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Slide captions:
Russian Chronicle. "The Tale of Bygone Years." "The Legend of Belgorod Kisel." To literature lessons. Kolotukhina E.V.
What work of ancient Russian literature did we study? What was the feat of the youth from Kiev?
Old Russian literature. What does the concept of ancient Russian literature include? What genres are characteristic of Old Russian literature?
Chronicle What is a chronicle? Why is it named like that? Who is the most famous author of Russian chronicles? Which chronicle are you familiar with? What is he talking about?
Epigraph to the lesson Every people is not without a tribe, and the scrolls of chronicles of its deeds are preserved. N. Gusovsky
V. Vasnetsov “Nestor the Chronicler” Details of the portrait of the chronicler. Interior details. The first lines of his writing: “Behold the tale of bygone years...”
“The Tale of Bygone Years” “The Tale of Bygone Years” was compiled around 1113. It was compiled by the monk Kiev - Pechersky Monastery Nestor. “The Tale...” is the fruit of the creativity of several generations of chroniclers (the “Tale...” was rewritten and partially revised by monk Sylvester).
Checking the d/z Plan of the article “Old Russian Literature” Features of Old Russian Literature.” The image of the author of ancient Russian literature. Famous names writers of ancient Russian literature. The emergence of new editions of ancient Russian books. Test on the studied material.
“The Legend of Belgorod Kisel” 997. The ingenuity and cunning of the Russians save them from death at the hands of the arrogant and stubborn Pechenegs.
Vocabulary work Veche - a meeting of townspeople in ancient Rus' to discuss government and public affairs. Sita - honey diluted with water. Kad - tub. Latki are pot-type dishes. Korchaga is a large clay pot or cast iron.
Analysis of “The Legend...” What historical event are we talking about? How does the story begin and how does it end? How did you manage to save the city and its inhabitants? What instructions does “The Tale of Belgorod Jelly” contain?
Retelling close to the text
Lesson summary Insert the missing words: “The Tale of ... Years” was compiled about ... a year by a monk of the Kiev Pechersk Monastery .... The genre of the work is…. It was based on... about the Russian land. “The Tale of ... Kisel” tells the story of how ... the city was besieged by .... Only... and... the Russian people saved them from inevitable death.
Homework Expressive reading “The Tale of Belgorod Kissel” or find and write out a recipe for jelly. Read the article “Russian Fable”, answer the questions and complete the tasks in the “Test Yourself” section
Materials used: A.N. Zamyshlyaeva. Literature. 6th grade - Volgograd, 2014. N.V. Egorova. Lesson developments in literature. 6th grade - M.: VAKO, 2014. I.L. Chelysheva. Literature. 6th grade – R.-on-Don: Phoenix, 2015.
Preview:
6th grade
Test on the topic: “Old Russian literature.”
- What genre of literature does The Tale of Bygone Years belong to?
a) life; b) story; c) chronicle.
- When did chronicle writing begin in Rus'?
a) in the 9th century; b) in the 18th century; c) in the 11th century.
- Who is the author of "The Tale of Bygone Years"?
a) Nestor; b) Methodius; c) Kirill.
- Why did the chronicler begin the chronicle “from the creation of the world”?
b) to tell interesting story, like a fairy tale;
c) to convey the experience of the past.
- What is a chronicle?
a) a rare old book;
b) one of the main genres of ancient Russian literature;
c) lyric-epic genre of folk poetry.
- At what time does the story in the chronicle begin?
a) since biblical times;
b) from a description of the living prince;
c) from the historical event being described.
- Why is The Tale of Bygone Years a monument of ancient Russian literature?
a) it was written in ancient times;
b) this is a very rare book;
c) this is a book that reflects the worldview of ancient Russian people.
Answers:
1-c, 2-c, 3-a, 4-a, 5-b, 6-a, 7-c.
Preview:
Card 1.
Fill in the missing words:
The Tale of Bygone Years. The legend of Belgorod jelly.
Card 2.
Fill in the missing words:
“The Tale of ______________ Years” was compiled around _____ by a monk of the Kiev Pechersk Monastery ____________. The genre of the work is ____________. It was based on ______________ about the Russian land. “The Tale of ________________________ Kisel” tells how _______________ besieged the city of ________________. Only _________ and _______________ Russian people saved them from inevitable death.
The Tale of Bygone Years. The legend of Belgorod jelly.
Card 3.
Fill in the missing words:
“The Tale of ______________ Years” was compiled around _____ by a monk of the Kiev Pechersk Monastery ____________. The genre of the work is ____________. It was based on ______________ about the Russian land. “The Tale of ________________________ Kisel” tells how _______________ besieged the city of ________________. Only _________ and _______________ Russian people saved them from inevitable death.
As the chronicler moves from narrating events of long ago to the recent past, the chronicle material becomes increasingly historically accurate, strictly factual and official.
The chronicler's attention is drawn only to historical figures at the top of the feudal hierarchical ladder. In depicting their actions, he follows the principles of medieval historicism.
According to these principles, only purely official events that have historical significance for the state should be recorded in the chronicle, and the private life of a person and the everyday environment around him are not of interest to the chronicler.
The chronicle develops the ideal of a prince-ruler. This ideal is inseparable from the general patriotic ideas of the chronicle. The ideal ruler is the living embodiment of love for his native land, its honor and glory, the personification of its power and dignity.
All his actions, all his activities are determined by the good of his homeland and people. Therefore, in the view of the chronicler, the prince cannot belong to himself.
He is first and foremost a historical figure who always appears in an official setting, endowed with all the attributes of princely power. D. S. Likhachev notes that the prince in the chronicle is always official, he seems to be addressed to the viewer and is presented in his most significant actions.
The prince's virtues are a kind of ceremonial clothing; at the same time, some virtues are purely mechanically attached to others, thanks to which it became possible to combine secular and church ideals. Fearlessness, courage, military valor are combined with humility, meekness and other Christian virtues.
If the prince’s activities are aimed at the good of his homeland, the chronicler glorifies him in every possible way, endowing him with all the qualities of a predetermined ideal. If the prince’s activities run counter to the interests of the state, the chronicler spares no black paint and attributes all mortal sins to the negative character: pride, envy, ambition, greed, etc.
The principles of medieval historicism are vividly embodied in the stories “About the Murder of Borisov” (1015) and about the blinding of Vasilko Terebovlsky, which can be classified as historical stories about princely crimes. However, in style these are completely different works.
The story “About the Murder of Borisov” tells historical facts the murders of the brothers Boris and Gleb by Svyatopolk with extensive use of elements of the hagiographic style. It is built on the contrast of the ideal martyred princes and the ideal villain—the “cursed” Svyatopolk.
The story ends with praise glorifying the “Christ-loving passion-bearers”, “shining lamps”, “bright stars” - “intercessors of the Russian land”. At its end, there is a prayerful call to the martyrs to subdue the filthy “under the nose of our prince” and deliver them “from the hostile army”, so that they may remain in peace and unity.
This is how the patriotic idea common to the entire chronicle is expressed in hagiographic form. At the same time, the story “About the Murder of Borisov” is interesting for a number of “documentary” details, “realistic details”.
Written by priest Vasily and placed in the chronicle under 1097, “The Tale of the Blinding of Vasilko of Terebovl” is designed in a historical-documentary style.
The exposition of the plot is a message about the congress of princes “to establish peace” in Lyubech. The unanimity of those gathered is expressed by a speech allegedly said by all the princes: “Why are we destroying the Russian land, which we ourselves are active in? And the Polovtsi will carry our zeshu separately, and for the sake of the essence, they will fight between us. Yes, but from now on we are in one heart, and we guard the Russian lands; “Everyone should keep his fatherland...”
The established new feudal order of relationships (“let each one keep his fatherland”) is sealed by the princes with an oath—the making of the cross. They give each other their word not to allow strife and strife. This decision meets with the approval of the people: “and for the sake of the people ecu.”
However, the achieved unanimity turned out to be temporary and fragile, and the story, using the concrete, terrible example of Vasilko’s blinding by his cousins, shows what the princes’ violation of their obligations leads to.
The motivation for the plot of the story is traditional, providentialist: saddened by “love”, the consent of the princes, the devil “climbed” into the heart of “a certain husband”; they say “lying words” to David that Vladimir Monomakh allegedly conspired with Vasilko about joint actions against him and Svyatopolk of Kyiv.
What kind of “certain men” these are - it is not known what actually prompted them to convey their “lying words” to David - is unclear. Then the providentialist motivation develops into a purely psychological one.
By believing the “husbands,” David sows doubts in Svyatopolk’s soul. The latter, “confused in mind,” hesitates, he does not believe in the justice of these statements. In the end, Svyatopolk agrees with David on the need to capture Vasilko.
When Vasilko came to the Vydubitsky monastery, Svyatopolk sent a messenger to him with a request to stay in Kyiv until his name day. Vasilko refuses, fearing that in his absence the “army” would not have happened at home. Davyda’s messenger, who then appeared to Vasilko, already demands that Vasilko stay and thereby not “disobey his elder brother.”
Thus, Davyd raises the question of the need for Vasilko to observe his duty as a vassal in relation to the overlord. Note that Boris and Gleb die in the name of observing this duty. Vasilko’s refusal only convinces Davyd that Vasilko intends to capture the cities of Svyatopolk.
Davyd insists that Svyatopolk immediately give Vasilko to him. Again Svyatopolk’s envoy goes to Vasilko and on behalf of the great Prince of Kyiv asks him to come, say hello and sit with Davyd.
Vasilko gets on his horse and with a small squad rides to Svyatopolk. It is characteristic that here the story is structured according to the laws of an epic plot: Vasilko decides to go to his brother only after the third invitation.
A warrior warns his brother Vasilko about his insidious plan, but the prince cannot believe it: “Why would you want to kill me? Sometimes (when recently) they kissed the cross.” Vasilko does not allow the thought of the possibility of the princes violating their obligations.
The story about Vasilko’s meeting with Svyatopolk and Davyd is dramatic and deeply psychological. Having introduced the guest into the upper room, Svyatopolk still tries to strike up a conversation with him, asks him to stay until Christmastide, but “David is gray-haired, like mute,” and this detail clearly characterizes the psychological state of the latter.
Svyatopolk cannot stand the tense atmosphere and leaves the upper room under the pretext of the need to arrange breakfast for the guest. Vasilko is left alone with Davyd, he tries to start a conversation with him, “and there is no voice or obedience in Davyd.”
And only now Vasilko begins to see the light: he was “horrified”, realizing the deception. And Davyd, after sitting for a while, leaves. Vasilko, having been shackled in “two shackles,” is locked in the upper room, with guards posted for the night.
Emphasizing Svyatopolk’s indecision and hesitation, the author talks about how he does not dare to make a final decision about Vasilko’s fate. Svyatopolk convenes the “boyars and kiyans” the next morning and presents to them the accusations that Davyd brings against Vasilko.
But both the boyars and the “Kyans” do not take moral responsibility. Forced to make a decision himself, Svyatopolk hesitates. The abbots beg him to let Vasilko go, and Davyd “encourages” him to be blinded.
Svyatopolk already wants to let Vasilko go, but Davyd’s words outweigh the scales: “...if you don’t do this (blinding - V.K.), but let him go, then neither you nor I will reign.” The prince made a decision, and Vasilko is transported on a cart from Kyiv to Belgorod, where he is put in the “istoka mola.”
The development of the plot reaches its climax, and it is given with great artistic skill. Seeing Torchin sharpening a knife, Vasilko guesses his fate: they want to blind him, and he “cries out to God with great weeping and lamentation.”
The author conveys the climactic scene accurately and dynamically. The main artistic function in this scene belongs to the verb - a kind of “speech gesture”, as A. N. Tolstoy understood it. Enter the grooms of Svyatopolk and Davyd - Snovid Izechevich and Dmitry:
and wash the carpet often,
and stretched out, eating Vasilka
and want and damage;
and fights with him tightly,
and you can't damage it.
And behold, the friends were overthrown and,
and connected and,
and remove the board from the stove,
and put it on his chest.
And gray-haired both sexes Snovid Izenevich and Dmitry,
and you can’t hold it back.
And two attackers,
and took the other deck off the stump,
and gray hair,
and strangling and ramyano, like overeating troscotati.
The entire scene is maintained in a clear rhythmic structure, which is created by the anaphoric repetition of the connecting conjunction “and,” conveying the temporal sequence of the action, as well as by verbal rhymes.
Kuskov V.V. History of Old Russian Literature. - M., 1998
Already in the title itself - “Behold the tales of the bygone years, where did the Russian land come from, who began to reign first in Kyiv, and where did the Russian land come from” - contains an indication of the ideological and thematic content of the chronicle. The Russian land, its historical destinies, from its origin to the first decade of the 12th century, are the focus of the chronicle. The high patriotic idea of the power of the Russian land, its political independence, religious independence from Byzantium constantly guides the chronicler when he introduces into his work the “traditions of deep antiquity” and truly historical events of the recent past.
The chronicles are unusually topical, journalistic, full of sharp condemnation of princely strife and strife that weakens the power of the Russian land, a call to guard the Russian land, not to disgrace the Russian land in the fight against external enemies, first of all with the steppe nomads - the Pechenegs, and then the Polovtsians.
The theme of the homeland is decisive and leading in the chronicle. The interests of the homeland dictate to the chronicler one or another assessment of the prince’s actions and are the measure of his glory and greatness. A living sense of the Russian land, homeland and people gives the Russian chronicler that unprecedented breadth of political horizon, which is unusual in Western European historical chronicles.
From written sources, chroniclers borrow the historical Christian-scholastic concept, connecting the history of the Russian land with the general course of development of “world” history. The Tale of Bygone Years opens with the biblical legend about the division of the earth after the flood between the sons of Noah - Shem, Ham and Japheth. The Slavs are the descendants of Japhet, that is, they, like the Greeks, belong to a single family of European peoples.
The work highlights several main themes: the unification of cities, military history Rus', the peaceful activities of princes, the history of the adoption of Christianity, urban uprisings. Compositionally, this is a very interesting work. It falls into two parts: up to 850 - a conventional chronology, and then a weather one. The chronicle includes symbols: visions, miracles, signs, as well as messages, teachings
The chronological principle provided ample opportunities for free handling of the material, made it possible to introduce new legends and stories into the chronicle, exclude old ones if they did not correspond to the political interests of the time and the author, and supplement the chronicle with records of events recent years, of which its compiler was a contemporary.
As a result of the application of the weather chronological principle of presenting the material, the idea of history gradually emerged as a continuous one. series circuit events. The chronological connection was reinforced by a genealogical, tribal connection, the continuity of the rulers of the Russian land, starting from Rurik and ending (in the Tale of Bygone Years) with Vladimir Monomakh.
At the same time, this principle gave the chronicle fragmentation, which drew the attention of I. P. Eremin.
Genres included in the chronicle. The chronological principle of presentation allowed the chroniclers to include in the chronicle material that was heterogeneous in nature and genre characteristics. The simplest narrative unit of a chronicle is a laconic weather record, limited only to a statement of fact. However, the very inclusion of this or that information in the chronicle indicates its significance from the point of view of the medieval writer.
The chronicle also presents a type of detailed record, recording not only the “actions” of the prince, but also their results. For example: “In the summer of 6391, Oleg fought against the Derevlyans, and, having tormented them, imposed a tribute on them, according to black kun” etc.
Both a brief weather record and a more detailed documentary one. There are no speech-decorating tropes in them. The recording is simple, clear and concise, which gives it special significance, expressiveness and even majesty.
The chronicler's focus is on the event - "What's going on in the summer of strength." They are followed by news of the death of the princes. The birth of children and their marriage are recorded less often. Then information about the construction activities of the princes. Finally, reports on church affairs, which occupy a very modest place. True, the chronicler describes the transfer of the relics of Boris and Gleb, includes legends about the beginning of the Pechersk monastery, the death of Theodosius of Pechersk and stories about the memorable monks of Pechersk. This is quite explainable by the political significance of the cult of the first Russian saints Boris and Gleb and the role of the Kiev Pechersk Monastery in the formation of the initial chronicle.
An important group of chronicle news consists of information about heavenly signs - eclipses of the sun, moon, earthquakes, epidemics, etc. The chronicler sees a connection between unusual natural phenomena and the lives of people, historical events.
News of various topics can be combined within one chronicle article. The material included in the “Tale of Bygone Years” allows us to distinguish a historical legend, a toponymic legend, a historical legend (associated with the heroic druzhina epic), a hagiographic legend, as well as a historical legend and a historical story.
The connection between the chronicle and folklore. The chronicler draws material about the events of the distant past from the treasury of folk memory.
The appeal to the toponymic legend was dictated by the chronicler’s desire to find out the origin of the names of Slavic tribes, individual cities and the word “Rus” itself. Thus, the origin of the Slavic tribes Radimichi and Vyatichi is associated with the legendary people from the Poles - the brothers Radim and Vyatko. This legend arose among the Slavs, obviously, during the period of decomposition of the clan system, when an isolated clan elder, in order to justify his right to political dominance over the rest of the clan, creates a legend about his supposedly foreign origin. Close to this chronicle legend is the legend about the calling of princes, placed in the chronicle under 6370 (862). At the invitation of the Novgorodians from overseas "to reign and rule" Three Varangian brothers come to the Russian land with their families: Rurik, Sineus, Truvor.
The folklore nature of the legend confirms the presence of the epic number three - three brothers.
The legend about the calling of princes served as an important argument to prove sovereignty Kyiv State, but did not at all indicate the inability of the Slavs to independently organize their state, without the help of Europeans, as some scientists tried to prove.
A typical toponymic legend is also the legend about the founding of Kyiv by three brothers - Kiy, Shchek, Khoryv and their sister Lybid. The chronicler himself points to the oral source of the material included in the chronicle: “Ini, ignorant, rekosha, what kind of carrier Kiy was.” The chronicler indignantly rejects the version of the folk legend about Kie the Carrier. He categorically states that Kiy was a prince, made successful campaigns against Constantinople, where he received great honor from the Greek king and founded the settlement of Kievets on the Danube.
Echoes of ritual poetry from the times of the tribal system are filled with chronicles about Slavic tribes, their customs, wedding and funeral ceremonies.
The legend of the victory of the Russian youth Kozhemyaki over the Pecheneg giant is imbued with the spirit of the folk heroic epic. As in the folk epic, the legend emphasizes the superiority of a person of peaceful labor, a simple artisan over a professional warrior - a Pecheneg hero. The images of the legend are built on the principle of contrastive comparison and broad generalization. At first glance, the Russian young man is an ordinary, unremarkable person, but he embodies the enormous, gigantic strength that the Russian people possess, decorating the land with their labor and protecting it on the battlefield from external enemies. The Pecheneg warrior with his gigantic size terrifies those around him. The boastful and arrogant enemy is contrasted with a modest Russian youth, youngest son tanner. He accomplishes the feat without arrogance and boasting.
The legend of Belgorod jelly is associated with the folk fairy tale epic. This legend glorifies the intelligence, resourcefulness and ingenuity of the Russian people.
Historical stories and legends as part of the chronicle. As the chronicler moves from narrating events of long ago to the recent past, the chronicle material becomes increasingly historically accurate, strictly factual and official.
The chronicler's attention is drawn only to historical figures at the top of the feudal hierarchical ladder. In depicting their actions, he follows the principles of medieval historicism. According to these principles, only purely official events that have historical significance for the state should be recorded in the chronicle, and the private life of a person and the everyday environment around him are not of interest to the chronicler.
The chronicle develops the ideal of a prince-ruler. This ideal is inseparable from the general patriotic ideas of the chronicle. The ideal ruler is the living embodiment of love for his native land, its honor and glory, the personification of its power and dignity. All his actions, all his activities are determined by the good of his homeland and people. Therefore, in the view of the chronicler, the prince cannot belong to himself. He is first and foremost a historical figure who always appears in an official setting, endowed with all the attributes of princely power. D. S. Likhachev notes that the prince in the chronicle is always official, he seems to be addressed to the viewer and is presented in his most significant actions. The prince's virtues are a kind of ceremonial clothing; at the same time, some virtues are purely mechanically attached to others, thanks to which it became possible to combine secular and church ideals. Fearlessness, courage, military valor are combined with humility, meekness and other Christian virtues.
If the prince’s activities are aimed at the good of his homeland, the chronicler glorifies him in every possible way, endowing him with all the qualities of a predetermined ideal. If the prince’s activities run counter to the interests of the state, the chronicler spares no black paint and attributes all mortal sins to the negative character: pride, envy, ambition, greed, etc.
The principles of medieval historicism are vividly embodied in stories "About the murder of Borisov"(1015) and about the blinding of Vasilko Terebovlsky, which can be classified as historical stories about princely crimes. However, in style these are completely different works. Tale "About the murder of Borisov" sets out the historical facts of the murder of the brothers Boris and Gleb by Svyatopolk with extensive use of elements of hagiographic style. It is built on the contrast of the ideal prince-martyrs and the ideal villain. "cursed" Svyatopolk. The story ends with praise oh, glorifying “Christ-loving passion-bearers”, “shining lamps”, “bright stars” - “intercessors of the Russian land”. At its end there is a prayer call to the martyrs to conquer the filthy "under the nose of our prince" and deliver them "from the internal army" so that they may remain in peace and unity. This is how the patriotic idea common to the entire chronicle is expressed in hagiographic form. At the same time the story "About the murder of Borisov" interesting for a number of “documentary” details, “realistic details”.
The story does not idealize Vasilko. He is not only a victim of slander, cruelty and treachery of Davyd Igorevich, gullibility of Svyatopolk, but he himself reveals no less cruelty both towards the perpetrators of evil and towards innocent people. There is no idealization in the depiction of the Grand Duke of Kyiv Svyatopolk, indecisive, gullible, weak-willed. The story allows the modern reader to imagine the characters of living people with their human weaknesses and strengths.
The story was written by a medieval writer, who builds it on the opposition of two symbolic images of “cross” and “knife”, which run through the entire narrative as a leitmotif.
Thus, “The Tale of the Blinding of Vasilko Terebovlsky” sharply condemns the princes’ violation of their contractual obligations, leading to terrible bloody crimes, bringing evil to the entire Russian land.
Descriptions of events related to the military campaigns of the princes take on the character of a historical documentary tale, indicating the formation of the genre of military stories. Elements of this genre are present in the tale of Yaroslav's revenge To the accursed Svyatopolk 1015-1016
This chronicle tale already contains the main plot and compositional elements of a military story: gathering troops, going on a campaign, preparing for battle, battle and its denouement.
All this allows us to talk about the presence in “The Tale of Bygone Years” of the main components of the genre of a military story.
Within the framework of the historical documentary style, messages about heavenly signs are kept in the chronicle.
Elements of hagiographic style. The compilers of the “Tale of Bygone Years” also included hagiographic works: a Christian legend, a martyr’s life (the tale of two Varangian martyrs), a legend about the founding of the Kiev-Pechersk monastery in 1051, about the death of its abbot Theodosius of Pechersk in 1074 and the legend of the Pechersk monks. The tales included in the chronicles about the transfer of the relics of Boris and Gleb (1072) and Theodosius of Pechersk (1091) were written in a hagiographic style.
One of the forms of glorification of princes in the chronicle is posthumous obituaries associated with the genre of funeral eulogies. The first such word of praise is the obituary of Princess Olga, placed under 969. It begins with a series of metaphorical comparisons glorifying the first Christian princess. The metaphorical images of “daybreak”, “dawn”, “light”, “moon”, “beads” (pearls) were borrowed by the chronicler from Byzantine hagiographic literature, but they were used to glorify the Russian princess and emphasize the significance for Rus' of her feat - the adoption of Christianity.
The chronicler drew moralizing maxims and figurative comparisons from Christian literature.
The function of biblical comparisons and reminiscences in the chronicle is different. These comparisons emphasize the significance and greatness of the Russian land, its princes; they allow chroniclers to transfer the narrative from a “temporary” historical plane to an “eternal” one, that is, they perform the artistic function of symbolic generalization. In addition, these comparisons are a means of moral assessment of events and the actions of historical figures.
The complexity of the Tale of Bygone Years is that it contains various genres and subordinates them (both chronicle stories and documents). A significant part is occupied by folklore genres.
Folklore was formed even before writing. This is a source for chroniclers (legends, tales, proverbs, sayings) Their formation occurs in ancient times.
Folk memory is the only archive of folk art.
Questions of the influence of literature on folklore and vice versa: Adrianova-Peretz.
This is a problem of two artistic methods, two worldviews. Most writers were influenced by Christianity. Different heroes and different ideals emerge than were before. A writer and a national poet do not always agree on what they have written. The hero of the epic wins due to his certain qualities.
2 forms of storytelling of the 11th century, the rapprochement of literature with folklore - 1) transfer of folklore plots and motifs, visual means, into literature, without changing their ideological essence.
2) mastery by literature of the artistic method of folk poetry.
The Tale of Bygone Years is gradually taking shape! And conveys the people's point of view. Gradually, the horizons of chroniclers become wider. The ideal is the former unity of Rus'.
9-10th century: the more distant the era is from the chronicler, the greater the attraction of folk art.
1))))-Ritual folklore.
One of the forms is myths: 1071 The Magi tell Jan Ushatic a lot, for example, about the creation of the world (God washed himself in the bathhouse, dropped soap on the ground, etc.)
The chroniclers were monks.
2))) Conspiracy-incantatory. For example, Yaroslavna’s cry is a poetic rethinking of the conspiracy.
Funeral parables in the chronicles are associated with paganism. – individual-About Vasilko Terebovolsky
Collective - about Oleg.
The chronicle text is imbued with the idea of statehood.
3))))))) Sayings and riddles. Classification of proverbs: 1) historical. 2) military 3) political 4) everyday.
There is a moment of fabulousness in Olga’s 4 revenges. Gradual reduction of the fairytale element. The emergence of patriotism! And Olga’s suits are a transitional type of storytelling. There is dialogue! It is of folklore origin; the difference between folklore and written dialogue is shown.
The riddle is used as a secret language!
There are many allegories in Olga's revenge. The warriors have no idea about anything. There is a moment of deception - attribution to a fairy tale.
Olga imitates wedding rituals. Olga herself carries out her riddles (orders the rook to be thrown into the pit)
4))) Legends and legends. In legends there is an opportunity to confirm the accuracy of the stories.
There is a dispute about whether squad songs can be a source of the chronicle. The more artistry there is, the less the chronicler will pay attention to them. It is impossible to accurately determine the form of a folk legend!
Legends seem to be on the brink - these are historical generalizations. Later historical legends already have a plot. Legends are associated with cities, burial grounds, and villages.
5))) Dialogue from folklore has entered the chronicle. All oral practice becomes chronicle. The dialogue is easy to imagine and dramatic. There is dialogue in 3 of Olga's words.
An important difference is that there is no metaphorical language. There is an element of retortion present.
6))) Epics. Legends of 922 How the Pechenegs came to Rus' bears the stamp of genuine folk ideology.
