The genre of the story in ancient Russian literature. Genres of literature of ancient Russia

The updated odes of 1779, printed anonymously, were seen only by lovers of poetry. In 1782 Derzhavin wrote an ode to Felitsa. Published at the beginning of the next year in the magazine Interlocutor of Lovers of the Russian Word, it became a literary sensation, a milestone not only in the history of the ode, but also in Russian poetry.

In terms of genre, it was, as it were, a typical laudatory ode. One more, nobody famous poet praised Catherine II, but the “praise” was unheard of bold, not traditional, and not she, but something else turned out to be the content of the ode, and this other resulted in a completely new form.

The innovation and freshness of the form of the ode "Felitsa" were perceived with particular acuteness in that literary atmosphere, when the laudable ode, through the efforts of Petrov, Kostrov and other ode writers, reached an extreme degree of fall and satisfied only the tastes of the crowned customer. General dissatisfaction with the commendable ode of classicism is perfectly expressed by Knyaznin:

I know that odes are bold,

that are out of fashion,

Very capable of annoying.

They are always Catherine,

Chasing rhyme crazy

Likened to paradise krin;

And, becoming the rank of prophets,

Speaking with God, as if with a brother,

Without fear pen

In your borrowed delight,

Turning the universe upside down

Retire to countries rich in gold,

They let out their paper thunder.

The reason for the exhaustion of odes, according to Knyazhnin, is that their authors followed the rules and canons of classicism: they demanded imitation of models - and now the ode became dull-imitative and epigone. Moreover, these rules did not allow the manifestation of the poet's personality in poetry, which is why odes are written by those who take "on loan delight." The success of Derzhavin's ode is in deviating from the rules, from following patterns; he does not "borrow" delight, but expresses his feelings in an ode dedicated to the empress.

Under the name of Felitsa, Derzhavin portrayed Catherine II. The poet uses the name Felitsa, mentioned in the “Tale of Tsarevich Chlorus”, composed by the Empress for her grandson Alexander, which was published in 1781. The content of the tale is didactic. The Kirghiz Khan kidnapped the Russian prince Chlor.

Wanting to test his abilities, the khan gives the prince a task: to find a rose without thorns (a symbol of virtue). Thanks to the help of the Khan's daughter Felitsa (from the Latin felicitos - happiness) and her son Reason, Chlor finds a rose without thorns on top of a high mountain. The image of the Tatar nobleman Murza has a double meaning: where the ode turns to a high tone, this is the author's self; in satirical places - a collective image of Catherine's nobles.

Derzhavin in "Felitsa" does not create an official, conventional and abstractly ceremonial image of the "monarch", but draws a warm and cordial portrait real person- Empress Ekaterina Alekseevna, with her habits, occupations, and way of life peculiar to her as a person; he praises Catherine, but his praise is not traditional.

The image of the author (Tatar Murza) appears in the ode - in fact, he portrayed not so much Catherine as his attitude towards her, his feeling of admiration for her personality, his hopes for her as an enlightened monarch. This personal attitude is also manifested in her courtiers: he does not really like them, he laughs at their vices and weaknesses - satire invades the ode.

According to the laws of classicism, the mixing of genres is unacceptable: everyday details and satirical portraits could not appear in the high genre of the ode. But Derzhavin does not combine satire and ode - he overcomes the genre. And his renewed ode can only be purely formally attributed to this genre: the poet simply writes poems in which he freely speaks about everything that prompts him to personal experience that excites his mind and soul.

The tragic failure of Derzhavin's plan to become an adviser to Catherine II is connected with the ode "Felitsa". A sincere feeling of respect and love for the Empress was warmed by the warmth of the living heart of an intelligent and talented poet. Catherine not only loved praise, but also knew how rare it is to hear sincere praise. That is why she immediately, after meeting with the ode, thanked the poet by sending him a golden snuff-box, strewn with diamonds, with five hundred gold pieces.

Success excited Derzhavin. Catherine liked the ode, which means that the courage to address her was approved. Moreover, Derzhavin learned that she had decided to get to know him. We had to get ready for the show. The opportunity to approach the Empress opened up.

Derzhavin decided to immediately explain himself to her - he could not, had no right to miss the opportunity to take the place of adviser to the monarch. The presentation of his program was to be the ode "Vision of Murza". The reception was scheduled for May 9, 1783. The poet did not have time to write the program ode, but his prose was preserved in his papers. detailed plan this ode.

The poet begins by interpreting the promises of Catherine II to be an enlightened monarch: “Your enlightened mind and great heart remove the bonds of slavery from us, elevate our souls, make us understand the preciousness of freedom, which is only characteristic of a rational being, such as a person is.” He recalls the lessons of the Pugachev uprising.

If they listen to him and change their policy, then the monarchs “will be disgusted by tyranny and in their possession human blood will not be shed like a river, corpses will not stick out on stakes and heads on scaffolds, and the gallows will not float in rivers.” This was already a direct allusion to the royal reprisal against the participants in the Pugachev uprising.

Inspired by the concept of enlightened absolutism, Derzhavin explained in detail the need to establish contractual relations between the poet and the empress. He claimed that caressing was alien to him, that he undertook to always tell only the truth. Using his favorite legend about Alexander the Great, who, trusting his doctor, boldly drank the medicine he offered, rejecting the slander of the courtiers who assured that the doctor poured poison into his cup, the poet boldly expressed his desire to be such a “doctor” under Catherine.

He urged her to believe him. The “drink” offered by him will be healing, it will alleviate suffering, help to see everything in its true light. And then he will sing the merits of the empress: believe that my song “will encourage you to the exploits of virtues and aggravate your jealousy towards them,” he says to Catherine.

The plan of the ode contains a list of political, public and social events to be carried out by the Russian Empress. They constitute the essence of the program outlined by Derzhavin of Russian enlightened absolutism.

"The Vision of Murza" could become one of the best works of the Russian civil poetry. But it didn't. The outlined plan did not receive a poetic embodiment. All hopes of Derzhavin to become an adviser under Catherine collapsed. Presented to the Empress, the poet hoped that they would remain together and that he would have the opportunity to tell her about his plans ... Everything turned out differently: Catherine coldly greeted him in front of everyone.

With her arrogant and majestic appearance, she emphasized dissatisfaction with the impudent poet, who dared to satirically depict people close to her. The poet was stunned. All plans and hopes collapsed. There was nothing to think about Catherine agreeing to bring him closer to her as a "doctor". Moreover, anxiety crept in - whether he was threatened with disgrace.

Apparently, Fonvizin was right, who in his "Undergrowth" (was presented in the past, 1782) portrayed the wise Starodum. His friend Pravdin expressed the wish that he be called to the court, "for what a doctor is called to the sick." To this, Starodum sternly and firmly replied: “It is in vain to call a doctor to the sick is incurable. The doctor won't help here."

Instead of "Vision of Murza" Derzhavin wrote "Thanks to Felitsa". In the ode, he tried to explain that his “courage” was generated by sincerity, that his “heart is grateful” to the Empress and “burns with zeal.” "Explanatory" verses have lost their strength, energy, and the heat of feeling. The main thing in them is obsequious humility. True, at the end of the ode, the poet cautiously and delicately, but nevertheless hinted that he would hardly soon be able to sing the “god-like princess” again.

Derzhavin was not mistaken in his assumption: "heavenly fire" did not kindle in his soul, and he did not write more poems like "Felitsa". The desire to be a singer of Felitsa-Catherine meant for Derzhavin the establishment of a contractual relationship between the poet and the empress.

He would continue to sing selflessly Felitsa, sincerely glorify her name through the ages, if she, acting as an enlightened monarch, boldly updated legislation, carried out the reforms necessary for the country and people. The idea collapsed. Ode "Felitsa" remained alone.

True, two more odes were dedicated to Catherine: “The Image of Felitsa” (1789) and “The Vision of Murza” (a new edition of 1791, which differs sharply from the prosaic plan of 1783). "Image of Felitsa" - in fact laudatory ode. Derzhavin betrayed himself. It is written in the traditional plan. Unrestrainedly extolling the virtues of Catherine in a very long, needlessly stretched ode, he defiantly catered to Felitsa's taste.

She needed praise, not Derzhavin's personal feeling. Flattery was part of Derzhavin's plan - removed from the post of Tambov governor, he was put on trial. I had to go to St. Petersburg to seek protection from Catherine. In the autobiographical Notes, the poet explains the reason for writing the ode in this way: “There was no other way but to resort to your talent.

As a result, he wrote ... the ode "The Image of Felitsa". The ode was delivered to the empress, she liked it, the persecution of Derzhavin was stopped. In this ode, Derzhavin the poet was defeated by Derzhavin the official associated with the court.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

What is the lifetime old Russian l-ra And what is its periodization?

Chronological boundaries:

In the 11th century, one of the pr-th was recorded - "The Word of Law and Grace." The Old Russian literature ends in the middle of the 17th century, when the features of the Old Russian literature begin to disappear and a fictional character appears, behaving far from ideally. Transitional period - 1/3 of the 18th century - the end of the 18th century.

Periodization:

1. Kyiv (11-12th century). Metropolitan Hilarion's "Sermon on Law and Grace" was considered the first. 1st chronicler - Nestor. He compiled The Tale of Bygone Years, The Life of Boris and Gleb. The genre of the story develops.

2. Literature of the period feudal fragmentation(12th-13th century). During this period, translation literature developed. The "Lay of Igor's Campaign" is being created.

3. Literature of the period of the struggle against the Tatar-Mongols and the centralization of the state (13-16 centuries). "Zadonshchina" appears. The genre of walking is developing. "Walking Afanasia Nikitina over three seas. Publishing is developing. In the 16th century, the "Tale of Peter and Fevronia" was created, and everyday stories were developed.

4. 17th century - Time of Troubles. The struggle of power, the split of the church. The Tale of Savva Grudtsyn appears.

Features of the ancient Russian l-ry. What is its religious nature?

All religious literature
All literature handwritten
Anonymity (a feature of folklore) (the authors very often signed with the names of famous Byzantine chroniclers). Books were translated from Greek and Bulgarian.
There was no concept of copyright
Literature was considered everything: stories, essays on astrology, the creation of recipes.
Lack of invention. Lit-ra was historical in nature. In the works there were real-life princes, monks, priests.
It is built on biblical and evangelical principles.
Wore class character(literature of the boyars and the literature of the clergy).
Didacticism - the writer must educate, express the truth.

The religious character is reflected in:

1. Feature thin. The writer's work is "literary etiquette". The desire to subordinate the image of the world to special rules.

2. L-ra is based on bookish Christian culture and developed forms folklore, from which images and plots were adopted.

What is the system of genres of ancient Russian literature? Describe the main genres.

Drrus. Lit-ra was formed under the influence of Byzantine literature and borrowed from it a system of genres. Genres of Old Russian. liters are usually divided into primary and unifying.

primary genres.- served as construction materials for unifying genres. Primary genres: life, word, teaching, story.

life . This is the most common and favorite genre of DRL. Life was an indispensable attribute when a person was canonized, i.e. were considered saints. Life is always created after the death of a person. It is vol. educate. function. + life deprived a person of the fear of death, preaching the idea of human immortality. souls. Life was built according to certain canons. Canons of Life: 1) The pious origin of the hero of the life, whose parents are obligated. should have been righteous. The saint was born a saint, and do not become one; 2) The saint was distinguished by an ascetic way of life, spent time in solitude and prayer; 3) Description of the miracles that occurred during the life of the saint and after his death; 4) The saint was not afraid of death; 5) The life of the glorifying saint was ending ( Life of the Holy Princes Boris and Gleb).

Old Russian eloquence - In ancient Russian literature, eloquence appeared in three varieties: Didactic (instructive); political; Solemn.

teaching- this is a genre in which Old Russian. chroniclers tried to present a model of behavior for any Old Russian. person: both for the prince and for the commoner. The most striking example of this genre is included in the Tale of Time. years "" Teachings of Vladimir Monomakh ".

Word. An example of the political variety of ancient Russian eloquence is "The Tale of Igor's Campaign", "The Tale of the Destruction of the Russian Land". The author glorifies the bright past and mourns the present. exemplary celebrations. varieties Old Russian. eloquence is Metropolitan Hilarion's Sermon on Law and Grace, which was created in the first third of the 11th century. The main idea of the "Word about Law and Grace" is that Russia is as good as Byzantium.

Tale. A story is an epic text. har-ra, stories about princes, about military exploits, about princely crimes. Examples are "The Tale of the Battle on the Kalka River", "The Tale of the Devastation of Ryazan by Khan Batu".

Uniting genres The primary genres acted as part of the unifying genres, such as the chronicle, the chronograph, the cheti-menei, and the patericon.

chronicle - this is a story about historical events. This is the most ancient. genre of old Russian. liters. In Ancient Russia, the chronicle reported on the historical events of the past, but it was also political. and legal document-m. Ancient chronicle is "The Tale of Bygone Years". Chronicle story about the origin of Russians, about genealogy Kyiv princes and about the emergence of Old Russian. state-va.

Chronograph - these are texts containing a description of the time of the 15th-16th centuries.

Chet's Menaion (literally “reading by months”) - a collection of works about holy people.

patericon - a description of the life of the holy fathers.

Apocrypha - from ancient Greek. language as "hidden, secret". This product is religiously legendary. character. Apocrypha received a special distribution in the 13th-14th centuries, but the church did not recognize this genre and does not recognize it to this day.

Walking, walking - a genre of medieval Russian literature, a form of travel notes, in which Russian travelers described their impressions of visiting foreign countries. lands. In the early period of beings-I walking in the first Pts. were written by pilgrims who visited. holy places - for example, in Palestine or Constantinople ("Walk of Abbot Daniel"). Later, by the 15th century, the genre loses its religious character. shade; in particular, among the late walks stands out "Journey beyond three seas" Athanasius Nikitin, who described the impressions of a trip to the east for trading purposes. Journey beyond the three seas is the most famous and perfect example of the genre. "Walking of the Virgin through the torments" - quite popular in ancient Slavs. letters of the apocrypha, which is a translation and partly a reworking of the Greek "Revelation Holy Mother of God". Its theme is a description of the torments of sinners in hell.

Old Russian literature began to take shape after the adoption of Christianity and at first was supposed to acquaint with the history of religion and contribute to its spread. Another important function at this stage was to educate readers in the spirit of Christian precepts. For this reason, the first works (Old Russian literature covers the period from the 11th to the 17th centuries) were mainly ecclesiastical in nature. Gradually, stories from life began to become more and more popular. ordinary people, which contributed to the emergence, and then the increasing spread of "secular" works. Under the influence of these factors, the main genres of Old Russian literature were formed. All of them up to the 15th century were united by a common approach to the events depicted: historical basis did not allow the author's invention.

Features of the formation of genres

There is an opinion that the literature of Ancient Russia came out of the Byzantine and Bulgarian. This statement is partly justified, since the system of genres among all these peoples actually has a certain similarity. However, it must be borne in mind that the states at that moment were at different stages of development (Rus lagged far behind Byzantium and Bulgaria), and the tasks facing the authors were different. Therefore, it would be more correct to say that ancient Russian literature adopted the existing experience of the West. It was formed based on folklore and the needs of society. The genres of Old Russian literature were concretized depending on practical purpose and divided into primary and unifying. In general, they were a dynamic system that responded vividly to any changes in society.

Primary genres of Old Russian literature

These included life, teaching, word, story, chronicle story or legend, weather record, church legend. The first four are the most famous.

Life - a work containing a story about the life of saints. It was perceived as a model of morality, which should be imitated, and was built according to certain canons. The classical life contained the story of birth (usually a begged child) and a pious life, a description of the miracles associated with the hero, and the glorification of the saint. One of the most famous works of this genre was "The Life of Saints Gleb and Boris", written in a harsh time for the country. The images of the princes were supposed to contribute to the unification in the common struggle against the invaders.

A later version was "The Life of Archpriest Avvakum, written by himself." Perceived more as a variant of an autobiography, it is interesting in that it presents a picture public life during the split of the church.

The genres of ancient Russian literature also include teachings containing the rules of human behavior, regardless of their position. They had a powerful educational impact on the reader and concerned various areas life. The most famous teaching was compiled by Vladimir Monomakh and addressed to the youths. Its content is fully consistent with the Christian commandments, therefore it was perceived as a book of life for posterity.

Old Russian eloquence was fully manifested in such a genre as the word. It could have had different directions. An example of a solemn work is the "Word on Law and Grace" by Metropolitan Hilarion, written at the beginning of the 11th century in connection with the construction of military fortifications in Kyiv. This is the glorification of the Russian princes and the Russian state, which are in no way inferior to the powerful Byzantium and its rulers.

The pinnacle of this genre was a work about the campaign of the Russian prince against the Polovtsians.

"The Tale of Igor's Campaign"

Despite the ongoing debate about the authenticity and authorship of this work, it was absolutely innovative for its time. Any genres of ancient Russian literature, as already noted, had certain canons. "Word ..." is significantly different from them. It includes lyrical digressions, a violation of the chronology in the narrative (the action is either transferred to the past, or turned to the present), insert elements. The means of depiction are also unconventional, many of which correlate with elements of folklore. Many researchers put "The Word ..." on a par with the early feudal epic works of different peoples. In fact, this is a poem about the courage and steadfastness of soldiers, an expression of mourning for the dead, a call for the need to unite all Russian princes and lands. In addition, The Tale of Igor's Campaign makes it possible to assess the place and role of the state in international history.

unifying

There are also unifying genres of ancient Russian literature. All readers are familiar with examples of the chronicle. This also includes cheti-menei (“reading by months”, included stories about saints), a chronograph (a description of the events of the 15th and 16th centuries) and a patericon (about the life of the holy fathers). These genres were called unifying (introduced by D.S. Likhachev), since they can include life, and teaching, and the word, etc.

chronicle

The greatest attention, of course, deserves the works in which a record was kept of the events that took place over the years, which could be worn general character or be more specific: with details, dialogues, etc.

The chronicle as a genre of ancient Russian literature began to take shape presumably already at the end of the 10th century. But the actual work of this genre takes shape under Yaroslav the Wise.

At the beginning of the 12th century, on the basis of the available records, the monk Nestor, who lived in the Kiev Caves Monastery, compiled the Tale of Bygone Years. Its events cover a large period: from the origin of the Slavic tribes to the present. A laconic and expressive description allows, after several centuries, to present the history of the formation and development of the Russian state.

Tale

This genre of ancient Russian literature was based on translations of Byzantine and folklore works and is the most studied to date. The stories were divided into:

military - in the center historical figure and an important battle ("The Tale of the Battle on the Kalka River");
satirical - about socially significant problems, often had the character of parodies ("The Tale of the Shemyakin Court");
household - ("The Tale of Woe-Misfortune").

The apex was The Tale of Peter and Fevronia of Murom, which is called the anthem of fidelity and love.

Walking (or walking) was also popular in Russia, telling at first about the journeys of pilgrims to the holy land (“The Walking of Abbot Daniel”), and later, in connection with the development of trade, about the journeys of merchants. It was a story about what was seen with my own eyes.

The system created by the 17th century, which included various genres of ancient Russian literature, marked the transition to modern literature.

A genre is a historical type literary work, an abstract sample, on the basis of which the texts of specific literary works are created. The system of genres in the literature of Ancient Russia was significantly different from the modern one. Old Russian literature developed largely under the influence of Byzantine literature and borrowed from it a system of genres, reworking them on a national basis: the specificity of the genres of Old Russian literature lies in their connection with traditional Russian folk art. Genres of Old Russian literature are usually divided into primary and unifying. A genre is a historically established type of literary work, an abstract model, on the basis of which the texts of specific literary works are created. The system of genres in the literature of Ancient Russia was significantly different from the modern one. Old Russian literature developed largely under the influence of Byzantine literature and borrowed from it a system of genres, reworking them on a national basis: the specificity of the genres of Old Russian literature lies in their connection with traditional Russian folk art. Genres of Old Russian literature are usually divided into primary and unifying.

Primary genres Primary genres These genres are called primary because they served building material for unifying genres. Primary genres: These genres are called primary because they served as building blocks for unifying genres. Primary genres: Life Life Word Word Teaching Teaching Tale Tale The weather record, chronicle story, chronicle legend and church legend also belong to the primary genres. The primary genres also include the weather record, chronicle story, chronicle legend and church legend.

Life Life The genre of life was borrowed from Byzantium. This is the most widespread and favorite genre of Old Russian literature. Life was an indispensable attribute when a person was canonized, i.e. were considered saints. Life was created by people who directly communicated with a person or could reliably testify to his life. Life was always created after the death of a person. It performed a huge educational function, because the life of the saint was perceived as an example of a righteous life, which must be imitated. In addition, life deprived a person of the fear of death, preaching the idea of the immortality of the human soul. Life was built according to certain canons, from which they did not depart until centuries. The genre of life was borrowed from Byzantium. This is the most widespread and favorite genre of Old Russian literature. Life was an indispensable attribute when a person was canonized, i.e. were considered saints. Life was created by people who directly communicated with a person or could reliably testify to his life. Life was always created after the death of a person. It performed a huge educational function, because the life of the saint was perceived as an example of a righteous life, which must be imitated. In addition, life deprived a person of the fear of death, preaching the idea of the immortality of the human soul. Life was built according to certain canons, from which they did not depart until centuries.

Canons of life The pious origin of the hero of life, whose parents must have been righteous. The saint's parents often begged God. The pious origin of the hero of life, whose parents must have been righteous. The saint's parents often begged God. A saint was born a saint, not made one. A saint was born a saint, not made one. The saint was distinguished by an ascetic way of life, spent time in solitude and prayer. The saint was distinguished by an ascetic way of life, spent time in solitude and prayer. A mandatory attribute of life was a description of the miracles that occurred during the life of the saint and after his death. A mandatory attribute of life was a description of the miracles that occurred during the life of the saint and after his death. The saint was not afraid of death. The saint was not afraid of death. The life ended with the glorification of the saint. The life ended with the glorification of the saint. One of the first works of the hagiographical genre in ancient Russian literature was the life of the holy princes Boris and Gleb. One of the first works of the hagiographical genre in ancient Russian literature was the life of the holy princes Boris and Gleb.

Old Russian eloquence This genre was borrowed by Old Russian literature from Byzantium, where eloquence was a form oratory. In ancient Russian literature, eloquence appeared in three varieties: This genre was borrowed by ancient Russian literature from Byzantium, where eloquence was a form of oratory. In ancient Russian literature, eloquence appeared in three varieties: Didactic (instructive) Didactic (instructive) Political Political Solemn Solemn

Teaching Teaching is a kind of genre of ancient Russian eloquence. Instruction is a genre in which ancient Russian chroniclers tried to present a model of behavior for any ancient Russian person: both for a prince and for a commoner. The most striking example of this genre is the Teachings of Vladimir Monomakh included in The Tale of Bygone Years. In The Tale of Bygone Years, the Teaching of Vladimir Monomakh dates back to 1096. At this time, the strife between the princes in the battle for the throne reached its climax. In his teaching, Vladimir Monomakh gives advice on how to organize your life. He says that there is no need to seek the salvation of the soul in seclusion. It is necessary to serve God by helping those in need. Going to war, you should pray - God will definitely help. Monomakh confirms these words with an example from his life: he took part in many battles - and God kept him. Monomakh says that one should look at how the natural world works and try to arrange social relations along the lines of a harmonious world order. The teaching of Vladimir Monomakh is addressed to posterity. Teaching is a kind of genre of ancient Russian eloquence. Instruction is a genre in which ancient Russian chroniclers tried to present a model of behavior for any ancient Russian person: both for a prince and for a commoner. The most striking example of this genre is the Teachings of Vladimir Monomakh included in The Tale of Bygone Years. In The Tale of Bygone Years, the Teaching of Vladimir Monomakh dates back to 1096. At this time, the strife between the princes in the battle for the throne reached its climax. In his teaching, Vladimir Monomakh gives advice on how to organize your life. He says that there is no need to seek the salvation of the soul in seclusion. It is necessary to serve God by helping those in need. Going to war, you should pray - God will definitely help. Monomakh confirms these words with an example from his life: he took part in many battles - and God kept him. Monomakh says that one should look at how the natural world works and try to arrange social relations along the lines of a harmonious world order. The teaching of Vladimir Monomakh is addressed to posterity.

Word Word - is a kind of genre of ancient Russian eloquence. An example of the political variety of ancient Russian eloquence is the "Tale of Igor's Campaign". This work causes a lot of controversy about its authenticity. This is because the original text of The Tale of Igor's Campaign has not been preserved. It was destroyed by fire in 1812. Only copies have survived. Since that time, it has become fashionable to refute its authenticity. The word tells about the military campaign of Prince Igor against the Polovtsy, which took place in history in 1185. Researchers suggest that the author of the Tale of Igor's Campaign was one of the participants in the described campaign. Disputes about the authenticity of this work were conducted, in particular, because it is knocked out of the system of genres of ancient Russian literature by the unusual nature of the works used in it. artistic means and tricks. The traditional chronological principle of narration is violated here: the author is transported to the past, then returns to the present (this was not typical for ancient Russian literature), the author makes lyrical digressions, insert episodes appear (Svyatoslav's dream, Yaroslavna's lament). The word has a lot of elements of traditional oral folk art, characters. There is a clear influence of a fairy tale, an epic. The political background of the work is obvious: in the fight against a common enemy, the Russian princes must be united, disunity leads to death and defeat. The word is a kind of genre of ancient Russian eloquence. An example of the political variety of ancient Russian eloquence is the "Tale of Igor's Campaign". This work causes a lot of controversy about its authenticity. This is because the original text of The Tale of Igor's Campaign has not been preserved. It was destroyed by fire in 1812. Only copies have survived. Since that time, it has become fashionable to refute its authenticity. The word tells about the military campaign of Prince Igor against the Polovtsy, which took place in history in 1185. Researchers suggest that the author of the Tale of Igor's Campaign was one of the participants in the described campaign. Disputes about the authenticity of this work were conducted, in particular, because it is knocked out of the system of genres of ancient Russian literature by the unusualness of the artistic means and techniques used in it. The traditional chronological principle of narration is violated here: the author is transported to the past, then returns to the present (this was not typical for ancient Russian literature), the author makes lyrical digressions, insert episodes appear (Svyatoslav's dream, Yaroslavna's lament). There are a lot of elements of traditional oral folk art, symbols in the word. There is a clear influence of a fairy tale, an epic. The political background of the work is obvious: in the fight against a common enemy, the Russian princes must be united, disunity leads to death and defeat.

An example of the solemn variety of ancient Russian eloquence is Metropolitan Hilarion's "Sermon on Law and Grace", which was created in the first third of the 11th century. The word was written by Metropolitan Hilarion on the occasion of the completion of the construction of military fortifications in Kyiv. The word carries the idea of the political and military independence of Russia from Byzantium. By "Law" Illarion means Old Testament, which is given to the Jews, but it does not suit the Russian and other peoples. So God gave New Testament which is called "Grace". In Byzantium, Emperor Constantine is revered, who contributed to the spread and establishment of Christianity there. Illarion says that Prince Vladimir Krasno Solnyshko, who baptized Russia, is no worse than the Byzantine emperor and should also be revered by the Russian people. The case of Prince Vladimir is continued by Yaroslav the Wise. The main idea of the "Word about Law and Grace" is that Russia is as good as Byzantium. An example of the solemn variety of ancient Russian eloquence is Metropolitan Hilarion's "Sermon on Law and Grace", which was created in the first third of the 11th century. The word was written by Metropolitan Hilarion on the occasion of the completion of the construction of military fortifications in Kyiv. The word carries the idea of the political and military independence of Russia from Byzantium. Under the "Law" Illarion understands the Old Testament, which was given to the Jews, but it does not suit the Russian and other peoples. Therefore, God gave the New Testament, which is called "Grace." In Byzantium, Emperor Constantine is revered, who contributed to the spread and establishment of Christianity there. Illarion says that Prince Vladimir Krasno Solnyshko, who baptized Russia, is no worse than the Byzantine emperor and should also be revered by the Russian people. The case of Prince Vladimir is continued by Yaroslav the Wise. The main idea of the "Word about Law and Grace" is that Russia is as good as Byzantium.

The Tale The Tale is a text of an epic nature, telling about princes, about military exploits, about princely crimes. Examples of military stories are "The Tale of the Battle on the Kalka River", "The Tale of the Devastation of Ryazan by Batu Khan", "The Tale of the Life of Alexander Nevsky". The story is a text of an epic nature, telling about princes, about military exploits, about princely crimes. Examples of military stories are "The Tale of the Battle on the Kalka River", "The Tale of the Devastation of Ryazan by Batu Khan", "The Tale of the Life of Alexander Nevsky".

Chronicle is a story about historical events. This is the most ancient genre ancient Russian literature. In Ancient Russia, the chronicle played a very important role, because. not only reported on the historical events of the past, but was also a political and legal document, testified to how to act in certain situations. The oldest chronicle is The Tale of Bygone Years, which has come down to us in the lists of the Laurentian Chronicle of the 14th century and the Ipatiev Chronicle of the 15th century. The chronicle tells about the origin of the Russians, about the genealogy of the Kyiv princes and about the emergence ancient Russian state. This is a story about historical events. This is the most ancient genre of ancient Russian literature. In Ancient Russia, the chronicle played a very important role, because. not only reported on the historical events of the past, but was also a political and legal document, testified to how to act in certain situations. The oldest chronicle is The Tale of Bygone Years, which has come down to us in the lists of the Laurentian Chronicle of the 14th century and the Ipatiev Chronicle of the 15th century. The chronicle tells about the origin of the Russians, about the genealogy of the Kyiv princes and about the emergence of the ancient Russian state.

Chronographs are texts that describe the time of the ages. Chronographs are texts that describe the time of the ages.

Separately, it should be said about the genre of apocrypha. Apocrypha - literally translated from ancient Greek as "hidden, secret." These are works of a religious and legendary nature. The apocrypha became especially widespread over the centuries, but the church did not recognize this genre and does not recognize it to this day. Separately, it should be said about the genre of apocrypha. Apocrypha - literally translated from ancient Greek as "hidden, secret." These are works of a religious and legendary nature. The apocrypha became especially widespread over the centuries, but the church did not recognize this genre and does not recognize it to this day.