“Yaroslavna’s Lament” is a masterpiece of world literature. Essay on the topic: Yaroslavna’s Lament in the poem The Lay of Igor’s Campaign Why Yaroslavna turns to different forces of nature three times

be a helmet for the great Don; invites his brave brother Vsevolod, leads his squad to the Polovtsian land, wins a battle, then loses another and, having been captured, disappears from the poem: most of it consists of Svyatoslav’s speech and Yaroslavna’s cry. Then, at the end of the poem, Igor appears again for a minute, escaping from captivity. In general, he does nothing to arouse our participation in him. Although Vsevolod is also depicted very weakly and as if in passing, he is more of a hero in the spirit of his time. His speech to Igor breathes with the passion and inspiration of battle. During the battle, he is drawn in the foreground and obscures Igor’s colorless face. Svyatoslav appears not as a character, but as the voice of history, an exponent of the political state of Rus': the poet himself is clearly hidden behind him. In general, there is no drama in the poem, no movement; the faces are absorbed in the event, and the event is completely insignificant in itself. This is not a struggle between two peoples, but a raid of a tribe against a neighboring tribe. Obviously, all these shortcomings of the poem lie not in the weakness of the singer’s talent, but in the poverty of materials that folk life could provide him with. This is also the reason that the people themselves are completely colorless in the poem: without beliefs, without ways of thinking, without worldly wisdom, with only the wealth of living and warm feelings. And therefore the whole poem is childish babble, full of poetry, but poor in meaning, babbling, the whole charm of which is in vague, melodic sounds, and not in the meaning of these sounds...

We said above that “The Tale of Igor’s Campaign” strongly evokes its South Russian origin. There is something soft in its language, reminiscent of the current Little Russian dialect, especially the abundance of guttural sounds and endings with the letter ъ in verbs of the present tense of the third person plural. But most of all, the way of life of the people expressed in it speaks for the Russian-southern origin of the Lay. There is something warm, noble and humane in the mutual relations of the characters in this poem: Igor is waiting for his “dear” brother Vsevolod, and Vsevolod’s speech to Igor breathes meek and tender kindred love without sophistication and cloying: “You are one brother to me, one bright light, O Igor, and we are both Svyatoslavichs!” Igor retreats with the regiments not out of fear of laying down his head: he felt sorry for his dear brother Vsevolod. In the reproaches of the elderly Svyatoslav to his sons, one hears not the anger of offended power, but the murmur of offended parental love - and his reproach is meek and gentle; accusing the children of daring, which was the reason for Igor’s captivity, he at the same time seems to be proud of their daring: “O my sons, Igor and Vsevolod! Early on you began to mine the Polovtsian land with swords, and to seek glory for yourself. you are the blood of the enemy. Your hearts are bound from strong damask steel, but tempered in violence! Is this what I expected from you with my silver gray hair! But what is especially striking in the poem is the noble relations between the sexes. The woman here is not only a wife and not a mistress, but also a mistress at the same time. Yaroslavna's cry breathes with deep feeling, expressed in images that are both simple-minded and graceful, noble and poetic. This is not a wife who, after the death of her husband, was left a bitter orphan, without a corner and without a piece, and who laments that there is no one else to feed her: no, this is a tender mistress, whose loving soul yearns sadly for her beloved, for her own way, to soak in The Kayala River will take a beaver sleeve and use it to open bloody wounds on the body of a lover; who addresses all of nature about her beloved: she reproaches the wind that carries the khan’s arrows to the beloved’s squad and scatters its joy across the feather grass; the Dnieper begs to cherish the boats of her beloved before her, so that she does not send tears to him to the sea early; calls out to the sun, which is “warm and red to everyone” - only tormenting her frets with the heat of the rays of its warriors... And yet a man knows how to appreciate such a woman: only the thirst for battle and glory made Buitur Vsevolod forget for a while “his _sweet desires_, red Glebovna , habits and customs "... All this, we repeat, resonates with Southern Russia, where even now there is still so much that is humane and noble in family life, where gender relations are based on love, and a woman enjoys the rights of her sex; and all this is diametrically opposed to Northern Rus', where family relations are wild and rude and a woman is a kind of livestock and where love is a completely foreign matter in marriages: compare the life of Little Russian peasants with the life of Russian peasants, townspeople, merchants and partly other classes, and you will be convinced in the validity of our conclusion about the southern origin of “The Tale of Igor’s Campaign,” and our consideration of Russian folk tales will turn this conviction into evidence.

Now we should talk (111) about the “Tale of Batu’s invasion of the Russian land” and about the “Tale of the Massacre of Mamaev”; but we will say very little about them. Both of these monuments do not at all relate to poetry, because there is neither the shadow nor the ghost of poetry in them: they are rather monuments not even of eloquence, but of the simple-minded rhetoric of that time, whose whole trick was incessantly applying to the Bible and extracting texts from it. Much more interesting is “The Word of Daniel the Sharper.” It also does not belong to poetry, but can serve as an example of practical philosophy and learned eloquence of the 14th century (112). Daniil Zatochnik was a man of deep learning in the spirit of his time; His “word” is distinguished by intelligence, dexterity, and in places something similar to eloquence. Its main advantage is that it breathes the spirit of its time. It was written in captivity, to the prince, from whom our Sharpener hoped to beg for forgiveness and freedom. Without losing sight of the main subject of his message, the Sharpener recklessly launches into various judgments. By the way, talking about his poverty, he says:

We know there is a rich husband everywhere; and in a foreign land he has friends, but the poor man walks invisibly among his own. The rich man will speak, everyone will remain silent, and his word will be lifted up to the clouds; and the wretched one will exclaim, everyone will call on her and stop his mouth: “Their vestments are bright, their speech is honest.”

Approaching the prince, he praises him like this:

The bird rejoices in the spring, and the mother’s baby, and I, prince sir, rejoice at your mercy; Spring now decorates the earth with flowers, and you, sir, have revived all people with your mercy, orphans and widows, from the nobles. Prince Mister! Show me the image of your face, as your voice is sweet, and your image as a sovereign is red, and your face is bright and splendid, and your sovereign mind is like a beautiful paradise that bears many fruits.

The Sharpener’s pleas to the prince sometimes rise to true eloquence:

But when you are having fun with many food, remember me when you eat dry bread; or drink sweet drink, and remember me, drinking warm water and attacking dust (113) from the place of the wind; when you lie down on soft beds under sable blankets, and remember me lying under a single blanket, dying in winter, and raindrops like arrows piercing your heart.

Particularly remarkable is the following passage in the “Word” of the Zatochnik, where he gives the prince advice to respect intelligence more than wealth and speaks about himself with some kind of naive, elevated consciousness of his own dignity:

Prince, my lord! do not deprive the poor of bread of bread, nor lift up the rich to the clouds of the foolish, foolish: the poor are wise, like gold in a vessel of stone, and the rich are red and foolish, like a trailing head, like straw woven. My lord! Do not see my outer, but see my inner: for I am poor in clothing, but ample in understanding; I am young in age, but old in sense, I think like an eagle soaring through the air. But place the vessels of the poor under the flow of a drop of my tongue, so that the words of my lips may drop the sweetest honey of honey.

It is not this who lives on the reins, nor wisdom in the heart of the foolish: for the foolish ones neither yell, nor sow, nor gather into granaries, but they themselves give birth. Just as you pour water into a skin, so teach a madman; dogs and pigs do not need gold and silver, nor wise words to the fool (114). If a tit devours an eagle, if a stone floats on the water, if a pig begins to bark at a squirrel, then the madman will learn wisdom.

It is noticeable that Daniil the Sharpener suffered from evil slander from the boyars and the prince’s wife; at least nothing else can explain the following formidable philippics against bad advisers and bad wives:

Prince, my lord! It is not the sea that sinks ships, but the winds; and it is not the fire that creates the kindling of the iron, but the fumes of the strange things: in the same way, the prince himself does not fall into many bad things (115), but the Duma members introduce. With a good thinker the prince will reach a high table, but with a dashing thinker he thinks and will be deprived of a small table. The verb in worldly parables is: the goat is not the cattle, and the hedgehog is not the beast, the cancer is not the fish, the bat is not the bird, and the man is not the husband, who owns his wife; not a wife in the same way as her husband...; It’s not a job to carry around work under junks. More wondrous is the one who catches an evil wife, for the sake of profit.... (116) It is easier to bring an ox into your house than for an evil wife to understand: an ox does not speak, nor thinks evil; and the evil wife _biema_ rages, and the meek woman stands tall, is proud of her wealth, and condemns others in her poverty. What is the wife of evil? an indestructible inn, a demonic shophouse. What is the wife of evil? worldly rebellion, blindness to the mind, the beginning of all malice, in the church a demonic tollhouse, a champion of sin, an ambush of salvation.

We do not write out this energetic outburst until the end: this is only the beginning, the weakest part of it. Instead, let’s write down the ending of Zatochnikov’s message: it is in the spirit of the times to such an extent that it turns from eloquent to poetic, and therefore especially interesting.

I wrote these words to Daniel in captivity on Lake Bela, and sealed them in wax, and threw them into the lake, and devoured the fish, and the fish became a fisherman, and it was quickly brought to the prince, and he began to flog it, and the prince saw this written, and commanded Danil to free him from the bitter suppression. - Don’t just brush aside his madness, lest you become like him. I’ll stop talking now, so that I won’t be like a fleece, dropping wealth on the poor; Let me not become like millstones, for many people feed, but cannot satisfy themselves, so that I will not be hated by the world with much conversation. How can a bird teach
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Yaroslavna's cry is perhaps the most poetic and beautiful episode of the work. It sounds not just like lamentations and prayers, but like a real spell, filled with folk tunes and magical transformations into animals.

Yaroslavna worries about the unsuccessful campaign of her husband Prince Igor's squad. In her sadness, she is not shy about her tears and turns to the higher forces of nature - the wind, river and sun. Her appeals on equal terms are amazing; Yaroslavna seems to condemn and reprimand the higher powers, like good old friends who did not provide the necessary assistance to support her husband. With this technique, the author points to the pronounced pagan customs that took place at that time, despite the already accepted Christianity. Nature in tears is also depicted in an unusually picturesque manner. Such descriptions as transformation into animals are quite typical for folklore.

The image of Yaroslavna successfully combines the type of a faithful and devoted wife who is ready to do anything for her husband, turning into a cuckoo and wiping blood from her wounds. She also mentions in her song the famous feat of Svyatoslav, as if saying that the Russian people have something to be proud of. It is important that the female image is presented on an equal basis with the male one. Thus, the author emphasizes Yaroslavna’s confidence and self-sufficiency.

So, we can conclude that with the help of the presented image, the author is trying to convey the grief, and at the same time, the determination of all women of Rus' - wives and mothers. Every word of Yaroslavna is filled with light and hope for a successful end to the confrontation.

“The Tale of Igor’s Campaign” is a literary monument of ancient Russian culture, which tells about the unsuccessful campaign of Prince Igor Svyatoslavich against the Polovtsians in 1185.

Yaroslavna's Cry is one of three parts of the poem, dedicated to the moment of grief of Prince Igor's wife about the unsuccessful outcome of the battle in which his squad took part. This episode is recognized as one of the best in the entire work, and its heroine acts as a symbol of a loving and faithful wife.

The image of Yaroslavna personifies the theme of family, peace, home and endless longing for her husband, who every moment risks dying from the enemy’s sword. Her excitement is so strong and irresistible that she is ready to become a bird in order to quickly be near her husband and heal his wounds. Typically, such techniques, namely the transformation of heroes of folk art into various birds and animals, represent one of the main features of Russian folklore.

The action takes place in a period when Rus' had already adopted Christianity, but at the same time still continued the traditions of the pagan faith. This is evidenced by the artistic images used in the work. For example, Igor, noticing a black shadow rising above the Russian militia, doubted the successful outcome of the battle.

Or, for example, Yaroslavna’s appeal to the wind, to the sun, to the river means her faith in the pagan gods, personifying the named forces of nature. She talks to them as equals, sometimes reproaching them, sometimes begging for support and protection. In addition, with the help of this technique, the author shows the beauty of the Russian land, the vastness of its fields, the bright sun, high mountains, deep seas and mighty rivers. All the vast and great Rus' is embodied in this picture, personified in the image of the beautiful Yaroslavna. Her cry carries not only suffering and sadness, but is also filled with tenderness and bright hope.

The heroine's monologue is a lyrical song, permeated with undying hope for the speedy return of Prince Igor from the battlefield. And for her faith and boundless love, fate generously rewards Yaroslavna. The prayers are heard, and Prince Igor escapes from captivity, led by miraculous power on the way to his home.

Thus, Yaroslavna’s crying is the most important plot component of the poem “The Tale of Igor’s Campaign.” It is in it that all the power of the general people's grief for the fallen wars is contained and the idea of ​​creation and peace is affirmed.

Option 2

The 12th century for Rus' was marked by many events, but mainly of a military nature. If we talk about the cultural development of the state, it is important to note that the wonderful monument of ancient Russian literature “The Tale of Igor’s Campaign” dates back to this time.

The above-mentioned work has a clear structure, which is subject to the idea, genre features, and means of language. There is nothing random or superfluous in “The Word…”: each episode is important, it carries a certain semantic load.

In this essay we will talk about the episode that literary scholars call “Yaroslavna’s Lament.” This is a kind of prediction of the fate of your beloved Lada.

Yaroslavna personifies the Russian land. And in the girl’s cry the attitude of the entire Russian land towards the military events with the Polovtsians is clearly shown.

If we talk about the compositional structure of the text, then “The Lament” is important as a predetermination of Igor’s escape from captivity. Because Lada Yaroslavna turns to the sun, the wind, the Danube, so that they will help her lover free himself from the Polovtsian shackles, so that Lada can be with his beloved.

If “Lamentation” is removed from the text, its harmony and semantic completeness will be disrupted. After all, the main idea is a call for unity.

Also, do not forget about such things as artistic space and time. In this case, special attention is paid to space. It expands and contracts. In “The Lament” the space is expanded to the very outskirts of the Russian state. This is achieved due to the author’s skill, due to the fact that he brought “Lament” closer to a folk lyrical song.

Landscape sketches are also important in Lamentation. According to literary critic D. Likhachev, they are called upon to be independent characters. This is also typical of ancient Russian texts of that time, because this technique allows one to show and emphasize the enormity of the space that surrounds an insignificant person.

“The Word...” has poetic arrangements. The most interesting are the translations by D. Likhachev and N. Zabolotsky.

If we talk about “The Lament,” Likhachev embellishes the text through metaphors, and Zabolotsky through comparisons.

Several interesting essays

• Analysis of the story by Nikita Platonova

  The work belongs to the writer’s lyrical stories dedicated to military topics, and considers as the main problem the consequences of the influence of wars unleashed by states on the children’s psyche.

  The undergrown Mitrofan in Fonvizin’s comedy had several teachers. One of them, and the most worthy in the opinion of the narrow-minded Mrs. Prostakova, was the German Vralman.

is a compulsory piece that is included in the school curriculum. The Word is not just a monument of ancient Russian literature and a historical work. This is work that helps you see the worldview of your ancestors, see the images of princes and get acquainted with the problems that existed at that time. The work also shows Russian women, selfless, devoted, faithful and gentle. The author reveals them through, who poured out her grief in crying. When you read the part of the work where Yaroslavna’s crying is described, you see how it is filled with a special breath, a deep feeling, which we will write about in our literature for 9th grade.

Kozlov: arrangement of Lamentation of Yaroslavna

The word about Igor's regiment has been translated by various writers, among whom it is worth noting its translation by Kozlov. If others tried to write their adaptation close to the text of the ancient Russian work, preserving its rhythm, then Kozlov wrote the Word in a freer form, trying to convey his emotional and personal perception of the work. In spite of everything, the basis for each version of the transcription of the Tale of Igor's Campaign remains the same - and this is the work of an unknown author. Each of the writers managed to correctly recreate the image of Yaroslavna, which reflected all the features of Russian women. We hear her heartfelt cry, where Yaroslavna not only performs the accepted rituals, but truly grieves for her husband’s squad, worries about her betrothed, and the sincerity of her tears can be compared to the bleeding wounds of the prince. It hurts her that she is not next to Igor and cannot fly to him like a bird.

Why does Yaroslavna turn to different forces of nature three times?

As you know, in the Tale of Igor's Campaign the episode of Yaroslavna's Lament is the most beautiful part of the author's work. Yaroslavna turns to three elements at once in her spell. The woman calls on the wind, sun and river for help. Why does Yaroslavna turn to three elements at once in her cry? Most likely, the author wanted to emphasize the pagan basis of the work. In addition, in folklore, the technique of triple inversion was often used both in fairy tales, songs and parables. So in the Tale of Igor’s Campaign, Yaroslavna, in her prayer, in her spell and in her chants, touches on three elements that help free Igor from captivity.

Essay on the topic: Yaroslavna's Lament

Essay on the topic: is “The Tale of Igor’s Campaign” relevant in our time? Essay: What is the attitude of the author of “The Tale of Igor’s Campaign” towards the main character of the story? Essay “What is the pathos of the monument “The Lay of Igor’s Campaign”?”