Saint Petersburg State University
economy and finance
General Economic Faculty
Department of the Russian language
Report on the topic:
"Epics"
Performed
2nd year student
Groups No. 229
Ivanova Julia
St. Petersburg
Introduction.
Epic classification.
History and discovery of epics.
Cycles of development of epic creativity.
Ilya Muromets, Nikitich and Alyosha Popovich.
Conclusion.
Bibliography.
Introduction.
Of course, it is difficult to imagine a person who would not know what epics are and have not read at least one of them. However, most often people have a very general idea about epics, and often erroneous. We get acquainted with epics from books, therefore we consider them literary works, but this is not so. The creator of epics is the people; epics do not have authors, like works of fiction.
Oral folk art arose in the pre-literate period and achieved significant success. The richness of oral language culture is captured in: songs, fairy tales, riddles, proverbs. A significant place is occupied by calendar language poetry, based on pagan cult: incantations, spells, ritual songs.
For many generations, the people created and kept a kind of "oral" chronicle in the form of epic tales about the past of their native land. The emergence of a new epic genre, the epic epic, which was the pinnacle of oral folk art, dates back to the 10th century. epics - this is oral works about the past. Epics were spoken in a singsong voice, often accompanied by harpists, to the sound of strings. The epic got its name from the word “reality” that is close in meaning. This means that the epic tells about what once happened in reality. The source of every heroic song was some historical fact. But this does not mean that everything is true in the epic, in the epic, as in a folk tale, there is a lot of fiction. The presence of inaccuracies and inventions may be due to the fact that for a long time epics were transmitted only orally, were recorded from folk storytellers, often illiterate, who accepted them according to tradition from previous generations. The storytellers performed epics from memory, as they heard from their ancestors.
Epics were recorded only on the territory of Russia, mainly in the North and Siberia. In the southern regions - in the Volga region and on the Don - they turned out to be in a greatly altered and dilapidated form. Meanwhile, it should be assumed that the main number of plots was created within the Kievan state, that is, in those places that are depicted in them. But on the other hand, epics were not found on the territory of Ukraine. There are no Ukrainianisms in their language either.
In epics, as a rule, not a single fact is reflected, but many phenomena of historical life. Bylevoy epic summarizes the historical experience of the people, speaks of their heroic struggle for the independence of the state, without focusing on the description of any one battle or any one event. For example, let's take the epic "Ilya Muromets and Kalin Tsar." Documents do not confirm the historicity of either Ilya Muromets or the Tatar king Kalin. It is also impossible to establish which particular event is captured by the epic. AT this work summarized the entire experience of the struggle of our people with foreign invaders. Ilya Muromets - generalized image Russian war, as well as Kalin Tsar - a generalized image of the Tatar Khan conqueror.
Epic classification.
From the point of view of content and genre features, epics can be divided into a number of species groups:
A large group is heroic or heroic epics. All these epics are devoted to the theme of defending the Motherland, they tell about the exploits of heroes-heroes. (Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Vasily Ignatiev, Mikhail Danilovich, Sukhman, Vasily Kazemirovich, Svyatogor and others.).
Another group is made up epics-short stories (social), which usually tell about household and public life people (epics about Sadko, Vasily Buslaev, Duke Stepanovich, Nightingale Budimirovich, etc.).
A special group is epics-ballads in which the phenomena of social life or historical events are given in the form of dramatic incidents in the personal lives of people (“Prince Roman lost his wife”, “Prince Dmitry and his bride Domna”, “Vasily and Sophia”, etc.).
A small group includes epics of fairy-tale content("Sunflower Kingdom", "Vanka Udovkin and Son", "Untold Dream", "Zhdan - Tsarevich", "Merchant's Daughter and Tsar").
Another small group is epics that arose on the basis of legends and historical songs about eventsXVI- XVIIcenturies(“Rakhta Ragnozersky”, “Butman and Tsar Peter Alekseevich”, and others).
The sixth group is epics of a parodic nature. In these epics, people who perform far from heroic deeds are ridiculed in a paradox-comic form (“Agafonushka”, “Ancient about an ice floe”, various fables).
In this way, epics - this is special kind Russian folk epic songs of historical content about the protection Ancient Russia and about the social life of our people.
History and discovery of epics.
The discovery of the living existence of epics happened by chance. As it turned out, by the middle of the 19th century, the oral performance of epics was preserved only in the north of our country - in Zaonezhye, in villages located along the coast White Sea, along the rivers Pinega, Mezen and Pechora.
In the late fifties of the XIX century, P.N. Rybnikov was exiled to the Olonets province. In the summer of 1860, on official business, P.N. Rybnikov made a trip to the cities and villages located around Lake Onega. Once he and his companions stopped on the deserted island of Onega - Shui-navolok. It was here that he was lucky to hear epics. There was a house where travelers take shelter for the night. Since there were a lot of people in it and it was too dirty, P.N. Rybnikov lay down on a sack near the fire in the street. Through his drowsiness, he heard a lively and bizarre melody and saw that several peasants were sitting not far from him, and a gray-haired old man was singing. PN Rybnikov persuaded the peasant to repeat what he had sung and wrote it down from his words. This old man's name was Leonty Bogdanovich, and the epic was about Sadko the merchant. P.N. Rybnikov later said: “I later heard a lot of rare epics, I remember the ancient excellent tunes; their singers sang with an excellent voice and masterful diction, but to tell the truth, I never felt that fresh impression that bad versions of epics made, sung by the broken voice of old Leonty on Shui-navolok. P.N. Rybnikov, with the help of correspondents, managed to write down about two hundred epic texts.
But it would be wrong to say that the history of epics begins in the middle of the 19th century, it is rooted in ancient times. For example, the chronicle legend about Kozhemyak, the story about the campaign against Constantinople, "The Tale of Igor's Campaign" and other works of early Russian literature are a retelling of ancient epics.
In the second half of the 19th century, various collectors recorded epics in other regions of the country: in Western and North-Eastern Siberia, in some regions of the central regions, among the Cossacks of the Urals, Terek and Don. However, such epic wealth, as in the north, could not be found anywhere.
Despite the abundance of factual material (several thousand recorded versions of epic stories), science still cannot give a definite answer to the question of the origin and history of epics. There are several schools:
mythological school. It was formed in the middle of the XIX century. F.I. Buslaev, O.F. Miller and others believed that epics were like everything folk art formed during the distant gray antiquity on the common ancestral home for all Indo-European peoples - in ancient india in the prehistoric period of the life of peoples. From their point of view, epics are distorted remnants of ancient myths (hence the name of the school).
School of borrowing (comparative, comparative). It was formed almost simultaneously with the mythological one. A.N. Veselovsky, V.V. Stasov, M.E. Khalansky, N.G. Potanin and others believed that Russian epics were not originally Russian by origin, but were borrowed from the peoples of the East and West.
historical school. It was formed at the end of the 19th century. V.F. Miller, M.N. Speransky, A.V. Markov, S.K. Shambinago and others believed that Russian folk art (mainly epics) are a reflection of the history of the people. But in their research, they artificially tried to connect any epic with a specific historical event. They also believed that epics were created only in an educated, cultural environment, i.e. in the ancient Russian aristocracy. But the poetic talent of people is not directly dependent on their literacy. On the question of when the epics were formed, there was no unity of opinion among the supporters of the historical school. Most of them - V.F. Miller, M.N. Speransky, A.V. Markov and others - believed that epics had developed back in Kievan Rus. And other researchers - S.K. Shambinago, A.V. Pozdneev - believed that epics were formed not earlier than the 16th-17th centuries.
It is hardly correct to associate the origin of epics with any period. However, for the most part, the action usually takes place during the period of the highest flowering of Kievan Rus. But there are epics that tell about the life of subsequent and even previous historical stages.
Cycles of development of epic creativity.
V. G. Belinsky singled out the Kyiv and Novgorod cycles in Russian epics. He established that in the Russian epic there is a group of epics, united by a number of important features.
Kyiv cycle.
The general features of the epics of the Kyiv cycle are as follows: the action takes place in Kyiv or near it; in the center stands Prince Vladimir Svyatoslavovich (978-1015); the main theme is the protection of the Russian land from the southern nomads; historical circumstances and life depicted in epics are characteristic of Kievan Rus; events and enemies of the Russian land in these epics - the pre-Mongolian period; Kyiv is glorified as the center of Russian lands: from Murom, Rostov, Ryazan, Galich, bogatyrs go to serve in Kyiv. In the IX-XI centuries. Kyiv reached a high prosperity and power; he played an important role in the fight against the Pechenegs and Polovtsy, blocking their way to the northern Russian lands.
According to the majority of researchers (D.S. Likhachev, V.I. Chicherov and others) to Kievan period the emergence of epics about heroes, such as Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Mikhailo Potyk, can be attributed. These epics are characterized by the mythological principle of typification of images, since the images of enemies depicted not real people, but some kind of monsters (Nightingale the Robber, Serpent Gorynych, Pogany Idolische, etc.).
The main theme of the epics of the Kyiv cycle was the theme of the fight against foreign invaders, the idea of the unity and greatness of Russia.
Novgorod cycle.
From the second half of the 11th century Kievan state begins to disintegrate into a number of feudal principalities. In this regard, regional epic cycles begin to form. These epics reflected social contradictions, since the feuds of the princes were alien to the working people, and in response to oppression, the people rose up in revolts. So, a peculiar epic cycle arises in the Novgorod principality (epics about Sadko, about Vasily Buslaev, etc.) and in Galicia-Volynsky (epics about Duke Stepanovich, about Churil, etc.). The meaning of the epics about Sadko, as Belinsky wrote, is "the poetic apotheosis of Novgorod as a trading community." The image of Vasily Buslaev is one of the best creations of the Russian epic. In the conditions of the Russian Middle Ages, the image of a free-thinking and courageous person who believed only in his own strength could not but arouse popular sympathy.
There are several more stages in the development of epic creativity:
Period of feudal fragmentation (XII- XVcentury). The public life of this time is characterized mainly by the struggle of the people against the Tatar enslavers. And it is natural that the epics mainly reflected the theme of the fight against foreign invaders, there was a rethinking of the previously emerged epics, filling them with new content: “Ilya Muromets and Kalin Tsar”, “Ilya Muromets and Batyga” (Batu), “Kama Battle”, Vasily Ignatiev ”, “Dobrynya Nikitich and Vasily Kazimirovich” and others. But in these epics, the action is timed to coincide with the time of Kievan Rus.
The period of strengthening the Russian centralized state (XV- XVIcentury). During this period, local epic cycles are combined into one all-Russian. Moscow, along with Kyiv, becomes a symbol of Russian statehood. So, in the epic about the battle of Ilya Muromets with his son, who arose back in Kievan Rus, the great hero is already on the defense of the “Glorious mother of stone Moscow”.
The period of late feudalism (XVII- XVIIIcentury). This is the time of strengthening the feudal monarchy and strengthening the oppression of serfs. Therefore, the epic epic reveals the growth of the class self-consciousness of the people, there is a theme of hatred for the ruling classes. This manifested itself, first of all, in the image of Prince Vladimir. Initially, he was, apparently, positive, but now he has become the personification of everything negative (anger, contempt for the people, treachery, self-interest, cowardice, etc.). Epics of the period of late feudalism: “Ilya and the barren tavern”, “Ilya Muromets on the Falcon-ship”, “Dobrynya and Marinka” and others. It is also believed that epics of fairy-tale content arose no earlier than the 18th century on the basis of the processing of fairy-tale plots. During this period, the replenishment of the epic repertoire with new plots ended.
Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich.
The most famous heroes are Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich,
Ilya Muromets.
The most beloved folk hero is Ilya Muromets. The largest number of epics are dedicated to him. The entire “biography” of the hero is contained in the epics: “Healing of Ilya Muromets”, “Ilya Muromets and Nightingale the Robber”, “Ilya Muromets and Idolishche”, “Fight of Ilya Muromets with his son”, “Ilya Muromets and Kalin Tsar”, “Ilya Muromets and goli tavern”, “Quarrel of Ilya Muromets with Prince Vladimir”, “Ilya Muromets on the Falcon-ship”, “Three trips of Ilya Muromets” and others. This image of Ilya Muromets did not develop immediately, but gradually over the long creative life of our epic.
In the epics, Ilya Muromets protects his native land, drives out the hordes of Tatar conquerors, cracks down on robbers, and serves the people. Ilya Muromets is the ideal image of a hero. This is a hero of mighty strength, which gives him confidence and endurance. He has a sense of dignity, which he will not give up even before the prince. He is the defender of the Russian land, the defender of widows and orphans. He hates the "boyars with a belly," he tells everyone the truth in person. He forgets the insult when it comes to the trouble hanging over his native land, he calls on other heroes to stand up for not Prince Vladimir.
The ideal nature of the hero is manifested not only in the moral feeling that guides his actions, but also in the features of his appearance: Ilya is old and gray-haired, which is a sign of his wisdom and experience. one
Many researchers of the epic wondered: who was the prototype of the Russian hero? The search for historical "prototypes" of the epic Ilya Muromets did not give any tangible results; in the annals and other historical sources there is no similar, at least in consonance, name. The only parallel with the Thunderer Ilya the Prophet was used by mythologists in their interpretations of the image of Ilya Muromets as a double "replacement" in the public mind pagan god thunder of Perun: Perun - Ilya the Prophet - Ilya Muromets.
And, nevertheless, Ilya Muromets is the only hero of the Russian epic, canonized (Prince Vladimir Svyatoslavovich was also canonized, but not as an epic hero). AT Orthodox calendars to this day, December 19 is celebrated as "the memory of our reverend Ilya Muromets, who was in the twelfth century." 2 Moreover, there is one of the most irrefutable proofs of the reality of Ilya Muromets - his tomb in the famous Anthony Cave of the Kiev Caves Monastery, located next to the tombs of the first Russian chronicler Nestor, the first Russian icon painter Alympius and many other quite real historical figures of Kievan Rus, its ascetics and great martyrs.
Nikitich.
The second popular hero is Dobrynya Nikitich. He is an associate, a faithful comrade, the "cross brother" of Ilya Muromets. Several widespread epic stories are dedicated to him: “Dobrynya and the Serpent”, “Dobrynya and Vasily Kazimirovich”, “Dobrynya Nikitich and Alyosha Popovich”, “The Marriage of Alyosha Popovich to the Wife of Dobrynya Nikitich”, “Dobrynya and Marinka”. There are epics about birth and childhood, his marriage to the heroic polyanytsya, his acquaintance with Ilya Muromets, the conflict with Alyosha Popovich. The name of Dobrynina's mother is known - Amelfa Timofeevna, father - Nikita Romanovich; wife - Nastasya Mikulichna; aunt cross - Avdotya Ivanovna.
The image of Dobrynya Nikitich is one of the most charming and deep in the Russian epic. This is a true hero, always ready for a feat. He is where help is needed, ingenuity, intelligence and tact, the fight against heresy and deceit, loyalty and courage. He achieves his success thanks not only to strength, but also to other abilities: playing chess, archery, playing the harp, and the ability to deal with people ("knowledge").
Unlike Ilya Muromets, Dobrynya Nikitich has a very real historical "prototype" - this is the famous maternal uncle of Prince Vladimir Svyatoslavovich, the Novgorod mayor, and then the governor of Kyiv Dobrynya, stories about which are in the "Tale of Bygone Years", and in other chronicles sources. But there is another version, according to which the epic Dobrynya is a collective image that has absorbed the features of many ancient Russian Dobrynyas. Researcher Yu.I. Smirnov notes that the annals connect at least seven Dobryn:
Dobrynya, the uncle of Vladimir I Svyatoslavovich, is mentioned several times in the information from the 10th century;
to the 11th century - Dobrynya Raguilovich, governor of Novgorod;
to the 12th century - the Novgorod posadnik Dobrynya, the Kyiv boyar Dobrynka and the Suzdal boyar Dobrynya Dolgiy;
according to the XII - century Dobrynya Galichanin and Dobrynya Yadreykovich, Bishop of Novgorod.
The choice is quite large - almost four centuries, and theoretically it is impossible to exclude any of these "prototypes" or reduce all Dobryns to the first of them. Annalistic news has been preserved about each of these historical Dobryns, and literary works about some of them. Yu.I. Smirnov speaks about the times of pre-Mongol Rus, but even later, in the 15th-17th centuries, this name remained among the most common ancient Russian names. It should be borne in mind that it belonged to the number of "non-calendar" names, it could not be given at baptism. And this means that for all the Dobryns listed above, it was either the second - a pagan name received for certain qualities: kindness, beauty, greatness.
Alyosha Popovich.
The third most important and popular hero is Alyosha Popovich. Epics tell about him: “Alyosha Popovich and Tugarin Zmeevich”, “Dobrynya Nikitich and Alyosha Popovich”, “Alyosha Popovich and the sister of the Zbrodovich brothers”.
The characteristic features of Alyosha are courage, determination and cunning. Although Alyosha is boastful and carefree, and sometimes imprudent, he is still a hero. He loves his homeland, is merciless to its enemies and is ready to sacrifice his life for its sake.
Conclusion.
Epics created by the Russian people are our national treasure, our pride and glory.
Bibliography:
Anikin V.P. "Russian heroic epic"
Chicherov V.I. "Epics"
Kalugin V.I. "Strings of Rokotahu ... Essays on Russian folklore"
Kravtsov N.I., Lazutin S.G. "Russian oral folk art"
Rybakov B. "Russian epics"
Yudin Yu.I. Heroic epics (poetic art).
1Yudin Yu.I. Heroic epics. Poetic art p.68
2Kalugin V.I. Strings of Rokotahu…Essays on Russian Folklore
Epics of the Novgorod cycle develop themes of social and family life. The military theme of the Kyiv epics was of all-Russian significance. Novgorod, which almost did not know the Tatar yoke, did not develop epics with a military theme. Of the Novgorod epics, as said, are of particular importance epics "Sadko" and "Vasily Buslaev". According to the just assumption of V.F. Miller, the Novgorod epics also include the epic about the Volga and Mikul, in which, in addition to the geographical and everyday details characteristic of northern Russia (see the description of the Mikula field, the mention of the salt issue, the name of Orekhovets-Schlisselburg and etc.), there is a contrasting opposition of the prince-combatant to the peasant, which is easily explained in Novgorod Russia, in which the prince was an invited person who did not have the right to land
The image in the epic about Sadko of merchant feasts, boasting of shops with goods concludes sharp social and everyday characteristics. Bylina develops the theme of a miraculous deliverance from poverty. By itself, such a motive could only have arisen in an environment where malnutrition-underdrinking was common. The narrators at the beginning of the epic depict Sadko as a poor harpist, the creator of wonderful songs. The power of his art is enormous, it is able to evoke a response in nature itself. But the merchants of Novgorod did not need this art, and Sadko had nothing to live on, nothing to feed himself. Sadko leaves the merchants on the shore of Lake Ilmen and, with his playing the harp and singing, conquers the water element. The king of the sea himself rises from the depths of the waters and bestows unprecedented gifts on the guslar - "golden feather fish". A beggar harpman, a representative of folk art, defeats eminent merchants.
The bylina about Sadko is built on showing the conflict between the poor harpman and the merchants of Novgorod (merchants do not invite Sadko to a feast; Sadko admires the sea king by playing the harp, receives a reward from him and, at his instigation, argues with the merchants; Sadko wins the argument, becomes rich, proud of his wealth , argues with the merchants again). The conflict is resolved safely for Sadko as long as he fights with individual merchants. As soon as Sadko loses consciousness of his connection with the collective and comes to oppose himself to the whole of Veliky Novgorod, he loses. The defeat of the one who opposes himself to the collective-people is inevitable - such is the idea affirmed by the epic and determining the development of the plot. The second part tells how Sadko defeated by Novgorod, leaving native city, wandering the seas. Bylina combines the idea of a miraculous overcoming of social injustice (rich merchants - poor guslar) with the glorification of Novgorod.
The bylina about Sadko has a number of episodes similar to episodes of the epic of other peoples. This made it possible to bring it closer to the Kalevala (the image of the wonderful musician Vainemeinen was interpreted by some researchers as parallel and even identical with Sadko; the sea king of the epic was interpreted as a reworking of the water god Ahto of the Karelian-Finnish epic). The episode of Sadko's sinking into the sea was considered as a variation of the theme of throwing a sinner into the sea, developed by the Bible (the story of Jonah in the belly of a whale) and medieval literature (cf. the story of Sadok in the old French novel "Tristan de Leonois")
The erection of the epic about Sadko to foreign sources and its interpretation as a reworking of the folklore and literature of other peoples is deeply erroneous. But the very parallels to the epic about Sadko should be taken into account as material for studying the Russian epic, helping to reveal its features and the commonality that the epic has in common with the heroic medieval epic of other peoples.
An equally remarkable example of the Novgorod epic epic are two epics about Vasily Buslaev - about his youth ("Vasily Buslaev and the men of Novgorod") and how he went to pray ("The Death of Vasily Buslaev"). These epics, reflecting the life and social relationships of medieval Novgorod (they contain wonderful everyday sketches that have correspondences in chronicles - see the Novgorod Chronicle and the Sophia Time Book), are especially important because they reflected the early glimpses of criticism and elements of rationalism in Russia.
The epics about Vasily Buslaev reflect critical attitude to the dogmas approved by the church and the entire system of the feudal state. The very image of Vaska Buslaev is characterized by the absence of superstition, so typical of the Middle Ages, and the desire to disrupt the order of things established by the system. They say about Buslaev that he "does not believe in sleep, or in chokh, or in birds' hearts." The lack of respect for everything that was revered as illuminated by religion is manifested in many of Vaska's actions. So, in the heat of battle on the bridge across the Volkhov, Vaska does not think about raising his hand to his "godfather"; it must be remembered that the godfather appears before Vaska in spiritual vestments, therefore, Vaska is not stopped by monastic clothes either. At the tomb of the Lord, Vaska violates the rules of conduct by entering naked into the Jordan River. Vaska also did other forbidden things for a Christian.
These characteristic features of the image of Buslaev are fully explained by the ideological life of the Russian Middle Ages. The more the ideological oppression of the Russian church intensified, the more rational the consciousness of people became. Under the dominance of a religious worldview, it often took the form of "heretical" movements. Such were the heresies of Strigolniks and Judaizers known in Russia. The latter, for example, denied the divinity of Jesus Christ, the miracle-working of icons, and much more that the canonical Orthodox Church as the main elements of the Christian faith.
Epics about Vasily Buslaev, of course, cannot be directly connected with these "heretical" directions of Russian public thought. But the epic songs about him certainly reflected the setting that gave rise to variously expressed rationalisms. The protest of Vasily Buslaev against the established prohibitions, his violation of the foundations and rules of life, disbelief in beliefs and signs reflected the progressive phenomena of the social life of medieval Russia. A. M. Gorky rightly emphasized that the image of Buslaev was a specifically Russian generalization of social phenomena and pointed out that it reflected some aspects of the national Russian character.
It should be noted that folk art notes the unconsciousness of Buslaev's protest. The very protest completely captures the hero of the epic, forcing him to violate all the rules of the hostel, to also commit unreasonable actions - entirely for the sake of reckless daring. From here comes some inconsistency of the image, which is reflected in the fact that Vaska, perceived as an obviously positive hero, whose actions protest against medieval stagnation, against established customs, performs a series of actions that are essentially unnecessary, give nothing, and sometimes contradict the elementary rules of behavior ( see, for example, the episode with a dead head). Vasily Buslaev does not know how to hold on to anything; he himself becomes a victim of violation of the prohibitions and eventually perishes.
Epics about Vasily Buslaev, telling about the life of the hero in Veliky Novgorod, give wonderful sketches of the life of a medieval city (the custom of brotherhood, fisticuffs etc.). The outline of the epic is very accurate and is fully confirmed by chronicle stories (cf. in the Novgorod Chronicles). The combination of truthfully depicted ideological phenomena of medieval Russia with accurate and vivid sketches of social and family life single out the epic about Vasily Buslaev as one of the most artistic original epic songs of the Russian people.
The epic about Vavila and buffoons comes into contact with the Novgorod epics (and perhaps it was created in the Novgorod lands). The basis for this assumption is given by the fact that the buffoon song and epic tradition was vividly preserved on the territory of the Novgorod Pyatina until the 20th century, and the epic "Vavila and the buffoons", recorded on the river. Pinega is a vivid example of this tradition. Novgorod in the XV-XVII centuries. along with Moscow, it was the center of the focus of buffoon art. Naturally, the persecution of buffoons, the persecution of buffoon art, is especially strong in XVII century, in the Novgorod region also took place. Buffoons in the letters of Muscovite Russia were declared servants of the devil, and their art, demonic Bylina about Babylon and buffoons, as it were, answers the government and the clergy and calls the art of buffoons holy. This epic is an apology for buffoon art.
In the epic, King Dog with his son, daughter and son-in-law are opposed to buffoons, leading the peasant Vavila with them. There is no sufficient reason to see any specific person under the name of Tsar Dog (for example, Tsar Alexei Mikhailovich, who especially severely persecuted buffoons). Most likely, this image should be understood as a generalizing epic image, opposing buffoons, with whom, at their call, leaving daily work in the field, the peasant Vavila is walking. By the power of their art - song and game - Vavila and the buffoons cause a fire that incinerates the "food kingdom" of the king of the Dog. Babyla is put in the kingdom of buffoons. It is also noteworthy that in the epic the buffoons going to Tsar Sobaka are named after Saints Kuzma and Demyan - unmercenaries (i.e., the poor), patrons of artisans (mainly blacksmiths). The epic says about them: “Not ordinary people, saints!”.
Bylina, opposing the peasant Vavila to the king, affirms the victory of the smerd over the ruler-Dog and the legality of the destruction of his kingdom.
The content of the article
BYLINA- folklore epic song, a genre characteristic of the Russian tradition. The basis of the epic plot is some heroic event, or a remarkable episode of Russian history (hence vernacular name epic - "old", "old", meaning that the action in question took place in the past). The term "epic" was introduced into scientific use in the 40s of the 19th century. folklorist I.P. Sakharov (1807–1863).
Means of artistic expression.
Over the course of many centuries, peculiar techniques have been developed that are characteristic of the poetics of the epic, as well as the way they are performed. In ancient times, it is believed that storytellers played along on the harp; later epics were performed in recitative. Epics are characterized by a special purely tonic epic verse (which is based on the commensurability of lines by the number of stresses, which achieves rhythmic uniformity). Although the storytellers used only a few melodies when performing epics, they enriched the singing with a variety of intonations, and also changed the timbre of the voice.
The emphatically solemn style of presentation of the epic, which tells about heroic and often tragic events, determined the need to slow down the action (retardation). For this, a technique such as repetition is used, and not only individual words are repeated: ... this braid, braid, …from far away, marvelous marvelous(repetitions are tautological), but also the injection of synonyms: fight, tribute-duties, (repetitions are synomimic), often the end of one line is the beginning of another: And they came to holy Russia, / To holy Russia and near Kyiv city ..., three-time repetitions of entire episodes are not uncommon, with increased effect, and some descriptions are extremely detailed. The epic is also characterized by the presence of “common places”, when describing situations of the same type, certain formulaic expressions are used: in this way (with extreme detail) saddling a horse is depicted: Ai Dobrynya goes out into the wide yard, / He bridles the saddle of a good horse, / After all, he imposes a bridle on the saddle, / After all, he imposes sweatshirts on sweatshirts, / After all, he imposes felts on felts, / He is a Cherkasy saddle on the top. / And he tightened the girths tightly, / And the girths of the overseas sholka, / And the overseas sholpan sholka, / Glorious copper buckles would be from Kazan, / Studs of damask-iron Siberian, / Not beautiful basses, brothers, valiant, / And for the fortification, it was heroic. TO " common places”also include a description of the feast (for the most part, at Prince Vladimir), the feast, the heroic ride on a greyhound horse. A folk narrator could combine such stable formulas at his own will.
The language of epics is characterized by hyperbole, with the help of which the narrator emphasizes the character traits or appearance of the characters worthy of special mention. Determines the attitude of the listener to the epic and another technique - the epithet (powerful, Holy Russian, glorious hero and filthy, evil enemy), and stable epithets are often found (violent head, hot blood, frisky legs, combustible tears). Suffixes also play a similar role: everything related to heroes was mentioned in diminutive forms (hat, little head, little thought, Aleshenka, Vasenka Buslaevich, Dobrynushka, etc.), but negative characters were called Ugryumishch, Ignatishch, Tsar Batuishch, Ugarishch filthy. Considerable place is occupied by assonances (repetition of vowel sounds) and alliteration (repetition of consonants), additional organizing elements of the verse.
Epics, as a rule, are three-part: a sing-along (usually not directly related to the content), the function of which is to prepare for listening to the song; beginning (within its limits, the action unfolds); ending.
It should be noted that some artistic techniques used in the epic are determined by its theme (so, for heroic epics typical antithesis).
The narrator's gaze never turns to the past or the future, but follows the hero from event to event, although the distance between them can vary from a few days to several years.
Plots of epics.
The number of epic stories, despite the many recorded versions of the same epic, is very limited: there are about 100 of them. There are epics based on matchmaking or the struggle of the hero for his wife ( Sadko, Mikhailo Potyk, Ivan Godinovich, Danube, Kozarin, Nightingale Budimirovich and later - Alyosha Popovich and Elena Petrovichna, Hoten Bludovich); fighting monsters Dobrynya and the snake, Alyosha and Tugarin, Ilya and Idolishche, Ilya and the Nightingale the Robber); fight against foreign invaders, including: repelling Tatar raids ( Ilya's quarrel with Vladimir, Ilya and Kalin, ), wars with Lithuanians ( Bylina about the arrival of Lithuanians).
Stand apart are satirical epics or epics-parodies ( Duke Stepanovich, Competition with Churila).
The main epic heroes.
Representatives of the Russian "mythological school" divided the heroes of epics into "senior" and "junior" heroes. In their opinion, the “elders” (Svyatogor, Danube, Volkh, Potyka) were the personification of elemental forces, epics about them in a peculiar way reflected the mythological views that existed in Ancient Russia. The “younger” heroes (Ilya Muromets, Alyosha Popovich, Dobrynya Nikitich) are ordinary mortals, heroes of a new historical era, and therefore are endowed with mythological features to a minimal extent. Despite the fact that serious objections were subsequently raised against such a classification, such a division is still found in the scientific literature.
The images of heroes are the national standard of courage, justice, patriotism and strength (it was not for nothing that one of the first Russian aircraft, which had an exceptional carrying capacity for those times, was called the creators of "Ilya Muromets").
Svyatogor
refers to the oldest and most popular epic heroes. His very name indicates a connection with nature. He is great in stature and mighty, his earth bears with difficulty. This image was born in the pre-Kiev era, but subsequently underwent changes. Only two plots have come down to us, originally associated with Svyatogor (the rest arose later and are fragmentary): the plot about the discovery of Svyatogor's bag, which belonged, as specified in some versions, to another epic hero, Mikula Selyaninovich. The bag turns out to be so heavy that the bogatyr cannot lift it; The second story tells about the death of Svyatogor, who meets a coffin on the way with the inscription: “Whoever is destined to lie in a coffin will lie in it,” and decides to try his luck. As soon as Svyatogor lies down, the lid of the coffin jumps up by itself and the hero cannot move it. Before his death, Svyatogor passes on his power to Ilya Muromets, thus the hero of antiquity passes the baton to the new hero of the epic that comes to the fore.
Ilya Muromets,
undoubtedly the most popular hero of epics, mighty hero. Epos does not know him young, he is an old man with a gray beard. Oddly enough, Ilya Muromets appeared later than his epic younger comrades Dobrynya Nikitich and Alyosha Popovich. His homeland is the city of Murom, the village of Karacharovo.
The peasant son, the sick Ilya, "sat on the stove for 30 years and three years." One day wanderers came to the house, “passable kaliks”. They healed Ilya, endowing him with heroic strength. From now on, he is a hero who is destined to serve the city of Kyiv and Prince Vladimir. On the way to Kyiv, Ilya defeats the Nightingale the Robber, puts him in "toroks" and takes him to the prince's court. Of the other exploits of Ilya, it is worth mentioning his victory over Idolishche, which laid siege to Kyiv and forbade begging and commemorating God's name. Here Elijah acts as a defender of the faith.
His relationship with Prince Vladimir is not smooth. The peasant hero does not meet with due respect at the court of the prince, he is bypassed with gifts, he is not put in a place of honor at the feast. The rebellious hero is imprisoned in the cellar for seven years and is doomed to starvation. Only an attack on the city of the Tatars, led by Tsar Kalin, forces the prince to ask for help from Ilya. He gathers heroes and enters the battle. The defeated enemy flees, vowing never to return to Russia.
Nikitich
- a popular hero of the epics of the Kyiv cycle. This snake fighter was born in Ryazan. He is the most polite and well-mannered of the Russian heroes, it is not for nothing that Dobrynya always acts as an ambassador and negotiator in difficult situations. The main epics associated with the name of Dobrynia: Dobrynya and the snake, Dobrynya and Vasily Kazemirovich, The battle of Dobrynya with the Danube, Dobrynya and Marina, Dobrynya and Alyosha.
Alyosha Popovich
- comes from Rostov, he is the son of a cathedral priest, the youngest of the famous trinity of heroes. He is bold, cunning, frivolous, prone to fun and jokes. Scientists belonging to the historical school believed that this epic hero originated from Alexander Popovich, who died in the Battle of Kalka, however, D.S. Likhachev showed that the reverse process actually took place, the name of the fictional hero penetrated into the annals. The most famous feat of Alyosha Popovich is his victory over Tugarin Zmeevich. The hero Alyosha does not always behave in a worthy manner, he is often arrogant, boastful. Among the epics about him - Alyosha Popovich and Tugarin, Alyosha Popovich and sister Petrovich.
Sadko
is also one of the oldest heroes, in addition, he is perhaps the most famous hero epics of the Novgorod cycle. The ancient story about Sadko, which tells how the hero wooed the daughter of the sea king, subsequently became more complicated, surprisingly realistic details appeared concerning the life of ancient Novgorod.
The bylina about Sadko is divided into three relatively independent parts. In the first, the harpist Sadko, who impressed the king of the sea with the skill of his game, receives advice from him on how to get rich. From that moment on, Sadko was no longer a poor musician, but a merchant, a rich guest. In the next song, Sadko bets with Novgorod merchants that he will be able to buy all the goods of Novgorod. In some versions of the epic, Sadko wins, in some, on the contrary, he is defeated, but in any case he leaves the city because of the intolerant attitude of the merchants towards him. The last song tells about Sadko's journey through the sea, during which the sea king calls him to him in order to marry his daughter and leave him in the underwater kingdom. But Sadko, having abandoned the beautiful princesses, marries Chernavushka the mermaid, who personifies the Novgorod river, and she takes him to his native shores. Sadko returns to his "earthly wife", leaving the daughter of the sea king. V.Ya.Propp points out that the epic about Sadko is the only one in the Russian epic where the hero goes to other world(underwater kingdom) and marries an otherworldly being. These two motifs testify to the antiquity of both the plot and the hero.
Vasily Buslaev.
Two epics are known about this indomitable and violent citizen of Veliky Novgorod. In his rebellion against everyone and everything, he does not pursue any goal, except for the desire to run amok and show off. The son of a Novgorod widow, a wealthy citizen, Vasily from childhood showed his unbridled temper in fights with peers. Growing up, he gathered a squad to compete with all of Veliky Novgorod. The battle ends with the complete victory of Vasily. The second epic is dedicated to the death of Vasily Buslaev. Having traveled to Jerusalem with his retinue, Vasily mocks the dead head he met, despite the ban, bathes naked in Jericho and neglects the requirement inscribed on the stone he found (you cannot jump over the stone along). Vasily, due to the indomitability of his nature, begins to jump and jump over it, catches his foot on a stone and breaks his head. This character, which embodies unbridled passions Russian nature, was the favorite hero of M. Gorky. The writer carefully accumulated materials about him, cherishing the idea of writing about Vaska Buslaev, but when he learned that A.V. Amfiteatrov was writing a play about this hero, he gave all the accumulated materials to his fellow writer. This play is considered one of the the best works A.V. Amfiteatrova.
Historical stages of development of the epic.
Researchers disagree on when epic songs appeared in Russia. Some attribute their appearance to the 9th–11th centuries, others to the 11th–13th centuries. One thing is certain - having existed for such a long time, passed from mouth to mouth, epics did not reach us in their original form, they underwent many changes, as the state system, the internal and external political situation, the worldview of listeners and performers changed. It is almost impossible to say in what century this or that epic was created, some reflect an earlier, some a later stage in the development of the Russian epic, and in other epics, researchers distinguish very ancient plots under later layers.
V.Ya.Propp believed that the most ancient plots are related to the matchmaking of the hero and snake fighting. Such epics are characterized by elements that are also significant for a fairy tale, in particular: tripling of plot terms (Ilya, at a crossroads, runs into a stone with an inscription foreshadowing one fate or another, and successively chooses each of the three roads), prohibition and violation of the prohibition (Dobrynya is forbidden swim in the Puchai River), as well as the presence of ancient mythological elements(Volkh, born from a father-serpent, has the gift of reincarnation in animals, Tugarin Zmeevich in different options the epic appears either as a snake, or as a snake endowed with anthropomorphic features, or as a creature of nature, either human or snake; in the same way, the Nightingale the Robber turns out to be either a bird, or a man, or even combines both traits).
The largest number of epics that have come down to us belongs to the period from the 11th to the 13th-14th centuries. They were created in the southern Russian regions - Kyiv, Chernigov, Galicia-Volyn, Rostov-Suzdal. The topic of the struggle of the Russian people with the nomads who raided Kievan Rus, and later with the Horde invaders, becomes the most relevant in this period. Epics begin to group around the plot of the defense and liberation of the Motherland, brightly colored with patriotic feelings. The people's memory has preserved only one name for the nomadic enemy - Tatar, but researchers find among the names of the heroes of epics the names of not only Tatar, but also Polovtsian military leaders. In epics, the desire to raise the people's spirit is noticeable, to express love for home country and furious hatred for foreign invaders, the exploits of the mighty and invincible folk heroes-heroes are praised. At this time, the images of Ilya Muromets, Danube-in-law, Alyosha Popovich, Dobrynya Nikitich, Vasily Kazemirovich, Mikhailo Danilovich and many other heroes become popular.
With the formation of the Moscow state, starting from the 16th century, heroic epics gradually fade into the background, buffoons become more relevant ( Vavila and buffoons, Birds) and satirical epics with their sharp social conflicts. They describe the exploits of heroes in civilian life, the main characters oppose princes and boyars, and their task is to protect their own family and honor (Sukhman, Danilo Lovchanin), while the ruling strata of society are ridiculed in buffoon epics. At the same time, there is new genre- historical songs, which tell about specific historical events that took place from the 13th to the 19th centuries, there are no fiction and exaggeration characteristic of epics, and in battles several people or an entire army can act as heroes at once.
In the 17th century epics are gradually beginning to supplant the translated chivalric novel adapted for the Russian audience, meanwhile they remain popular popular entertainment. At the same time, the first written retellings of epic texts appear.
Historical reality and fiction in epics.
The relationship between reality and fiction in epics is by no means straightforward; along with explicit fantasies, there is a reflection of the life of Ancient Russia. Behind many epic episodes, real social and domestic relations, numerous military and social conflicts that took place in antiquity. It is also noteworthy that in the epics certain details of life are conveyed with amazing accuracy, and often the area where the action takes place is described with amazing accuracy. It is also interesting that even the names of some epic characters are recorded in the annals, where they are described as real personalities.
Nevertheless, folk narrators who sang of feats princely squad, unlike the chroniclers, did not literally follow the chronological course of events, on the contrary, the people's memory carefully preserved only the most vivid and remarkable historical episodes, regardless of their location on the timeline. A close connection with the surrounding reality led to the development and change in the structure and plots of epics, according to the course of the history of the Russian state. Moreover, the genre itself existed until the middle of the 20th century, of course, undergoing various changes.
Cyclization of epics.
Although, due to the special historical conditions in Russia, an integral epic did not take shape, scattered epic songs are formed into cycles either around a certain hero, or according to the common area where they lived. There is no classification of epics that would be unanimously accepted by all researchers, however, it is customary to single out epics of the Kyiv, or “Vladimirov”, Novgorod and Moscow cycles. In addition to them, there are epics that do not fit into any cycles.
Kyiv or "Vladimirov" cycle.
In these epics, the heroes gather around the court of Prince Vladimir. The prince himself does not perform feats, however, Kyiv is the center that attracts heroes who are called to protect their homeland and faith from enemies. V.Ya.Propp believes that the songs of the Kyiv cycle are not a local phenomenon, characteristic only for the Kyiv region, on the contrary, the epics of this cycle were created throughout Kievan Rus. Over time, the image of Vladimir changed, the prince acquired features that were initially unusual for the legendary ruler, in many epics he is cowardly, mean, often deliberately humiliates the heroes ( Alyosha Popovich and Tugarin, Ilya and Idolishche, Ilya's quarrel with Vladimir).
Novgorod cycle.
Epics differ sharply from the epics of the "Vladimir" cycle, which is not surprising, since Novgorod never knew Tatar invasion, and was the largest trading center of ancient Russia. The heroes of Novgorod epics (Sadko, Vasily Buslaev) are also very different from others.
Moscow cycle.
These epics reflected the life of the upper strata of Moscow society. The epics about Khoten Bludovich, Duke and Churil contain many details typical of the era of the rise of the Muscovite state: clothes, customs and behavior of the townspeople are described.
Unfortunately, Russian heroic epic did not fully develop, this is its difference from the epics of other peoples. The poet N.A. Zabolotsky at the end of his life tried to make an unprecedented attempt - on the basis of disparate epics and epic cycles to create a single poetic epic. This bold plan prevented him from carrying out death.
Collection and publication of Russian epics.
The first recording of Russian epic songs was made at the beginning of the 17th century. Englishman Richard James. However, the first significant work on collecting epics, which had a huge scientific significance, was done by the Cossack Kirsha Danilov in about 40–60 of the 18th century. The collection he collected consisted of 70 songs. For the first time, incomplete records were published only in 1804 in Moscow, under the title Ancient Russian Poems and for a long time were the only collection of Russian epic songs.
The next step in the study of Russian epic songs was made by P.N. Rybnikov (1831–1885). He discovered that epics were still being performed in the Olonets province, although by that time this folk genre thought to be dead. Thanks to the discovery of P.N. Rybnikov, it was possible not only to study the epic epic in depth, but also to get acquainted with the method of its performance and with the performers themselves. The final collection of epics was published in 1861-1867 under the title Songs collected by P.N. Rybnikov. Four volumes contained 165 epics (for comparison, we mention that in Collection of Kirsha Danilov there were only 24).
This was followed by collections by A.F. Gilferding (1831–1872), P.V. Kireevsky (1808–1856), N.E. in the Middle and Lower Volga regions, on the Don, Terek and Urals (in the Central and Southern regions, the epic epic was preserved in very small sizes). The last recordings of epics were made in the 20-30s of the 20th century. Soviet expeditions traveling in the north of Russia, and from the 50s of the 20th century. the epic epic practically ceases to exist in live performance, remaining only in books.
For the first time, K.F. Kalaidovich (1792–1832) tried to comprehend the Russian epic as an integral artistic phenomenon and understand its relationship with the course of Russian history in the preface to the second edition of the collection he undertook (1818).
According to the representatives of the “mythological school”, to which F.I. Buslaev (1818–1897), A.N. Afanasiev (1826–1871), O.F. derived from older myths. Based on these songs, representatives of the school tried to reconstruct the myths of primitive peoples.
Comparative scientists, including G.N. Potanin (1835–1920) and A.N. Veselovsky (1838–1906), considered the epic to be an ahistorical phenomenon. They argued that the plot, after its inception, begins to wander, changing and enriching itself.
The representative of the "historical school" VF Miller (1848-1913) studied the interaction between the epic and history. In his opinion, historical events were recorded in the epic, and thus the epic is a kind of oral chronicle.
V. Ya. Propp (1895–1970) occupies a special place in Russian and Soviet folklore. In his innovative works, he combined a historical approach with a structural approach (Western structuralists, in particular K. Levi-Strauss (b. 1909), called him the ancestor of their scientific method, against which V.Ya. Propp sharply objected).
Epic stories and heroes in art and literature.
Ever since the publication of Kirsha Danilov's collection, epic stories and heroes have become firmly established in the world of modern Russian culture. It is not difficult to see traces of acquaintance with Russian epics in the poem by A.S. Pushkin Ruslan and Ludmila and in the poetic ballads of A.K. Tolstoy.
The images of Russian epics also received a multifaceted reflection in music. Composer A.P. Borodin (1833–1887) created an opera-farce Bogatyrs(1867), and gave the title to his 2nd symphony (1876) Bogatyrskaya, he used the images of the heroic epic in his romances.
Companion of A.P. Borodin in the "mighty handful" (association of composers and music critics) N.A. Rimsky-Korsakov (1844–1908) twice turned to the image of the Novgorod “rich guest”. First he created a symphonic musical picture Sadko(1867), and later, in 1896, the opera of the same name. It is worth mentioning that the theatrical production of this opera in 1914 was designed by the artist I.Ya. Bilibin (1876–1942).
V.M.Vasnetsov (1848–1926), is mainly known to the public from his paintings, the plots for which are taken from the Russian heroic epic, it is enough to name the canvases Knight at the Crossroads(1882) and Bogatyrs (1898).
M.A. Vrubel (1856–1910) also turned to epic stories. Decorative panels Mikula Selyaninovich(1896) and Bogatyr(1898) interpret these seemingly well-known images in their own way.
Heroes and plots of epics are precious material for cinema. For example, a film directed by A.L. Ptushko (1900–1973) Sadko(1952), the original music for which was written by the composer V.Ya.Shebalin, partly using musical arrangement classical music N.A. Rimsky-Korsakov, was one of the most spectacular films of its time. Another film by the same director Ilya Muromets(1956) became the first Soviet widescreen film with stereo sound. Animation director V.V.Kurchevsky (1928-1997) created an animated version of the most popular Russian epic, his work is called sadko rich (1975).
Berenice Vesnina
Literature:
Epics of the North. Notes by A.M. Astakhova. M. - L., 1938-1951, vols. 1–2
Ukhov P.D. epics. M., 1957
Propp V.Ya., Putilov B.N. epics. M., 1958, vols. 1–2
Astakhova A.M. Epics. Results and problems of the study. M. - L., 1966
Ukhov P.D. Attribution of Russian epics. M., 1970
Ancient Russian poems collected by Kirshe Danilov. M., 1977
Azbelev S.N. Historicism of epics and the specifics of folklore. L., 1982
Astafieva L.A. The plot and style of Russian epics. M., 1993
Propp V.Ya. Russian heroic epic. M., 1999
Epics about Sadko entered the all-Russian epic with their own kind of mythological and historical imagery. The chronicle mentions, in 1667, a certain Sadko Sytinets (Sotko Sytinich's version), who founded a church in a stone town near the Hagia Sophia. The Sophia Timekeeper calls this temple creator "Sotko the rich." The point, of course, is not that the epic Sadko is identical to the chronicle Sotko, but that some legends about a historical real person could influence the epic narrative. The historicization of local mythology (ideas about rivers, the king of the sea, etc.), combined with some Christian concepts about St. Nicholas, complemented the democratic trend of epics. They made their hero a simple guslar, faithful in his devotion to his native land, and not a rich man, whose social appearance is characterized by acquisitiveness and greed.
No less interesting is another character of the Novgorod epics - Vasily Buslaev. Buslaev's clash with the wealthy Posad and all those who supported him in Novgorod reproduces the struggle of the Novgorod political parties in the XII - the first half of the XIII centuries. In Novgorod of the XII-XIII centuries, the Suzdal party was very strong, Vasily Buslaev opposes it, against the trading settlement and at the same time against the grand-princely claims of Suzdal-Vladimir Rus. He reveals his anti-Suzdal orientation in the image of the mighty Novotorzhenin and the old pilgrim - the Novgorod archbishop. The idea of independence from the authorities of those who supported the Vladimir-Suzdal princes was fighting throughout the 12th century and in the 13th century before the invasion of the Tatar-Mongols.
In the epics about Sadko, about Vasily Buslaev, the people developed plots that were not thematically connected at all with Kyiv and the Kyiv prince, but wholly taken from the historical reality of the XII-XIV centuries. They, as well as other regional manifestations of ethnic creativity such as the Bryansk song about Prince Roman (he is mentioned in the annals of that time) and the Livik brothers, were an indicator of the strong need for epic song creativity to respond to everything that the reality of XII-XIX carried with it. centuries.
Thus, the historicism of the Russian epic lies in the fact that the epics correctly reflect the general character of the era with its material and spiritual culture, military and social conflicts, life and customs, that specific facts were reflected in the activities of some heroes and the content of a number of epics. ancient Russian history. Russian epics mention about thirty historical figures known to us from written sources from 975 to 1240. The historical approach to Russian epics showed that epics of the 10th-14th centuries are extremely important historical sources, depicting for us the attitude of the masses to the most important events in the life of Kievan Rus, its heroes and figures for five centuries.
Researchers are almost unanimous in the opinion that at one time the Kyiv cycle of epics was not the only one and, like the surviving Novgorod ones, there were epics from Ryazan, Rostov, Chernigov, Polotsk, Galicia-Volyn ... In the same way that until the 19th and 20th centuries only Kyiv and Novgorod, has its own historical pattern. “Bylina,” remarks D.S. Likhachev is not a remnant of the past, but a work of art and history about the past. Its attitude to the past is active: it reflects the historical views of the people to an even greater extent than historical memory. The historical content of epics is conveyed by storytellers consciously. Preservation of the historically valuable in the epic (be it names, events, social relations, or even historically correct vocabulary) is the result of a conscious, historical attitude of the people to the content of the epic. The people in their epic creativity proceed from fairly clear historical ideas about the time of the Kyiv heroism. The consciousness of the historical value of what is being transmitted and the peculiar historical ideas of the people, and not just mechanical memorization, determine the stability of the historical content of epics.
The people have preserved the historically valuable in the Kyiv and Novgorod epics, in which we see two completely various types urban and state life of Ancient Russia. Bylinny Kyiv has always been the center of princely, state power, in all the plots of the Kyiv cycle one way or another there is a conflict between the hero (personality) and the prince (power). While epic Novgorod is always the personification of veche power, which also affects all conflict situations Vasily Buslaev and Novgorod peasants, Sadko and merchants. And the Heroic cycle is already new stage both in Russian history and in Russian epic. Here the idea of protecting the native land becomes dominant, everything else recedes into the background.
The time of the appearance of the epics of the Kyiv cycle, as well as the Novgorod cycle, chronologically coincides with the heyday of these principality states. In the heyday of Kievan Rus - the largest of the medieval states of the era - there was a processing of the most ancient archaic layer of myths and legends, "historicization of former traditions" (V.P. Anikin) as in oral folk literature as well as in writing. After all, when the first annalistic collection of The Tale of Bygone Years was created, it also included reworked and “historicized” pagan traditions of deep antiquity in the same way.
In this regard, the epics of the Kyiv cycle are no less reliable historical source than any other - chronicle and literary.
Just as Novgorod is isolated in Russian history, so its heroes stand out noticeably among the heroes of the Russian epic. Epics about Sadko and Vasily Buslaev are not just new original plots and themes, but also new epic images, new types of heroes that the Kyiv cycle does not know. Researchers attribute the emergence of the Novgorod cycle to XII century- the heyday of the Lord Veliky Novgorod and the beginning of the decline of Kievan Rus, torn apart by princely strife. “The flourishing of Kyiv,” notes D.S. Likhachev, comparing the Novgorod cycle with the Kyiv cycle, was in the past, and epic tales of military exploits are attached to the past. The heyday of Novgorod was a living modernity for the XII century, and the themes of modernity were primarily social and everyday ... Just as the time of Vladimir Svyatoslavovich was presented in Kyiv epics as a time of “epic opportunities” in the military sphere, so the time of veche orders in Novgorod was the same time " epic opportunities" in the social sphere.
Bibliography
Viktor Kalugin. Heroes of the Kyiv and Novgorod cycle"
