Literary drawing room "I will find another soul ..." (Biblical motifs in the poetry of the Silver Age).

GOU secondary school №672

Exam abstract

literature on the topic:

"Biblical Motifs and Plots

in Russian Literature of the 19th – 20th Centuries.

Artist: Naryshkina M. S. 11 "A" class

Lecturer: Puzanova L. A.

Grade: " "

Moscow 2008

Introduction.

"All things came into being through Him..."

The Book of Books... This is how they talk about the Bible, thereby denoting its place in human culture with the utmost brevity.

This is the Book in the most general, highest and single meaning, which has been living in the minds of peoples since time immemorial: the Book of Fates, which keeps the secrets of life and the destiny of the future. This is the Holy Scripture, which all Christians perceive as inspired by God himself. And this is a treasury of wisdom for all thinking people of the Earth, whatever their beliefs. This is a book-library, which for more than a thousand years has been composed of many verbal works created by different authors, on different languages.

This is a book that brought to life countless other books where her ideas and images live: translations, arrangements, works of verbal art, interpretations, studies.

And over time, its creative energy does not decrease, but increases.

What is the source of this life-giving force? Many thinkers, scientists and poets thought about it. And here is what A. S. Pushkin said about the New Testament (his thoughts can be attributed to the entire Bible): “There is a book with which every word is interpreted, explained, preached in all parts of the earth, applied to all kinds of circumstances of life and events of the world; from which it is impossible to repeat a single expression that everyone would not know by heart, which would not already be a proverb of the peoples; it no longer contains anything unknown to us; but this book is called the Gospel - and such is its ever-new charm that if we, sated with the world or dejected by despondency, accidentally open it, then we are no longer able to resist its sweet passion and are immersed in spirit in its divine eloquence.

Ever since the Slavonic translation of the Gospel, the Psalter and other biblical books, created by the great educators Cyril and Methodius, appeared in Russia, the Bible has become the first and main book of Russian culture: from it the child learned to read and write and think, Christian truths and norms of life, principles morality and the foundations of verbal art. The Bible entered the consciousness of the people, into everyday life and spiritual life, into ordinary and high speech; it was not perceived as a translation, but as native and able to make people of all languages ​​related.

But over the decades of the 20th century The Bible remained persecuted in our country, as it was in the first centuries new era when the rulers of the Roman Empire tried to stop the spread of Christianity.

It seemed that the long reign of savage idolatry, which appeared under the guise of scientific atheism, weaned the mass of readers from the Bible and weaned them from understanding it. But as soon as the Book of Books returned to families, schools, libraries, it became clear that the spiritual connection with it was not lost. And first of all, the Russian language itself reminded of this, in which the winged biblical words withstood the onslaught of clerical carrion, unrestrained foul language and helped preserve the spirit, mind and euphony of native speech.

The return of the Bible allowed readers to make one more discovery: it turned out that all Russian literary classics, from antiquity to the present, are connected with the Book of Books, rely on its truths and precepts, moral and artistic values, correlate their ideals with it, cite its sayings, parables, legends... This connection is not always obvious, but opens up in close, sympathetic reading and introduces, as it were, a new dimension to the "artistic universe" created by verbal art.

Now we are re-reading and pondering the Bible, accumulating knowledge about it, which was previously gradually mastered in school years. We comprehend what has long been known as new: after all, behind every detail we see a huge world that has remained distant or completely unknown to us.

The very title of this book is a precious fact of cultural history. It comes from the word biblos: it Greek name Egyptian plant papyrus, from which in ancient times huts, boats, many other necessary things were made, and most importantly - writing material, the support of human memory, essential foundation culture.

The Greeks called a book written on papyrus he biblos, but if it was small, they said to biblion - a little book, and in the plural - ta biblia. That is why the first meaning of the word Bible is a collection of small books. These books contain legends, commandments, historical testimonies, hymns, biographies, prayers, reflections, studies, messages, teachings, prophecies... The authors of the books are prophets, priests, kings, apostles; the names of most of them are indicated, the authorship of other books is established by the research of scientists. And all biblical writers are artists who own persuasive, picturesque, musical speech.

The books of the Christian Bible are divided into two parts that arose at different times: 39 books of the Old (Ancient) Testament, (approximately X - III centuries BC) and 27 books of the New Testament (end of I - beginning of II century AD) .). These parts, originally written in different languages ​​- Hebrew, Aramaic, Greek - are inseparable: they are imbued with a single desire, create a single image. The word "covenant" in the Bible has a special meaning: it is not only an instruction bequeathed to followers, future generations, but also an agreement between God and people - an agreement on the salvation of mankind and earthly life in general.

The number of literary works in Russian containing reflections on the Bible, its images and motives is extremely large, it is hardly even possible to list them. The idea of ​​the creative word permeates the entire Bible - from the First Book of Moses to the Revelation of John the Theologian. It is solemnly and powerfully expressed in the Gospel of John:

“In the beginning was the Word, and the Word was with God, and the Word was God. It was in the beginning with God. Everything came into being through Him, and without Him nothing came into being that came into being. In Him was life, and the life was the light of men; And the light shines in the darkness, and the darkness did not comprehend it.”

Bible and Russian literature XIX century.

It was in the 19th century that spiritual problems and biblical stories became especially firmly embedded in the fabric of European, Russian and all world culture. If one were only to enumerate the titles of poems, poems, dramas, stories that have been devoted to biblical problems over the past two hundred years, then such an enumeration would take a very long time, even without descriptions and citations.

At one time, Honore Balzac, summing up the "Human Comedy", noted that the whole epic was written by him in the spirit of the Christian religion, Christian laws and law. But in fact, in the huge, multi-volume work of Balzac, there is little Christian spirit. There is a lot in it, it is really a panorama of human life, but a mundane life, immersed in everyday life, passions, sometimes small, and we do not see ups and downs. The same can be said about Gustave Flaubert, and about many other Western writers, whose biographies obscure eternal questions. Such was the dynamics of the development of literature in the West in the 19th century. In the 20th century, the picture changes and the search for the eternal begins again.

Russian literature of the 19th century differs favorably from Western literature in this respect. Because from Vasily Zhukovsky to Alexander Blok, she was always focused on burning moral problems, although she approached them from different points of view. She was always worried about these problems and rarely could dwell only on life writing. Writers who limited themselves to everyday difficulties found themselves pushed to the periphery. Writers who are worried about the problems of the eternal have always been in the center of the reader's attention.

“And in the Holy Spirit, the Lord, the Life-Giving…” The Russian nineteenth century was filled with this spirit (even when it rebelled). The golden age of our literature was the age of the Christian spirit, kindness, pity, compassion, mercy, conscience and repentance - this gave it life.

Vasily Andreevich Zhukovsky (1783 - 1852)

Zhukovsky is called the founder of the new Russian poetry. Vladimir Solovyov wrote that his elegy "Rural Cemetery" "can be considered the beginning of truly human poetry in Russia after the conditional rhetorical creativity of the Derzhavin era." In his personality and work, a surprising combination of European education, romanticism and even mysticism - with a firm Orthodox faith.

There was no lie, no bifurcation in him, he reconciled and combined everything in himself, - F.I. wrote about him. Tyutchev. A B.K. Zaitsev, who wrote a literary biography of Zhukovsky, called him "the only candidate for saints from our literature." Zhukovsky has few purely religious verses, but quite numerous prose discourses on spiritual topics belong to his pen: "On Prayer", "On the Inner Life", etc.

It is also significant that Zhukovsky's poem "The Prayer of the Russian People" in a revised version turned into a hymn Russian Empire: "God save the king."

Prayer of the Russian people.

God! Save the king!

Glorious long days

Give it to the earth!

Proud humbler,

Weak keeper

All descended!

the sovereign

Orthodox Russia

God Bless"

Her kingdom is slender,

In power calm! -

Still unworthy

Get out of here.

savage army,

Glory chosen,

God Bless!

Warriors avengers,

Honor to the saviors -

Peacekeepers -

Long days.

peaceful rulers,

Guardians of the truth

God Bless!

Their exemplary life

unhypocritical,

Valor faithful

You remember!

Oh Providence!

Blessing

They sent us!

For the good desire,

In happiness, humility

Patience in grief

Appeal to the Bible, Christianity, paraphrases of old and new Testament stories, glorification of deeds biblical heroes and hagiographical saints or, on the contrary, demonstration of examples of mental impoverishment and cruelty, discussion of eternal moral problems inherent, starting from the biblical, in all times - all this did not pass by Russian literature. These themes received a particularly strong response, of course, in critical eras, difficult times, of which there have been many in the history of Russia. And this is directly reflected in the literature.

On the one hand, with the advent of Christianity, new genres appeared, for example, the lives of the saints. On the other hand, interest in biblical subjects has not been lost. Get a new sound stories associated with biblical prophets. The Psalter is being revised. The New Testament deserves special attention. The focus of writers and poets is the images of Christ, the Mother of God. The Bible brings new genres to literature, such as prayer, parable, which are rethought both on the material of the Old and New Testaments, and in situations of the author's contemporary time.

If we talk about the poetry of the Silver Age, then, probably, there is not a single poet who would not turn to religious topics. Let's take a closer look at some of the authors. “There is no need to prove that Anna Akhmatova was a Christian poet. The Christian tonality of her poetry is too obvious, the testimonies about her or her own, although rare, statements are too clear. Pasternak, in a 1940 letter, calls her "a true Christian."<…>She, and this is her exclusivity, had no evolution in religious views. She did not become a Christian, she has always been one all her life.”

An appeal to Orthodox shrines, to Orthodox traditions, to gospel stories is present in the poems “I began to dream less often, thank God”, “The gates are wide open”, the cycle “July 1914”, “Consolation”, “Prayer”.

In the 30s. A. Akhmatova, seeking to comprehend the national tragedy of the totalitarian age, again resorts to the biblical theme. She writes a psalm-like "Crucifixion".

“The poem is prefaced with an epigraph from a church hymn: “Do not weep for Me, Mother, you see in the grave.” "Crucifixion" was first created as an independent work, then entered the "Requiem" X chapter. In stanza 1, on a solemn note, the crucifixion of Christ is narrated:

• The choir of angels glorified the great hour, And the heavens melted in fire. He said to his father: “I almost left me!” And Mother: “Oh, don’t cry for Me…”

Akhmatov calls the execution of Jesus the “great hour”, because by his death Jesus atoned for the sins of people and the spiritual rebirth of mankind became possible (accomplished).

Speaking about the moral and ethical education of Marina Tsvetaeva, it should be noted that there was no systematic religious education in the Tsvetaev family (as it is described in many childhood memories - church traditions diligent church attendance, prayer). According to Anastasia Tsvetaeva, parents celebrated Christian holidays (Christmas, Easter), instilled love for them in children, introduced them to biblical legends, gospel parables, religious rites, but “everything was made easier”, everything was in the form that should be in Russian intelligent family.

The image of Jesus Christ excited the imagination of Marina Tsvetaeva from childhood. His purity, sacrifice, love were the standard of moral beauty that she carried through her whole life. Many biblical stories are rethought by Tsvetaeva: “So Hagar in his desert whispers to Ishmael…” (“By the Fireplace, by the Fireplace…”, 1917); “Deception is replaced by deception, Rachel - Leah” (“A man goes behind the plow…”, 1919); “Reads the verse of Ecclesiastes and does not read the Song of Songs” (“Ancient Reverence”, 1920); “More victorious than King David is to spread the mob with his shoulder” (“The Disciple”, 1921); “Thus at night, disturbing the sleep of David, // Tsar Saul choked” (“Youth”, 1921); “Hagar with a simple hair - I am sitting, // I am looking into wide sadness” (“Hagar with a simple hair…”, 1921);

The penetration of Yesenin's work with Christian themes and motives is not accidental. The origins of this interest were laid in the childhood of the poet. He was greatly influenced by the family way of life - the religiosity of his grandfather (F. A. Titova) and grandmothers (N. E. Titova and A. P. Yesenina), mother (T. F. Titova).

Together with his grandmother, Yesenin made pilgrimages to nearby monasteries. On the way, he got acquainted with legends, tales, ditties, fairy tales. The poet himself recalled in 1924: “My first recollections date back to the time when I was three or four years old. I remember: a forest, a big ditch road. Grandmother goes to the Radovetsky Monastery, which is 40 versts from us. I, grabbing her stick, can hardly drag my legs from fatigue, and my grandmother keeps saying: “Go, berry, God will give happiness.”

It is curious that Yesenin in his poem combines Radunitsa and Pokrov into a single and inseparable whole, despite their semantic difference and distance from each other in time: Radunitsa is celebrated in spring, Pokrov in autumn. The answer to this question should be sought in the interweaving of pagan and Christian cultures. Based on this tradition, Yesenin in his poem combines two holidays: Radunitsa and Intercession, the day of commemoration of ancestors and the lulling of nature.

Yesenin's religiosity is associated primarily with patriotism, endless love for the motherland. Lyrical hero Yesenina is also a hooligan, a rake who burns his life, sometimes forgetting about God, but later remembering him with regret and repenting:

• I want at last minute Ask those who will be with me - So that for all my grave sins, For disbelief in grace They put me in a Russian shirt Under the icons to die.

Russian organically Christian culture has one feature: it tends to comprehend historical upheavals, be it a war or a sudden and dramatic change of power, comparing them with the events of biblical history: the Transfiguration, the Crucifixion, the Resurrection and, finally, the Apocalypse. After the revolution, the whole country was divided into two "camps": into its supporters and into its opponents. Of course, depending on this position, the biblical imagery in civil verses also varied. So, for the poets who supported the revolution, the motives of the Transfiguration, the Resurrection, the coming of the Kingdom of God on earth became the most frequent.

In January 1918, A. A. Blok, who called for "listening to the music of the revolution", wrote the famous poem "The Twelve", in the finale of which suddenly appears "in a white halo of roses in front of Jesus Christ." And how many literary scholars there are who study it, there are so many interpretations of the image of Christ. “Behold, the Bridegroom is coming at midnight,” that is, when the clock is twelve, this is another meaning of the title of the poem. Blok himself could not explain the appearance of this image. An acquaintance of the poet N. I. Hagen-Thorn recalled one of the first readings of the poem, when Blok was asked about the meaning of the appearance of Christ in the poem. “I don’t know,” Blok said, raising his head high, “that’s how I imagined it. I can't explain. I see it."

Someone, like, for example, Maximilian Voloshin, believes that Christ does not appear at all as the head of a detachment, but, on the contrary, persecuted and persecuted by the Red Guards. But the version that the poem contains the symbolism of the collapse of the old world and the Second Coming looks more logical.

Much more transparent is the gospel subtext of A. Bely's poem "Christ is Risen!", which is already clear from the title. According to Bely, “it is during these days and hours / the / world / mystery is performed”, in the interpretation of which there is no longer room for discrepancies: the symbolism of the resurrection permeates the entire text of the poem.

Apocalyptic motifs were extremely common in the poetry of the opponents of the revolution. Such is Ivan Bunin's poem "At the End" (1916), in which the poet accurately predicts what will happen in a year.

And, finally, many poems are built as a desperate prayer to the Lord with a request to punish the perpetrators of what happened in Russia, as an expectation of His coming and retribution. Similar motifs can be traced, for example, in the lyrics of Maximilian Voloshin during the revolutionary years. Thus, the poem "Peace" of 1917, where the coup is compared with the betrayal of Judas, begins with the words "It's over with Russia ..." and ends with an appeal:

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BIBLICAL MOTIVES at Lermontov. Religious and theomachic experiences of L. are distinguished by great immediacy and ext. independence from the cult-dogmatic. traditions; this is natural for a romantic rebel, who is inclined to despise the "superstitious" obedience of the crowd and talk with " higher power» on an equal footing, defending their personal exclusivity and dignity. However, this kind of experience, like all poetic. "metaphysics" L., are diversely correlated with the world of biblical-Christian-church. representations. Life-poetic. L.'s thinking, from childhood in contact with religious prayer life in his grandmother's house, was attached to the circle of images of "Scripture" and Christ. cult even to a greater extent than speculation pl. other major figures of romanticism. So, L. is alien to the extra-biblical pantheism of the Jena romantics or P. B. Shelley, the passion for magic. the elements of the first and interest in antiquity. the myth of the second (for example, the image of Prometheus). His internal life flows as if in the presence and before the gaze of the personal god of the Bible, whom the poet names, in accordance with the book. Genesis, the creator of the world (“Cemetery”, 1830), “the creator of nature” (from the early editions of “The Demon”; one of them recalls “the holy great hour, / When the light separated from the darkness” - cf. Genesis 1. 3- 4) and to-rogo, on occasion, lays responsibility for the imperfections of the world order and fractures in their own. fate. God seems to him biblically "omnipotent" - this is the one who maybe, but does not want answer the blessing "yes" to the poet's stormy claims, although in other cases this omnipotence of the providence for L. is, as it were, limited by the co-presence of demonic. world beginning. In short, the “credo” of L. is expressed in the youthful drama “Spaniards”: “... believe that there is a god in heaven - and nothing more! I don't believe it anymore!" (V, 609). Indeed, L. constantly doubts other beings. Bible principles. faith: in the goodness of providence (“God knew everything in advance: why didn’t he hold back fate? .. / He didn’t want to!”, - “Spaniards”), in God’s mercy (the words of the Demon: “... The right court awaits: to forgive he can, at least condemn”), in the afterlife (poem. “Repeating the words of parting”, 1832; the finale of the drama “Menschen und Leidenschaften”), either resorting to furious sarcasm, or falling into a tone of tired irony. But whatever the audacity of his doubting and denying thoughts, the value world of L. in means. least organized around a keenly felt bible. symbolism with its antitheses of the Garden of Eden and the hellish abyss, bliss and damnation, innocence and the fall. L.'s texts show traces of attention. bible reading. books of both testaments. Moreover, L. has relatively few quotations or allusions, which the author uses simply as sayings [for example, in "Princess Ligovskaya" and in "Hero ...", where ironic words are thrown in this way. reflections on the descriptions of secular life: the souls of old coquettes are “like the painted coffins of a parable” (Mat. 23.27), etc.]. In most cases, L. penetrates deeply into the spirit of these sources and intensely rethinks certain episodes. L.'s interest in the world old testament makes him related to Byron (L. Grossman). The grandiose mystery of the book of Genesis, the tales of the "forefathers", kings and prophets as some fundamental patterns of life. drama, focus on Nar. fate and people history, the tone of straightforward replies. seriousness (“biblical and naive style”, according to Lermont. definition from a letter to K. F. Opochinin, 1840), oriental color - all this as a counterweight to conditionally antique. the beginning of classicism was impressed by European. romantics and Russian. younger “archaists” (including A. S. Griboyedov, V. K. Küchelbeker and others), who appreciated the “psalmist” tradition of M. V. Lomonosov and G. R. Derzhavin. Appeal L. to the episodes of the Bible. tales typologically lies within this trend, however, it is possible to single out Old Testament themes that evoked in him not so much lit. and cultural-aesthetic, how many personally-psychol. response. First, there is the theme of miraculous superhuman power. The poet in L. is compared along this line not only with the inspired prophet, but with the Creator himself. The line: “Your verse, like the spirit of God, hovered over the crowd” (“Poet”) refers to the picture of the creation of the world: “The earth was formless and empty, and darkness was over the abyss; and the Spirit of God hovered over the waters” (Genesis 1:2); in other words, the poet is called upon to influence the people. crowd just as creative. the commands of God improve the primordial chaos. Almost equally powerful power comes from a demonic and therefore somewhat god-like personality: the head of Nar. revolt, Vadim is endowed with the superhuman power of a leader, the crowd parted before him, like “once the sea, touched by the rod of Moses” (cf. Exodus 14:16, 21). The same miraculous rod of Moses, carving water from a rock, is likened to poetic. inspiration capable of transforming even a “disgusting object”; this majestic bible. with a comparison, L. unexpectedly completes the playful and not quite decent message “You ask for a receipt, hussar” [here L., however, mixed, m. b. consciously, the figure of Moses (Numbers 20.8-11) with "the shepherd Aaron" and his flourishing rod (Numbers 17.8)]. Despite the simplicity and restraint Lermont. "Prophet", stylistically, as it were, withdrawn from the circle of biblical associations, in this verse. there is also a rapprochement with one of the most powerful Old Testament figures who have long captivated the Russians. nar. imagination. Lines: “And here I live in the desert, / Like birds, the gift of God's food; // Preserving the eternal covenant, / The earthly creature is obedient to me there ... ”- they encourage us to remember not only about the gospels. “the birds of the air”, but also about the ravens, who, by command from above, fed the prophet Elijah in the wilderness (1 Kings 17. 2-6). Secondly, this is the theme of "metaphysical." anxiety and inexplicable mental anguish. Bible the source for L. is an episode from the 1st book. Kings (16), which tells of an "evil spirit from the Lord" sent for sins against Saul, and of the young David, who dispersed the gloomy melancholy of the king by playing the harp. L. brings the arrangement of "Jewish Melody" by J. Byron to the Bible. narration: in English. the poet has no mention of kingdoms. sane lyric. character, L. - “Like my crown, the sounds of fun are painful for me” (“Jewish Melody”, 1836). L. returns to the same episode in the poem "Sashka" (46th stanza), surrounding him with a network of meanings. metaphors. At one extreme, there is a “greedy worm” that torments the poet’s soul, as he once tormented the soul of Saul (cf. the Demon’s sadness, which “cuddles like a snake”; cf. also sinners in hell, “where their worm does not die and the fire does not go out ”, Mark 9. 44, 46); on the other - the harp of David, angelic. beginning of music harmony, giving an outlet to tears and hopes and expelling an evil spirit, like the sign of the cross. Apparently, "assigned" to Saul " evil spirit " L. mentally compared first with his "personal" demon (cf. youthful verse. "My demon", 1830-31), and then, as this demon was glorified, already with his own. inexplicable torment, the source of which is now the cruel will of the Almighty. Finally, this is the theme of the transience and invisibility of a life sparingly measured to a person in the face of eternal existence. In the central poetic Meditations of the early period (“June 1831, 11 days”) L. translates the words of the psalm: “A little long-term man is a flower ...” (cf .: “The days of a man are like grass; like a flower of the field, so he blooms” - Ps 102. 15-16); but unlike the psalmist, he seeks a way out of this close limitation of earthly existence not in the supertemporal well-being promised to the generation of the righteous (“those who keep His covenant and remember His commandments in order to fulfill them”, ibid., 18), but in the release of the soul from the bodily shell and in creativity. immortality: “To survive alone / The soul should only have its cradle. / So are her creatures.” In the same vein, the epigraph to the poem "Mtsyri" ("Eating, tasting little honey, and now I'm dying") offers a symbolic. rethinking of the story about the son of King Saul, the young warrior Jonathan, who broke the royal spell - the ban on touching food until the end of the battle and was sentenced to death (1 Sam 14.24, 43-44). Hero Lermont. poems are also in their own way a violator of the ban, doomed to death for an unrestrained love of life and freedom. But instead of making excuses. intonations of Jonathan: “I tasted ... a little honey; and behold, I must die" (ibid., 43), - L. hears a bitter reproach: "little", "so little" honey. Of the New Testament books in the works of L. the most noticeable trace left the Apocalypse, namely two motifs, overgrown with apocrypha and has long nourished Nar. imagination. Firstly, in L. there is an image of the heavenly "book of life", where the fate of the peoples and the personal lots of the living and the dead are recorded, - which passed into the Apocalypse and into Christ. prayers from the Old Testament "prophetic" books (cf. Ezekiel 2:9-10; Rev. 10:1-2, 9; etc.) and associated there with the theme of God's judgment: "The dead were judged according to what was written in the books, according to deeds their own" (Rev 20:12). In verse. “Death” (“Carsed by blooming dreams”, 1830-31) in front of the hero “... in endless space / A book unfolded with great noise”, and he reads his condemnation in it, his sentence - in the hellish torment of the spirit to observe the decomposition of his own . bodies, - perceived, however, not as a reward "in accordance with deeds", but as an incomprehensible curse (in "The Death of a Poet" L., however, combines the idea of ​​​​deities in the spirit of the Apocalypse. foresight of "thoughts and deeds" with the idea of ​​just retribution). Secondly, the heavenly battle of the archangel Michael and his angelic host with Satan and the fallen angels (Rev. 12. 7-9), an “unforgettable battle” in heaven (5th edition of The Demon; verse “Fight”, 1832; cf. also in the 2nd edition of the poem: “When shining Zion / Left with proud Satan”) and the imprisonment of Satan and his followers in the abyss (Rev. 20. 1-3; people, like demons, are “fettered over the abyss of darkness”, or in “The Demon”: “The infernal spirit rose from the abyss”) - all this constitutes the implied “prologue in heaven” to the plot of the “Demon”, especially the first versions of the poem, which are still close to mysteries and did not acquire the local "earthly" flavor of the "eastern story". The comparison of the Demon with lightning (“Shined like a stream of lightning” and especially in the 5th edition - more reduced and catastrophic: “A stream of purple lightning trailed along the trail of his wings”) probably goes back to the gospels. Christ's words: "I saw Satan fall from heaven like lightning" (Luke 10:18). L. is very receptive to the poetry of cult, prayer, apocryphal. images. He then remembers the mystic. the “topography” of paradise (“When I met in paradise / In the third heaven your image”, verse “To the maiden of heaven”, 1831; cf. 2 Cor 12. 2-4), then, comparing himself with his demon, he names his "king of the air" (verse. "Loneliness", 1830) - in accordance with the church. the idea of ​​Satan as the “prince of the air” or “the spirits of malice in the heavens”, dispersed by bell ringing, then, in accordance with temple symbolism, visually identifies the barred access to paradise with the closed “royal gates” leading to the altar (“M. P Solomirskaya", 1840, or "the lattice of the heavenly door", mentioned in the novel "Vadim"). His extensive "angelology" and "demonology" is framed biblical-church. ideas about spiritual-personal, incorporeal beings, whose special nature is described in A Tale for Children (stanza 5) with almost doctrinal meticulousness. L. can also be found deeply archaic. correlation of angels, “the host of heaven” with the stars (“evening lamps of angels”, the poem “Sashka”, 48th stanza; astral landscapes in the “Demon”, especially in the so-called Yerevan list, where the hero, performing traditions before his fall angelic functions, “he erected in a harmonious choir / Nomadic caravans / In the space of abandoned luminaries”), and Christ-mystic. the idea of ​​the angelic hierarchy as mirrors of the "glory of God" (the nun's song in the 2nd edition of "The Demon"), and intimate lyric. a feeling of an elusive angelic flight, compared with a rushing sound or a trail sliding across a clear sky. Dr. In other words, angels and demons are present in L.'s poetry as specific "iconographic" characters, and not just value symbols. The world of the goddess, filled with cult objects (image, cross, icon lamp), intra-temple space, church ringing. or the monastery bell - they call the poet touched (verse “Branch of Palestine”, where, in particular, “ clear waters Jordan" are reminiscent of baptismal waters) or gloomy-tragic (description of images in "Boyarin Orsha", hopeless bells in "Mtsyri"), but always a lively and deeply interested response. Poetry and poetics of traditions. prayers does not leave him indifferent, even when he uses them polemically; yes, in verse. "Prayer" ("I, mother of God...") is listed whole line petitions typical of Orthodox prayers. practices (about salvation, about victory, about the forgiveness of sins, etc.) in order to cross out each of them with the dismissive “not ...”, “not ...”, “not ...” and limit ourselves to “disinterested "prayer" not for oneself ", but for the" innocent virgin "(cf. the refusal to annoy "an extra request" in the comic "Junker Prayer", parodying prayers. appeal to the holy spirit). But how close is the poetry of Christ to L. ritual and symbolic biblical Christ. cosmology, so alien, alien to him evang. the ethics of the sacrifice on the cross, redeem. suffering, love for enemies. It is in the ethical plane acquires the greatest meaning well-known characteristic of D. S. Merezhkovsky: L.'s work is an incessant dispute with Christianity. The most important evangel. the maxim about self-restraint and self-denial: "Enter through the narrow gate... for narrow is the gate and narrow is the way that leads to life" (Mt 7.13-14), pathetically experienced in Russian. poetry by Pushkin (final verse "Wanderer") and Nekrasov (song "Among the world of the valley" from the poem "To whom it is good to live in Russia"), L. immediately causes convulsive resistance (verse "Prayer", 1829). True, in one of the scenes of the youthful drama "Menschen und Leidenschaften", where the grandmother's autobiogr. the gospel is read to the hero, the author exposes misunderstanding and unconsciousness in it. evangelical rejection. text - its spiritual blindness, vindictiveness, self-interest and complacency. But in “Vadim” L. is repulsed not by the moral and everyday practice of bad Christians (and not by the hypocrisy of the power-hungry clergy, as in “Spaniards”), but by the very hope of “the toiling and burdened” (Mt 11.28-30) to find comfort and refuge at the “savior” (an episode of Olga’s fruitless prayer before the icon of Christ) and their readiness to bear the “yoke of Christ”. Sounded in this unfinished. in the novel, the words: "Where there is a demon, there is no god" - can serve as an answer to Merezhkovsky's bewildered question, why Lermont. the "controversy with Christianity" almost completely dispenses with any mention of Christ himself; in L. from a young age, the image of the god-man “Jesus the sweetest” was supplanted by the “reverse” to him, but also the divine anthropomorphic image of the Demon, shining with “magically sweet beauty”, and the gospel Christ did not fit in the soul of L. even as an opponent - his the place was occupied by "Other". However, to the extent that traditional Christ. faith and morality are connected in the mind of L. with Nar.-epic. beginning, he finds in them heroism, greatness and truth. The hero of the "Song about ... the merchant Kalashnikov" Stepan Paramonovich is a brave fighter for truth and honor and at the same time a "passion-bearer" in the Nar. -rus. understanding of this word: in the course of the duel, under the onslaught of the guardsman, he, as it were, is crucified on his copper pectoral cross “with holy relics from Kiev” (“blood dripped from under him like dew”), and this sacrificial “crucification” mysteriously helps him “to stand for the truth until the last day" - strike a decisive blow to the defiler of honored customs. See also the articles God-fighting motives, Demonism, Religious motives.

Lit.: Shuvalov(2); Nikitin M., Ideas about God and destiny in poetry L., N.-Novgorod, 1915; Grossman(2); Zaborova R. B., Materials about M. Yu. L. in the fund of V. F. Odoevsky, “Tr. GPB, vol. 5(8), L., 1958; Lubovich(4); Korovin(4), p. 157; Meshchersky N. A., On the epigraph to the poem by M. Yu. L. "Mtsyri", "Philological Sciences", 1978, No. 5.

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