is the saving of man in the Gospel? In the experienced knowledge of the deep damage of their nature, the personal inability to eradicate this evil and through that - the effective recognition of the need for Christ as the only Savior, that is, live faith in it. This faith itself occurs in man only through sincere and constant coordinating itself to the commission of the Gospel Good and the fight against sin, who opens it with his real impotence and humble him.

The greatest merit of Dostoevsky is that he not only has known his fall, has come and came through the most difficult struggle towards the true faith in Christ, as he himself said: "Not as
The boy I believe in Christ and confessing him, and through a big burned doubt my guardnaya passed, "but also in the fact that in an unusually bright, strong, deep artistic form revealed this path of the soul in the world. Dostoevsky, as it were, once again, Christianity missed the world, and so, as apparently, none of the secular writers have not yet done before nor after him.

In humility sees the Dostoevsky foundation for the moral revival of the person and to take it by God and people. Without humility, there can be no correction in which everyone needs without exception, because there is evil, and great evil. "If used only," says Dostoevsky's mouthpiece in "humiliated and offended," - it could be (which, however, can never be on human nature), if it could be that each of us describe all of her remote, but so so that it is not afraid to present not only what he is afraid to say and never tells people for people, not only what he is afraid to say to his best friends, but even then what is afraid of being confered to himself, - then The light would have risen so so Smraff that we all had to suffocate. "

That is why everywhere and everywhere, if not in a word, then the hero depicted by the life of Hero, his falls and uprisings, Dostoevsky calls for a person to humility and labor over himself: "Smiri's pride, a proud person, work on Niva, a celebratory man!". Humility does not humiliate a person, but, on the contrary, puts it on the solid soil of self-knowledge, a realistic look at himself, in general, for a person, since humility and there is the world, thanks to which only a person sees himself as he really is. It is evidence of the great courage, who did not know the escape to meet the most terrible and inexorable rival - the conscience of his own. Proud and vain is not under power. Humility is a solid basis, salt of all virtues. Without it, virtues are degenerated in hypocrisy, a hypocrite, pride.

This thought constantly sounds in the work of Dostoevsky. She is for him a kind of foundation, on which he builds a rare in the depths of the insight of the psychoanalysis of man. Hence the extraordinary truth of the image of the inner world of man, the innermost movements of his soul, its sin and fall and at the same time the deep purity of his and the holiness of God. At the same time, it is never felt by the author whoever the condemnation of the person himself. In the mouth of the senior Zosima Dostoevsky invests wonderful words. "Brothers," the old man tells, do not be afraid of the sin of people, love a person and in his sin, because this is already a similarity of God's love and there is a top of love on earth ... and do not confuse you to the sin of people in your business, do not be afraid that he will scatter Your business will not let him take. Running this despondency ... Remember, especially, you can't be a drawier. For the judges of the criminal can not be on earth, before the judge himself does not know that he is as definitely a criminal, as well as standing in front of him, and that he is for the crime standing in front of him, maybe before everyone is to blame. "

But it is not so easy to know. Not many are able to see in themselves, "what and he is exactly the criminal." Most of themselves in general are good. That is why the world is so bad. The same, which are becoming capable of seeing that "everything is to blame for all", to see their personal crime before the internal law of truth and repent, are deeply transformed, because they begin to see God's truth, God.

Yes, and what they mean by God all the affairs of human! All of them are no more as a "Lukovka", which Alesh is Serenyka ("The Brothers of the Karamazov"): "I just filed a bowl of some life to my whole life, just on me and there are virtues." The same says Aleš in a dream and his righteous old man of Zosima, who was honored to be on the marriage Peter, the Lord. The old man came up to Alya and tells him: "Also, dear, too, called, called and is called upon. Cheerful. I filed a bowl, so I'm here. And many here only in Lukovka filed, alone only with a little lyhead ... What are our business? " This state is really the state of the Gospel Motar, who came out of the temple, according to the word of the Lord, justified.

We see such a mood and the drunkard of Marmaladov ("Crime and Punishment"), when he speaks of the terrible court of God: "And everyone will judge and forgive, and good and evil, and wisdom and humble ... and when he will finish over everyone, then Retractive and to us: "Get out, say, and you! Get out drunken, go out weak, leave the Corrugates! " And we will go out, without having, and become. And say: "Pigs you! Image of animal and printing it; But take and you! " And the wisdom will be raised, rational will be raised: "Lord! Will posting this? " And say: "Therefore, they accept them, wise, therefore they accept them, reasonable, that he himself did not consider himself a worthy of this" ... and she is silent to us, and we fall ... and I will write ... and we'll understand everything! Then we will understand everything ... and everyone will understand. " So amazingly shifted the Dostoevsky beginning and the basis of the evangelical teaching about salvation - "Blessed in the spirit of the Spirit, Yako those who are the kingdom of heaven" - into the language of modernity: "Because neither one of himself did not consider himself a worthy of this."

Only on this unshakable basis, the "poverty of the Spirit" is possible to achieve and the goal of Christian life - love. She approves the gospel as the law of life: only in it it promises the benefit, the happiness of man and humanity. This love is as the power of healing, reviving and preaching Dostoevsky in all, can be said, works, he calls people.

Not about romantic, of course, the love is speech. Dostoevsky's love is the pity of the same Prince Myshkin to the merchant Rogozhina who had hit his merchant, this is a compassion for the suffering body and soul near, finding him: "Brothers, do not be afraid of the sin of people, love a person and in his sin."

Recall the final scene from the "Karamazov Brothers", when Rakitin, a seminarist, evil rejoicing, leads Alya to hero, hoping to see the shame of the righteous. But the shame did not happen. On the contrary, the pear was shocked by pure love - compassion for her Alyosha. All the bad evidence disappeared from her when she saw it. "I don't know," she said Rakitin, "I don't know, I don't know anything that he said to me, my heart I turned my heart ... He regretted me first, one, that's what! "Why did you, Cherub, did not come before, she turned to Alya, falling to his knees, as if in a frenzy. "I have all my life, as you, waited, knew that someone would come and forgive me." I believed that someone would love me, gloomy, not for just alone! " "" What I did to you, "smiling in a darkness, Alesha replied, hitting her and taking her hands," I filed a luthfully, one of the smallest lows, only, only! " And, saying, I planted. "

I wanted Dostoevsky showed and showed with all the power of my talent, that God lives in a man, lives in a man well, despite all the one apparent dirt that covers himself. Although it's not an angel a man in his life, but not an evil animal in his essence. He is the image of God, but the fallen. Therefore, Dostoevsky and does not pronounce the trial of the sinner, which sees in it the spark of God as a pledge of his uprising and salvation. Here is Dmitry Karamazov, a man's shaver, loose, with the temper, unbridled. What is happening in the soul of this terrible person, who is he? The world uttered his final judgment about him - the villain. But is it true? "Not!" - Approves with all the power of his soul Dostoevsky. And in this soul, in its depth, it burns, it turns out, the lampade. This is what confesses Dmitry Aleche, his brother, in one of the conversations: "... I happened to dive into the deepest shame of debauchery (and I only happened to me) ... And so in the very same shame, I suddenly start the anthem. Let I curse, let I be low, podl, but let me whole the edge of the rhyme, in which my God is checked; Let I go at the same time following the hell, but I still and your son, Lord, and I love you, and I feel joy, without which the world can not stand and be ... ".

That is why, in particular, it believed Dostoevsky to the Russian people, despite all his pregressions. "Who is a true friend of mankind," he called, "who at least once had a heart on the suffering of the people, he will understand and apologize to all the impassable apparent dirt, in which our people are immersed, and it will be able to find diamonds in this mud. I repeat: judge the Russian people are not on those vocations, which he so often does, but for the great and holy things, for which he is constantly sighs in his heart ... No, judge our people are not because it is, but What would wish to become. And the ideals of his strong and saints, and they saved him in the age of torment. "

How did Dostoevsky show this beauty of the human purified soul, this invaluable diamond, which mostly all is littered, littered, mud a lie, pride and a small town, but again begins to sparkle, washed by tears of suffering, tears of repentance! Dostoevsky was convinced that therefore a man sins, so he was often angry and bad that he did not see the beauty of her genuine, he sees the soul to his real. In materials to "Besams" we find him as follows: "Christ then came to the mankind to find out that both his earthly nature, the Spirit of human can appear in such a heavenly shine and in the flesh, and not that in one dream and Ideally, what is it and naturally possible. " Kirillov in "Beams" speaks of all people: "They are not good, because they do not know that they are good. We must learn what they are good, and everyone will immediately become good, everything is up to one. " It was about this beauty that imagined the spiritually cleaned hand of man, said Dostoevsky, when she argued that "beauty will save the world" ("idiot").

But it turns out that the beauty of this saving, as a rule, opens to a person in suffering, through the courageous carrying of his cross. It is not by chance that there is a dominant place in the work of Dostoevsky, and its justice is called the artist of suffering. They, like fire gold, the soul is cleaned. They, becoming a repentance, revive the soul to a new life and turn out to be the redemption, which every person is eager, deeply aware and experienced his sins, his abomination. And since all the sinners, then suffering, for Dostoevsky, are needed to all like food and being. And the bad soul that does not feel this need. "If you want," he writes in a "notebook," - a person must be deeply unhappy, because he will be happy. If he is constantly happy, he will immediately be deeply unhappy. " "Mount Jolls the Great," says the old man of Zosim Aleche, "and you will be happy to be happy in Mount. Here is the covenant: in the grief, you look for the happiness. " For, through the suffering, there are sometimes terrible crimes, a person is exempt from his inner evil and his temptations and turns back to God in his heart, saves.

This salvation Dostoevsky sees only in Christ, in Orthodoxy, in the Church. Christ for Dostoevsky is not distracted moral ideal, not an abstract philosophical truth, but absolute, extensive personality benefit and perfect beauty. Therefore, he writes to Phonwan: "If there is someone who proved to me that Christ is out of truth, and it would indeed be that the truth is out of Christ, I would better like to stay with Christ than with the truth." It is precisely because he with such sarcasm speaks through Alesha Karamazova about the pseudo-studing Christ: "I can not pay all two rubles instead, and instead of" go after me "walk only for dinner." In this case, indeed, only the "dead image that worships in churches on holidays is worshiped, but there is no place in life."

Thus, speaking of the work of Dostoevsky, it is safe to say that its main directions and spirit of his Evangelical (although he had separate erroneous statements and ideas from theological point of view). As all the gospel is permeated with the spirit of repentance, the need for awareness of the man of his sinfulness, humility, - in a word, the spirit of Motar, the harmnica, the robber, soldered with the tears of repentance to Christ and received cleansing, moral freedom, joy and light of life - and the whole spirit of works Dostoevsky breathes the same. Dostoevsky, it seems, only writes about "poor people", about "humiliated and offended", about "Karamazov", about "crimes and punishments", reviving a person. "Revival, - emphasizes Metropolitan Anthony (Khrapovitsky), - this is what Dostoevsky wrote in all his own reports: repentance and rebirth, sin and correction, and if not, then fierce suicide; Only about these sentiments the whole life of all his heroes rotates. " He also writes about children. Children everywhere in the writings of Dostoevsky. And everywhere they are holy, everywhere as the Angels of God among the terrible, depraved world. But not children or the kingdom of God!

It is often believed that in the "Legend of the Great Inquisitor" especially harshly and hardly draws a Dostoevsky Nonsense of a person who is not on the shoulder of the "burden" of Christian freedom. But it is forgotten that the words that Christ "judged people is too high" that "the person is created weaker and lower than Christ think about him," that these are all the words of the Great Inquisitor - deliberately they are told to justify the transformation of the church People in slaves, which he closes. The disbelief in his man he is just rejected by Dostoevsky, although the "legend" and contains so many deepest thoughts about the problem of freedom. The main truth about a person remains for Dostoevsky that it is impossible to live a person without God - and who loses faith in God, he becomes (at least without reaching the end) on the path of Kirillov ("demons"), that is, it comes to the path of human sit.

Recent minutes of the life of Dostoevsky, who reveal to us the spiritual dispensation of the author of immortal creations. "At 11 o'clock, the throat bleeding was repeated. The patient felt extraordinary weakness. He called the children, took them by his hands and asked his wife to read the parable of the prodigal son. " It was the last repentance, who crowned far from a simple life of Fyodor Mikhailovich and who showed the loyalty to His Spirit Christ.

Rightly spoke by V. Solovyov in his "second speech" about Dostoevsky: "People of faith are creating. These are those called dreamers, utopians, yurodivny, - they are the prophets, truly the best people and leaders of mankind. This person we remember today! "

"There is no god of a person in a person," one Professor at Chekhov is deeply noticed deeply.

And Chekhov himself, not being a man believer, at the end of his life began to foresee the writer, where the truth, the meaning of life and happiness, they find her last permission, became more and more clearly and more persistent, everything is more insistent that he gives a man spiritual peace and Only religious faith of his life seeks him. In the last of their works, he has repeatedly concerned this issue, and in the play "Uncle Vanya" he was sufficiently clarified and positivity spoke through the recognition of an unreasonable life, spiritually broken, but the believer Sony. When her related relationships were not at all satisfied, personal happiness collapsed when, it seemed that nothing was left for she, there was nothing light and the meaning of life was lost, she finds the opportunity to console her uncle Vanya: "We, Uncle Vanya, will live. We live a long-long series of days, long evenings; We will patiently demolish the tests that fate will send us; We will work for others and now, and in old age, not knowing the rest, and when our hour comes, we will die and there we will say that we have suffered that we cried that we were bitter, and God sprinkles us, And we are with you, uncle, a cute uncle, we will see life with a light, beautiful, elegant, we will get ready for our present unhappiness with moutigation, with a smile - and rest. I believe, uncle, I believe hot, passionately ... We will rest! .. We will rest! We will hear the angels, we will see all the sky in diamonds, we will see how all the evil earthly, all our suffering will be strengthened in mercy, which will fill the whole world, and our life will become quiet, soft, sweet, as caressing. I believe, believe ... "

And Blessed Sonya in this faith. Only faith is one of her, in her cash mental state, can support, strengthen and life to make love again, despite the strong disappointments that have already experienced ...

At M. Gorky in his former works hardly, it is hardly a single positive type - it is a bow, in the composition "on the bottom" - always calm, balanced, quiet, judicial, everyone is satisfied and, apparently, happy. But he - named Lord "Jesus Christ" on the lips and with faith in God in the heart. This is how he comforts the dying, scored and unhappy suffering Anna: "Drain - rest, says. I will call you to the Lord and say: Lord, looking for, now the slave of yours came, Anna ... And the Lord will look at you crotko-affectionately and says: I know Anna this! Well, say, take it, Anna, to heaven. Let him calm down ... I know, she lived very hard ... Very tired ... Give peace Anna ... "

What world brings to the soul from reading these words! How calmly, complacently should feel having such faith. And the complacency is not a sign of burghers of happiness. Luke himself calls himself a wanderer, for, according to him, and "Earth, they say, the Western itself ...". With faith, such all bewilderment is soothered, issues are allowed, and the biggest for all of us is the question of suffering, clothed in the brightest shape ... And on the contrary - without faith, everything is dark and terribly hard.

Tatiana's rights (from the "Messen" M. Gorky), which said that "who can't believe in anything, he could not live ... He must die."

M. Gorky, with all his writer denied religion, in one of his own behaience of "Confession" spoke to the mouth of various characters it otherwise ... "Vera," according to a certain wanderer, - a great feeling and creative "; According to one girl, "without seeing God - it is impossible to live," but according to the recognition of another unfortunate woman, "without seeing God and people can not love." According to Gorky, "Many are looking for God" or Christ; And the hero himself his story - Matvey is the most typical foreman.

Thus, it becomes obvious that the theme of faith, Orthodoxy, affected by many writers, as those who recognize themselves believers and not relating to any religion as bitter, Chekhov and others. This tells us that anyone early or later begins to think over the meaning of life, over the root cause of our being, and, in the end, comes to faith in God.
SVT. John (Archbishop) San Francisky wrote: "Culture is human labor, driven by love, she is a daughter of love and freedom ... True culture is a human connection with the Creator and with the whole world ... This connection is called religion."

In the case of a separation from Orthodoxy, instead of culture, its opposite is inevitably "blooming" or later, the so-called anticulture, in one form or another, promoting evil.

1. Anastasius (Gribanovsky), Metropolitan. "Pushkin in his relation to religion and the Orthodox Church", Munich, 1947
2. Anthony (Stopovitsky), Bishop. "Pushkin as a moral personality and an Orthodox Christian", "The Best of the Blessed Anthony, Metropolitan of Kiev and Galitsky" (T. IX, N.-I., 1962, p. 143-157)
3. Anthony (Stopovitsky), Bishop. A word of Panihid about Pushkin, said at the University of Kazan on May 26, 1899, a complete collection of its writings (T. I, SPb., 1911).
4. Emitting John, Archpriest. "Memory A.S. Pushkin. Eternal in the work of the poet ", the full collection of works by I.Vostorgov (T. I, M., 1914, p. 266-296).
5. Zenkovsky Vasily, Archpriest. History of Russian philosophy. Paris, 1989.
6. Lepakhin Valery. "Fathers Dressmen and Wives are immaculate ... (Experience's experience)» Journal of Moscow Patriarchate. 1904, № 6, p. 87-96.
7. Osipov A. I. "F. M. Dostoevsky and Christianity. By the 175th anniversary of the birth, the magazine of Moscow Patriarchate, No. 1, 1997

Spiritual tradition in Russian literature it The understanding of the Christian essence of the person and the Orthodox picture of the world in the literature, having a transistoric character. "The word about the law and grace" Metropolitan of Hilarion - the beginning of the history of the Old Russian literature - sounded either before the Easter Morning Main Service, or, most likely, on the first day of Easter on March 26, 1049 (Rosov N.N. Synodal List of Hilarion's Works - Russian Writer XI Century) . Trying to "consider the Christian foundation of Russian literature (Gogol, Dostoevsky, Tolstoy, Turgenev)" (Provin M.M. Diaries.), It is impossible to miss from sight that for many generations of Russian people is not so much home reading, how much the liturgical practice was the main way Mastering the text of the Holy Scriptures. According to A.S. Pushkin, it is "Greek religion, separate from all other, gives us a special national character" (A.S. Pushkin. Notes on Russian history of the XVIII century, 1822). This affected the literary texts of even those Russian authors who could and not take other parties to Christian religion.

The Russian literature of the first seven centuries of its existence is clearly Christcentric, that is, initially oriented primarily on the New Testament. Old Testament texts are understood at the same time on the basis of the Orthodox picture of the world. The main appointment of this literature is the coercuring of man. In Russian literature, 19-20 centuries, Christsentrism manifests itself as directly and much more often implicitly: the author's spiritual, ethical and aesthetic orientation is not always rationalized and conscious - to the identity of Christ: the installation of ancient Russian literature on "imitation" is too alive in cultural memory Christ ("Brothers Karamazov", 1879-80; "Idiot", 1868, F.M.Dostoevsky; "Lord Golovyov", 1875-80, M.E. Saltykova-Shchedrin). From here, in part, the maximal ethical demands on the hero of the literary work of Russian classics are clear, much more stringent than in the Western European of the same historical period. It is precisely because in the consciousness of the author, there is always "the best", so little in the Russian literature "positive" heroes, withstanding comparison with a given old Russian book tradition of moral height ("Student", 1894, A.P.hekhov). The constant fear of spiritual imperfection in the face of the ideal Saint Rus, the fear of the inconsistency of the low cash of this high definition makes all other earthly problems of human life secondary and insignificant.

Hence the constant desire for the formulation of "damned issues." From here - love for poor, whitewash, beggar, patient, patient and the aestheticization of this patience, love to your neighbor - with all the understanding of his imperfection: orientation to the ethical absolute and as an absolute acceptance of the world, what is it. The deep, close and never interruption with the new covenant is the main thing that constitutes the unity of Russian culture as a whole. When analyzing the works of Russian classics, it is necessary to keep in mind that it is often " the hidden impact does not stop and then when the Orthodox Tradition does not remember"(Averintsev S.S. Byzantia and Russia: two types of spirituality). Even a sharp rejection of individual authors of the Orthodox spiritual tradition indicates its special significance for Russian literature. The external informality of a number of works of Russian classics, Polyphony of Dostoevsky and evasion from the formulation of the "last truth" in the works of Chekhov, with all the obvious difference of artistic systems of authors, have a common denominator: the Orthodox vision of the world, rooted in the Orthodox type of culture. And at the level of building text, and at the level of the completion of the hero, the author was observed as it would be trepid to the authorities over the "other" (hero), the thrill before the possibility of the final and last completion of the world, the uncertainty in his right to the role of a neighbor's judge (albeit only as a fictional character). After all, the final truth said, fixed by the text of the work, as if he would take the hope of the transformation and the possibility of spiritual salvation, which cannot be taken away until the "other" alive. The claim for the completion of the hero - as if encroachment on the last trial of him, whereas only God knows about the Higher Personality and the last truth. Within the limits of the earthly world, recreated in the artistic work, the last truth about a person becomes known only after his death. "Equality" of the author's votes and the heroes of Dostoevsky, where M.M. Bakhtin insists, has the same depth origins rooted in the Orthodox Russian spirituality. The author and hero are in fact equivalent - but it is before the person of that absolute, and not the relative truth, which is given only to God in its entirety. It is in relation to this highest truth that any other is relative, any idea of \u200b\u200ba thought, according to F.I. Tyutchev, "there is a lie."

Russian literature of the 19th century in his main spiritual vector did not oppose the centuries-old Russian Orthodox tradition, as it was tried to prove it for a long time, but, on the contrary, it grown from this tradition, from the Russian Easter archetype and the ideas of the Council. The literature of the Silver Century is largely determined by the collision between the artistic tendency to preserve the traditional Russian literature of the Orthodox and attempts to the global transformation of the spiritual dominant of Russian culture. However, even in the Russian literature of the Soviet period, the presence of the leitmotifs of the Orthodox tradition can be stated, although in the latent form (A.P.Platonov, MM Prishvin). At the same time, in a number of works of Russian literature of the 20th century, all the fullness of this tradition is sometimes polemicly explicated ("Summer Lord", 193348, I.S.Sheleva, "Dr. Zhivago", 1957, B.L. Pasternak).

Notes

1. Bible, New Testament, MF. 7; 13; 14. - M.: International Publishing Center for Orthodox

literature, 1994. - 1018 p.

2. Dunaev M. M. Orthodoxy and Russian literature: studies. Manual for students of spiritual academies and seminary. - M.: Christian literature, 1996. - P. 190-200.

3. Ivanova S. F. Introduction to the Temple of the Word. - M.: School Press, 1994. - 271 p.

4. Lermontov M. Yu. Works. - M.: True, 1986. - T. 1. - 719 p.

5. Pushkin A. S. Works. - M.: Fiction, 1985. - T. 1. - 735 p.

L. N. Kuvaeva

Christian traditions in Russian literature

The article discusses the special public socio-educational role of Russian classical literature, as well as the study of Christian-oriented texts, and, above all, the Bible itself, at school.

Keywords: literature, Christian texts, training and education at school.

Christian Tradition in Russia Literature

The ARTICLE DEALS WITH A PARTICULAR PUBLIC AND SOCIAL EDUCATIONAL ROLE OF THE RUSSIAN CLASSICAL LITERATURE AND STUDYING THE ROLE OF CHRISTIAN-ORIENTED TEXTS, AND ABOVE ALL, THE BIBLE AT SCHOOL.

Keywords: Literature, Christian Texts, Training and Education in Schools.

Russian Orthodoxy faced with actual literature historically recently, coexists with her about two hundred years. The insurgent Orthodox thinkers revealed it important for Christians meaning. The Orthodox view of the literature, in the most common features, is to understand the literature, poetry as a kind of God's gift, allowing people to open the truth incomprehensible in other ways, which can become a step towards the Higher Pravda. This view, according to which the literature on such a high location is introduced into the hierarchy of values, goes back to the appearance of the Apostle Paul's idea that the mental development of a person precedes his spiritual development: "Summer soul body, the spiritual body rises the spiritual body" (1 Cor. 15, 44) . Literature not only retained, but also brilliantly developed the ability to open the truth, turning not only to the heart, but also the human mind. And almost always, in all civilizations literature in its best samples was recognized as a mandatory element of the education of children - it was also in pre-revolutionary Christian Russia.

Literature and world poetry show us the depth and complexity of the human person, convincing us that a person is not a product of the environment and production relations, but represents something much more complex and significant for us. In this rebirth, the return of the destroyed world, the restoration of communication with it is a huge

and the Russian classical literature was playing a completely special role. She practically revealed to us that Russia, which was when, the separation of good and evil, the foundations of the past life, as well as the idea of \u200b\u200bhonor and mercy, conscience, which long existed in the Soviet society as the remnants of the old one, not letting it finally erase the human man. And that, maybe the most important, faith in God, announced by the lie, ridiculous remnant, the lot of backward old, "opium for the people", pose from the pages of these books the most important part of human life, the object of the most difficult reflections and difficult and painful doubts. And the height and light that the Russian classic books have been accustomed to the heroes of Russian classic books were accomplished. Despite all the prohibitions and pressure of the authorities continued to exist with genuine literature - persecuted, incorporated, wrote Akhmatov, Bulgakov, Pasternak, Tsvetaeva and Mandelstam, Tvardovsky. The symbol of the new genuine literature became A. Solzhenitsyn and such different on the scale and nature of the talent writers and poets, like Shalamov, Rasputin, Astafiev, Iskander, Brodsky, Abramov, Belov ...

In one of the letters of F. M. Dostoevsky, we find: "Above all this (literature), of course, the Gospel, the New Testament in translation. If you can read in the original (in Church Slavonic), that is, we would only be better than the Gospel and Acts of Apostolic -News. "

Conducting that the understanding of the spiritual life of the people, the explanation of the words born in it and images is possible only with the knowledge of the key texts that have made this culture, we conclude the need to get acquainted in the literature lessons with the Bible as one of the key texts of European and including Russian culture.

Refusing at one time from the Bible as from the foundation of Christian creed, we also refused from the most important canonical text, the content and significance of which, of course, are not exhausted by its religious aspect.

Trying to return the Bible to school, you need to take a look at it, first of all, as one of the first written texts (translation), which is an economical text of texts, including different genres. The meaning of the Bible study lessons is not a review with a historical comment. The goal of classes is to convey to students the artistic perfection and religious and humanistic, human content of the greatest monument of world culture, help them feel the originality of the poetic language of the Bible, its highest artisticness; Determine the value of the Bible in the context of world literature.

The Bible is a literary monument, which weigh the whole of our written verbal culture. Images and plots of the Bible inspired not one generation of writers and poets. Against the background of biblical literary stories, we often perceive today's events. This book has the beginning of many literary genres. Prayer, Psalms found a continuation in poetry, in chants. Many biblical words and expressions became proverbs and sayings, enriched our speech and thought. A variety of plots formed the basis of the stories, the leads, the novels of writers of different peoples and times.

"Russian literature to the task of his and the meaning of existence in the ignition and maintaining spiritual fire in the hearts of human, - notes M. M. Dunaev. - What is coming from the recognition of conscience by the measure of all life values. "

This sensitively perceived and accurately expressed N. A. Berdyaev: "In Russian literature, in the great Russian writers, religious topics and motives were stronger than in any

the work of the world. All of our literature of the XIX century was injured in a Christian theme, she is looking for salvation, the whole she is looking for deliverance from evil, suffering, horror of life ... The connection of flour about God with a torment about a person makes Russian literature Christian even when in the minds of Russian writers retreated From the Christian faith. "

An student familiar with the Bible does not have to impose his explanation when reading such works as the "Prophet" A. S. Pushkin or M. Yu. Lermontov, "Crime and Punishment" F. M. Dostoevsky, "Poem of Yuri Zhivago" from the novel B. L. Pasternak "Dr. Zhivago", I. Shmelev "Summer Lord" and others. Such a student is already focused on the literature, knows how to independently compare the "Judas of Iskariot" L. Andreeva and the essay of the Bulgakovsky master, and in their respect to the Bible. To organize work with children to study works in comparison with biblical texts, we have developed didactic materials that consist of a system of issues and tasks for the work (or episode) and an informant card. The information card includes texts from the Holy Scriptures, reference material from encyclopedias, dictionaries, works or excerpts from works of writers or poets (for comparison), excerpts from critical works of literary critics.

In our opinion, the Bible as the key text of the culture should be used in the school course of literature. She elevates children spiritually and touches them emotionally.

"The people who forgot their culture disappears as a nation," wrote A. S. Pushkin. In order to avoid this, it is necessary to take care to ensure that our children become not only the heirs of their domestic culture, but also the successors of her best traditions. And the main role in this belongs to the Literature Teacher.

Turning to the study of the classical works of the X1X-twentieth centuries in the lessons of the literature in the senior classes from the point of view of the use of Christian scenes and images in them, we solve the following tasks:

Attachment to the spiritual heritage of their people;

Educating love and respect for homeland, to their people, to its culture, traditions;

Formation of students of the ability to determine their attitude to the read, interpret the canonical text in the context of creativity of one or another writer.

Acquaintance with the main artistic versions of Christian scenes will help students comprehend the value orientations of modern culture.

An outstanding scientist, linguist, philologist and philosopher M. M. Bakhtin rightly notes: "In every culture of the past, there are huge semantic possibilities that remained not disclosed, not conscious and not used throughout the history of the life of the culture. Antiquity herself did not know the antiquity that we now know. The distance in time, which turned the Greeks in the ancient Greeks, had a huge transformed value: it was filled with disclosure of all new and new semantic values, which Greeks really did not really know, although they themselves created them. "

One of the realities of modern life is the substitution of values. In connection with this comment, it is impossible not to lead a commentary on the poem about the great inquisitor of the famous English writer D. Lawrence: "I re-read the" great inquisitor ", and my heart falls. I hear the final refutation of Christ. And this is a devastating result, because it is confirmed by the long experience of humanity. There is a reality against illusions, and illusions - in Christ, whereas the current

meni denies his reality ... It is impossible to doubt that the Inquisitor utters the final judgment of Dostoevsky about Jesus. This judgment, alas, such: "Jesus, you made a mistake, people have to correct you." And Jesus in the end silently agrees with the Inquisitor, kissing him, like Alyosha kisses Ivan. "

Similar paradoxical reading of Dostoevsky, and the psychological novel made by the master, once again convinces that in the XXI century the problem of understanding the Christian traditions and the meaning of their interpretation was aggravated.

Polemical understanding of the Bible is relevant in science, journalism, fiction. Speaking in literature lessons on the use of Christian plots and images, it is necessary to remember that we are interpreted by the canonical text in the work of a writer, but not copying biblical stories and is not an attempt at any author to create your Scripture.

Interest in the Bible does not weaken from scientists, philosophers, writers for centuries. The need to appeal to the Bible, its huge educational significance emphasized L. Tolstoy: "Replace this book it is impossible." A. S. Pushkin called her "key living water." The appeal to the Bible in the lessons of literature is to displacing the confusion of us, the revival of the Russian self-consciousness.

"To be Russian - it means not only to speak Russian. To be Russians - it means to believe in Russia as Russian people believed in it, all her geniuses and builders. Without faith in Russia, we do not revive it "(I. Ilyin).

The theme of harmonious, creative, moral life for people and in the name of them identifies a significant feature of the Russian classics - the alphabet of the admission to Christianity -Orminovy.

Orthodoxy in the artistic context of Russian classics is always a minute of the highest stress of the quest and fate heroes.

Heroes of Dostoevsky, referring to the gospel, know the highest spirituality, go to self-cleaning and faith. The alphabet of Christianity is given (for example, in the "Karamazovy Brothers") through a peculiar humanistic "cycle" of the revival of heroes - from sin to redemption, repentance and fraternity in love. Dostoevsky's consonant and reflections L. Tolstoy, who is convinced that the path of Christianity is not in rites, candles, icons, "but that people love each other, they did not pay evil for evil, did not succeed, did not kill each other." "I believe in God, which I understand as a spirit, like love, as the beginning of everything. I believe that he is in me, and I am in him, "L. Tolstoy wrote.

The original feature of the Russian classics of the XIX century is also in the fact that the greatness of Christian love and all-believe to actively interact with the special type of love of women and men, the measure of Christian love is forgiveness and renunciation in the name of the good of others. Russian artistic culture opened a kind of criterion: what is the hero in the field of love, such and its socio-moral potential, the degree of its maturity, responsibility. The Russian type of love, most often, selfless, he elevates the one who loves, and illuminates the great light of his beloved. This is the great work of the soul, victory over egoism. This is the gift of heaven, and the wealth of the Spirit with his limitless purposefulness to perfection. Bearing in mind this type of love, Dostoevsky in speech about Pushkin said about it as a major national heritage, as the highest type of Russian spirituality, leaving Russia, its shrines, the Russian people. The Russian type of love as a measure of life and overcoming death, repentance and purification with a special faith is expressed in the Russian classics of the XIX century.

Russian literature is manifested everywhere as the strength of integration: it stops the disintegration of its unearth desire for integrity. On the way to gaining this integrity - humanism and humanity. Humanism as a cult of high personality and humanity as a cult.

Notes

1. Cetina E. M. Evangelsk images and plots, motifs in artistic culture. Problems

interpretation. - M.: Flint: Science, 1998. - P. 3-4.

2. Chetina E. M. Qiot. op.

E. L. Kudrin

Spiritual and moral problems of development of art education

The article discusses art education as a mechanism for the preservation, reproduction of the value of the Company's value traditions, as well as the formation of a spiritual and moral foundation of the personality.

Keywords: art education, spirituality, morality, cultural traditions and values.

Spiritual and Moral Problems of Cultural Education

The ARTICLE DEALS WITH ARTISTIC EDUCATION AS A MECHANISM FOR PRESERVATION, REPRODUCTION OF VALUABLE TRADITIONS OF SOCIETY, AS Well As The Foundations of Spiritual and Moral Foundations of Personality.

Keywords: Art Education, Spirituality, Morality, Cultural Traditions and Values.

The current period of development of our society is characterized by both important positive changes, as well as a number of negative phenomena, inevitable during the period of large socio-political changes. Many of them have a negative impact on public morality, and for civil identity; They changed not only the attitude of people to the law and work, a person to man, but also to the state and society as a whole. Changing value references occurs in education.

It should be noted that the problems of education are always in the center of attention as authorities and the Russian intelligentsia. At the same time, art education both independently and in the context of spiritual and moral education occupies an important place among educational problems and is a very controversial picture.

Maou "Molchanovskaya Secondary School №1"

Research

"Christian scenes and images in Russian literature"

Kritskaya L.I.

Eremin I.V. - Teacher of Russian language and literature MSOSH №1

Molchanovo - 2014.

Christian scenes and images in Russian literature

Introduction

Our entire culture is based on folklore, antiquity and bible.

The Bible is an outstanding monument. Book book created by peoples.

The Bible is a source of scenes and images for art. Through all our literature there are biblical motifs. The main thing, according to Christianity, was the Word, and the Bible helps him return. She helps to see a person from humanitarian positions. Every time requires truths, and therefore appeals to biblical postulates.

Literature appeals to the inner world of man, his spirituality. The main character becomes a person living in gospel principles, a man, the main thing in the life of which is the work of his spirit free from the influence of the medium.

Christian ideas are a source of non-breaking light, which serve to overcome the chaos with him in itself and in the world.

From the very beginning of the Christian era, many books about Christ were written, but the church recognized, that is, only four gospels were canonized, and the rest - a number up to fifty! - Led either to the list of refilled or in the list of apocrys, permitted not for worship, but for ordinary Christian reading. Apocryphas were dedicated to both Christ, and almost all people from his closest environment. Sometime, these apocrypha collected in the Chenet Mini and retold, for example, Dmitry Rostov, were a favorite reading in Russia. "Consequently, in Christian literature there is its sacred sea and there are flowing in it or, rather, flowing out of it with streams and rivers". Christianity, carrying a new worldview, differing from the pagan ideas about the origin of the Universe, about the gods, about the history of the human race, laid The foundations of Russian written culture caused the appearance of the estate of competent.

Old Testament History is the history of tests, falls, spiritual cleansing and renewal, faith and challenges of individuals and the whole people - from the creation of the world and before the arrival of the Messiah of Jesus Christ, with the name of which the new covenant is connected.

The new covenant introduces us with life and the teachings of Christ the Savior from his wonderful birth to the crucifixion, the phenomena of the people and ascension. At the same time, the gospel must be considered in several angles: religious doctrine, an ethical and legal source, a historical and literary work.

The Bible is the most important (key) ethical and legal essay.

At the same time, the Bible is a literary monument, an easy way to base the whole of our written verbal culture. Images and plots of the Bible inspired not one generation of writers and poets. Against the background of biblical literary stories, we often perceive today's events. In the Bible we find the beginning of many literary genres. Prayers, Psalms found a continuation in poetry, in chants ...

Many biblical words and expressions became proverbs and sayings, enriched our speech and thought. A variety of plots formed the basis of the stories, the ages, the novels of writers of different times and peoples. For example, the "Brothers of the Karamazov", "Crime and Punishment" by F. M. Dostoevsky, "Righteous" N. S. Leskova, "Tales" M. E. Saltykov-Shchedrina "Juda Iscariot", "Life of Vasily Fewish" L. Andreeva , "Master and Margarita" M. A. Bulgakov, "Tuchka Golden", A. Predkuchina "Yushka" A. Platonova, "Floch", Ch. Aitmatov.

Russian book word arose as the word Christian. It was the word Bible, Liturgy, Life, the Word of the Fathers of the Church and St.. Our writing was primarily learned to talk about God and, beating about it, to narrow about the affairs of the earth.

Starting from ancient literature to works of today, all our Russian literature is painted by the light of Christ, penetrating all the corners of the world and consciousness. Our literature is peculiar to the search for truth and good proven by Jesus, so it is focused on higher, absolute values.

Christianity made the highest principle in literature, gave a special system of thought and speech. "The word became the fleet, and dwells with us, full of grace and truth" - that's where the poetry comes from. Christ - Logos, the word embodied concluded all the completeness of truth, beauty and goodness.

The sounds of biblical speech have always born in a sensitive soul of a lively response.

The biblical word is a storehouse of God, millennial wisdom and moral experience, because it is an unsurpassed sample of artistic speech. This side of the Scripture has long been close to Russian literature. "We find a lot of lyrical poems in the Old Testament," Nikolai Yazvitsky noted in 1915.- In addition to hymns and songs, scattered in the Books of Being and Prophets, the whole book of Psalms may be honored with the meeting of spiritual OD "

Christian motives are part of the literature in different ways, receive different artistic development. But they always give the creativity spiritually ascending direction, orient it to absolutely valuable.

All Russian literature of the 19th century was imbued with gospel motifs, ideas about the life based on Christian commandments were natural for the people of the last century. F. M. Dostoevsky warned our 20th century that the retreat, the "crime" of moral norms leads to the destruction of life.

Christian symbolism in the novel "Crime and Punishment" F. M. Dostoevsky

For the first time, religious topics are seriously entered by F.M. Dostoevsky. In his work, you can highlight four main evangelical ideas:

"Man is a mystery";

"Low soul, coming out from under the oppression, oppressed";

"The world will be saved by beauty";

"Unscravor will kill."

The writer since childhood knew the gospel, in the adulthood it was his desk book. The circumstances of the death penalty of Petrashevtsev gave to survive the state at the border of death, which turned Dostoevsky to God. Winter ray of the Sun from the dome of the Cathedral marked the physical embodiment of his soul. On the way to Katorga, the writer met with the wives of the Decembrists. Women gave him the Bible. With her, he did not part four years. Dostoevsky survived the life of Jesus as a reflection of his: in the name of what suffering? It is this particular copy of the Gospel of Dostoevsky describes in the novel "Crime and Punishment": "There was some book in the dresser ... it was a new covenant in Russian translation. The book is old, used, in leather binding. " In this book, there are a lot of pages made by the marks with a pencil and handle, some places are marked with a nail. These litters are an important evidence to understand the religious and creative quests of the Great Writer. "I will tell you about myself that I am a child of disbelief and consciousness so far and even ... to a coffin lid ... I folded myself a symbol of faith in which everything is clear to me and holy. This symbol is very simple; Here he: Believe that there is nothing more beautiful, deeper, prettier, more sensible, courageous and perfect Christ, and not only no, but with zealous love I tell you what it can not be. Moreover, if anyone proved to me that Christ is outside the truth, I would be better to stay with Christ, than with the truth. " (From the letter F. M. Dostoevsky N. D. Phonvizina).

The question of faith and challenging was the main in the life and work of the writer. This problem is in the center of its best novels: "Idiot", "demons", "Brothers of the Karamazov", "Crime and Punishment." The works of Fedor Mikhailovich Dostoevsky filled with various symbols, associations; A huge place among them is occupied by the motives and images borrowed from the Bible and the writer injected in order to warn humanity, standing on the threshold of a global catastrophe, a terrible court, the end of the world. And the fault of this, according to the writer, public system. Hero "demons" Stepan Trofimovich Verkhovensky, rethinking Gospel legend, comes to the conclusion: "It is exactly like our Russia. These demons emerging from the patient and included in pigs are all ulcers, all the impurity, all demons and all the Babe, accumulated in the Great and Milk our patient, in our Russia, for the centuries, for the century! "

For Dostoevsky, the use of biblical myths and images is not an end in itself. They served illustrations for his reflection on the tragic destinies of peace and Russia as part of world civilization. Was the writer of the path leading to the improvement of society, to mitigate the morals, tolerance and mercy? Of course. The guarantee of the revival of Russia, he considered the appeal to the idea of \u200b\u200bChrist. The theme of the spiritual resurrection of the person, which Dostoevsky considered the main in the literature, permeates all his work.

"Crime and Punishment", which is based on the theme of the moral fall and the spiritual revival of a person, is a novel in which the writer presents its Christianity. The causes of the death of the soul can be a lot, but here is the path that leads to salvation, by conviction of the writer, one is the way to appeal to God. I am resurrection and life; Believing in me, if it dies, will revive, "heroes the hero of the Gospel truth from the mouth of the marmaladeca.

Having made the scene of the scene the murder of the Raskolnikov old women, Dostoevsky reveals the soul of the criminal who violated the moral law: "Not to death" is one of the main biblical commandments. The reason for the terrible delusions of the human mind, rationally explained and arithmeticly proven the justice and the benefit of the murder of harmful old women, the writer sees in the retreat of the hero from God.

Raskolnikov - an ideologist. He puts forward an anti-Christian idea. He divided all people to the "lords" and "creatures of trembling." Raskolnikov believed that everything was allowed to "the lords", even the "blood of conscience", and "creatures trembling" can only make themselves like.

Raskolnikov tramples the holy - unshakable right for human consciousness: he encroaches a person.

"Do not kill. Do not steal! - recorded in ancient book. These are the commandments of humanity, axioms taken without proof. Raskolnikov daring to doubt, decided to check them out. And Dostoevsky shows how the darkness of other painful doubts and ideas should follow this incredible doubt for the violated moral law - and it seems that only death is able to save it from MUK: sining neighbor, man hurts himself. Suffering is striking not only the spiritual sphere of the criminal, but also his body: nightmarish dreams, frenzards, seizures, fainting, fever, trembling, unattended - destruction goes at all levels. The fact that the moral law is not prejudice, the splitters are convinced of their own experience: "Did I kill the old woman? I killed myself, not the old woman! There is also a walked yourself, forever! ". The murder was not a crime for Raskolnikov, but punishment, suicide, renunciation from all and everything. Only to one person stretches the soul of Raskolnikov - to the Sonechka, to the same as he, and cucked by the impairment of moral law. It is with the image that the gospel motives in the novel are connected with this heroine.

He comes three times to Sona. Raskolnikov sees in it a kind of "ally" for a crime. But on the shame and the humiliation of Sonya goes to save others. It is endowed with the gift of infinite compassion for people, in the name of love for them is ready to transfer any suffering. So Sony Marmaladova is connected by one of the most important evangelical motives in the novel - the motive of the victim: "There is no more than that love, as if anyone puts his soul for his friends" (In.15, 13) is like the Savior who has undergone Calvary flour for us, Sonya predicted Himself on a daily painful execution for the sake of caring stepmother and her hungry kids.

Sonya Marmeladova is the main opponent of Skolnikov in the novel. She - all the fate, character, choice, thoughts, self-symptoms opposes its cruel and terrible life scheme. Sonya, set in the same as he, inhuman conditions of existence, even more than he, humiliated, is the other. A different system of values \u200b\u200bwas embodied in her life. Having sacrificed himself, giving her body to the crop, she retained a living soul and the necessary connection with the world, which breaks out the breakdown of the solutions, tormented by blood, spilled in the name of the idea. In the suffering of Sony - the atonement of sin, without which there is no peace and his creative man, lost and lost the road to the temple. In the terrible world, Sonya's novel is the moral absolute, a light pole that attracts everyone.

But the most important for understanding the ideological meaning of the novel is the motive of a spiritual death of a man who disappeared from God and His spiritual resurrection. "I am a vine, and you branches; who dwells in me, and I am in it, he brings a lot of fetus; For I can not do anything without me ... who will not be in me, will twist, as a branch, and dries; And such branches are collected and thrown into the fire, and they burn, "said the Savior to his disciples at the secret evening" (John 15, 5-6). Such a dry branch is similar and the main hero of the novel.

In the fourth chapter, 4 parts, which is culminated in the novel, becomes clear by the author's design: not only the spiritual beauty of the Sonia, her dedication in the name of love, her meekness shows the reader Dostoevsky, but the most important source is a source of power to live in unbearable conditions - faith in God. Sonechka becomes for Raskolnikov the guardian angel: reading in the apartment of Capernamum (the symbolic character of this name is obvious: Capernaum is a city in Galilee, where many miracles of the healing of patients were happening) to him the eternal book, namely the episode from the Gospel of John about the biggest miracle, perfect The Savior, - about the resurrection of Lazarus, she tries to infect him with his faith, to pour his religious feelings into him. It is here that the words of Christ sounds, very important for understanding the novel: "I am a resurrection and life that believes in me, if it dies, will revive. And every living and believer will not die in me. " In this scene, faith of Sonchiki and Discrequacy Skolnikova faces. The soul of Raskolnikova, "killed" perfect crime, to gain faith and resurrect, like Lazar.

Sonya, the soul of which is full of "insatiable compassion", having learned about the crime of Raskolnikov, not only sends him to the intersection ("... worship, the kiss first the land that you defiled, and then worship the whole world, on all four sides, and tell everyone aloud : "I killed!" Then God again will send you life "), but I am ready to take it on his cross and go with him to the end:" Together, let's go, together and cross it! .. "puts his cross on him, she No matter how blesses him on the grave path of the godfall, with which you can only redeem them. The topic of the congestion is another of the evangelical motives of the novel "Crime and Punishment."

The path of suffering a hero is the path to God, but this path is difficult and a long. Two years later, the hero appears at Katorga: in nightmare dreams about the marine ulcer, which struck all of humanity, the disease of Skolnikova easily recognizes; This is the same idea, but only brought to its limit, embodied on a planetary scale. A man who fell away from God, loses the ability to distinguish good and evil and carries a terrible danger to all mankind. Demons, putting together in people, lead peace to death. But the devies will be the will where people expel God out of their souls. The painting of the "terrible seaside ulcer", seen by Raskolnikov, in the disease, in delusion, is the immediate cause of the coup with him. These dreams were the impetus for the resurrection of the hero. It is not by chance that the disease is timed to the end time of the Great Post and History, and in the second week after the resurrection of Christ the miracle of the transformation, about which Sonya dreamed and prayed, reading the evangelical chapter. In the epilogue we see the splitter crying and hugging sony. "They resurrected love ... He was resurrected, and he knew it ... A gospel was lying under the pillow ... This book belonged to her, was the same, of which she read him about the resurrection of Lazar."

The whole novel "Crime and Punishment" is built on the motive of the resurrection of a person to the life of a new one. The path of the hero is the way through death to faith and resurrection.

For Dostoevsky in the Center and Being, and the literature stood Christ. The idea of \u200b\u200bthat if there is no God, then everything was allowed, did not give rest to the writer: "Rejecting Christ, foul the whole world with blood." Therefore, gospel motives occupy the most important place in the prose of Dostoevsky.

Christian views of L. N. Tolstoy.

Tolstoy entered Russian literature in the 50s. He immediately noticed criticism. N.G. Chernyshevsky allocated two features of the style and worldview of the writer: the interest of the thick to the "soul dialectics" and the purity of the moral feeling (special morality).

Special self-awareness of Tolstoy is confidence in the world. For him, the highest value was naturalness and simplicity. They owned the idea of \u200b\u200bsupporting. Tolstoy himself also tried to lead a simple life, although the graph, although the writer.

Lev Nikolayevich came to literature with his hero. The complex the features that were the road to the Writer in the Hero: Conscience ("Conscience is God in me"), naturalness, vitality. The ideal of a perfect person for Tolstoy was not a man of ideas, not a man of business, but a person who could change himself.

The novel of Tolstoy "War and Peace" was published simultaneously with the "crime and punishment" of Dostoevsky. The move of the novel from artificiality and unnaturalness to simplicity.

The main characters are close to each other by the fact that they are true to the idea.

His idea about folk, the natural life of Tolstoy embodied in the form of Plato Karataev. "A round, kind person with soothing neat movements, everything knows how to do" not very good and not very bad, "karatayev does not think about anything. He lives like a bird, as internally freely in captivity, as in the will. Every evening he says: "Put, Lord Nasy, Raise Kalachik"; Every morning: "Lea - curled, got up - shakeped" - and nothing caresses him, except for the easiest natural needs of a person, he rejoices everything, in everything he knows how to find a light side. His peasant warehouse, his booms, kindness of steel for Pierre "by the personification of the spirit of simplicity and truth." Pierre Duhov Remember Karataev for life.

In the form of Plato Karataeva, Tolstoy embodied his beloved Christian idea of \u200b\u200bthe failure of evil violence.

Only in the 70s, Tolstoy in the work on the novel "Anna Karenina" appeals to the idea of \u200b\u200bfaith. The cause of this appeal was the crisis, which Tolstoy survived in the mid-70s. During these years, literature for the writer is the most disgusting passion. Tolstoy wants to abandon writing activities, he begins to engage in pedagogy: teaches peasant children, produces its pedagogical theory. Tolstoy holds reforms in his estate, brings up their children.

In the 70s, Tolstoy changes the scale of artistic interest. He writes about modernity. In the novel "Anna Karenina" - the history of two private people: Karenina and Levina. In it, the main thing is a religious attitude to the world. For the novel, Tolstoy took the epigraph of their Bible, from the Old Testament: "I'm omitting, and I will repay"

At first, Tolstoy wanted to write a novel about the wrong wife, but the plan in the opening company has changed.

Anna Karenina changes her husband, so it is a sin. It seems to her that she is right, natural, since she does not like Karenina. But, making this little lie, Anna falls into the web lies. Many relationships have changed and most importantly - with Sergey. But most of all in the world she loves his son, but he becomes a stranger to her. Converent in relations with Vronsky, Karenina is solved for suicide. For this, it will be rewarded: secular Molva, legal law and the court of conscience. In the novel all these three opportunities to condemn the act Anna Karenina Tolstoy disputed. Only God can judge Anna.

Karenina decided to take revenge on Vronsky. But at the time of suicides, she draws attention to the minor details: "She wanted to fall under the first carriage with her the middle. But the red bag that she began to shoot with his hands, delayed her, and it was too late: the middle passed it. It was necessary to wait for the next car. The feeling similar to the one she experienced when, batheing, was preparing to enter the water, covered it, and she crossed him. The familiar gesture of the signs of the signs of girlish and children's memories in his soul, and suddenly the darkness covered everything for her broke out, and life appeared for a moment with all her bright past joys. "

Under the wheels she feels horror. She wanted to rise and straighten, but some power of the mall and mysset her. Death Tolstoy is bright. The measure of sin requires penalties. Karenina gives God so much and this is a revenge for sin. Tolstoy begins to perceive human life as a tragedy.

Only from the 80s, Lev Nikolayevich Tolstoy comes to the canonical Orthodox faith.

For Dostoevsky, the very main thing was the problem of resurrection. And for Tolstoy, the same problem is interesting as the problem of overcoming death. "Devil", "Father Sergius" and, finally, the story "Death of Ivan Ilyich." The hero of this story resembles Karenin. Ivan Ilyich was accustomed to power, to the fact that the fate of a person can be solved by one feather stroke. And it is unusual with him that: slipped, hit - but this random blow goes into severe illness. Doctors can not help. And the consciousness of close death comes.

All loved ones: wife, daughter, son - become a strange hero. He does not need anyone and suffers to truly. In the house only the servant, a healthy and beautiful guy, he gone to Ivan Ilyich. The guy says: "Why will not work out - we'll die everything."

This is a Christian idea: a person can not die. Death is work when one dies, everything happens. Die alone is a suicide.

Ivan Ilyich - a man of an atheistic warehouse, a secular man who is doomed to inaction, begins to remember his life. It turns out that he did not live in his will. The whole life was in the hands of the case, but all the time was lucky. This was spiritual death. Before death, Ivan Ilyich decided to ask for forgiveness from his wife, but instead of "sorry!" He says "skip!" The hero is in the state of the last agony. The wife prevents seeing the light at the end of the tunnel.

Dying, he hears the voice: "all over". Ivan Ilyich heard these words and repeated them in his soul. "Death is over," he said to himself. - She is no more. " His consciousness became another Christian. Risen Jesus is a symbol of the soul and conscience.

The idea of \u200b\u200bthe resurrection of the soul, as the main idea of \u200b\u200bcreativity L. N. Tolstoy, became the main thing in the novel "Sunday".

The main character of the novel Prince Nehludov is experiencing fear and awakening conscience. He understands his fateful role in the fate of Katyusha Maslova.

Non-farms - a honest man, natural. In court, he is recognized by Maslova, who did not recognize him, and offers to redeem his sin - marry. But it is embossed, indifferent and refuses to him.

Following the convictedness of non-farms goes to Siberia. Here is a turn of fate: Maslova falls in love with another. But non-farms can no longer turn back, he became different.

From nothing to do, he opens the commandments of Christ and discovers that such suffering was already.

Reading the commandments led to the resurrection. "Nehludov stared at the light of the burning lamp and froze. Remembering all the disgrace of our lives, he clearly imagined himself than to be this life if people were brought up on these rules. And a long time not tested delight embraced His soul. For sure, after a long tomturation and suffering, he suddenly suddenly calm and freedom.

He did not sleep all night and, as it happens to many and many, reading the Gospel for the first time, reading, understood in all their meaning of the word, many times read and unnoticed. As a sponge, the water absorbed him in itself, then the necessary, important and joyful, which was opened in this book. And all that he read, it seemed to be familiar to him, it seemed confirmed, led to the consciousness that he knew for a long time, before, but did not realize well and did not believe. "

Katyusha Maslova is resurrected.

The thought of Tolstoy, like Dostoevsky, is that the true insight is perhaps only through personal suffering. And this is the eternal idea of \u200b\u200ball Russian literature. The result of Russian classical literature is the knowledge of the living faith.

Christian motifs in fairy tales M. E. Saltykov-Shchedrin

As well as F. M. Dostoevsky and L. N. Tolstoy, M. E. Saltykov-Shchedrin developed its system of moral philosophy, having depth roots in the thousand-year cultural tradition of mankind. The writer knew perfectly well and understood the Bible, especially the Gospel, who played a unique role in his self-education, about contacting with the Great Book, he will remember in his last novel "Poshekhonna Starina": "This gospel was for me ... it sowed in my heart the primitive Universal conscience. In a word, I was already out of the mind of the preyment and began to be aware of myself. Not only: I transferred the right to this consciousness to others. I did not know anything about the accuracy, nor about the suffering and burdened, but I saw only the human individuals, which were under the influence of the uncomplicated order of things; Now these humiliated and the offended stood in front of me, mastered by the light, and loudly drawn loudly against the inborn injustice, which did not give them anything, except for the shackles, and persistently demanded the restoration of the recharged right to participate in life. " The writer becomes a defender of humiliated and offended, wing against spiritual slavery. In this tireless struggle, the Bible is faithful to the ally. To detect and understand the multidimensionality of Shchedrian creativity allow numerous biblical images, motifs, plots borrowed by generous as the Old and from the New Testament. They figuratively transmit an important universal content and concisely transmit an important universal content and reveal a hidden and passionate desire of a writer to enter into the soul of each reader, wake up the dormant moral forces in it. The ability to understand exactly the hidden meaning of its existence makes any person wiser, and his worldview is philosophic. To develop this ability - in an external, momentary to see the eternal, parable content - helps with their mature creativity - "fairy tales for children of a fair age" - Saltykov-Shchedrin.

The plot "Not that fairy tales, not that were" the "village fire" introduces the peasants - chasers, with their accident and directly compared with the biblical history about Jea, who passed by the will of God through terrible, inhuman suffering and torment in the name of the test of sincerity and strength His faith. Roll is bitterly ironic. The tragedy of modern Job is worse than a hundred times: they have no hope for a prosperous outcome, and the tension of mental strength stands in their lives.

In the fairy tale, the "fool" rod becomes the gospel motive "Everyone to love!", Transferred to Jesus Christ people as a moral law: "Love your neighbor ... Love your enemies, bless you curse you, who hate you and chasing you" (Matt., 5 ). The bitter sarcasm and deep sadness of the author causes the fact that the hero of Ivanushka, the slices in nature, living in accordance with this commandment, seems fool, "blissful" in human society. The writer has a tragic feeling from this picture of the moral perversion of society, which has not changed since the time Jesus Christ came with the sermon of love and meekness. Humanity does not fulfill the promise given to God, covenant. Such apostasy entails harmful consequences.

In the fairy tale, the "hyena" satiri is talking about one "breed" of morally fallen people - "Gien". In the final there is an evangelical motive of expulsion by Jesus Christ of their obsessed person of the legion of the demons, entering the flock of pigs (Mark, 5). The plot acquires not a tragic, but an optimistic sound: the writer believes, and Jesus strengthens faith in it and the hope that the human will never finally perish and "Giensk" features, demonic spells doomed to disappear and disappear.

Saltykov-generin is not limited to elementary use in its works of ready-made artistic images and symbols. Many fairy tales relate to the Bible on another, higher level.

Let me read the fairy tale "Promotud Piskar", most often interpreted as a tragic thinking about the fruitlessly lived life. The inevitability of death and the inevitability of the moral trial for themselves, above the lively life is organically introduced into the fairy tale of the Apocalypse themes - the biblical prophecy of the end of the world and about the terrible court.

The first episode is the story of the old Pischar on how "once he did not please in the ear." For piscory and other fish, whom the fibers be somewhere in addition to their will, all in one place, it was really a terrible court. The fear was shoved by the unfortunate, the fire was burned and the water was boiling, in which "sinning", and only his sinless kid, let go home, throwing into the river. Not so much specific images as the tone of the narrative, the supernatural nature of the event resembles the apocalypse and makes the reader remember about the upcoming vessel, which cannot be avoided by anyone.

The second episode is a sudden awakening of the hero before his death and his reflection about lived. "All life instantly flashed in front of him. What were his joy? Who he comforted? To whom good advice filed? Who did the good word told? Who shelted, warmed, defended? Who heard about him? Who will remember his existence? And he had to answer all questions: "Nobody". Questions arising in the consciousness of Pischar send to the commandments of Christ, in order to make sure that not one of them is a hero's life corresponded. The most terrible result is not even that Piskary has nothing to be met from the height of the eternal moral values, which in the "trembling" for his "belly" he "inadvertently" forgot. The story of the fairy tale writer addresses every ordinary person: the theme of life and death in the light of biblical symbolism develops as a topic of the justification of human existence, the need for moral and spiritual improvement of the individual.

Also organically and naturally brought closer with the Bible and the fairy tale of "Konya", in which the household plot about the grave share of the peasant is enlarged to a timeless, universal scale: in the story about the origin of the convoy and emptiness from one father, the old horse catches the biblical plot about two sons of one Father, Adam, - Cain and Avele. In "Konya" we will not find the exact compliance of biblical history, but the writer is important the proximity of the idea, artistic thought of two plots. The biblical story brings the idea of \u200b\u200bthe originalness of human sin to the text - the deadly hostility between people, who in a fairy tale acquires the type of dramatic division of Russian society to the intellectual elite and ignorant folk peasant mass, about the fatal consequences of this inner spiritual fracture.

In the "Christ Night" poetic means recreated by the climax in the sacred history event - the Resurrection of Jesus Christ on the third day after the crucifixion. This event is dedicated to the chief Christian holiday - Easter Saltykov-Shchedrin loved this holiday: the holiday of the Light Christ of the Resurrection brought an amazing feeling of deception, spiritual freedom, which for everyone she dreamed of a writer. The holiday symbolized the triumph of the light over the darkness, the spirit over the flesh, good over evil.

The same content is guessed in a tale of generrous. In it, not exactly, the writer reproduces the evangelical myth of the Resurrection of Christ: "Sunday early on the first day of the week on Sunday, Jesus appeared to Maria Magdaline, which expelled seven demons. Finally, the eleven apostles themselves appeared on the evening ... and told them: go around the world and preach the gospel of all the creatures. Who will believe and be baptized, will be saved, and who will not believe, will be convicted "(Mark, 16)

In the Shchedrian fairy tale, this event is combined and merged with another - the image of a terrible court and the picture of the second coming of Jesus Christ. The changes in the evangelical text allowed the writer not just understandable, but also a visible, plastically tangible ideal theme of fairy tales - the inevitable resurrection of the human spirit, the triumph of forgiveness and love. For this, the writer has been introduced into the story of a symbolic landscape: the themes of silence and darkness ("plain chain", "deep silence", "snowfall", "mourning points villages"), symbolizing for the writer "Grozny Kabalu", Slavery of the Spirit; And the themes of sound and light ("Bell buzz", "burning spiers of churches", "light and warmth"), meaning the update and liberation of the Spirit. The resurrection and phenomenon of Jesus Christ argue the victory of the world over darkness, the spirit over the oblique matter, life over death, freedom over slavery.

The resurrected Christ is encountered three times with people: with poor, rich and judois - and judges them. "Peace to you!" - Says Christ Nizhnya Luda, who did not lose faith in the truth truth. And the Savior says that the hour of popular liberation is close. Then he turns to the crowd of Goyrata, Mirohedov, Kulakov. He brands them with the word of the censure and opens the path of salvation - this is the court of their conscience, painful, but fair. These meetings make him remember two episodes of life: prayer in the Garden and Calvary Goggot. At these moments, Christ felt his proximity to God and to people who, then, not believing him, mocked him. But Christ realized that they were all embodied in it by one and, suffering for them, he sails their sins with his own blood.

And now, when people, seeing their own eyes the miracle of the Resurrection and the coming, "filled the air sobbies and fell on NIC", he forgave them, for then they were blinded by anger and hatred, and now Pelona slept with their eyes, and people saw the world, Church-filled truth, they believed and were saved. Evil, blinded people, does not exhaust their nature, they are able to endure the good and love that the "Son of Man" came to awaken in their souls.

Only Juda Christ the fairy tale did not forgive. There are no salvation traitors. Christ curses them and circumsides the eternal travel. This episode caused the most sharp disputes among the contemporaries of the writer. L. N. Tolstoy asked to change the finale of fairy tales: because Christ brought repentance and forgiveness to the world. How to explain this end of the "Christ Night"? For the writer Judas - the ideological opponent of Christ. He betrayed consciously, being the only one of all the people who wondered what was worked. The punishment of immortality corresponds to the severity of the crime committed by Juda: "Live, damned! And be for the upcoming generations evidence of the infinite execution that expects betrayal. "

The plot of the "Christ Night" shows that in the center of the fabulous world of Saltykov-Shchedrin there was always the figure of Jesus Christ as a symbol of an innocent suffering and self-sacrifice in the name of the celebration of the moral and philosophical truth: "Love God and love your neighbor as yourself." The theme of the Christian conscience, the Gospel truth, which is leading in the book, connects individual fairy tales, included in it, into a single artistic canvas.

The image of social disagreements and private human defects turns along under the pen of the writer by the Universal Tragedy and the Writer Testament to future generations to equip life on new moral and cultural principles.

N.S. Leskov. Theme of righteousness.

"I love literature as a tool that gives me the opportunity to express what I think for the truth and the good ..." Leskov was convinced that the literature is designed to raise the spirit of man, to strive for the highest, and not the lowest, and the "Gospel goals" for her more expensive any other. Like Dostoevsky and Tolstoy, Leskov appreciated practical morality in Christianity, aspiration to active good. "The universe will someday collapse, each of us will die even earlier, but so far we live and the world is worth, we can and we can all depend on our funds to increase the amount of good in themselves and around themselves," he stated. "We will not reach the ideal, but if we try to be kinder and live well, then do something ... Christianity itself would be vain if it did not contribute to the multiplication in the people of good, truth and the world."

Leskov constantly sought to the girlfriend. "Religiousness in me was since childhood, moreover, quite happy, that is, such that early began to make faith in me with reason." In the personal life of Leskova often faced the angelic divine beginning of the soul with a kipacitu, with the "impatient" nature. It was difficult for his way in the literature. Any believer, any seeker, striking to God, life makes one of the main question: how to live according to God's commandments in difficult, complete temptations and tests of life, how to combine the law of Heaven with the truth of the world lying in evil? The search for truth was not easy. In the conditions of the abomination of Russian life began to look for a Writer kind and good writer. He saw that "the Russian people love to live in an atmosphere wonderful and lives in the field of ideas, seeking permission of spiritual tasks set by his inner world. Leskov wrote: "The history of the earthly life of Christ and the Saints, the Church, is a favorite reading of the Russian people; All other books are not only interested in it. " Therefore, "promote national development" means "helping the people to become a Christian, for he wants it and it is useful for him." Leskov confidently, with knowledge of the case insisted on this, saying: "I know Russia not written ... I and the people had my own man." That's why the writer was looking for his heroes in the folk medium.

The "iconostasis of righteous and saints" of Russia called the M. Gorky created by the N.S.Lonorovkov Gallery of original folk characters. They were pretended to be one of the best ideas of Leskov: "As the body without spirit is dead, so faith without any deeds."

Russia Leskova Pestra, Glaska, McGolos. But all the narrator brings together a common generic line: they are Russian people professing the Orthodox-Christian ideal of active good. Together with the author himself, they "love well just for good and do not expect any awards from him, anywhere else." As Orthodox People, they feel the wanderers in this world and are not tied to earthly material benefits. All of them is characteristic of a disinterested and contemporary attitude to life, allowing you to acutely to feel its beauty. In his workstation, the owls calls the Russian person to "spiritual progress", moral self-improvement. In the 1870s, he is looking for righteous, without which, according to a folk expression, "no city is not worthy, no village." "People, in the opinion of the writer, are not located to live without faith, and you are nowhere to consider the most sublime properties of his nature, as in its attitude to faith."

Starting with the vow "I will not calm down, until I find a small number of three righteous, without which" bent of standing in standing ", the fishing racks gradually expanded its cycle, including 10 works in it in the last lifetime publishing house:" Ododum ", Pigmey," Cadet Monastery "," Russian Democrat in Poland "," Not Meeting Hungal "," Uncoordic Engineers "," Lefty "," Enchanted Wanderer "," Man on the clock "," Sheramur ".

Being a discoverer of the type of righteous, the writer showed the importance of him as for public life: "Such people standing away from the main historical movement ... more than others do history," and for the civilian formation of the personality: "Such people have a worthy of knowing and in well-known lifestyles to imitate They, if there is power to accommodate the noble patriotic spirit that warmed their heart, wrapped the word and led them to actions. " The writer sets eternal questions: can I live without natural temptation and weaknesses? Does anyone can achieve God in the shower? Will it find the road to the temple? Does the world need righteous?

The first of the planned loan stories of the cycle - "strangers" and the first righteous man - Alexander Afanasyevich Ryzhov. The leaving of small officials, he possessed a heroic appearance, physical and moral health.

The basis of his righteousness was the Bible. From fourteen years he delivered mail, and "neither the distance of a tiring path, nor angry, nor the sizzle, nor the winds, neither the rain scared him." Ryzhov always had a cherished book with him, he removed from the Bible "Large and Solid Cognition, the most important of his subsequent original life." Hero a lot from the Bible and knew by heart and especially loved Isaiah - one of the famous prophets who gave prediction about the life and a feat of Christ. But the main content of the prophecy of Isaiah is the impact of disbelief and human vices. It was one of these passages that shouted the young Ryzhov on the swamp. And biblical wisdom helped him to work out the moral rules that he holy observed in his life and activity. These rules, hoped from the Holy Scriptures and from the conscience of the hero answered both the needs of his mind and conscience, they became his moral catechism: "God is always with me, and besides him, no one is scared," in the sweat of your face you eat your bread " , "Mzdu to take God forbids", "gifts do not accept", "If you have a great curb, then you can do it", "the case is not in the dress, but in the mind and conscience," "Love the commandment is prohibited - I will not lie." .

The author characterizes his hero: "He honestly served everyone and especially did not please anyone; In his thoughts, he was reported in one, in which it was invariably and firmly believed, calling him the founder and the owner of all the existing "," pleasure ... was the performance of his debt, served as faithful and true, "Relivaya and Forem", "was moderate All "," Not Gord "...

So, we see the "biblical eccentric" lives in biblical. But this is not a mechanical following established standards, and the soul is understood and adopted rules. They form the highest personality bar, not allowing even in small to retreat from the laws of conscience.

Alexander Afanasyevich Ryzhov left the "Memory heroic and almost fabulous". A close assessment: "He is almost a myth himself, and the story of his legend" - the story begins "Not Meaning Hungal", which has a subtitle: "From the stories about three righteous." The hero of this work is given the highest characteristic: "mythical person" with a "fabulous reputation". Golovann nicknamed non-mercy due to the belief that he is "a special person; A person who is not afraid of death. " What did the hero deserve such a reputation?

The author notes that it was a "simple person" from the family of serfs. And he dressed "a man", in the enemy, wearing both in the frost, and in the heat of the washed and blackened Tulup, but the shirt was though and a deckless, but always clean, like a boiler, with a long color string, and she "reported outside the outerness. Fresh and gentlemen, ... because he really was a gentleman. " In the portrait, there was a similarity with Peter 1. There were 15 vershs. Addition had a dry and muscular, swallow, a round-blood, with blue eyes ... a calm and happy smile did not leave his face for a minute. Golden embodies the physical and spiritual power of the people.

The writer claims that the very fact of the appearance of it in Orel in the height of a plaque epidemic that has taken many lives, not accidental. In a godine disaster, the People's Environment "highlights the heroes of generosity, people of fearless and selfless. In ordinary time, they are not visible and often not distinguished from the mass; But the people will fall into people, and the people allocate the elect, and the wonders that make it face mythical, fabulous, non-mercy. Naked and was from such ... "

Leskova's hero is surprisingly capable of any work. He "boiled in work from morning to late night." This is a Russian man who will cope with everything.

He is naked believes in the ability to show good and justice at a decisive moment. Forced to perform in the role of the counselor, he does not give a ready-made solution, but he is trying to activate the moral forces of the interlocutor: "... Pray yes do it, as if you need to remember now! But I tell me how you did in that time? " That will answer. And naked or agree, or say: "And I would, brother, dying, that's how it did it better." And it will tell all the fun, with a always smile. People really believed that they trusted him to record shopping and selling land. And he died headed for people: during the fire drowned in a boiling hole, saving someone else's life or someone's good. According to Leskov, the real righteous will not retire from life, but it takes an active part in it, trying to help the neighbor, sometimes forgetting his safety. He is Christian.

Hero of the story "Charled Wanderer" Ivan Northanych Flygin feels some predetermination of everything that happens to him: as if who watches him and directs his life path through all the chance of fate. From birth belongs to the hero not only to itself. He is promised to God a child, a prayer son. Ivan does not forget about his intended purpose for a minute. Ivan's life is built on the well-known Christian canon enclosed in prayer "On floating and traveling, in the ailments of the suffering and captives." In terms of the lifestyle, this is a wanderer - a runaway, persecuted, for nothing, which is not accustomed to the earth. He passed through a cruel captivity, through the terrible Russian diseases and, having got rid of "from any sneakers, anger and needs," drew his life to the ministry to God and the people. According to the plan, the whole Russia, the national appearance of which is defined by its Orthodox Christian faith.

The appearance of the hero is reminded by the Russian hero of Ilya Muromets. Ivan has an irrepressive force, which sometimes breaks into reckless actions. This silhouelle possessed the Hero in history with a monk, in a duel with a youth officer, in a battle with a rich-tatarin.

The key to the rays of the mystery of the Russian national nature is the artistic gifting flange, which is associated with its Orthodox-Christian worldview. He sincerely believes in the immortality of the soul and in the man's earthly life sees only a prologue to the eternal life. An Orthodox person acutely feels a short-term stay on this earth, it is aware that he is in the world - a wanderer. The ultimate pier of the flange is the monastery - the House of God.

Orthodox faith allows the flaskin to look at life disinterested and reverent. The hero's look at life is wide and full, as it is unlimited with a narrow-blooded and utilitarian. Flagin feels beauty in unity with good and truth. The picture of life, deployed in the story, is God's gift.

The other feature of the inner world of Flagin is connected with Orthodoxy: in all its actions and actions, the hero is guided not headed, but with a heart, emotional motivation. "At a simple Russian god," the fishing line said, - and the dwelling is simple - "for the sinus." Flagin has the wisdom of the heart, and not reason. From the young age, Ivan is in love with animals, in the beauty of nature. But the powerful force not controlled by the mind sometimes leads to errors having difficult consequences. For example, the murder of an innocent monk. Russian national nature, according to Leskov, clearly lacks thoughts, will, organization. It gives rise to weaknesses that have become, according to the writer, a Russian national disaster.

The leskovsky hero has a healthy "grain", fruitful primary source for living development. This grain - Orthodoxy, sowed in the soul of Ivan at the very beginning of his life path of the mother, which went into growth with the awakening of conscience in the face of a periodically, who was affected by his monk mischief.

Loneliness, testing with captivity, longing in the homeland, the tragic fate of the gypsy of pear - all this awakened the soul of Ivan, opened the beauty of selflessness, compassion. He goes to the army instead of the sole of the old old man. Since then, the meaning of Ivan Flyagin's life becomes a desire to help the suffering from a person who has fallen into trouble. In the monastery privacy, Russian Bogatyr Ivan Flight cleans his soul, committing spiritual feats.

Having passed through ascetic self-cleaning, Flygin in the spirit of the same national Orthodoxy, as Leskov understands, finds the gift of prophecy. Flaskin marks fear for the people Russian: "And they were given tears, dively abundant! .. All I have been crying about my homeland." Flaskin great tests and shocks, which in the coming years are destined to survive the Russian people, hears the inner voice: "Warm!" "Do you yourself go to fight?" - Ask him. "And what about? - answers the hero. "Be sure to: I want to really die for the people."

Like many of their contemporaries, the leaks believed that the commandment of effective love in the Christian fever was the commandment and that faith without any deeds. It is important to remember God and pray to him, but this is not enough if you don't love your neighbor and you will not be ready to help anyone who has fallen into trouble. Without good deeds, prayer will not help.

Leskov's righteous - teacher life. "The lone of their perfect love puts them above all fears."

Alexander Blok. Evangelskaya symbolism in the poem "Twelve".

The twentieth century. The age of violent changes in Russia. Russian people are looking for a path for which the country has to go. And the church, which has been the guide of the moral consciousness of people, could not help but feel the severity of the failure of the people from centuries-old traditions. "Genius Dol people new ideal, and, it means, showed a new way. People went after him, without hesitation, destroying and trampled everything that existed for many centuries, which developed and harded to dozens of generations, "L. N. Tolstoy wrote. But can a person can easily and painlessly refuse its former existence and go new, only theoretically calculated way? Many writers of the 20th century were trying to answer this question.

This problem is trying to solve Alexander Blok In the poem "Twelve" dedicated to October.

What symbolizes the image of Jesus Christ in the poem "Twelve"?

This is what evaluation criticism and writers in different years were given.

P. A. Florensky: "The poem" Twelve "is the limit and completion of the block demonstration ... The nature of the adorable vision, parody face, which is at the end of the poem" Jesus "(we will mention the destruction of the saving name), urgently convincingly prove the state of fear, longing and unfortunate alarm" Awarded this time. "

A. M. Gorky: "Dostoevsky ... convincingly proved that Christ is no place on Earth. The block made an error of the semi-foul lyrics, putting Christ at the head of the "twelve"

M. V. Voloshin: "Twelve blocking Red Guards are depicted without any formation and idealizations ... no data, except for the number of 12, to consider their apostles, - there is no poem. And then, what is it for the apostles who go to hunt for their Christ? .. Block, poet the unconscious and, moreover, the poet with all his being, in which the noises of the oceans are sounded, and he does not know who he himself and what Says through him. "

E. Rostin: "Feels the poet that this robbery is close to Christ ... For Christ came first of all to the harlot and robber and called them the first in their kingdom. And therefore, Christ will be at the head of them, will take their bloody flag and will lead them somewhere in their ways instep. "

It is quite obvious that the image of Christ is a ideological rod, a symbol, thanks to which the "twelve" has acquired a different philosophical sound.

The poem had a huge resonance throughout Russia. She helped to comprehend what was happening, especially since the moral authority of the block was undoubted. Arriving with him, specifying the multigid of the image of Christ, people clarified their attitude towards the revolution, Bolsheviks, Bolshevism. It is impossible not to take into account the time, 1918. No one could predict how events will develop, which will lead to.

For many years, Jesus was even perceived as the image of the first communist. It was quite historical. In the first years of Soviet power, the Bolshevik ideas were perceived by the majority as a new Christian teaching. "Jesus is the top of mankind in himself the greatest of all human truths - the truth about the equality of all people ... You are the continuers of the business of Jesus," Academician Pavlov wrote in the Council, reproaching the Bolsheviks in an excessive cruelty, but hoping to be heard.

But whether such views were divided by the author of the "Twelve". Of course, he was not a loaf, but he separated Christ from the Church as a State Institute of Autocracy. But and twelve costs without the name of the saint, they do not even recognize it. Twelve Red Guards, reaching "Eh, Eh, without a Cross" are depicted as killers who are "all allowed", "nothing is sorry" and "drink the roof" is like saving seeds. The moral level of them is so low, and the life concepts are so primitive that any deep feelings and high thoughts do not have to speak. Murder, robbery, drunkenness, debauchery, "black malice" and indifference to a human personality - here is the appearance of new owners of the new owners of the new owners of life, and the pitch darkness is no longer surrounded by them. "Lord, bless!" - Revolutionaries are exclaimed, who do not believe in God, but calling him to bless it to be inflated by them "world fire in the blood".

The phenomenon of Christ with a bloody flag in hand - the episode key. Judging by the diary records, this ending did not give rest to the block, which never commented on the publicly of the last lines of the poem, but from his records not intended for printing, it can be seen how painfully the block was looking for this explanation: "I only stated the fact: if you look like In the poles of snowstorming on this path, you will see "Jesus Christ." But I myself deeply hate this feminine ghost "" that Christ goes with them - undoubtedly. The point is not whether they are worthy of him, "and it is terrible that he is again with them, and there is no other yet; and you need another? "I'm somehow exhausted." Christ "In the White Went of Roses" goes ahead of people who are creating violence and, perhaps already professing another faith. But the Savior does not cast their children who do not know that they do not have the commandments that do not comply with the data. Stop the wild rampant, form and return the shutters in the Lono of God - this is the true case of Christ.

In the bloody chaos, Jesus personifies the highest spirituality, cultural values, unclaimed, but also unpleasant. The image of Christ is the future, the personification of the dream of a truly fair and happy society. That is why Christ "and from bullets will be unharmed." The poet believes in a person, in his mind, in his soul. Of course, this day will not soon come back, he even "invisible", but there is no doubt that he will not.

Leonid Andreev. Old Testament and New Testament parallels in the work of the writer.

Like the lion Tolstoy Leonid Andreev Passionately opposed violence and evil. However, he questioned the Tolstaya religious moral idea, never tied up with her the liberation of society from social vices. The sermon of humility and non-resistance was alien to Andreev. The theme of the story "Life of Vasily Fewish" is "the eternal question of the human spirit in his quest for his relationship with infinity in general and endless justice in particular."

For the hero of the story, a query of communication with "endless justice", that is, with God, ends tragically. In the image of the writer, the life of the father of Vasily is an infinite chain of harsh, often just cruel tests of his limitless faith in God. His son drowns, stuffed with grief Popadah - Father Vasily will remain all the same hotly believes Christian. In the field, where he left, having learned about the trouble with his wife, he "put his hands to his chest and wanted to say something. Fucking, but did not succumb to the closed iron jaws: Sripping the teeth, the pop with force spread them, - and with this movement of the mouth, like a convulsive yawn, sounded loud distinct words:

I believe.

Without an excess, it was lost in the desert of the sky and frequent ears of this prayer cry, so insanely similar to the challenge. And exactly someone objection, someone passionately convincing and warned, he repeated again

I believe".

And then the duodenal borot will die, the daughter will get sick, the expected child is born in fear and doubt. And as before, spares the battle of Popads and in despair will try to impose on his hands. Drognet Father Vasily: "Poor. Poor. All poor. All crying. And no help! Ltd!"

Father Vasily decides to remove the San and leave. "Their soul rested for three months, and a lost hope and joy returned to their home. All the power of experienced suffering believed the Popula in a new life ... "But fate prepared Father Vasily another temptation test: his house burns, dies his wife from burns, and a catastrophe broke out. Lifting in a state of religious ecstasy by theology, Father Vasily wants to commit the fact that it is necessary to make the most Almighty - he wants to resurrect the dead!

"Father Vasily opened the stinking door and through the crowd ... He headed for black, silently waiting for the coffin. He stopped, raised his right hand and hastily told the decompanying body:

You say, get up! "

He pronounces this sacramental phrase three times, leans to the hump, "closer, closer, grabs his hands for the sharp edges of the coffin, almost touches the fallen mouth, breathing in them the breath of life - a worried corpse in them, coldly fierce his breath. And the shocked priest comes, finally, insight: "So I believed? So why did you give me love for people and pity - to laugh at me? So why did you keep me in captivity all my life, in slavery, in the skies? Neither thoughts are free! Neither feel! Neither breath! " Having extended in his faith in God, not finding any excuses by human suffering, Father Vasily in horror and breathtaking runs away from the church to a wide car, where he fell dead, fell "a bony face in the roadside gray dust ... and in his position retained He is the rapidness of the run ... as if it continued to continue to run. "

It is easy to see that the story story goes back to the biblical legend of Jea, which occupies one of the central places in thought and disputes of the heroes of Dostoevsky in the "Karamazovy Brothers" about the divine justice.

But Leonid Andreev is developing this legend so that the story of Vasily Fewansky, who lost more than Jobs, is filled with a goggleless meaning.

In the story of "Life of Vasily Fewish" Leonid Andreev put and solved the "eternal" questions. What is the truth? What is justice? What is righteousness and sin?

These questions he raises in the story "Juda Israariot".

Andreev is otherwise coming to the image of an eternal traitor. He depicts Judas so that a pity is not a crucified her-son, but a suicide Jude. Using biblical legends, Andreev suggests that the people of Christ, and the people of Judas, are to blame for the people that humanity vainly launched a responsibility for what happened on Judas Iskariot. Forcing to think about the "lowness of the human race", the writer proves that in the treacherment of the Son of God, the cowardly students of the Prophet. "How did you let it? Where was your love? " The thirteenth apostle, like Christ, betrayed everything.

L. Andreev, trying to comprehend the image of Judas philosophically, urges to think about the soul of the human soul, which is convinced of the domination of evil. The humanistic idea of \u200b\u200bChrist does not withstand the check by betrayal.

Despite the tragic end, the story of Andreeva, like many other his works, does not give grounds for the withdrawal of the author's full pessimism. Allowance of the Roca concerns only the physical shell of a person who is doomed to death, but his spirit is free, and no one is able to stop his spiritual quest. The inquiry of doubt in love is perfect - to God - the hero leads to real love - to man. Previously, the abyss overcoming between the father of Vasily and other people, the priest finally comes to an understanding of human suffering. He is shocked by his simplicity and the truth of the revelation of parishioners for confession; Pity, compassion for sinful people and despair from understanding your own impotence to help them pushing him on a riot against God. He is close to the longing and loneliness of the sullen Nastya, throwing a drunk poplay, and even in an idiot he twisted the soul "all-in -king and sorrowful".

Faith in his own chosenness is a challenge of rock and an attempt to overcome the madness of the world, the way of spiritual self-affirmation and the search for the meaning of life. However, possessing adhesives of a free person, the Fewish cannot not carry the consequences of spiritual slavery that came from the experience of the past and its own forty-year-old life. Therefore, the method that he elects to implement his riotrian designs is the accomplishment of a miracle "chosen" - Archaic and is doomed to failure.

Andreev puts in the "life of Vasily Fewan" a two-way problem: on the question of high human capabilities, it gives a positive response, and the likelihood of their implementation with the help of God's fishery is negative.

M. A. Bulgakov. The originality of understanding the biblical motives in the "Master and Margarita" novel.

30-7 years - the tragic period in the history of our country, years of challenge, blessing. This is a specific time Mikhail Afanasyevich Bulgakov It places in the context of sacred history, comparing eternal and temporary. Temporary in the novel is a reduced description of Moscow of Moscow 30s. "The world of writers, members of Mossolita is a massive world, the world is blessing and immoral" (V. Akimov "in the winds of time"). New cultural figures People are neutolated, they are unknown creative inspiration, they do not hear the "voice of God". They do not claim to know the truth. This wretched and lobby of the world is opposed to the Master - Personality, Creator, creator of the historical and philosophical novel. Through the novel of Master, Bulgakov heroes overlook the other world, another dimension of life.

In the Bulgakov novel, the evangelical story about Yeshua and Pilate is a novel in the novel, being his peculiar ideological center. Bulgakov in his own way tells the legend of Christ. His hero is surprisingly touched by, life. It seems that he is an ordinary mortal man, childishly gullible, simple, naive, but at the same time wise and insightful. It is weak physically, but strongly spiritually and, as it were, is the embodiment of the best human qualities, a prostatenitarian of high human ideals. Nor bombers, no punishment, cannot force him to change their principles, the limitless faith in the predominance of good starts in man, in the "Kingdom of Truth and Justice".

At the beginning of the Bulgakovsky novel, two Moscow writers talk to the Patriarch ponds about the poem written by one of them, Ivan the homeless. Poem his atheistic. Jesus Christ is depicted in her very black paints, but, unfortunately, like a living, really existing face. Another writer, Mikhail Alexandrovich Berlioz, a man educated and read, materialist, extracts Ivan the homeless, that no Jesus had that this figure was created by the imagination of believers. And the ignorant, but sincere poet "All this" agrees with his scientist friend. It was at that moment that the devil appeared on the patriarchal ponds, which appeared on the patriarchal ponds, the devil, named Woland, and asks them: "If there is no God, then, asking, who manages the life of human and everything in general by the routine on earth?" "Man himself and manages!" - answered homeless. From this point on, the plot of "Masters and Margarita" begins, and the main problem of the 20th century, reflected in the novel, is the problem of human self-government.

Bulgakov defended the culture as the great and eternal universal value created by the endless in time by universal labor, the efforts of reason and the Spirit. Continuous efforts. The destruction of culture, the persecution of the intelligentsia, which he considered the "the best layer in our country", he could not accept. This made it a "Protestant", "satirical writer."

Bulgakov defends the thought: human culture is not an accident, but the pattern of earthly and cosmic life.

The twentieth century is the time of all sorts of revolutions: social, political, spiritual, the time of denial of the previous ways to manage human behavior.

"No one will give us a deliverance: neither God nor the king and a hero. We will achieve liberation your own hand, "this is the idea of \u200b\u200btime. But it's not so easy to manage and other human lives.

A massive man freed from everything uses "Freedom without a Cross" primarily in its own interests. To the world, such a person belongs as a predator. New spiritual landmarks express incredibly difficult. Therefore, objection quickly for the answer to the homeless, Woland says: "It's guilty ... In order to manage, you need to have any plan at least on a ridiculous short term, well, years, let's say, in a thousand!" Such a ridiculous plan may have a person who has mastered the culture that has developed its life principles based on it. The person is responsible for the entire routine of life on Earth, but the artist is even more responsible.

Here are the heroes who are confident that not only with themselves, but also by others (Berlioz and homeless). But what happens next? One dies, the other is in a crazy house.

In parallel with them, other heroes are shown: Yeshua and Pontius Pilate.

Yeshua is confident in the possibility of human self-improvement. With this Bulgakov hero, the idea of \u200b\u200bgood as recognizing spiritual uniqueness, the personal value of each person ("evil people does not happen!"). The truth of Yeshua sees in harmony between man and the world, and this truth can and should open; The desire for her is the purpose of human life. Having such a plan, you can hope for "management" and "all at all about the routine on earth."

Pontius Pilate, the governor of the Roman emperor in Ershalaim, according to the service of violence on the superior land, was delivered to the possibility of harmony between people and the world. The truth for him is to subordinate an imposed and incredulous, albeit inhuman order. His headache is a disharmony sign, a split, which is experiencing this earthly and strong person. Pilate alone, he gives all his attachment only a dog. He forced himself to reconcile with evil and pays for it.

"A strong mind of Pilate went to his conscience. And the headache - the punishment for the fact that his mind allows and supports the unfair device of the world. " (V. Akimov "in the winds of time")

So in the novel, the opening of the "true truth", connecting the mind and good, mind and conscience. Human life is equal to spiritual value, spiritual idea. All the main characters of the novel - ideologues: Philosopher Yeshua, Pilate Politician, Writers Master, Ivan Homeless, Berlioz, and "Professor" of Black Magic Woland.

But the idea can be inspired by the outside; It can be false, criminal; Bulgakov knows well about ideological terror, about ideological violence, which can be more sophisticated than physical violence. "You can" hang "the human life on the string of a false idea and, cutting off this thread, that is, making sure the ideas, kill a person," writes Bulgakov. By itself, a person will not come to a false idea, in his kind will and sound reasoning will not take it into himself, will not connect with her - an evil, destructive leading to the disharmony - his life. Such an idea can only be imposed, inspired from the outside. In other words, among all the violence, the worst is Violence ideological, spiritual.

Human force - only from good, and any other force - already from the "shy". The man begins where evil ends.

Roman "Master and Margarita" - a novel about the responsibility of a person for good.

The events of chapters in which Moscow are told about the 20-30s, occur during a passionate week, during which a peculiar moral audit of the society produced by Woland and his retinue is committed. "The moral inspection of the whole society and its individual members continues throughout the novel. The basis of any society should be not labeled, class, political, and moral foundations. " (V. A. Domansky "I came not to judge the world, but save the world") for faith in imaginary values, for the soul laziness in search of faith, a person is punished. And the heroes of the novel, people with imaginary culture, can not recognize the devil in Voland. Wand appears in Moscow, in order to find out whether people have become better in a thousand years, whether they learned to manage themselves, celebrate what is good and what is bad. After all, social progress requires a mandatory spiritual ... But Voland in Moscow does not recognize not only the inhabitants, but also the people of creative intelligentsia. Outwarms of Woland does not punish. Let them! But the creative intelligentsia should be responsible, it is criminal, because instead of truth, she promotes dogmas, it means that the people corrupt, enslaves him. And as it was already said, spiritual enslavement is the worst. That is why Berlioz, homeless, steppa Lyarkaev, because "everyone will be given by believing it," "all will be judged by their own. And the artist must bear the special responsibility.

According to Bulgakov, the writing duty is to return to the person faith in high ideals, restore the truth.

Life demands from the Master of the Father, the struggle for the fate of his novel. But the master is not a hero, he is only a minister of truth. He falls in spirit, refuses his novel, burns it. The feat is becoming margarita.

Human fate and the historical process itself determines the continuous search for truth, following the highest ideals of truth, good and beauty.

Roman Bulgakov on the responsibility of a person for his own choice of life paths. He is about the all-standing power of love and creativity, which is a soul to the mountain altitudes of true humanity.

The gospel plot depicted by Bulgakov in his novel is also addressed to the events of our domestic history. "Writers disturbing questions: What is the truth - following the state interests or orientation on universal value? How do traitors appear, apostates, conformists? " one

Yeshua's dialogues and pontium Pilate are projected to the atmosphere of some countries in Europe, including our 30s of the 20th century, when the personality is mercilessly opposed by the state. This gave rise to universal distrust, fear, duplicity. That is why there are so insignificant and crayons in the novel by the people who constitute the world of Moscow mesh. The author shows the various sides of human vulgarity, moral decomposition, ridiculed those, retreated from good, lost faith in a high ideal, he began to serve God, and the Devil.

The moral apostasy of Pontius Pilate testifies that in the face of any totalitarian regime, whether the imperial Rome or Stalinist dictatorship, even the most powerful person can survive, succeed, only guided by the nearest state benefit, and not its moral landmarks. But, unlike the tradition established in the history of Christianity, the Bulgakov hero is not just a coward or apostate. He is the prosecutor and the victim. By ordering to secretly eliminate the traitor to Judas, he will be revengent not only for Yeshua, but for himself, since he himself may suffer from the Donos to Emperor Tivieri.

The choice of pontium pilate corresponds to the whole move of world history, is a reflection of the eternal conflict between the specific historical and timeless, universal one.

Thus, Bulgakov, using the biblical plot, gives an assessment of modern life.

The bright mind of Mikhail Afanasyevich Bulgakov, his fearless soul, his hand without shudder and fear breaks off all the masks, exposes all real bleas.

In the novel beats a powerful flow life, it triumphs creative omnipotentist artist, defending the spiritual dignity of art in the twentieth century, an artist who is therefore subject to all: God and the Devil, the fate of people themselves, life and death.

Ch. Aitmatov The specifics of Christian images in the novel "Floch".

Twenty years later, after the first publication of "Master and Margarita", a novel appeared Chingiza Aitmatova"Floa" - and also with the plug-in Novella about Pilate and Jesus, but the meaning of this reception has changed strongly. In the situation of the starting "restructuring", Aitmatov no longer worries the drama of relations between the writer and the authorities, he transfers the focus on the Drama of his rejection by the people of the righteous to the righteous, spending too direct and even the blasphemous parallel between Jesus and the hero of the novel.

Aitmatov offered his artistic understanding of the evangelical story - the dispute of Jesus Christ and Pontiya Pilate about the truth and justice, about the appointment of a person on earth. This plot speaks once again about the eternity of the problem.

Aitmatov well-known gospel scene comprehensies from the standpoint of today.

What does aitmatovsky Jesus sees the meaning of existence on earth? The meaning is in concerning humanistic ideals. Live for the sake of the future.

In the novel, the topic of return to faith is revealed. Humanity, passing through the suffering and punishment of a terrible court, should return to simple and eternal truths.

Pontius Pilate does not accept the humanistic philosophy of Christ, because he believes that a man is a beast that he cannot do without wars, without blood, as flesh cannot without salt. He sees the meaning of life in the power, wealth and power: "People will not teach neither a sermon in the temples, nor voice from the sky! They will always follow Caesar as herds behind the shepherds, and, bowing to force and benefits, will read those who will be merciless and most powerful "...

A peculiar spiritual twin of Jesus Christ in the novel is Avdius Calistratov, a former seminarian, expelled from the seminary for the libelism, for reimbursement to clear the faith from the passions of human, from the will of Cesarians who submitted to the servants of the Church of Christ. He stated the father-coordinator that he would look for a new form of God instead of the old who came from the times of the pagan, the motivating reasons for their apostasy explained this: "Surely, in two thousand years of Christianity, we are unable to add any words to what it was said hardly Not in biblical times? ". The coordinator tired of his and someone else's wisdom practically prevents the Avdia of the Fate of Christ: "And in the world, do not demolish your heads, because and the world will not tolerate those who question the fundamental teachings, because any ideology claims to possess the ultimate truth."

For Avedia, there is no road to the truth outside of faith in the Savior, out of love for the Godrogochka, who has given his life in the name of the atonement of sins of all mankind. Christ in the imagination Avdia says: "The vice is always easy to justify. But few people wondered that the evil of the power, which were infected with everything - the worst of all angry, and for him once the human race will pay full. People will die. " Before Avdia, there is a question about why people so often sin, if you know what you need to do to get into the widged kingdom of heaven? Or incorrectly predetermined, anyone they broke away from the creator that they do not want to return to him. The question is old and grave, but requiring an answer from every living soul, not mired finally in the vice. In the novel, the truth is only two heroes and believe that people will eventually create the kingdom of good and justice: this is Avdii and Jesus himself. The soul of the Augean moved two thousand years ago to see himself, to understand and try to save one whose death is inevitable. Avdii is ready to give life for the one who is most expensive to him in the world.

He is not only a preacher, but also a wrestler who comes into a duel with evil for high human values. Each of his opponents have a clearly formulated worldview, justifying its thoughts and actions. In real life, the category of good and evil became mythical concepts. Many of them struggle to carefully prove the superiority of their own philosophy over Christian. Take at least Grishan, the leader of one of the small shakes, in which the Avdius falls in non-defined paths. He removed if it was not to defeat a concrete evil Word of God, then at least to reveal the reverse side for those who can go along the path of care from reality into narcotic dreams. And Grishan opposes him as the very tempter who seduces a weak person with pseudora, "I won't go to God," he says to his opponent, "from a black move. I approach God more more quickly than anyone. " Grishan Grasno and consciously preaches the most attractive idea - the idea of \u200b\u200babsolute freedom. He says: "We run from the mass consciousness to not be in captivity of the crowd." But this flight is not capable of delivering even from the most primitive fear of state laws. Very subtle it felt an Avdius: "Freedom - only then freedom when she is not afraid of the law." The moral dispute of the Augean with Grishan, the leader of the "Gonzov" for Anasha, in something continues the dialogue of Jesus with a pilot. Pilate and Grishan unites disbelief in people, in social justice. But if the Pilate himself preaches the "religion" of the strong power, then Grishan is "Kaif's religion", replacing the high human desire for moral and physical perfection of narcotic intoxication, penetrating to God "from black stroke." This path to God is easy, but the soul is given to the devil.

Avdius, who dreams of the fraternity of people, the age-old continuity of cultures, writing to the human conscience, alone and in this his weakness, because in the world that surrounds it, the boundaries between good and evil are blurred, fell high ideals, triumphant. He does not accept the preaching of the Augeral.

Clement seems to Avdius before the power of evil. It is first brutally, until hemismerties beat the "messengers" after Anasha, and then, as Jesus, the youngers from the "junta" Ober-Kandalov. Finally, established in his faith and making sure that it was impossible to influence the holy word on those who only preserved the face of the human, who is able to destroy everything in this long-suffering land, Avdii does not reject from Christ - he repeats his feat. And the voice of the blatant in the real desert is the words of the Cranefish Avdia: "There is no one in Moluba, I do not ask and Toliki the GROUND benefits and not pray for the extension of my days. Only about the salvation of human shower to appeal. You, Almighty, do not leave us in ignorance, do not let us find a justification for goodness and evil in the world. The province was sent to human race. " The life of the Auge is not in vain. The pain of his soul, his suffering for people, his moral feat infect other "world pain," encourage them to join the fight against evil.

A special place in the quests of Avdia is occupied by his Goding. At Aitmatova, the ideal of mankind was not God-yesterday, and God-Tomorrow, the one, what he sees to Avdia Calistratov: "... All people who are taken together, there is a similarity of God on Earth. And the name is that hypostasis God - God-Tomorrow ... God-Tomorrow is the spirit of infinity, but in general there is the whole point, the whole totality of the acts and aspirations of human, and therefore, how God to be beautiful or ill, kindly or punishing - Depends on the people themselves. "

Conclusion

Returning to Christ as a moral ideal does not mean the desire of writers to please the reviving religious consciousness of many of our contemporaries. It is due primarily to the idea of \u200b\u200bsalvation, the updates of our world, devoid of the "saint name".

Many poets and prose people sought to find the truth, to determine the meaning of human being. And they all came to the conclusion that it was impossible to build the happiness of others on the misfortune. It is impossible to renounce age-old traditions and moral obstacles and at the naked place to build a universal house of equality and happiness. This is possible only if to go through the nature of Nature itself. By harmony, humanism and love. And the conductors of this truth on Earth are people who managed to feel true, clean and eternal love for people.

Not one generation of writers will treat the evangelical reasons, the closer the person to the eternal truths, commandments, the richer of his culture, his spiritual world.

Oh, there are unique words,

Who told them - I spent too much.

Inexhaustible only blue

Heaven and Mercy of God. (Anna Akhmatova).

For centuries, Orthodoxy had a decisive influence on the formation of Russian self-consciousness and Russian culture. In the Dopererov period, secular culture in Russia practically did not exist: the entire cultural life of the Russian people was concentrated around the church. In the afternoon era in Russia, secular literature, poetry, painting and music who have reached their apogee in the XIX century have been formed. Bounce back from the church, Russian culture, however, did not lose the powerful spiritual and moral charge, which Govalavia gave her, and until the 1917 revolution retained a living connection with the church tradition. In the post-revolutionary years, when accessing the treasury of Orthodox spirituality was closed, Russian people learned about the faith, about God, about Christ and the Gospel, about prayer, about theology and worship of the Orthodox Church through the works of Pushkin, Gogol, Dostoevsky, Tchaikovsky, other great writers, poets and composers. During the entire seventy-year period of state atheism, the Russian culture of the pre-revolutionary era remained carrier of Christian evangelism for millions of people, artificially rejected from their roots, continuing to testify to those spiritual and moral values \u200b\u200bthat the atheistic authorities raised doubt on or sought to destroy.

Russian literature of the XIX century is rightly considered one of the highest tops of world literature. But its main feature that distinguishes it from the Literature of the West of the same period is the religious orientation, deep relationship with the Orthodox tradition. "All our literature of the XIX century was injured in a Christian theme, she is looking for salvation, she is looking for getting rid of evil, suffering, horror of life for the human person, people, humanity, peace. In the most significant his creations, she is imbued with a religious thought, "writes N.A. Berdyaev.

The said applies to the great Russian poets Pushkin and Lermontov, and to writers - Gogol, Dostoevsky, Leskov, Chekhov, whose names are inscribed by gold letters not only in the history of world literature, but also in the history of the Orthodox Church. They lived in an era, when an increasing number of representatives of the intelligentsia retired from the Orthodox Church. Baptism, wedding and funeral was still in the temple, but to visit the temple every Sunday was considered among the tops of the highest light almost a bad tone. When one of the familiar Lermontov, going to the church, unexpectedly discovered there a praying poet, the latter was embarrassed and began to justify that they would have come to church on some behavior of her grandmother. And when someone, going to the Leskov Cabinet, found him praying on his lap, he began to pretend that she was looking for a fallen coin on the floor. Traditional churchhood still persisted in the simple people, however, was less and less characteristic of the city intelligentsia. The waste of the intelligentsia from Orthodoxy increased the gap between it and the people. Especially surprising is the fact that Russian literature, contrary to the trends of time, retained deep connection with the Orthodox tradition.

The greatest Russian poet A.S. Pushkin (1799-1837), although he was raised in the Orthodox spirit, still in his youthful age he moved away from the traditional church, but never finally broke out with the church and in his works many times turned to a religious topic. The spiritual path of Pushkin can be defined as a path from a clean faith through a youthful challenge to meaningful religiosity of a mature period. The first part of this path of Pushkin passed during the years of study in the Tsarskoyel Lyceum, and already at the age of 17 he writes a poem "Doubleless", testifying to the domestic solitude and loss of livelihood with God:

In the temple of Li Vyshnya with a crowd, he silently comes in

There is only a melancholy of his soul.

With a lush celebration of old altars,

When the shepherd is a shepherd, with sweet choirs singing,

His ability to know the torment.

He is a secret anywhere else, does not try anywhere,

With a maltay, the soul of the shrine will have to

Cold to everything and alien to the umil

With the annoyance, it hesitates with a prayer.

Four years later, Pushkin wrote the blasphemous poem "Gabrialima", from which subsequently renounced. However, already in 1826, in the worldview of Pushkin, the fracture occurs, which is reflected in the poem "Prophet". In it, Pushkin talks about the calling of the National Poet, using the image inspired by the 6th chapter of the Prophet Isaiah:

Spiritual thirst Tomis

In the wilderness of the gloomy, I pledged, -

And six-square seraphim

I appeared on the chatter.

Fires light like a dream
He touched my zenith.

The prophetic anticipants were rejected,

Like a frightened eagle.

My ears touched upon, -
And they filled their noise and ringing:

And I won the sky Sodroogan,

And mountain angels flight

And reptile naval underwater move

And the ridiculous vine.

And he to the mouth of my student,

And I snatched my sinful language,

And fellow and crazy,

And the sting of the wise snake

Fantasy my mouth

Invested the desire of bloody.

And he my breasts shed sword,

And the heart was thrown out

And coal, burning fire

In the chest, the hole was irrigated.

As a corpse in the desert I lay,
And the god of the voice appeared to me:

"Rod, the Prophet, and Wang, and End
Fight my will

And coming around the sea and land

Glagol Loggy hearts of people. "

Regarding this poem of Architis of Sergius Bulgakov notes: "If we had not had all other works of Pushkin, but we would have sparkled with eternal snow only this vertex, we could clearly see not only the greatness of his poetic gift, but also all the height of him calling. The sharp sense of Divine Calling, reflected in the "Prophet", contrasted with the bustle of secular life, which Pushkin, by virtue of his position, was to behave. Over the years, he has ever been more painful about this life, which repeatedly wrote in his poems. On the day of his 29th anniversary, Pushkin writes:

Vain gift, the gift is random,

Life, why are you given to me?

Ile why the fate of the secret

Are you convicted of execution?

Who is hostile power me

From the insignificance appeared,

I fill my soul with passion

The mind of a doubt excited about? ...

No goals in front of me:

Heart is empty, Prasden Mind,

And languid me toast

Singling life noise.

The poet's poem, while still balancing between faith, disbelief and doubt, received an unexpected response from Metropolitan of Moscow Filaret:

Not in vain, not by chance

Life from God is given to me

Not without the will of the god mystery

And the execution of the execution.

I myself will fight

Evil from dark abdomen appeal

He himself filled the soul of passion,

The mind doubt excited.

Remember me, scaled me!
Unsone through Dusk Dum -

And it creates tooth

The heart is clean, lightly mind!

Amazed by the fact that the Orthodox bishop responded to his poem, Pushkin writes "stons" addressed to Philaret:

In the clock, fun Ile idle boredom,
Happened lyre me

Entrusted the rampant sounds

Madness, laziness and passions.

But then the strings of Lukava

Involuntarily ringing I interrupt,

I suddenly hit me.

I lil down tears of unexpected

And the wounds of my conscience

Your speeches are fragrant

The pure was spilled.

And now from the height of the spiritual

I stretch your hand,

And strength of meek and love

We humble the lunge dreams.

Your soul soul

Rejected the darkness of the earth fuss,

And chiflert

In the sacred horror poet.

At the request of censorship, the last stanza of the poem was changed and in the final version sounded like this:

Your fire shower palima

Rejected the darkness of the earth fuss,

And accommodation harp seraphim

In the sacred horror poet.

Pushkin's poems with Philaret was one of the rare cases of contacting two worlds, which in the XIX century separated the spiritual and cultural abyss: the world of secular literature and the world of the church. This correspondence speaks about the departure of Pushkin from the workers of youthful years, the refusal of "madness, laziness and passions", characteristic of his early creativity. Poetry, prose, journalism and drama Pushkin of the 1830s testify to the increasing influence of Christianity, the Bible, Orthodox Church on him. He repeatedly re-read the sacred scripture, finding a source of wisdom and inspiration. Here are the words of Pushkin on the religious and moral meaning of the Gospel and the Bible:

There is a book that every word is interpreted, explained, preached at all ends of the earth, applied to all sorts of circumstances of the life and incident of the world; From whom it is impossible to repeat a single expression that would not know all by heart, which would not have been the proverb of peoples; She does not conclude anything unknown for us; But the book of this is called the Gospel, - and such is forever new charm, that if we, beyond the world or depressed by the despondency, will accidentally open it, it is no longer able to resist her sweet hobbies and immerse the spirit in her divine eloquence.

I think that we will never give people anything better than Scripture ... His taste becomes clear when you start to read the Scripture, because you find all human life. Religion created art and literature; All that was the great in the deepest antiquity, everything depends on this religious feeling inherent in man as well as the idea of \u200b\u200bbeauty along with the idea of \u200b\u200bgoodness ... Bible poetry is particularly available for pure imagination. My children will read with me the Bible in the script ... The Bible is worldwide.

Another source of inspiration becomes Orthodox worship for Pushkina, which during the years of youth left him indifferent and cold. One of the poems dated 1836 includes the poetic transformation of the prayer of St. Ephraim Syrian "Lord and Merdyko's belly of my belly", reading at the good worship services.

In the Pushkin of the 1830s, religious mud and enlightenment combined with rampant passions, which, according to S.L. Frank, is a distinctive feature of Russian "wide nature." Dying from the injury received for a duel, Pushkin confessed and communioned. Before his death, he received a note from Emperor Nikolai I, who knew personally from the younger years: "Saverny friend, Alexander Sergeevich, if not destined to see us in this light, with my last advice: try to die Christian." The great Russian poet died a Christian, and his peaceful ending was the completion of the path that I. Ilyin defined as the path "from disappointed challenge - to faith and prayer; from the revolutionary rebellion - to free loyalty and wise statehood; from dreamy worship of freedom - to organic conservatism; From the youthful multiple bia - to the cult of a family hearth ". Passing this path, Pushkin took the place not only in the history of Russian and world literature, but also in the history of Orthodoxy - as a great representative of the cultural tradition, which is all impregnated with its juices.
Another great poet of Russia M.Yu. Lermontov (1814-1841) was an Orthodox Christian, and religious topics are repeatedly arising in his verses. As a man who endowed with a gift, as an expressant of the "Russian idea", who consistent with his prophetic vocation, Lermontov had a powerful impact on Russian literature and subsequent period poetry. Like Pushkin, Lermontov knew the Holy Scripture well: his poetry was filled with biblical alluses, some of his poems are the processing of biblical plots, many epigraphs are taken from the Bible. As for Pushkin, the religious perception of beauty is characteristic of Lermontov, especially the beauty of nature in which he feels the presence of God:

When the yellowing Niva is worried,

And the fresh forest is noise at the sound of the breeze,

And hides in the garden of raspberry plum

Under the shadow of a sweet green leaf ...

Then the souls of my alarm,

Then wrinkles are diverged on the brow, -

And happiness i can comprehend on earth

And in heaven, I see God ...

In another poem of Lermontov, written shortly before his death, the trembling feeling of the presence of God is intertwined with the themes of fatigue from earthly life and thirst for immortality. A deep and sincere religious feeling is combined in poem with romantic motifs, which is a characteristic feature of Lermontov lyrics:

I go out alone on the road;

Through the mob of a silicon path glitters;
Night quiet. Desert ENGLIST GOD,

And the star with the star says.

In heaven solemn and wonderful!

Sleeps the Earth in the shine blue ...

What does it hurt me and so hard?

Waiting for what? I regret what? ..

Poetry Lermontov reflects his prayer experience, tested by the moments of the dignity, his ability to find consolation in spiritual experience. Several poems of Lermontov are prayers, clothed in the poetic shape, of which three are attracted by the word "prayer". Here is the most famous of them:

Per minute of life difficult

Persay in heart sadness:

One prayer is wonderful

i will be alive by heart.

There is a power of grace

In the consonant words of living,

And breathes incomprehensible

Holy Charm in them.

From the soul as a burden rolling,
Doubt far -

And believe and crying

And so easy, easy ...

This poem of Lermontov has gained extraordinary popularity in Russia and beyond. More than forty composers put it on music, including M.I. Glinka, A.S. Dargomyzhsky, A.G. Rubinstein, M.P. Mussorgsky, F. Sheet (German translation F. Bodenstedta).

It would be wrong to represent Lermontov Orthodox poet in the narrow sense of the word. Often, in his work, a traditional piety is opposed to youthful passion (as, for example, in the "MTSIRI" poem); In many images of Lermontov (in particular, the spirit of protest and disappointment, loneliness and contempt for people are embodied in the image of Pechorin). In addition, all the short-term literary activities of Lermontov was painted a pronounced interest in demonic topics that found his most perfect embodiment in the "Demon" poem.

The topic of the demon Lermontov inherited from Pushkin; After Lermontov, this topic will firmly enter the Russian art of the XIX - early XX century until A.A. Block and MA Vrubel. However, the Russian "demon" is by no means an antireligious or anti-scholar image; Rather, it displays the shadow, the outstanding side of the religious theme that permeates the whole Russian literature. The demon is a seducer and a deceiver, this is proud, passionate and lonely creature, obsessed with a protest against God and good. But in the poem Lermontov, good wins, the Angel of God in the end brings the soul of the seduced demon of a woman to heaven, and the demon remains in proud loneliness. In fact, Lermontov, in his poem, raises the eternal moral problem of the relationship between good and evil, God and the devil, an angel and demon. When reading the poem it may seem that the sympathy of the author on the side of the demon, but the moral outcome of the work does not leave doubts that the author believes in the final victory of the truth of God over demonic temptation.

Lermontov died on a duel, without surviving up to 27 years. If Lermontov managed to become a great national poet of Russia, then this period was not enough for the formation of mature religiosity in it. Nevertheless, deep spiritual insights and moral lessons contained in many of his works are allowed to enter his name, along with the name Pushkin, not only in the history of Russian literature, but also in the history of the Orthodox Church.

Among the Russian poets of the XIX century, whose creativity is marked by the strong influence of religious experience, it is necessary to mention A.K. Tolstoy (1817-1875), the author of the poem "John Damaskin". The plot of the poems is inspired by the episode from the lives of St. John Damaskin: The Hegumen of the Monastery, in which the Reverend launched, prohibits him to engage in poetic creativity, but God in a dream is igumen and commands to remove the ban from the poet. Against this simple plot, the multidimensional space of the poem, which includes poetic monologues of the main character. One of the monologues is an enthusiastic anthem Christ:

I turn it in front of me

With the crowd of poor fishermen;

He is quiet, peaceful path,

There is an interior bread;

Good speeches of their reflection

In the hearts, it is pitiful,

He is the truth of the sharpening herd

To its source leads.

Why isn't I born time,

When among us, in the flesh,

Carrying painful burden

He walked on life! ..

O my Lord, my hope,

My and strength and cover!

I want it all the muscles,

You grace all the songs

And the Duma of the Day, and the night of the BD

And heart every beat

And I'll give all my soul!

Do not turn to another

From now on, the prophetic mouth!

Gremi only by the name of Christ

My enthusiastic word!

In the poem A.K. Tolstoy included poetic retelling the poem of Rev. John Damaskina, performed on the requiem worship. Here are the text of these stimulus in Slavic:

Quay's everyday sweetness abides sadness; Kaya Lee Glory stands on the land is immutable; All Songs are dismantleless, the whole of the Sonium is charming: the only moment, and the whole death is acceptable. But in the light, Christ, your faces and in enjoyment of your beauty, Evgent elected the Escho, God, and the human man.

All Human Justice, Elika are not in death: Does not be wealth, nor the fame: I come to death, this is all consumes ...

Where there is a worldly addiction; where there are grazing dreams; where there is Zlato and Srebro; where there are slaves a lot and crook; The whole tool, all the ashes, the whole model ...

Rubbing the Prophet of Blade: Az Yesh Earth and ash. And Paki Watch at the Gobrel, and the dice of the bones are naked, and Reh: Woo who is the king, or warrior, or rich, or okut, or the righteous, or a sinner? But God, Lord, with the righteous slave of yours.

But the poetic translating of the same text, performed by A.K. Tolstoy:

What sweetness in this life

Ground sadness not involved?

Whose expense is not in vain?

And where is the happy between people?

All that is turned, all insignificantly

That we hardly acquired -

What a fame to the earth

Is it hard and immutable?

All ashes, ghost, shadow and smoke,

Everything will disappear as dusty vikhori,

And before death we stand

And unarmed and powerless.
The hand of mighty weak

Insignificant royal velin -
Accept the deceased slave,

Lord, in blissful seams! ..

Indiance piles of glow bones

Who is the king? Who is the slave? Judge Ile Warrior?

Who is the kingdom of God worthy?

And who is the rejected villain?

Oh brothers, where Srebro and Zlatto?

Where are the sitmons many slaves?

Among unknown coffins

Who is poor, who is rich?

All ashes, smoke, and dust, and dust,

All ghost, shadow and ghost -

Only you in heaven,

Lord, and Pier and Saving!

All that was flesh disappear,

Master our vanity -

Accept the deceased, Lord,

In your blissful seams!

Religious themes occupies a significant place in the late works N.V. Gogol (1809-1852). Happing at all of Russia with its satirical writings, such as the "auditor" and "dead souls", Gogol in the 1840s significantly changed the direction of his creative activity, paying increasing attention to church issues. The liberal intelligentsia of his time with misunderstanding and indignation was met by Gogol in 1847 "chosen places from correspondence with friends," where he reproached his contemporaries, representatives of the secular intelligentsia, in ignorance of the teachings and traditions of the Orthodox Church, defending the Orthodox clergy from N.V. Gogol of the attacks of Western critics:

The clergy is not inactive. I really know that in the depths of the monasteries and in the silence of Kheels are preparing irrefutable writings in defense of our church ... But these sewn will not serve as a complete conviction of Western Catholics. Our church must be connected in us, and not in the words of our ... This church, which, as chawed Virgo, has been preserved only from the times of the apostolic in the immaculate initial purity of his own, this church, which is all with its deep dogmas and the slightest rites outdoor It would be demolished directly from the sky for the Russian people, which one in the power to allow all nodes of bewilderment and our questions ... and this church we do not know! And this church, created for life, we have not yet introduced into our lives! Only there is one propaganda - our life is possible. Our life we \u200b\u200bmust protect our church, which is all life; Our fragrance of our shower should we erect her truth.
Of particular interest are "reflections on the Divine Liturgy", compiled by Gogol based on the interpretations of the liturgia belonging to the Byzantine authors of Patriarch Konstantinople Herman (VIII century), Nikolay Kavasyl (XIV century) and St. Simeon Simeon (XV century), as well as a number of Russian church writers. With a big spiritual trepidation, Gogol writes about the delight of holy gifts on the divine liturgium into the body and blood of Christ:

Bless, pronounces the priest: By tempering your Holy Spirit; Troekrettely pronounces Deacon: Amen - and on the throne already body and blood: the liberation was made! In the word caused eternal word. Ieria, having a verb stuck a sword, made a mischief. Whoever he himself is - Peter or Ivan, - but in his face himself, the eternal bishop made this stabbing, and he always coars him in the face of his yeekers, as for the word: yes there will be light, light shines forever; As by the Word: May the Earth will grab the grass, it grows it forever earth. On the throne - not the image, not the view, but the most body of the Lord, the very body that suffered on Earth, tolerated the exacerbates, was overlooked, crucified, buried, resurrected, ascended with the Lord and sits on the scene. The kind of bread retains it only then to be enough to man and that the Lord himself said: Az Yes bread. Church ringing rises with the bell tower to be energged about the Great Minute so that a person, wherever he be at this time - in the path of Lee, on the road, does the land of his fields, is it sitting in his house, or is busy with others, or comes Audru's diseases, or in prison walls, in a word, wherever he was, so that he could get a disheve from everywhere and from himself on this terrible minute.

In afterword, Gogol writes about the moral meaning of the Divine Liturgy for every person who takes part in it, as well as for the whole Russian society:

The action of the Divine Liturgy over the soul is great: it is visible and hidden, in view of the whole world and hidden ... And if the society has not yet fully broke, if people do not breathe full, irreconcilable hatred between them, then the innermost reason for this is a divine liturgy that resembles a person About the Holy Heavenly Love for Brother ... Veliko and innumerable could be the influence of the Divine Liturgy, if a person listened to her in order to make it hearing. Everyone equals everyone, equally acting on all the links, from the king to the last beggar, everyone says one thing, not the same language, everyone teaches love, which is the connection of society, the innermost spring of the whole slim moving, writing, the life of everything.

It is characteristic that Gogol writes not so much about the communion of the Holy Taine for the Divine Liturgy, how much about the "listening" of Liturgy, the presence of a divine service. This reflects the practice common in the XIX century, according to which Orthodox believers were incidented once or several times a year, as a rule, in the first week of a great post or on a passionate saddemice, and the communion preceded several days of "God" (strict abstinence) and confession. In the rest of the Sundays and holidays, believers came to Liturgy only to defend, "listen" to her. Collidas were against this practice in Greece, and in Russia, John Kronstadt, who called on to possibly frequent communion.

Among the Russian writers of the XIX century two colossus are distinguished - Dostoevsky and Tolstoy. Spiritual Path F.M. Dostoevsky (1821-1881) in something repeats the path of many of his contemporaries: education in traditionally Orthodox spirit, departure from traditional church in youth, returning to her in maturity. The tragic life path of Dostoevsky, sentenced to death for participating in the circle of revolutionaries, but pardoned in a minute before the execution of a sentence, who spent ten years at Katorga and reflected in all his diverse creativity - primarily in his immortal novels "Crime and Punishment", "Humiliated and offended", "idiot", "demons", "teenager", "Brothers of the Karamazov", in numerous poses and stories. In these works, as well as in the "Writer's Diary", Dostoevsky developed his religious and philosophical views based on Christian personalism. In the center of Dostoevsky's creativity, the human personality is always worth in all its diversity and contradictions, but the life of a person, the problems of human existence are considered in the religious perspective involving faith in personal, personal god.

The main religious and moral idea, uniting all the work of Dostoevsky, is summarized in the famous words of Ivan Karamazov: "If God is not, then everything is allowed." Dostoevsky denies autonomous morality, based on arbitrary and subjective "humanistic" ideals. The only durable basis of human morality, according to Dostoevsky, is the idea of \u200b\u200bGod, and it is the commandments of God - that absolute moral criterion, to which humanity should be focused. Atheism and Nihilism lead a person to moral permissiveness, open the way to a crime and spiritual death. The impact of atheism, nihilism and revolutionary sentiment in which the writer saw the threat to the spiritual future of Russia was the leitmotif of many works of Dostoevsky. This is the main topic of the "demons" novel, many pages of the writer's diary.

Another characteristic feature of Dostoevsky is its deepest Christ-centeredrism. "After all my life, your Dostoevsky carried the exceptional, the only sense of Christ, some kind of inflated love for the face of Christ ... - writes N. Berdyaev. - Vera Dostoevsky in Christ went through the burned all doubts and was hardened in fire. " For Dostoevsky, God is not an abstract idea: faith in God is identical for him to believe in Christ as the Godchor and the Savior of the world. The deposit from faith in his understanding is to renounce Christ, and the appeal to faith is the appeal primarily to Christ. The Quintessence of his Christology is the head of the "Great Inquisitor" from the novel "Brothers Karamazov" - the philosophical parable, invested in the mouth of Atheist Ivan Karamazov. In this parable, Christ appears in Medieval Seville, where the cardinal-inquisitor meets. Taking Christ under the arrest, the Inquisitor leads a monologue with him about the dignity and freedom of man; Throughout the Proverbs, Christ is silent. In the monologue of the Inquisitor, the three temptations of Christ in the desert are interpreted as temptations to miracle, secret and authority: those who are rejected by Christ, these temptations were not rejected by the Catholic Church, which adopted the Earthly authorities and took away spiritual freedom from people. Medieval Catholicism in the parable of Dostoevsky - a model of atheistic socialism, which is based on the disbelief of the spirit, the disbelief in God and ultimately disbelief in humans. Without God, without Christ, there can be no genuine freedom, approves the writer by the mouth of his hero.

Dostoevsky was deeply church man. His Christianity was not abstract or mental: the strong life struck, it was rooted in the traditions and spiritualness of the Orthodox Church. One of the main characters of the Roman "Brothers Karamazov" is the old man of Zosima, the prototype of which was seen in the saint Tikhon Zadonskie or Rev. Amvrosia Optina, but who actually represents a collective image that embodies the best that, according to Dostoevsky, was in Russian inocure . One of the heads of the novel, "from the conversations and teachings of the senior Zosima," is a moral-theological treatise, written in style close to the patristic. In the mouth of the elder Zosima Dostoevsky vague his doctrine of comprehensive love, reminiscent of the teaching of Rev. Isaac Sirin about the "heart of the Loving":

Brothers, do not be afraid of the sin of people, love a person and in his sin, for this similarity to God love and there is a top of love on earth. Love all the creation of God, and the whole, and every sand. Each leaf, every Light of God love. Love animals, love plants, love anything. You will love all the thing, and the mystery of God will comprehend in things. You will comprehend one day and will already tirelessly begin to know her more and more, for every day. And finally you will love the whole world with all the whole, worldly love ... Before I, I will be in bewilderment, especially seeing the sin of people, and ask yourself: "Do you take a lot of love?" Always decide: "Take a humbish love." Decide just once forever, and you can conquer the whole world. Humility love is a terrible force, which is the strongest, like which is nothing.

Religious themes are given a significant place on the pages of the "Diary of the Writer", which is a collection of essays of a journalistic nature. One of the central topics of the "diary" is the fate of the Russian people and the importance of Orthodox faith for him:

They say the Russian people well know the Gospel, does not know the basic rules of faith. Of course, so, but Christ he knows and wears him in his heart. There is no doubt about it. How is the true representation of Christ without teaching about faith? This is another question. But the heart knowledge of Christ and the true idea of \u200b\u200bit is quite. It is transmitted from generation to generation and merged with people hearts. Maybe the only love of the Russian people is Christ, and he loves the image of him in his own way, that is, to suffering. The title of the Orthodox, that is, truly all confessional Christ, he is proud of most.

"Russian idea", for Dostoevsky, is nothing more than Orthodoxy, which the Russian people can convey to all mankind. In this Dostoevsky sees the Russian "socialism", which is opposed to atheistic communism:

Russian people are in a huge most of them - Orthodoxy and lives the idea of \u200b\u200bOrthodoxy in completeness, although it does not understand this idea from-ham and scientifically. In essence, in the people of our, except for this "idea", and there is no, and everything comes from it, at least our people wants that with all their hearts with their deep conviction ... I'm not talking about church buildings now I say and not about the council, I'm talking about our Russian "socialism" now (and this is back the opposite of the church the word I take exactly to clarify my thought, no matter how strange it would seem), the goal and the outcome of which the nationwide and the universal church implemented on Earth Earth can accommodate it. I am talking about the tireless thirst in the people of Russian, always in it inherent, the great, universal, national, all-industrial unity in the name of Christ. And if there is still no unity, if another church did not create quite, no longer in the prayer of one, but in fact, then the instinct of this church and the tireless thirst for it, sometimes even almost unconscious, in the heart of the multi-million people of our people are undoubtedly present. Not in communism, the socialism of the people of Russian is not in mechanical forms: he believes that it will be saved only in the end of the all-time unity in the name of Christ ... And here it is possible to put the formula directly: who does not understand our Orthodoxy and the final goals of it He will never understand our people.

Following Gogol, who defended the church and clergy in their "selected places", Dostoevsky speaks about the activities of Orthodox bishops and priests, opposing them to conveyed to Protestant missionaries:

Well, what is the mostly our people Protestant and what German is he? And what to learn in German to sing psalms? And is everything that he is looking for, in Orthodoxy? Isn't it really in the truth and the salvation of the people of Russian, and in future centuries and for all mankind? Isn't it in Orthodoxy one preserved the divine face of Christ in all cleanliness? And maybe the main prehistor's appointment of the people of Russian in the fate of all mankind and consists only in keeping this Divine image of Christ in all purity, and when the time comes, it will appeal this image of the world, who lost their way! .. Well, by the way : What are our priests? What is heard about them? And our priests, too, say, wake up. Spiritual our estate, they say, have long been beginning to detect signs of life. We read with the moutigation, we prestee the Vladyk on the churches of our preaching and fraudulent life. Our shepherds, for all news, are decisively accepted for the work of the sermons and are preparing to pronounce them ... We have a lot of good shepherds, - maybe more even than we can hope or deserve it yourself.

If Gogol and Dostoevsky came to the realization of the truth and saving of the Orthodox Church, then L.N. Tolstoy (1828-1910), on the contrary, moved away from Orthodoxy and stood in the open opposition to the church. Tolstoy speaks about his spiritual path to "confession": "I was baptized and raised in the Orthodox Christian faith. I was taught with her from childhood and at all time of my aidness and youth. But when I am 18 years old came from the second year of the university, I did not believe in anything from what I was taught. " With the amazing frankness of Tolstoy, talks about the way of life, mindless and immoral, which he led in the youth, and about the spiritual crisis, hit him in the fifty-year-old age and almost brought to suicide.

In search of the exit, Tolstoy plunged into reading philosophical and religious literature, communicated with official representatives of the Church, monks and wanderers. Intellectual search led Tolstoy to faith in God and return to church; He again, after a perennial break, began to regularly go to the temple, observe posts, confessed and communioned. However, the communion did not have a thick updating and life-giving action; On the contrary, it left the writer in the soul a heavy trail, which was due, apparently, with its internal state.

The return of Tolstoy to Orthodox Christianity was short-term and superficial. In Christianity, he perceived only the moral side, the whole mystical side, including the sacraments of the church, remained alien to him, because it did not fit into the framework of rational knowledge. The worldview of Tolstoy characterized the extreme rationalism, and it was this rationalism that did not allow him to perceive Christianity in his entire fullness.

After long and painful searches, and not ending with the meeting with a personal god, with God alive, Tolstoy came to the creation of his own religion, which was based on faith in God as in an impersonal beginning, leading human morality. This religion, which combined only individual elements of Christianity, Buddhism and Islam, was distinguished by extreme syncretism and bordered with pantheism. In Jesus, Christ Tolstoy did not recognize the incarnation of God, considering it only one of the prominent moral teachers along with Buddha and Magomet. Tolstoy's own theology did not create, and his numerous religious philosophical writings that followed the "confession" were mainly moral and didactic. An important element of Tolstoy's teachings was the idea of \u200b\u200bnon-resistance to evil violence, which he borrowed from Christianity, but brought to the extreme and opposed to church teaching.

In the history of Russian literature, Tolstoy entered as a great writer, the author of the novels "War and Peace" and "Anna Karenina", numerous stories and stories. However, in the history of the Orthodox Church, Tolstoy entered as a blasphemy and a false teacher, who sewed temptation and confusion in his writings written after the "confession," - both literary and moral and journalistic, - Tolstoy fell into the Orthodox Church with sharp and evil attacks. His "study of dogmatic theology" is a pamphlet in which Orthodox theology (Tolstoy studied it extremely superficially - mainly according to catechisms and seminar textbooks) exposed to a derogatory criticism. Roman "Resurrection" contains a caricature description of the Orthodox worship, which is represented as a series of "manipulations" over bread and wine, "meaningless multi-chipping" and "blasphemous excitement", allegedly confront the teachings of Christ.

Without limiting attacks on the doctrine and worship of the Orthodox Church, Tolstoy in the 1880s began for the alteration of the Gospel and issued several writings in which the gospel was "cleared" from mysticism and miracles. In the Tolstovskaya version of the Gospel there is no story about the birth of Jesus from the Virgin Mary and the Holy Spirit, about the resurrection of Christ, there are no or distorted by many wonders of the Savior. In the composition called "Connection and Translation of the Four Gospel" Tolstoy represents arbitrary, tendentious and sometimes frankly illiterate translation of individual evangelical passages with a comment reflecting the personal dislike of Tolstoy to the Orthodox Church.

The anti-church direction of the literary and moral and publicistic activity of Tolstoy in the 1880-1890s caused sharp criticism into his address from the church, only an even more elastic writer. On February 20, 1901, the decision of Holy Synod Tolstoy was excavated from the church. The decree of the Synod contained the following separation formula: "... The church does not consider him with his member and cannot consider, he does not repel and will not restore his communication with her." Relief of Tolstoy from the Church caused a huge public resonance: liberal circles accused the church in cruelty towards the great writer. However, in his "Answer Synod" dated April 4, 1901, Tolstoy wrote: "What I renounced the Church, who calls himself an Orthodox, is quite fair ... And I made sure that the teaching of the church is a cunning and harmful lie, almost picking up The richest superstitions and witchcraft hiding the entire whole meaning of Christian verbation. " Tolstoy's oscillation was, therefore, only a statement of the fact that Tolstoy did not deny and which was conscious and voluntary renunciation of Tolstoy from the Church and from Christ recorded in many of its writings.

Until the last days of life, Tolstoy continued to spread his teaching, which has acquired many followers. Some of them were united in a sectarian community - with their cult, which included the "prayer of the Sun", "Prayer Tolstoy", "Muhammed Prayer" and other works of folk art. Around the thick formed a dense ring of his admirers who were vigulating to ensure that the writer does not change his teaching. A few days before the death of Tolstoy, unexpectedly for everyone secretly left his estate in a clear glade and went to Optio desert. The question of what attracted him in the heart of the Orthodox Russian Christianity will forever remain a secret. Without reaching the monastery, Tolstoy slightening with heavy inflammation of the lungs on Astapovo Post Station. A wife and some more close people came to him here, who found him in a serious spiritual and physical condition. From the optical desert to Tolstoy was sent an old man of Wormophy - in case the writer will want to bring repentance before death and reunite with the church. But the surroundings of Tolstoy did not accept the writer about his arrival and did not allow the elder to the dying - too great was the risk of destroying the housing gap with him the most thick. The writer died without repentance and took with him the secret of his death spiritual throwing.

In the Russian literature of the XIX century there were no more opposite personalities than Tolstoy and Dostoevsky. They differed in everything, including in the aesthetic views, in philosophical anthropology, in religious experience and worldview. Dostoevsky argued that "the beauty will save the world," and Tolstoy insisted that "the concept of beauty not only does not coincide with good, but rather opposite to him." Dostoevsky believed in his personal god, in the divineness of Jesus Christ and in Savings of the Orthodox Church; Tolstoy believed in the impersonal divine being, denied the deity of Christ and rejected the Orthodox Church. And yet not only Dostoevsky, but also thick cannot be understood out of Orthodoxy.

L. Tolstoy Russian to the bone's brain, and it could only arise in Russian Orthodox soil, although he changed Orthodoxy ... - N. Berdyaev writes. - Tolstoy belonged to the Higher Cultural Layer, who had a significant part of his part of the Orthodox faith, who lived people ... He wanted to believe how the simple people believed, not spoiled by culture. But it did not manage to be in the slightest degree ... The simple people believed in Orthodox. The Orthodox faith in the consciousness of Tolstoy faces irreconcilable with his mind.

Among other Russian writers who paid great attention to religious topics should be noted by N.S. Leskova (1831-1895). He was one of the few secular writers who made representatives of the spiritual estate the main characters of their works. The Roman Leskov "Sobira" is a chronicle of the life of a provincial protoithus, written with great skill and knowledge of the church life (Leskov himself was the grandson of the priest). The main character of the story "On the edge of the world" is an Orthodox bishop aimed at missionary service to Siberia. Religious themes are affected in many other works of Leskov, including the "imprinted angel" and "Enchanted Wanderer". The famous composition of Leskov "The little things of the bishop life" is a meeting of stories and anecdotes from the life of Russian binders of the XIX century: one of the main heroes of the book - Metropolitan of Moscow Filaret. In addition, the essays "Lord Court", "Bishops", "Diocesan Court", "Saint Shadows", "Synodal Persons" and others are adjacent to the genre. Peru Leskolov belongs to the compositions of religious-moral content, such as the "mirror of the life of a true student of Christ", "prophecies about the Messiah", "a pointer to the book of the New Testament", "The Izbinner of Otchenniy about the importance of Holy Scripture." In the last years of the life of the fishing rods under the influence of Tolstoy, began to show interest in the split, sectarianism and protestantism, departed from the traditional Orthodoxy. However, in the history of Russian literature, his name remains primarily related primarily to the stories and stories from the life of the clergy, which gained reading readers.

It is necessary to mention the impact of Orthodoxy to the creativity of A.P. Chekhov (1860-1904), in his stories of the seminarists, priests and bishops, to the description of prayer and Orthodox worship. The action of Chekhov's stories is often unfolding on a passionate sadmice or for Easter. In the "Student", a twenty-one-year student of the Spiritual Academy in Good Friday tells two women the story of the renunciation of Peter. In the story "On the Personal Week", a nine-year-old boy describes confession and communion in the Orthodox church. The story of "Holy Night" tells about two monks, one of which dies on the eve of Easter. The most famous religious work of Chekhov is the story of the "bishop", the narrative of the last weeks of the life of the provincial Vicarious bishop, who recently arrived from the border. In the description of the China "Twelve Gospels", which made on the eve of the Great Friday, felt Love Chekhov to the Orthodox Church Service:

In continuation of all the twelve gospels, it was necessary to stand far among the church, and the first gospel, the longest, most beautiful, he read himself. Cheerful, healthy mood mastered them. This is the first gospel "Now I am glorified by the Son of Man" he knew by heart; and, read, he occasionally raised his eyes and saw the whole sea of \u200b\u200blights on both sides, heard the cracks of the candles, but people were not visible, as in the past years, and it seemed that these were all the same people that were then in childhood and In his youth, that they all the same will be every year, and how long - one God is known. His father was deacon, grandfather - priest, great-grandfather, and his whole genus, perhaps, since the adoption of Christianity, belonged to the clergy, and his love to church services, clergy, to the ringing of bells was in his innate, deep , inexperienced; In the church, he, especially when he participated in the ministry, felt active, vigorous, happy.

The imprint of this innate and inexperienced church lies on the whole Russian literature of the XIX century.