"The Tale of Bygone Years" is a most valuable historical source. The chronicler, following the Christian concept of history, opened the “Tale” with a biblical legend about the division of the earth after the flood between the sons of Noah - Shem, Ham and Japhet (the Slavs are descendants of Japhet and, like the Greeks, are part of the family of European nations). The chronicle included extensive historical and geographical information about the Slavic tribes, their customs and morals, and relationships with neighboring peoples. The compiler of "The Tale of Bygone Years" emphasized the unity of the Eastern Slavs (Polyans, Drevlyans, Dregovichs, Polochans, Slovenians, Northerners), as well as their blood, linguistic and cultural kinship with other Slavic peoples, southern and western. He paid tribute to the great mission of the first Slavic “teachers” and “philosophers” Cyril and Methodius, the creators of the “Slovenian alphabet”.

The first article, dated 852, was associated by the chronicler with the beginning of the Russian land: under the Byzantine Emperor Michael III, “Rus came to Tsargrad, as it was written in Greek chronicles.” Under 862 there was a legend about the calling of the Varangians, where the single ancestor of the Russian princes was established - Rurik, together with the brothers Sineus and Truvor, invited by the Novgorodians to “reign and rule” the Russian land. This legend did not indicate the inability of the Russians to independently organize their state, but served a relevant goal at that time - proof of the political independence of Rus' from Byzantium.

The next turning point in Russian history is associated with the baptism of Rus' under Prince Vladimir Svyatoslavich (988), which introduced the country to Christian culture and strengthened its ties with European peoples. The chronicler attributed further successes in the Christianization of Rus', state and cultural construction to the time of the reign of Yaroslav the Wise, during which “the peasant faith began to be fruitful and expand, and the Chernorissy began to multiply, and there were many monastics... into the Slovenian language and writing. And having copied many books... faithful people learn from them and enjoy the teachings of the divine voice." If Vladimir, according to the chronicler, plowed the soil and softened it, i.e. enlightened by baptism, then his son Yaroslav “and taught bookish words to the hearts of faithful people.

The final articles of The Tale of Bygone Years talked about the reign of Svyatopolk Izyaslavich. This time was overshadowed by the increasing frequency of Polovtsian raids on Rus', feudal strife and popular riots. The symbolic antithesis of the era is the opposition of the “cross” and the “knife” (“kissing the cross” means sealing with an oath an agreement on peace and unanimity of the princes; “throwing the knife” means sowing enmity between the brother princes). The contrast reaches its highest degree of drama in “The Tale of the Blinding of Vasilko Terebovlsky,” placed in the chronicle under 1097.

"The Tale of Bygone Years" and folklore

"The Tale of Bygone Years" - the most significant example of the use of folklore tradition in the literature of Kievan Rus, which is not surprising. After all, restoring the pre-Christian, pre-literate period in the history of Rus', the chronicler was forced to turn for information to family traditions, toponymic legends, and druzhina poetry.

At the same time, he was not a simple recorder of events, but often acted as a researcher, citing and analyzing several folklore versions of one historical fact. For example, when talking about the emergence of Kyiv, the chronicler sets out two points of view on the origin of the city’s founder: some “say, as Kiy was a carrier,” others “say: I received great honor from the Tsar.” Following the logic of the official historiographer, the author of the chronicle states: “If there had been a carrier named Kyi, he would not have gone to Tsaryugrad. But this Kyi is a prince in his family.”

The influence of folklore primarily affects depiction of heroes the initial part of the chronicle. As in works of oral folk art, the chronicle will give the first Russian princes (Oleg, Olga, Igor, Svyatoslav, Vladimir) laconic but vivid characteristics, highlighting the dominant feature of their individual character in their image. Thus, in the image of Princess Olga, the chronicler poetizes the wisdom of the statesman, which is expressed both in her search for a single faith capable of uniting the East Slavic tribes, and in revenge on the Drevlyans, who, having killed her husband, Prince Igor, refused to obey Kyiv.

The chronicle description of Prince Svyatoslav, the son of Princess Olga, is epically laconic. Before us is a straightforward and courageous man, easy to communicate with soldiers, who preferred victory in open battle to military cunning, and therefore, when setting out on a campaign, he invariably warned his enemies: “I want to go against you!” Knowing about the ambush, he, with small forces, entered into battle with the Pechenegs and died, strictly following the law of military honor. Characteristics of the hero are given through his actions, the feats he has accomplished; it is thoroughly effective and extremely concrete in the “depiction” of military life: “Prince Svyatoslav, having grown up and matured, began to howl, copulate many and bravely. neither a cauldron, nor cooking meat, but having thinly cut up horse meat, or beast, or beef, baked it on coals, poison, nor a tent, but the lining was laid, and the saddle was in the heads; the same and the rest of his howl all the time."

In later fragments of the chronicle, replaced epic style in the image of the hero came monumental-historical style, where the idealization of the prince involved praising his Christian virtues: love of God, reverence for the church, mercy for the poor, abstinence from lust and drunkenness. The chronicle descriptions of Christian princes are official, ceremonial, and contain few individual signs. Their depiction is not without metamorphoses: a murderous prince could turn into a righteous prince, but, of course, as a result of a miracle, for the hero of medieval literature did not yet know the internal struggle. The poetics of folklore did not allow for a two-color palette in the depiction of the prince, while the literary hero could reincarnate. Yaroslav the Wise, from a rebellious son who refused to pay tribute to his father, the prince of Kyiv, turns into an instrument of divine punishment to Svyatopolk the Accursed for the death of the martyred brothers Boris and Gleb. Vseslav of Polotsk is a legendary werewolf prince, “not merciful to bloodshed,” but in 1068 the people of Kiev freed him from the “cut” and placed him on the grand prince’s table. The “villain” became a “martyr”, gained popular support and sympathy, for Izyaslav Yaroslavich deceived him into Kyiv and, breaking the kiss of the cross, imprisoned his brother.

The influence of folklore sources on The Tale of Bygone Years is evidenced by its solution to the theme of military feat. The victory of the Russians over their enemies in the initial part of the chronicle is depicted without religious motivation, without the appearance of the heavenly army on the battlefield, as a result of the unanimous desire of the “good” Russian squad “not to disgrace the Russian land and lie here with bones, for the dead have no shame.” However, the description of the duel between the Christian prince Mstislav and the Kasozh hero Rededey contains an episode when the prince, weakened in the battle with the enemy, prays to the Mother of God and makes a vow: in case of victory, to erect a temple in her honor. The religious motive of the miracle will later permeate battle descriptions, making the fate of man and people dependent on the will of God and the help of heavenly patrons.

The stories of the chronicle, executed in an epic manner, contain more everyday realities, than episodes about the deeds of Christian princes. This is also a bridle in the hands of a youth who, during the siege of Kyiv, supposedly in search of a missing horse, makes his way through the enemy camp. And a mention of how, testing himself before a fight with a Pecheneg hero, a young leatherman with professionally strong hands pulls out from the side of a bull running past “the skin from the meat, as good as his hand.” Everyday details help the reader to imagine what is happening in visually concrete images, to become as if a witness to events captured in the historical memory of the people, and then in the chronicle.

If in stories written in the style of monumental historicism, the reader knows everything in advance, the fate of the hero is predetermined, then in the development of the plot of the epic part of the chronicle it is often used effect of surprise. For example, Princess Olga seems to take seriously the matchmaking of the Drevlyan prince Mal, secretly preparing the death of his ambassadors. The horse, from which Oleg the Prophet was destined to die, according to the prophecy of the Magi, has long been dead, but his skull is fraught with mortal danger: “the serpent emerged from his forehead and pecked at the leg” of the prince, after which he “fell ill and died.” The fates of the epic heroes of Russian history illustrate the antithesis, where the “biographies of punishment” of pagan princes are contrasted with the “biographies of salvation” of princes who were baptized. If Oleg, who laughed at the prediction of the Magi and stepped on the horse’s skull with his foot, is punished for sacrilege - he dies at the zenith of his glory with an unexpected and terrible death, then Princess Olga, having been baptized, finds spiritual salvation and ends her life in old age, surrounded by the respect and love of loved ones .

The special role of the oral poetic tradition in the formation of the chronicle is clearly visible when analyzing its poetics. The leading place in stories grown on a folklore basis is not monologue, but dialogical speech. The dialogue makes up at least half of the story about Princess Olga’s revenge on the Drevlyans, while Olga’s actions themselves are recorded with the utmost laconicism. Besides, rhetorical ornamentation of speech is alien to early chronicle texts: they are distinguished by extreme stinginess in the use of artistic means, frequent repetition of the same words, and the use of simple syntactic constructions such as “Go Svyatoslav to the Kozars” or “Defeat the Vyatichi Svyatoslav and lay tribute on them.” These are the features lively spoken language, No wonder there is so much in the chronicle proverbs And saying, absorbed folk wisdom. “If we drive a wolf into a sheep, then we must carry away the whole flock one by one, if we don’t kill it; so too, if we don’t kill it, then we will all be destroyed,” reason the Drevlyans, having learned that Prince Igor is coming for a repeat tribute.

Despite the fact that the chronicler often came across the tragic events of Russian history: the murder on the orders of the brother of princes Boris and Gleb, the raids of nomads and the devastation of the Russian land, he, like the folk storyteller, believed in the final triumph of goodness and justice; his the works are imbued with a sense of historical optimism. Condemning the policy of princely strife, the chronicler spoke out against the princes, popularly nicknamed the Gorislavichs and the Damned. In the chronicle "The Tale of the Blinding of Vasilko of Terebovlsky" the true hero is not the "soton" (devil), who "climbed" into the hearts of some men who "whispered" to Davyd that Vasilko and Vladimir were "forging sedition" against the Kyiv prince, violating the Treaty of Lyubech; not Davyd, who convinced Svyatopolk Izyaslavich to blind Vasilko and thereby deprive him of political activity; and, of course, not Prince Svyatopolk, who after the crime decided to flee from Kyiv, besieged by the army of Vladimir Monomakh. And not even Prince Vasilko, because he shows an active principle only in the scene of blinding: only a few servants, with the help of boards under which the prince’s chest “cracks,” managed to deprive him of the opportunity to resist. The real hero of the story about the princely crime is the people - the people of Kiev, who send a deputation to Vladimir Monomakh with a request to renounce family revenge: “We pray, prince, you and your brother, you cannot destroy the Russian land. If you fight against each other, the trash will rejoice and to disturb our land, which your fathers and your fathers acquired through great labor and struggle."

With all the richness of the folklore tradition in The Tale of Bygone Years, the connection between the oral and written literature of Kievan Rus cannot be exaggerated. The chronicler carefully selected historical material and, while interpreting it, did not forget about his role as an official historiographer. He wrote with condemnation both about princely feuds and about the uprisings of the Smerds. The chronicle went further than oral and poetic ideas about Russian history, not only recording the most striking events, but also showing their interrelation. The range of events reflected in the chronicle has also expanded: these are the heroic exploits of the Russians, their military campaigns, and the first successes in the Christianization of Rus' and in the spread of books.

Old Russian literature. Russian Chronicle.

"The Tale of Bygone Years"

Dmitry Likhachev

Why does modern man turn to the literature of the distant past?

First of all, because a cultured person must know his history and appreciate the beauty that has been created over many generations.

Knowing with what labor and what feats our culture was created, we gain a sense of self-esteem and feel like a part of the history of our people.

The works of the past seem to destroy the barriers between eras.

Chronicles, historical works

XI-XVII centuries, in which the story was told year by year.

The story about the events of each year in the chronicles usually began with the words: “in the summer” - hence the name - chronicle.

But it is not easy to perceive the art of antiquity, because ancient literature is very unique.

Chronicle writing began in Rus' in the 11th century. The first chronicler was the monk of the Kiev-Pechersk Lavra Nikon, who was called the Great.

His life was full of turbulent events, he actively fought with those princes who put their interests above the interests of the Russian people.

At the end of his life, Nikon became abbot of the Kiev Pechersk Monastery. It was then, apparently, that he worked on the chronicle.

At the beginning of the 12th century, the monk of the same monastery, Nestor, continued the works of Nikon, supplemented his chronicles with new information and gave them the title “The Tale of Bygone Years.”

This story has reached us, rewritten and partly revised by the monk of the neighboring Vydubitsky monastery - Sylvester.

Thus, this “Tale” is the fruit of the creativity of several generations of chroniclers.

A chronicler is a compiler of a chronicle, one who writes a regular description of contemporary events.

Old Russian name of the chronicle:

“This is the story of the past years, where the Russian land came from, who began to reign first in Kyiv, and where the Russian land began to eat from.”

And here is what the translation proposed by the Russian historian sounds like:XXcentury by Dmitry Sergeevich Likhachev:

“Here are the stories of past years, where the Russian Land came from, who became the first ruler in Kyiv and how the Russian Land arose.”

Let's look at a reproduction of the first page of the Tale.

Pay attention to the elegant ornament, built from geometric shapes, interlacing lines, turning into the image of a bird similar to an eagle. You can easily make out the first lines.

The letters were written vertically, each separately, to save space. Some words were abbreviated and the missing letters were written above. There are almost no spaces between words. This font is called “charter”.

Writing the text was reminiscent of drawing: the letters are beautiful, in even rows. Naturally, this process of writing a book took years of hard work.

There was no printing in those days; books were copied by hand, and this work was entrusted to selected scientists - scribes.

When rewriting the chronicles, followers inevitably made some amendments, and sometimes made mistakes. In addition, new information was added, since the chronicles were kept strictly by year and everything important that happened during the year was entered into the chronicle.

“The Tale of Bygone Years” was a kind of historical encyclopedia.

The Tale of Bygone Years begins with an introduction that tells how people scattered across the earth after the Flood.

It was very important for the chronicler to show the Divine origin of the Russian land.

For our ancestors it was significant to write down that “in the summer” such and such events happened. Thus, their lives acquired importance, and Russian history became part of the history of mankind.

Ancient books set out world history. It was necessary to determine the place of the Russian people in it, and then the chronicle appears - a genre that does not exist in other literature.

Lesson-conference.

Subject : “Old Russian literature. “The Tale of Bygone Years” (7th grade).

Lesson objectives:

- give an idea of ​​the genre of chronicle, expansion of vocabulary, origin of alphabets.

Educational objectives:

Consider the historical and cultural reasons for the emergence of the chronicle;

To introduce students to the main genres of ancient Russian literature.

Developmental tasks:

Development of cognitive abilities;

Development of creative activity of the individual;

Development of analytical thinking.

Educational tasks:

Improving group work skills;

Formation of a tolerant attitude towards various methods of creative self-expression;

Formation of students' aesthetic taste.

Equipment: an exhibition of books, photographs of ancient books, a map of the Byzantine Empire, illustrations for “Boris Godunov” depicting the chronicler, a recording of an aria from the opera “Boris Godunov” can be used.

During the classes.

I . Teacher's word:

Today we are starting to study the literature of Ancient Rus' and the first genre we will get acquainted with will be the chronicle.

And my chronicle is finished... - this is how the monk chronicler ends his work, and so wise, solemn, year after year meticulously recording all the events of the life of Russia, he was portrayed by A.S. Pushkin in his drama “Boris Godunov”. Who are the chroniclers, and what is a chronicle? Read about it in the dictionary of literary terms (the definition is written in the dictionary).

II . Checking homework.

Reading an excerpt from “The Tale of Bygone Years” and its translation.

III Conversation.

The teacher explains who Yaroslav the Wise is(Formulation of the problem ) gives the task:

How do the words “if”, “you find”, “it is” sound in the original chronicle;

Do you think there is anything in common in the statements of the ancient chronicler about the benefits of books and in the statements of modern authors whom we met at the beginning of the school year?

In preparation for the lesson, each of you became familiar with an excerpt from the chronicle. A certain idea of ​​ancient Russian literature has already formed in your mind. Some kind of attitude towards her has developed. I would like you to share your first impressions.

Appendix 2

Students express their impressions of their acquaintance with the chronicle genre.

IV . Learning new material.

Speech by a speaker on the origin of alphabets.

Books came to Rus' along with Christianity in the 10th century. Christianity was adopted by Russia from Byzantium. In the second halfIXcentury, Byzantine missionaries, brothers Constantine and Methodius, were sent to preach Christianity in distant Moravia. Since the local Slavic prince wanted the sermon to be conducted in a language understandable to his people, the brothers took care of translating a number of liturgical texts from Greek into Slavic. To record their translations Constantine developed a special alphabet, the basic principles of which later formed the basis of the alphabets that are still used to this day by Serbs, Bulgarians and Eastern Slavs. This alphabet was named after its creator, and since Constantine became a monk before his death and received the new name Kirill, then the name of the alphabet became the word “Cyrillic.” But the creation of the Slavic alphabet was not the only merit of Cyril and Methodius. Working on their translations, they laid the foundations of the first Slavic literary language, which for a long time became the unified book language of all southern and eastern Slavs. It is still remains the liturgical language of the Russian Church (and therefore it is also called Church Slavonic). At the end of the 10th century, under Prince Vladimir Svyatoslavich, Christianity came to Russia. Together with it, the Cyrillic alphabet, the Old Church Slavonic language and book culture came to Russia. By that time, Slavic scribes in Bulgaria created quite a lot of translations and original works. It was they who became the first Slavic books read in Russia. And the first book written in Russia was the so-called “Speech of the Philosopher,” which told the history of the world from “creation” to the emergence of the universal churches.

These books were very expensive because they were written on parchment, the binding was made of boards. Each such binding was covered with leather or expensive fabric, decorated with a frame of gold and precious stones. These books were very large in size. The beginning of each page was written with a capital red letter colors.

Students from the textbook article complement the speaker's presentation on the origins of books.

Speech by a pre-formed group of students on different genres of ancient Russian literature: teaching, message, walking, life.

V . Research work.

Students receive handouts, analyze various genres, and draw conclusions.

Speech by a pre-formed group of students “Teachings of Vladimir Monomakh.”

In those distant times, when Rus' was experiencing constant raids by nomads, when a little more than a hundred years had passed after the adoption of Christianity in Rus', the country was ruled by Vladimir Monomakh, the grandson of Yaroslav the Wise.

The teacher suggests reading the “Teaching” and determining exactly what problems Monomakh touches on in his teaching.

Students, with the help of the teacher, make a short summary of the “Teaching”.

Teacher:

Today we got acquainted with the genres of ancient Russian literature and discussed important issues and topics raised in it. We were convinced that literature was a means of knowledge and a means of educating a person. Literature is the art of words; it enriches a person’s aesthetic experience, helps a person to know himself, reveals the reasons for human actions and words. From the heroic examples of this literature, we learn to be truthful, courageous, obedient, and respect our elders.

Homework:

Write a short “teaching” to one of your close friends, using appropriate vocabulary.

Ministry of Education of Ukraine

Donetsk State Technical University

Department of Cultural Studies

Abstract on the topic:

"Reflection of Old Russian culture in the Tale of Bygone Years"

Faculty: HTF
Group: EP-96
Student: Morozov Valentin Vladimirovich

Donetsk, 1996

I. Old Russian literature.
1. Its features.
2. Main topics.
II. "The Tale of Bygone Years".
1. Formation of the chronicle.
2. The main ideas of the initial chronicle.
3. Genres included in the chronicle.
a) the connection between the chronicle and folklore;
b) historical stories and legends as part of the chronicle;
c) elements of hagiographic style;
d) general characteristics of the chronicle style.
4. The meaning of "The Tale of Bygone Years".
FEATURES OF ANCIENT RUSSIAN LITERATURE.

A characteristic feature of Old Russian literature is
handwritten nature of its existence and distribution.
At the same time, this or that work did not exist in the form of a
efficient, independent manuscript, and was part of various
collections that pursued certain practical goals. "Everything, that
serves not for the sake of benefit, but for the sake of embellishment, is subject to accusation of vanity
ity." These words of Basil the Great largely determined the attitude
ancient Russian feudal society to written works.
The value of a particular handwritten book was assessed from the point of view
in terms of its practical purpose and usefulness.
“Great can be the crawling from bookish learning, even with books
and we teach the ways of repentance, for we gain wisdom and abstinence from
book words; These are the rivers that solder the universe, these are the origins
wisdom, for books have unsought depth, for they console in sorrow -
We are, we are the bridle of self-restraint... If only you look in the books of wisdom...
If you grow diligently, you will find great progress in your soul..." - teaches
chronicler under 1037
Another feature of our ancient literature is that
nimity, impersonality of her works. This was the following
the result of the religious-Christian attitude of feudal society towards
to a person, and in particular to the work of a writer, artist, architect. IN
At best, we know the names of individual authors, “writers”
books that modestly put their name either at the end of the manuscript or on
its margins, or (which is much less common) in the title of the work. Wherein
the writer will not accept to provide his name with such evaluative epithets,
as “thin”, “unworthy”, “many sinners”. In most cases
the author of the work prefers to remain unknown, and sometimes
hide behind the authoritative name of this or that “father of the church” -
John Chrysostom, Basil the Great, etc.
Biographical information about the ancient Russians known to us
writers, the volume of their creativity, the nature of social activities
very, very scarce. Therefore, if when studying literature XVIII -
XX centuries literary scholars widely use biographical material,
reveal the nature of political, philosophical, aesthetic views
of this or that writer, using the author's manuscripts, trace
the history of creation of works, reveal creative individuality
writer, then the monuments of ancient Russian writing include
approach differently.
In medieval society there was no concept of copyright
rights, the individual characteristics of the writer’s personality were not received
such a vivid manifestation as in the literature of modern times. Census
chicks often acted as editors and co-authors rather than simple
text copyists. They changed the ideological orientation of the rewriting
the work in question, the nature of its style, was abridged or distributed
text in accordance with the tastes and demands of the time.
As a result, new editions of monuments were created. And even when
yes, the copyist simply copied the text, his list was always somehow different
differed from the original: it allowed for typos, omissions of words and letters,
involuntarily reflected in the language the features of his native dialect. Due
with this in science there is a special term - “excerpt” (manuscript of Pskov-
Sko-Novgorod version, Moscow, or - more broadly - Bulgarian,
Serbian, etc.).

MAIN TOPICS OF ANCIENT RUSSIAN LITERATURE.

Old Russian literature, inextricably linked with the history of development
the development of the Russian state, the Russian people, is imbued with heroic
Kim and patriotic pathos. Theme, beauty and greatness of Rus', homeland,
"brightly bright and ornately decorated" Russian land, which "knows
ema" and "known" in all parts of the world, is one of the central themes of the ancient
non-Russian literature. It glorifies the creative work of the fathers and
our grandfathers, who selflessly defended the great Russian land from
external enemies and strengthened the powerful sovereign state "great and
spacious”, which shines “brightly”, “like the sun in the sky”.
It contains a sharp voice of condemnation of the policies of the princes who sowed
bloody feudal strife that weakened the political and military
the power of the state.
Literature glorifies the moral beauty of the Russian person,
capable of sacrificing what is most precious for the sake of the common good - life.
She expresses deep faith in the power and ultimate triumph of goodness,
in a person’s ability to elevate his spirit and defeat evil.
The Old Russian writer was least of all inclined to impartiality.
a detailed presentation of facts, “listening to good and evil with indifference.” Any genre
ancient literature, be it a historical story or a life legend
or church sermon usually includes significant
elements of journalism.
Referring primarily to issues of state and political
or moral, the writer believes in the power of words, in the power of conviction. He's about
extends not only to his contemporaries, but also to distant descendants from
a call to ensure that the glorious deeds of our ancestors are preserved
in the memory of generations and so that descendants do not repeat sad mistakes
their grandfathers and great-grandfathers.
The literature of Ancient Rus' expressed and defended the interests of the elite
feudal society. However, she could not help but show a sharp class
owl struggle, which resulted either in the form of open spontaneous
uprisings, or in the form of typically medieval religious heresies.
Literature clearly reflects the struggle between progressive and reactionary
groups within the ruling class, each of which sought
support among the people.
And since the progressive forces of feudal society reflected
national interests, and these interests coincided with the interests
people, we can talk about the nationality of ancient Russian literature.

"THE TALE OF TIMES".
"The Tale of Bygone Years" - an outstanding historical and literary
monument, reflecting the formation of the ancient Russian state, its
political and cultural flourishing, as well as the beginning of the process of fe-
distance crushing.
Created in the first decades of the 12th century, it came to us in the
from the chronicles of later times. The oldest of them
- Laurentian Chronicle - 1377, Ipatievskaya, dating back to the 20s
years of the 15th century, and the First Novgorod Chronicle of the 30s of the 14th century.
The Tale of Bygone Years continues in the Laurentian Chronicle
the North Russian Suzdal Chronicle, brought up to 1305, and
The Ipatiev Chronicle, in addition to the Tale of Bygone Years, contains
chronicle of Kyiv and Galicia-Volyn, brought up to 1292. All
subsequent chronicles of the 15th - 16th centuries. certainly included in your
composition of "The Tale of Bygone Years", subjecting it to editorial and stylistic
tical processing.

FORMATION OF THE CHRONICLE.

G i o t e s a A. A. S h a h m a t o v a.
The history of the emergence of the Russian chronicle attracted
the attention of more than one generation of Russian scientists, starting with V.N. Tatishchev.
However, only A.A. Shakhmatov, an outstanding Russian philologist, in
at the beginning of this century, it was possible to create the most valuable scientific
hypothesis about the composition, sources and editions of The Tale of Bygone Years.
When developing his hypothesis, A.A. Shakhmatov brilliantly applied the comparison
literal-historical method of philological study of text. Result
The results of the research are set out in his works “Research on the most ancient
Russian chronicle collections" (St. Petersburg, 1908) and "The Tale of Bygone Years",
vol. 1 (Pg., 1916).
In 1039, a metropolitanate was established in Kyiv - an independent church.
clan organization. At the court of the Metropolitan, the "Ancient
Kiev vault", brought to 1037. This vault assumed
A.A. Shakhmatov, arose on the basis of Greek translated chronicles and months-
rich folklore material. In Novgorod in 1036, New
city ​​chronicle, on its basis and on the basis of the "Ancient Kyiv
vault" in 1050 the "Ancient Novgorod Vault" appeared. In 1073
monk of the Kiev-Pechersk Monastery Nikon the Great, using the "Ancient
the greatest Kiev vault", compiled the "First Kiev-Pechersk vault", where
also included records of historical events that occurred after death
Yaroslav the Wise (1054). Based on the "First Kiev-Pechersk
vault" and "Ancient Novgorod vault" of 1050 created in 1095.
"The Second Kiev-Pechersk Vault", or, as Shakhmatov first called it,
"Initial vault". The author of the "Second Kiev-Pechersk Vault" added
their sources using materials from the Greek chronograph, the Paremiynik, us-
rich stories of Jan Vyshatich and the life of Anthony of Pechersk.
"The Second Kiev-Pechersk Vault" and served as the basis for the "Tale of Temporary
years", the first edition of which was created in 1113 by the monk Ki-
Evo-Pechersk Monastery by Nestor, second edition by the abbot
Vydubitsky Monastery by Sylvester in 1116 and the third by an unknown
the author is the confessor of Prince Mstislav Vladimirovich.
First edition of Nestor's "Tale of Bygone Years" main
attention in the narration of historical events of the late 11th - early
XII century allocated to the Grand Duke of Kyiv Svyatopolk Izyaslavich, died
who in 1113 Vladimir Monomakh, becoming after the death of Svyatopolk
the great Kyiv prince, transferred the keeping of the chronicle to his patrimonial
Vydubitsky Monastery. Here Abbot Sylvester carried out the editor-
skaya reworking of Nestor's text, highlighting the figure
Vladimir Monomakh. The text of Nestorova’s first edition that has not survived
tions of "The Tale of Bygone Years" A. A. Shakhmatov reconstructs in his
work "The Tale of Bygone Years" (vol. 1). The second edition, according to
scientist, the Laurentian Chronicle is best preserved, and the third is
Ipatievskaya.
The hypothesis of A. A. Shakhmatov, which so brilliantly restores the use
history of the emergence and development of the initial Russian chronicle, however,
remains a hypothesis for now. Its main provisions aroused objections
V.M. Istrina. 1
He believed that in 1039, at the court of the Greek metropolitan, by way of
growth of the chronicle of George Amartol, the “Chronograph according to the great
Statement", supplemented by Russian news. Selected from "Chronog-
Rafa" in 1054, they compiled the first edition of the "Tale of Temporary
years", and the second edition was created by Nestor at the beginning of the second
decades of the 12th century

1 See: Istrin V.M. Notes on the beginning of Russian chronicle writing.
Izv.ORYAS. 1921, t. 26; 1922, vol. 27.

HYPOTHESIS D. S. L I H A C H E V A.
Interesting clarifications of A. A. Shakhmatov’s hypothesis were made by D. S. Li-
Khachev 1. He rejected the possibility of the existence in 1039 of the “Ancient
the most recent Kyiv Code" and connected the history of the origin of chronicles
with the specific struggle that the Kyiv state had to wage in
30 - 50s of the 11th century against political and religious
claims of the Byzantine Empire. Byzantium sought to transform the Russian
church into its political agency, which threatened the self-
activity of the ancient Russian state. The claims of the empire were met
active resistance to the grand ducal power, which in the struggle for
the political and religious independence of Rus' was supported
the broad masses of the population. The struggle between Rus' and Byzantium is particularly tense
reaches mid. XI century
The Grand Duke of Kyiv Yaroslav the Wise manages to highly
take the political authority of Kyiv and the Russian state. He
lays strong foundations for political and religious independence
ness of Rus'. In 1039, Yaroslav achieved the establishment of a metropolitanate in Kyiv.
Thus, Byzantium recognized a certain independence of the Russian
Greek church, although the Greek metropolitan remained at its head.
In addition, Yaroslav sought the canonization of Olga, Vladimir and
his brothers Boris and Gleb, killed by Svyatopolk in 1015. At the end
In the end, Byzantium was forced to recognize Boris and Gleb as Russians
saints, which was a triumph of Yaroslav’s national policy.
The veneration of these first Russian saints acquired the character of a national
cult, it was associated with the condemnation of fratricidal races
prey, with the idea of ​​preserving the unity of the Russian land.
The political struggle between Rus' and Byzantium turns into open war.
armed conflict: in 1050 Yaroslav sends troops to Con-
Staninople, led by his son Vladmir. Although the hike
Vladimir Yaroslavich and ended in defeat, Yaroslav ascended in 1051
brings the Russian priest Hilarion to the metropolitan throne.
During this period, the struggle for independence covers all areas.
the cultural sphere of Kievan Rus, including literature. D.S. Likhachev
indicates that the chronicle developed gradually, as a result of
no interest in the historical past of his native land and aspirations
preserve significant events of their time for future descendants.
The researcher suggests that in the 30s - 40s of the 11th century. by race
by order of Yaroslav the Wise, a recording of oral folk tales was made
historical legends, which D. S. Likhachev conventionally calls
"Tales about the initial spread of Christianity in Rus'." IN
The composition of the "Tale" included legends about Olga's baptism in Constantinople, about
the death of two Varangian martyrs, about the test of faith by Vladimir and his
baptism. These legends were anti-Byzantine in nature. So, in
the tale of Olga's baptism emphasized the superiority of the Russian
princesses over the Greek emperor. Olga rejected their claims
the operator into his own hand, cleverly “outwitting” (outwitting) him.
The legend claimed that the Russian princess did not see much honor
in the marriage proposed to her. In his relations with the Greek emperor
Olga shows purely Russian ingenuity, intelligence and resourcefulness. She dry-
hurts self-esteem, defending the honor of his native land
whether.
The legend about the test of faith by Vladimir emphasizes that Christian
ancesty was adopted by Russia as a result of free choice, and not
received as a gracious gift from the Greeks.
According to this legend, envoys from various
faiths: Mohammedan, Jewish and Christian. Each of the ambassadors of the races
praises the virtues of his religion. However, Vladimir wittily responded
overthrows both the Muslim and Jewish faiths, since they do not correspond
1 See: Likhachev D.S. Russian chronicles and their cultural and historical
some meaning. M. - L., 1947.
correspond to the national traditions of the Russian land. Having opted for
Christianity, Vladimir, before accepting this religion, sends
to test their messengers which faith is better. Sent in person
are convinced of the beauty, splendor and splendor of the Christian church
church service, they prove to the prince the advantages of the Orthodox
faith before other religions, and Vladimir finally stops
your choice on Christianity.
D. S. Likhachev suggests that "Tales of the original
spread of Christianity in Rus'" were recorded by the scribes of Kiev-
Metropolitanate at St. Sophia Cathedral.
However, Constantinople did not agree with the appointment of
the ropolitan see of the Russian Hilarion (in 1055 in his place we see
Greek Ephraim), and "Tales", which were anti-Byzantine in nature, were not
received further development here.
The center of Russian education, opposed to
Greek metropolitan, from the middle of the 11th century. becomes Kiev-Pechersk
monastery. Here in the 70s of the 11th century. Russian registration is underway
chronicles. The compiler of the chronicle is Nikon the Great. He used
"Tales about the spread of Christianity", supplemented them with a number of oral
historical legends, eyewitness accounts, in particular the governor
Vyshata, historical information about modern and recent events
days.
Obviously, under the influence of Easter chronological tables -
Nikon gave the paschals compiled in the monastery his hanging
The formula for weather records is based on “years”.
In the "First Kiev-Pechersk Vault" created around 1073, he
included a large number of tales about the first Russian princes, their
hikes to Constantinople. Apparently, he also used Korsun-
Russian legend about the campaign of Vladimir Svyatoslavich in 933 in Greek
the city of Korsun (Chersonese Tauride), after the capture of which Vpadimir
demanded the sister of the Greek emperors, Anna, as his wife.
Thanks to this, the code of 1073 acquired a pronounced an-
Tibyzantine orientation. Nikon gave the chronicle a huge
political acuity, historical breadth and unprecedented patriotic
pathos, which made this work an outstanding monument of ancient
non-Russian culture. The code condemned the princely strife, emphasizing
the leading role of the people in protecting the Russian land from external enemies.
Thus, the "First Kiev-Pechersk vault" appeared
a spokesman for the ideas and sentiments of the middle and even lower strata of the feudal
new society. From now on, journalisticism, integrity, breadth of use
toric approach, patriotic pathos become distinctive
features of the Russian chronicle.
After Nikon's death, work on the chronicle continued in China.
Evo-Pechersk Monastery. Here weather records were kept about the current
events, which were then processed and combined by an unknown
torus in the “Second Kiev-Pechersk Arch” of 1095.
The “Second Kiev-Pechersk Code” continued to promote the ideas of a unified
development of the Russian land, begun by Nikon. This code also sharply condemned
princely sedition is given, and the princes are called to unity for the sake of
local struggle with the steppe nomadic Cumans. Compiler of the code
sets clear journalistic objectives: to cultivate patriotism,
Use the example of previous princes to correct the current ones.
The author of the “Second Kiev-Pechersk Code” widely attracts
tales of eyewitnesses of the events, in particular the stories of Vyshata’s son Jan. SOS-
The author of the vault also uses Greek historical chronicles, in
in particular, the chronicle of George Amartol, the data of which allows him
include the history of Rus' in the general chain of events of world history.
"The Tale of Bygone Years" was created during the period when the Kiev
Rus' experiences the most severe blows of the steppe nomads -
nik-Polovtsians, when the ancient Russian society faced the question of
rallying all forces to fight the steppe, the “field” for the Russian land,
which "fathers and grandfathers acquired with sweat and blood."
In 1098, the great Kiev prince Svyatopolk Izyaslavich reconciled
communicates with the Kiev-Pechersk Monastery: he begins to support an-
Tibyzantine direction of activity of the monastery and, understanding
the political significance of the chronicle, seeks to take control
chronicling.
In the interests of Svyatopolk on the basis of the “Second Kiev-Pechersk
vault" and created by the monk Nestor in 1113, first edition
"Tales of Bygone Years". Having retained the ideological orientation of the previous
of the current arch, Nestor strives throughout the course of the historical narrative
convince the Russian princes to end the fratricidal wars and
the foreground puts forward the idea of ​​princely brotherly love. Under the pen of Nestor
the chronicle acquires a state official character.
Svyatopolk Izyaslavich, placed by Nestor in the center of the hanging
statements about the events of 1093 - 1111, was not very popular in
society of that time. After his death, he became the Grand Duke of Kyiv
in 1113 Vladimir Monomakh - “a good sufferer for the Russian land.”
Understanding the political and legal significance of the chronicle, he
transferred its charge to the Vydubitsky Monastery, whose abbot Sylvester
on behalf of the Grand Duke in 1116, compiled the second edition
"Tales of Bygone Years". It highlights the figure
Monomakh, his merits in the fight against the Polovtsians and in
the formation of peace between the princes.
In 1118 in the same Vydubitsky monastery by an unknown author
The third edition of The Tale of Bygone Years was created. To this edition
included the "Teaching" of Vladimir Monomakh, the presentation was brought up to 1117.

HYPOTHESIS B. A. Rybakova.
A different concept of the development of the initial stage of Russian chronicles
develops B.A. Rybakov 1. Analyzing the text of the initial Russian
chronicles, the researcher suggests that weather brief records
began to be conducted in Kyiv with the advent of the Christian clergy (from 867
d.) during the reign of Askold. At the end of the 10th century, in 996 - 997, there was
the "First Kiev Chronicle Code" was created, summarizing the heterogeneous
material of brief weather records, oral legends. This vault was
created at the Tithe Church, they took part in its compilation
Anastas Korsunyanin - rector of the cathedral, bishop of Belgorod and uncle
Vladimir, Dobrynya. The code provided the first historical generalization
sesquicentennial life of Kievan Rus and ended with the glorification
Vladimir. At the same time, suggests B. A. Rybakov, the
Vladimirov’s cycle of epics, in which a folk assessment of events was given
and persons, while the chronicle introduced court assessments, book
culture, druzhina epic, as well as folk tales.
Sharing the point of view of A. A. Shakhmatov about the existence of New
city ​​code of 1050, B. A. Rybakov believes that the chronicle was
created with the active participation of the Novgorod mayor Ostromir and
this "Ostromir Chronicle" should be dated 1054 - 1060. She
was directed against Yaroslav the Wise and the Varangian mercenaries. In it
the heroic history of Novgorod was emphasized and the
activity of Vladimir Svyatoslavich and Vladimir Yaroslavich, prince of the new
urban. The chronicle was of a purely secular nature and expressed the interests of
Res of the Novgorod boyars.
B. A. Rybakov offers an interesting reconstruction of the text
"Tales of Bygone Years" by Nestor. Puts forward a hypothesis about an active personal
nom participation of Vladimir Monomakh in the creation of the second, Sylvester,
editors. The third edition of "The Tale of Bygone Years" researcher
connects with the activities of Monomakh’s son Mstislav Vladimirovich,
who tried to oppose Novgorod to Kyiv.

1 See: Rybakov B. A. Ancient Rus'. Tales. Epics. Chronicles.
M.-L., 1963.
In a further study of the stages of formation of Old Russian
chronicle B. A. Rybakov shares the points of view of A. A. Shakhmatov and
belt Soviet researchers.
Thus, the question of the initial stage of Russian chronicle writing,
about the composition and sources of The Tale of Bygone Years is very complex.
nimny and far from resolved.
What is certain, however, is that The Tale of Bygone Years is the result
large summary editorial work, summarizing the work of several
generations of chroniclers.

BASIC IDEAS OF THE INITIAL CHRONICLE.

Already in the title itself - “Behold the tales of temporary years, from where there are
the Russian land went, who in Kyiv began first as a prince, and where did the Russian land come from?
the earth began to eat" - contains an indication of the ideological and thematic
content of the chronicle. Russian land, its historical destinies, starting
from the moment of its inception and ending with the first decade of the 12th century, they stand in
the focus of the chronicle. High patriotic idea of ​​power
Russian land, its political independence, religious
independence from Byzantium, the chronicler is constantly guided when he
brings into his work “the legends of deep antiquity” and truly historical
some events of the recent past.
Chronicle tales are unusually topical, journalistic,
full of sharp condemnation of princely strife and strife, weakening
the power of the Russian land, the call to guard the Russian land, not to disgrace
Russian land in the fight against external enemies, primarily from the steppe
nomads - the Pechenegs, and then the Polovtsians.
The theme of the homeland is decisive and leading in the chronicle. Interests
homelands dictate to the chronicler one or another assessment of the prince’s actions, show
being the measure of his glory and greatness. A living feeling of the Russian land, homeland
and the people tells the Russian chronicler that unprecedented breadth of political
whose horizon, which is not characteristic of Western European historical
Kim chronicles.
Let us think about the title given to the initial Russian chronicle, “The Hang-
these time years." After all, the word “story” here means a story,
those. what is told about the past of the Russian land in order to establish
"Where did the Russian land come from, who started first in Kyiv
princes.."
If the work on compiling the chronicle began in the 30s and 40s
XI century, then its creators acted not only as historical historians
investigators, but also as the first historians and writers. They need to
All that was needed was to obtain material about the past years, select it,
literary process and systematize - “put in a row.”
Such material apparently included oral historical
stories, legends, epic heroic songs, then written works
Sources: Greek, Bulgarian chronicles, hagiographic literature.
Chroniclers borrow historical information from written sources.
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 a biblical legend about the division of the earth after the flood between
I am the sons of Noah - Shem, Ham and Japheth. The Slavs are descendants
Japheta, i.e. they, like the Greeks, belong to a single family of European
of which peoples.
Chroniclers are interested in the fate of the Slavic peoples in the distant past
past (V - VI centuries), settlement of Eastern Slavic tribes in the Bas-
Seine Dnieper and its tributaries, Volkhov and Lake Ilmen, Volga-Oka
interfluve, Southern Bug and Dniester; the morals and customs of these tribes, from
of which, according to the development of culture, the Polyan tribe is distinguished. Chroniclers are looking for
explanations of the origin of the names of both individual tribes and
cities, turning to oral legend. They correlate events that occur
marching in the Russian land, with Greek and Bulgarian events. by them
the great cultural mission of the first Slavic “teachers” is realized and
"philosophers" Cyril and Methodius, and information about the de-
the activities of these great brothers associated with the invention of the alphabet
"Slovenian".
Finally, they manage to “establish” the first date - 636O - (852
d.) 1 - mentions in the "chronicles of the Greeks" of the "Russian land". This
the date makes it possible to put “numbers in a row”, i.e. to begin
consistent chronological presentation, more precisely, arrangement
material "by years" - by year. And when they can't attach to
on this or that date of any event, then they are limited to a simple fictitious
sation of the date itself (for example: “in the summer of 6368”, “in the summer of 6369”).
The chronological principle provided ample opportunities for free discussion
handling the material, made it possible to introduce new tales into the chronicle and
stories, exclude old ones if they did not correspond to political
interests of time and the author, supplement the chronicle with records of events
recent years, of which its compiler was a contemporary.
As a result of applying the weather chronological principle,
By laying down the material, an idea of ​​history gradually emerged
as a continuous sequential chain of events. Chronological
the connection was reinforced by a genealogical, ancestral connection, continuity
the rulers of the Russian land, starting from Rurik and ending (in the Tale
temporary years") by Vladimir Monomakh.
At the same time, this principle made the chronicle fragmentary,
what I. P. Eremin drew attention to 2.

GENRES INCLUDED IN THE CHRONICLE.
The chronological principle of presentation allowed chroniclers to include
the chronicle is heterogeneous in nature and genre features
material. The simplest narrative unit of a chronicle is
a laconic weather record, limited only to a statement of fact
ta. However, the very inclusion of this or that information in the chronicle
testifies to its significance from the point of view of the medieval
writer. For example: “In the summer of 6377 (869). The whole earth was baptized
Bulgarian..."; "In the summer 6419 (911). A great star appeared in the west
spear way..."; "In the summer of 6481 (973). The beginning of the princedom of Yaropolk" and
etc. The structure of these records is noteworthy: firstly
place, as a rule, is placed with a verb that emphasizes significance
actions.
The chronicle also presents a type of detailed record, recording
not only the “actions” of the prince, but also their results. For example, in
summer 6391. Pocha Oleg fought the Derevlyans, and tormented them
tribute according to Cherne Kuna", etc.
Both a brief weather record and a more detailed one are documentary.
There are no speech-decorating tropes in them. It is simple, clear and
laconic, which gives it special significance, expressiveness and even
majesty.
The chronicler's focus is on the event - "what happened in the summer
si". Thematically, these events can be classified as follows
way.
Reports about the military campaigns of the princes take up more than half of
chronicles. They are followed by news of the death of the princes. Less commonly recorded
the birth of children, their marriage. Then information about the builder
new activities of the princes. Finally, reports on church affairs,
occupying a very modest place. True, the chronicler describes

1 The chronicler uses the medieval system of chronology from
"the creation of the world." To transfer this system to modern requirements
We can subtract 5508 from the date of the chronicle.
2 See: Eremin I. P. “The Tale of Bygone Years” as a monument
literature. - In his book: Literature of Ancient Rus'. M. - L., 1966, p.
75.
transfer of the relics of Boris and Gleb, places legends about the beginning of Pecher-
monastery, the death of Theodosius of Pechersk and stories about memorable
nykh monnorisets of Pechersk. This is quite understandable due to political
the significance of the cult of the first Russian saints Boris and Gleb and the role of Ki-
Evo-Pechersky Monastery in the formation of the initial chronicle.
An important group of chronicle news consists of information about the heavens
significant signs - eclipses of the sun, moon, earthquakes, epidemics and
etc. The chronicler sees a connection between unusual natural phenomena
and the lives of people, historical events. Historical experience related
ny with evidence of the chronicle of George Amartol, brings the chronicler
to the conclusion: “There are signs in the heavens, or the stars, or the sun, or the birds,
whether there are many, it is not for the good to be; but signs came for evil
whether it is a manifestation of hostilities, or a famine, or a manifestation of death.”

News of various topics can be combined into
within the limits of one chronicle article. Material included in the composition
"The Tale of Bygone Years" allows us to highlight the historical legend,
toponymic legend, historical tradition (related to the squad-
heroic epic), hagiographic legend, as well as historical
some legend and historical story.

CONNECTED WITH FOLKLORE.
The chronicler draws material about the events of the distant past from
bloodshed of people's memory.
The appeal to the toponymic legend is dictated by the desire
chronicler to find out the origin of the names of the Slavic tribes, separately
new cities and the word “Rus” itself. So, the origin of the Slavic
the Radimichi and Vyatichi tribes are associated with legendary people from
Lyakhov - brothers Radim and Vyatko. This legend originated among the Slavs,
obviously, during the period of decomposition of the tribal system, when the isolated
tribal foreman to justify his right to a political state
subordination over the other members of the clan creates a legend about the supposedly foreign
nom its origin. The legend is close to this chronicle legend
about the calling of princes, placed in the chronicle under 6370 (862). By
invitation to Novgorodians from overseas to reign and rule" Russian land
Later, three Varangian brothers came with their families: Rurik, Sineus, Truvor.
The folklore nature of the legend confirms the presence of the epic number
three - three brothers. The legend has a purely Novgorod, local origin.
circulation, reflecting the practice of relationships between the feudal urban re-
audience with princes. In the life of Novgorod there were frequent cases of “prize-
Vaniya" prince, who performed the functions of a military leader. Included in
Russian chronicle, this local legend acquired a certain
political meaning. She substantiated the rights of princes to political
power over all of Russia. A single ancestor of the Kyiv princes was established
- the semi-legendary Rurik, which allowed the chronicler to consider the use of
the history of the Russian land as the history of the princes of Rurik's house. Legend of
the vocation of the princes emphasized absolute political independence
princely power from the Byzantine Empire.
Thus, the legend about the calling of princes served as an important art
a document to prove the sovereignty of the Kyiv state, and
did not at all indicate the inability of the Slavs to independently
organize your own state, without the help of Europeans, as it is trying
prove a number of bourgeois scientists.
A typical toponymic legend is also the tale of
the founding of Kyiv by three brothers - Kiy, Shchek, Khoriv and their sister
Lybid. The oral source of the material included in the chronicle is indicated by
the chronicler himself says: “Ini, ignorant, rekosha, as Kiy is a transport-
nickname was." The chronicler's version of the folk legend about Kiy the carrier
rejects with indignation. He categorically states that Kiy was
prince, made successful campaigns against Constantinople, where he received the great
honor from the Greek king and founded the settlement of Kievets on the Danube.
Filled with echoes of ritual poetry from the times of the tribal system
chronicle news about the Slavic tribes, their customs, weddings and
funeral rites.
The techniques of oral folk epic are characterized in the chronicle
the first Russian princes: Oleg, Igor, Olga, Svyatoslav.
Oleg is, first of all, a courageous and wise warrior. Thanks to
military ingenuity, he defeats the Greeks, placing his
ships on wheels and sailing them along the ground. He deftly
confuses all the intricacies of his Greek enemies and concludes a profitable
for Rus' a peace treaty with Byzantium. As a sign of the victory Oleg
nails his shield on the gates of Constantinople to the greater shame of his enemies and
the glory of his homeland.
The successful prince-warrior is popularly nicknamed "the prophetic", i.e. a wizard
(however, the Christian chronicler did not fail to emphasize that
the nickname was given to Oleg by the pagans, “people of trash and lack of voice”), but also to him
I can't escape my destiny. Under 912 the chronicle places
ethical legend, obviously connected “with Olgova’s grave”,
which "is... to this day." This legend has ended
the plot, which is revealed in a laconic dramatic story
quotations. It clearly expresses the idea of ​​the power of fate, which can be avoided
none of the mortals, and even the “prophetic” prince, can do this.
Igor is depicted in a slightly different way. He is also courageous and
brave, defeats the Greeks in the campaign of 944. He is caring and
he is attentive to the needs of his squad, but, in addition, he is greedy. Stream-
the desire to collect as much tribute as possible from the Drevlyans becomes the reason
his death. Igor's greed is condemned by the chronicler of the folk tale.
with the trap that he puts into the mouths of the Drevlyans: “If a wolf were to take out
in a sheep, then carry out the whole flock, unless you kill it..."
Igor's wife Olga is a wise woman, faithful to the memory of her husband,
rejecting the matchmaking of not only the Drevlyan prince Mal, but also
Greek Emperor. She takes cruel revenge on her husband's killers, but
its cruelty is not condemned by the chronicler. In the description of four places
Olga's wisdom, firmness and inflexibility of character are emphasized
Russian woman, D. S. Likhachev notes that the basis of the legend is
there are riddles that the unlucky ancient matchmakers cannot solve
Liane. Olga's riddles are based on associations of wedding and funeral
rituals: they carried in boats not only guests of honor, but also the dead;
Olga's offer to the ambassadors to take a bath is not only a sign of the highest
hospitality, but also a symbol of the funeral rite; heading towards the ancient
Lyans, Olga goes to perform a funeral feast not only for her husband, but also for the murdered
her to the Drevlyan ambassadors. The slow-witted Drevlyans understand Olga's words in
their direct meaning, unaware of the other, hidden meaning of the riddles
wise woman, and thereby doom themselves to death. All description
Olga's revenge is based on bright, laconic and stage dialogue
princesses with envoys from the "Village Land".
The heroics of the druzhina epic are covered with the image of a stern, simple and
strong, courageous and straightforward warrior Svyatoslav. Alien to him
deceit, flattery, cunning - qualities inherent in his Greek enemies,
which, as the chronicler notes, “are flattering to this day.” With little
with his squad he wins a victory over the superior forces of the enemy: briefly
with what courageous speech he inspires his soldiers to fight: “... yes
We will not disgrace the Russian land, but we will lie down with bones, dead and for there is no shame
imam."
Svyatoslav despises wealth, he values ​​only his squad,
weapons with which you can get any wealth. Accurate and
The description of this prince in the chronicle is expressive: “..walking lightly,
Like pardus, wars are creative in many ways. When walking, you do not carry the cart on your own, nor
cauldron, or cooking meat, but thinly cutting up horse meat, or animal meat, or
I baked beef on coals, and I didn’t even have a tent, but I sent the podklad and
saddle in the heads; and the rest of his warriors too."
Svyatoslav lives in the interests of his squad. He's even walking
contrary to the admonitions of his mother Olga and refuses to accept Christianity
ancestry, fearing the ridicule of the squad. But Svyatoslav’s constant desire
to wars of conquest, neglect of the interests of Kyiv, his attempt
moving the capital of Rus' to the Danube causes the condemnation of the chronicler. This
He expresses his condemnation through the mouth of “kiyan”: “...you, prince, are a stranger to the land
looking for and looking for, but having taken possession of your own (left), small (barely) because we are not
I took the pechenesi..."
The straightforward prince-warrior dies in an unequal battle with the Pechenegs
Dnieper rapids. Prince of Pecheneg Kurya, who killed Svyatoslav,
"Took his head, and made a cup in his forehead (skull), and bound his forehead
him, and drinking from him." The chronicler does not moralize about this death -
ty, but the general trend still has an effect: the death of Svyatoslav reveals
seems natural, it is a consequence of his disobedience to his mother, a consequence of his
refusal to be baptized.
The chronicle news of marriage dates back to folk tales
Vladimir on the Polotsk princess Rogneda, about his abundant and generous
feasts held in Kyiv - the Korsun legend. On the one side,
before us appears a pagan prince with his unbridled passions, with
the other is an ideal Christian ruler, endowed with all the virtues
parents: meekness, humility, love for the poor, for monks and
monastic rank, etc. A contrasting comparison of the pagan prince with
Prince Christian chronicler sought to prove the superiority of the new
Christian morality over pagan.
The reign of Vladimir was already covered in the heroism of folk tales
at the end of the X - beginning of the XI century.
The spirit of the folk heroic epic is imbued with the legend of
the victory of the Russian youth Kozhemyaki over the Pecheneg giant. As in
folk epic, the legend emphasizes the superiority of a peaceful man
labor, a simple artisan over a professional warrior - Pechenezh-
sky hero. The images of the legend are also constructed according to the principle of contrast.
thorough comparison and broad generalization. Russian young man for the first time
look - an ordinary, unremarkable person, but in him
embodies the enormous, gigantic power that the Russian people possess.
skiy, decorating the earth with his labor and protecting it on the battlefield from
external enemies. Pecheneg warrior with his gigantic size
terrifies others. To a boastful and arrogant enemy
contrasted with a modest Russian youth, the youngest son of a tanner.
He accomplishes the feat without arrogance and boasting. Wherein
the legend is confined to the toponymic legend of the origin
city ​​of Pereyaslavl - “before the glory of the youth”, but this is obvious
an anachronism, since Pereyaslavl has already been mentioned more than once in the chronicle
before this event.
The legend of Belgorod jelly is also associated with the folk epic.
This legend glorifies the intelligence, resourcefulness and ingenuity of the Russian
person.
And the legend about Kozhemyak, and the legend about Belgorod jelly -
complete plot narratives based on opposition
the inner strength of the worker to the boasting of a terrible enemy only in appearance,
the wisdom of the elder - the gullibility of the Pechenegs. The culmination of both plots
legends are fights: in the first - physical combat, in
the second is a duel of intelligence and resourcefulness with gullibility and stupidity.
The plot of the legend about Kozhemyak is typologically close to the plots of heroic
folk epics, and the legends about Belgorod jelly - folk tales
Kam.
The folklore basis is clearly felt in the church legend about the village.
the giving of the Russian land by the Apostle Andrew. By placing this legend,
the chronicler sought to “historically” substantiate the religious
independence of Rus' from Byzantium. The legend claimed that the Russian land
La received Christianity not from the Greeks, but allegedly by Christ’s disciple himself
- the Apostle Andrew, who once walked the path “from the Varangians to the Greeks” along
Dnieper and Volkhov - Christianity was predicted on Russian soil.
Church legend about how Andrei blessed the Kyiv mountains,
combined with a folk tale about Andrei's visit to Novgorod
land. This legend is of an everyday nature and is associated with custom.
residents of the Slavic north take a steam bath in hotly heated wooden
baths.
Compilers of chronicles of the 16th century. paid attention to
inconsistency with the first part of the story about the visit of the Apostle Andrew
Kyiv from the second, they replaced the everyday story with pious devotion
according to which Andrei leaves his
cross.
Thus, most of the chronicles dedicated to
events of the 9th - late 10th centuries, is associated with oral folk art
yours, its epic genres.

HISTORICAL STORIES AND STORIES
in c o s t a v e l e t o p i s .
As the chronicler moves from narrating the event
from long ago to the recent past, chronicle material
becomes more and more historically accurate, strictly factual and official
al.
The chronicler's attention is attracted only by historical figures, such as
those at the top of the feudal hierarchical ladder. In the picture
In reflecting their actions, he follows the principles of medieval historicism.
According to these principles, events should be recorded in the chronicle only
purely official, having historical significance for the state, and
a person’s private life, his everyday environment is not
worries the chronicler.
The chronicle develops a definite and clear ideal of the prince -
ruler This ideal is inseparable from general patriotic ideas
chronicles. The ideal ruler is the living embodiment of love for
native land, its honor and glory, the personification of its power and
tints. All his actions, all his activities are determined by good
homeland and people. Therefore, the prince, in the chronicler’s view, cannot
belong to yourself. He is first and foremost a historical figure,
who always appears in an official setting, endowed with everyone
attributes of princely power. D. S. Likhachev notes that the prince in
chronicles is always official, it seems to be addressed to the viewer and presented
in his most significant actions. The prince's virtues are
a kind of formal clothing; at the same time, only virtues are purely
mechanically join others, making it possible
combining secular and ecclesiastical ideals. Fearlessness, courage,
Indian valor is combined with humility, meekness and other Christian
Anskian 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 the predetermined
ideal. If the prince’s activities run counter to the interests of the state,
stva, the chronicler does not spare black paint and attributes negative
the character has all the mortal sins: pride, envy, ambition, self-interest
love, 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 it is
completely different works. The story "About the Murder of Borisov" is presented -
There are no historical facts about the murder of brothers Boris and Gleb by Svyatopolk
extensive use of elements of hagiographic style. She builds
in contrast to the ideal martyred princes and the ideal villain -
"cursed" Svyatopolk. The story ends with praise glorifying
"Christ-loving passion-bearers", "shining lamps", "bright
stars" - "protectors of the Russian land." At its ending there is a prayer-
a strong call to the martyrs to subdue the filthy “under the nose of our princes and
deliver them “from the hostile army,” so that they may remain in peace and unity.
Thus, in hagiographic form, the patri-
otic idea. At the same time, the story “About the Murder of Borisov” is interesting
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 Terebovlsky" is designed in the style
historical and documentary.
The exposition of the plot is the message about the congress of princes "on
tripling of the world" in Lyubech. The unanimity of those gathered was expressed by the speech,
allegedly said by all the princes: “We are almost destroying the Russian land, we ourselves
Xia which is active? And the Polovtsy carry our land differently, and for the sake of the essence,
There is a battle between us. Yes, but from now on we are in one heart, and we observe Rus-
some lands; every one to keep his fatherland...".
Establishing a new feudal order of relationships (
"let each one keep his fatherland") the princes seal with an oath - cross-
kissing. They promise each other not to allow strife,
strife. This decision meets with the approval of the people: “and for the sake of the people
all." However, the achieved unanimity turned out to be temporary and fragile,
and the story is based on a specific, terrible example of Vasilko’s blinding of two
cousins ​​shows what the princes' violation leads to
obligations assumed.
The motivation for the plot of the story is traditional, providential
alistic: saddened by “love”, the consent of princes, the devil
"got into" the heart of "a certain husband"; they speak "lying words"
Davyd that Vladimir Monomakh allegedly conspired with Vasilko about
joint actions against Svyatopolk of Kyiv and David. What is this
for “some men” - it is unknown what actually prompted
It is unclear for them to communicate their “lying words” to Davyd. Then providence
The cialist motivation develops into a purely psychological one.
By believing the “husbands,” Davyd sows doubts in Svyatopolk’s soul. Last,
"disturbed in mind," he hesitates, he does not believe in the justice of these claims -
beliefs. In the end, Svyatopolk agrees with Davyd in the necessary
need to capture Vasilko.
When Vasilko came to the Vydubitsky monastery, Svyatopolk
sends a messenger to him with a request to stay in Kyiv until his
name day Vasilko refuses, fearing that in his absence at home
"Rati" would not have happened. Davyda's messenger then appeared to Vasilko
is already demanding that Vasilko stay and thereby not “disobey his brother
the oldest." Thus, Davyd raises the question of the need for his own
Vasilko's understanding of his duty as a vassal in relation to the overlord.
Note that Boris and Gleb die in the name of observing this duty. From-
Kaz Vasilko only convinces Davyd that Vasilko intends to capture
city ​​of Svyatopolk. Davyd insists that Svyatopolk immediately leave
gave Vasilka to him. Again Svyatopolk’s envoy goes to Vasilko and from
name of the Grand Duke of Kyiv asks him to come, say hello and
sit with David. Vasilko gets on his horse and rides off with a small squad
to Svyatopolk. It is characteristic that here the story is built according to the laws
epic plot: Vasilko decides to go to his brother only
after the third invitation.
A warrior warns about brother Vasilko’s insidious plan, but
The prince cannot believe it: “Why would you want to give me? sometimes (when recently)
kissed the cross. Vasilko does not admit the possibility of violation
princes of their obligations.
The story of Vasilko’s meeting is dramatic and deeply psychological
with Svyatopolk and Davyd. Having introduced the guest into the upper room, Svyatopolk
tries to strike up a conversation with him, asks him to stay until Christmas time, and
“David is gray-haired, like mute,” and this detail clearly characterizes
the psychological state of the latter. The tense atmosphere cannot withstand
Svyatopolk lives and leaves the upper room under the pretext of necessity
arrange breakfast for the guest. Vasilko is left alone with
Davyd, he tries to start a conversation with him, “and there was no voice in Davyd,
no obedience." And only now Vasilko begins to see the light: he
“Be horrified,” he realized the deception. And Davyd, after sitting for a while, leaves.
Vasilka, having been shackled in “two shackles,” is locked in the upper room, placed on
night of the watchmen.
Emphasizing the indecision and hesitation of Svyatopolk, the author
says that he does not dare to accept the final
decisions about the fate of Vasilko. Svyatopolk convenes the “boyars and kiyans” the next morning and
outlines to them the accusations that Davyd brings against Vasilko. But also
the boyars and “Kyans” do not take moral responsibility. Forced
Having to make a decision himself, Svyatopolk hesitates. Abbots beg
Vasilka lets him go, and Davyd “encourages” him to be blinded. Svyatopolk
already wants to let Vasilko go, but words outweigh the scales
Davyda: “...if you don’t do this (blinding - V.K.), but let it go
y, then neither you reign nor mnem. The prince made the decision, and Vasilka
transported by cart from Kyiv to Belgorod, where they are put in the "istoka"
malu." The development of the plot reaches its climax, and it is given with
great artistic skill. Seeing Torchin sharpening a knife,
Vasilko guesses about his fate: they want to blind him, and he
“Run up to God with great weeping and sienna.” Should be paid
Please note that the author of the story - priest Vasily - did not follow the path of hagiography
graphic literature. According to the hagiographic canon, there should have been
place a lengthy monologue of the hero, his prayer, crying.
The author conveys the climactic scene accurately and dynamically. Main
the artistic function in this scene belongs to the verb - peculiar-
new “speech gesture”, as A.N. understood it. Tolstoy. Grooms enter
Svyatopolk and David - Snovid Izechevich and Dmitry:

"and wash the carpet often,
and stretched out, eating Vasilka
and wanting to damage;
and fights with him tightly,
and you can't damage it.
And behold, I overthrew my friends,
and connected
and remove the board from the stove,
and laid it on his chest.
And sedosta both sexes Snovid Izechevich
and Dmitry, and you can’t hold back.
And two attackers,
and removed another plate from the stove,
and gray hair,
and strangle and ramyano, like persem troscotati."

The whole scene is maintained in a clear rhythmic structure, which is created
is expressed by an anaphoric repetition of the connecting conjunction “and”, conveying
temporal sequence of action, as well as verbal rhymes.
Before us is a leisurely story about the event, there is no
external emotional assessment. But before the reader - the listener with
the scene, full of drama, appears with great concreteness: “And start
Torchin... holding a knife and even hitting the eye, and sinning the eye and cutting
his face, and there is that wound on Vasilka to this day. And therefore strike him in the eye, and
take away the apple of your eye, and then into the other eye, and take out the other eye of yours. And that hour
be as if he were dead."
The unconscious, lifeless Vasilko is being transported on a cart,
and at the Movement of the Bridge, at the auction, taking off his bloody shirt,
They give her to wash the priest. Now the outwardly dispassionate tale gives way
place for a lyrical episode. Popadya deeply sympathizes with the unfortunate
she mourns him as if he were dead. And hearing the cry of a compassionate woman -
Shchina, Vasilko regains consciousness. “And he touched the shirt and said: “Why
naturally they took him off less and in that bloody shirt he accepted death and became
before God."
Davyd carried out his intention. He brings Vasilko to
Vladimir, “like catching a catch.” And in this comparison there is a moral -
new condemnation of the crime committed by the brother.
Unlike the hagiographical narrative, Vasily does not
moralizes, does not provide biblical comparisons and quotes. From the hang-
talking about the fate of Vasilko, he proceeds to a story about how it
the crime affects the fate of the Russian land, and now the main thing is
place is given to the figure of Vladimir Monomakh. It is in him that it is embodied
the ideal of a prince. Vasily hyperbolically conveys the prince’s feelings upon learning
about the blinding of Vasilko. Monomakh "..was horrified and cried and said:
“This never happened in the Russian land, neither under our grandfathers, nor under,
our fathers, all evil. He seeks to peacefully “correct” this evil,
to prevent the destruction of the Russian land. The Kyyans also pray to Vladimir
“to create peace” and “to guard the Russian land,” and Vladimir burst into tears
says: truly our fathers and grandfathers forsook the Russian land, and we
we want to destroy." Monomakh's characterization takes on a hagiographical quality
character. His obedience to his father and stepmother is emphasized, as well as
his veneration of the metropolitan, the rank of hierarch, and especially the “cherneches-
whom." Finding that he had deviated from the main topic, the narrator
hurries to return to his “own place” and announces peace with Svyatopolk,
who pledged to go after Davyd Igorevich and either capture him,
or expel. Then the author talks about David's failed attempt
occupy Vasilkova volost thanks to the intervention of brother Vasilko
Volodar and the return of Vasilko to Terebovl. It is characteristic that in
negotiations with Volodar, Davyd, in turn, is trying to blame his
blamed for the blinding of Vasilko on Svyatopolk.
The peace is then disrupted by Vasilko and Volodar. They take the city with a spear
Vsevolozh, set it on fire and “execute vengeance on innocent people, and
shed innocent blood." Here the author clearly condemns Vasilko. This
the condemnation intensifies when Vasilko deals with Lazar and
Turyak (who persuaded Davyd to commit the crime); "Behold the 2nd vengeance
“Create it, it wouldn’t be too bad to create it, so that God would be an avenger.”
Fulfilling the terms of the peace treaty, Svyatopolk Izyaslavich expelled
eats Davyd, but then, breaking the kiss of the cross, goes to Vasilko
and Volodar. Now Vasilko is again performing in the aura of a hero. He
becomes the head of the army, “raising the cross. At the same time, over the soldiers
Amnosy people of good faith saw the cross.
Thus, the story does not idealize Vasilko. He not only
victim of Davyd Igorevich’s slander, cruelty and deceit, gullibility
Svyatopolk, but he himself reveals no less cruelty both from
both towards the perpetrators of evil and towards the innocent
to people. There is no idealization in the depiction of the Grand Duke of Kyiv
Svyatopolk, indecisive, gullible, weak-willed. The story pos-
allows the modern reader to imagine the characters of living people with their
human weaknesses and strengths.
The story was written by a typically medieval writer who
builds it on the opposition of two symbolic images of the “cross”
and “knife”, the leitmotif running through the entire narrative.
"Cross" - "kissing the cross" - a symbol of princely brotherly love
and unanimity, sealed by an oath. "Yes, even if someone is against whom
if it happens, then we will all give it an honorable cross,” - this oath sealed
The princes sign their treaty in Lyubech. Vasilko does not believe in deceit
brothers: “Why do you want to give me away? They sometimes kissed the cross, saying: if anyone
On whomever there will be a cross, then on him there will be a cross and all of us." Vladimir Monomakh
makes peace with Svyatopolk "kissing the cross between you." Vasilko,
avenging his insult to Davyd, he raises an “honest cross.”
“The “knife” in the story of the blinding of Vasilko is not only a weapon
specific crime - the blinding of Vasilko, but also a symbol of the princely
such strife, strife. "...Auger has thrown a knife at us!" - exclaims
Monomakh, having learned about the terrible crime. Then these words are repeated
lys directed to Svyatopolk: “What evil have you done in Russia?
earth and you threw a knife into us?
Thus, "The Tale of the Blinding of Vasilko Terebovlsky"
sharply condemns the princes' violation of their treaty obligations,
leading to terrible bloody crimes that bring evil to all
Russian land.
Descriptions of events related to the military campaigns of the princes were acquired
restore the character of a historical documentary tale, witness
talking about the formation of the genre of military stories. Elements of this jean
ra are present in the legend of Yaroslav’s revenge on the Accursed Svyatopolk
1015 - 1016 The plot of the plot is the message to Yaroslav from Kyiv from
Predslava's sisters about the death of their father and the death of Boris; Yaroslav begins
prepare for the campaign, gathers troops and goes to Svyatopolk.
In turn, Svyatopolk, “build the be-shchisla howl, Rus' and
Pecheneg", goes to meet Lyubech. The opposite parties stop
at a water barrier - on the banks of the Dnieper. They stand each other for three months
against a friend, not daring to attack. And only ridicule and reproaches, throwing
voivode Svyatopolk addressed to Yaroslav and the Novgorodians, force
the latter to take decisive action: "...if anyone does not come with us,
We’ll take it down ourselves.” At dawn, Yaroslav and his troops crossed
passes through the Dnieper and, pushing away the boats, the warriors rush into battle.
The description of the battle is the climax of the plot: “... and left the place.
There was a slaughter of evil, and it would not have helped the Pecheneg lake, and pressed
Svyatopolk and his squad went to the lake, and stepped onto the ice and broke off with them
ice, and Yaroslav began to overcome, seeing Svyatololk and running and overcoming
Yaroslav". Using the constant stylistic formula "byst sech
evil" an assessment of the battle is given. The victory of Yaroslav and the flight of Svyatopolk -
knitting the plot.
Thus, in this chronicle legend there are already
main plot and compositional elements of a military story: collection
troops, going on a campaign, preparing for battle, battle and its denouement.
The legends about the battle between Yaroslav and Svyatopolk are constructed similarly.
and the Polish king Boleslav in 1018 - 1019, about internecine
the struggle between Yaroslav and Mstislav in 1024. It should be noted here that
the introduction of a number of new stylistic formulas: the enemy comes “by force of gravity”
tse", the battlefield "covered many howls"; the battle takes place at dawn
“the rising sun”, its grandeur is emphasized “the slaughter of evil,
I haven’t been to Rus'”, the warriors “are fighting by the hand”, “as if
let us satisfy the blood of the mother-in-law" 1.
The symbolic image of the battle-thunderstorm is outlined in the description of the battle at
Listven between the armies of Yaroslav and Mstislaa in 1024; "And the former
nights, there was darkness, lightning, and thunder, and rain... And the slaughter was strong, like
the lightning shines, the weapon shines, and the thunderstorm is great and the cutting is strong -
na and scary."
The image of the battle-thunder was used in the legend of 1111 about the coalition
n campaign of the Russian princes against the Polovtsians, enemy troops are here
are compared to a forest: “vyustupisha like a boar.”
The description of the battle introduces the motive of the help of heavenly forces (an-
Gelov) to Russian troops, which indicates, according to the chronicler, about
the special favor of heaven towards pious princes.
All this allows us to talk about the presence in The Tale of Bygone Years
the main components of the genre of military stories.
Within the framework of historical documentary style, they are maintained in
chronicles of messages about heavenly signs.

ELEMENTS OF HYOGRAPHICAL STYLE.

The compilers of The Tale of Bygone Years included in it the production of

1 See: Orlov A. S. On the peculiarities of the uniform of Russian military
stories (ending the 17th century). M., 1902.

Hagiographical knowledge: Christian legend, martyrdom
(the tale of two Varangian martyrs), the tale of the foundation
Kiev-Pechersk Monastery in 1051, about the death of its abbot Theodosius
Pechersky in 1074 and a number of legends about the Pechersk monks. In agi-
the legends about the
transfer of the relics of Boris and Gleb (1072) and Theodosius of Pechersk
(1091).
The chronicle exalted the exploits of the founders of Kiev-Pechersk
monastery, which was “set up” neither “from the kings, nor from the 6th century, nor from
wealth", and "tears, and fasting, and vigil" of Anthony and Theodosius
Pechersky Under 1074, following the story of the death of Theodosius
the chronicler tells about the Pechersk monks, who shone in every possible way
in Rus' ". Glorifying the Christian virtues of the Pechersk
monks, the soothsayer Eremey, the perspicacious Matvey and the monk Isaac,
the chronicle at the same time notes individual shadow sides of the monastic
Tyr life. An attempt by some monks to leave the Pechersk monastery

The Tale of Bygone Years

Here are the stories of past years, where the Russian land came from,

who was the first to reign in Kyiv and how the Russian land arose

“So let’s begin this story...”

After the flood, Noah's three sons divided the earth - Shem, Ham, Japheth. And Shem got the east: Persia, Bactria, even to India in longitude, and in width to Rhinocorur, that is, from the east to the south, and Syria, and Media to the Euphrates River, Babylon, Corduna, the Assyrians, Mesopotamia, Arabia the Oldest, Elimais, Indi, Arabia Strong, Colia, Commagene, all of Phenicia.

Ham got the south: Egypt, Ethiopia, neighboring India, and another Ethiopia, from which flows the Ethiopian Red River, flowing to the east, Thebes, Libya, neighboring Kyrenia, Marmaria, Sirtes, another Libya, Numidia, Masuria, Mauritania, located opposite Ghadir. In his possessions in the east are also: Cilicnia, Pamphylia, Pisidia, Mysia, Lycaonia, Phrygia, Camalia, Lycia, Caria, Lydia, another Mysia, Troas, Aeolis, Bithynia, Old Phrygia and the islands of some: Sardinia, Crete, Cyprus and the river Geona, otherwise called the Nile.

Japheth inherited the northern and western countries: Media, Albania, Armenia Lesser and Greater, Cappadocia, Paphlagonia, Galatia, Colchis, Bosporus, Meots, Derevia, Capmatia, the inhabitants of Tauris, Scythia, Thrace, Macedonia, Dalmatia, Malosiya, Thessaly, Locris, Pelenia, which is also called Peloponnese, Arcadia, Epirus, Illyria, Slavs, Lichnitia, Adriakia, Adriatic Sea. They also got the islands: Britain, Sicily, Euboea, Rhodes, Chios, Lesbos, Kythira, Zakynthos, Cefallinia, Ithaca, Kerkyra, a part of Asia called Ionia, and the Tigris River flowing between Media and Babylon; to the Pontic Sea to the north: the Danube, the Dnieper, the Caucasus Mountains, that is, the Hungarian Mountains, and from there to the Dnieper, and other rivers: the Desna, Pripyat, Dvina, Volkhov, Volga, which flows east to the Simov part. In the Japheth part there are Russians, Chud and all sorts of peoples: Merya, Muroma, Ves, Mordovians, Zavolochskaya Chud, Perm, Pechera, Yam, Ugra, Lithuania, Zimigola, Kors, Letgola, Livs. The Poles and Prussians seem to be sitting near the Varangian Sea. The Varangians sit along this sea: from here to the east - to the borders of the Simovs, they sit along the same sea and to the west - to the lands of England and Voloshskaya. The descendants of Japheth are also: Varangians, Swedes, Normans, Goths, Rus, Angles, Galicians, Volokhs, Romans, Germans, Korlyazis, Venetians, Fryags and others - they adjoin the southern countries in the west and neighbor the tribe of Ham.

Shem, Ham and Japheth divided the land by casting lots, and decided not to enter into anyone’s brother’s share, and each lived in his own part. And there was one people. And when people multiplied on earth, they planned to create a pillar up to heaven - this was in the days of Nectan and Peleg. And they gathered in the place of the field of Shinar to build a pillar up to heaven, and near it the city of Babylon; and they built that pillar 40 years, and they did not finish it. And the Lord God came down to see the city and the pillar, and the Lord said: “Behold, there is one generation and one people.” And God mixed up the nations, and divided them into 70 and 2 nations, and scattered them throughout the whole earth. After the confusion of the peoples, God destroyed the pillar with a great wind; and its remains are located between Assyria and Babylon, and are 5433 cubits high and wide, and these remains have been preserved for many years.

After the destruction of the pillar and the division of the peoples, the sons of Shem took the eastern countries, and the sons of Ham took the southern countries, while the Japhethites took the west and northern countries. From these same 70 and 2 languages ​​came the Slavic people, from the tribe of Japheth - the so-called Noriks, who are the Slavs.

After a long time, the Slavs settled along the Danube, where the land is now Hungarian and Bulgarian. From those Slavs the Slavs spread throughout the land and were called by their names from the places where they sat. So some, having come, sat down on the river in the name of Morava and were called Moravians, while others called themselves Czechs. And here are the same Slavs: white Croats, and Serbs, and Horutans. When the Volochs attacked the Danube Slavs, and settled among them, and oppressed them, these Slavs came and sat on the Vistula and were called Poles, and from those Poles came the Poles, other Poles - Lutichs, others - Mazovshans, others - Pomeranians.

Likewise, these Slavs came and sat along the Dnieper and were called Polyans, and others - Drevlyans, because they sat in the forests, and others sat between Pripyat and Dvina and were called Dregovichs, others sat along the Dvina and were called Polochans, after a river flowing into the Dvina , called Polota, from which the Polotsk people took their name. The same Slavs who settled near Lake Ilmen were called by their own name - Slavs, and built a city and called it Novgorod. And others sat along the Desna, and the Seim, and the Sula, and called themselves northerners. And so the Slavic people dispersed, and after his name the letter was called Slavic.

When the glades lived separately in these mountains, there was a path from the Varangians to the Greeks and from the Greeks along the Dnieper, and in the upper reaches of the Dnieper - a drag to Lovot, and along Lovot you can enter Ilmen, the great lake; The Volkhov flows from the same lake and flows into the Great Lake Nevo, and the mouth of that lake flows into the Varangian Sea. And along that sea you can sail to Rome, and from Rome you can sail along the same sea to Constantinople, and from Constantinople you can sail to the Sea of ​​Pontus, into which the Dnieper River flows. The Dnieper flows from the Okovsky forest and flows to the south, and the Dvina flows from the same forest and heads north, and flows into the Varangian Sea. From the same forest the Volga flows to the east and flows through seventy mouths into the Khvalisskoe Sea. Therefore, from Rus' you can sail along the Volga to the Bolgars and Khvalis, and go east to the inheritance of Sima, and along the Dvina to the land of the Varangians, from the Varangians to Rome, from Rome to the tribe of Khamov. And the Dnieper flows at its mouth into the Pontic Sea; This sea is known as Russian, - as they say, St. Andrew, Peter’s brother, taught it along its shores.

When Andrei taught in Sinop and arrived in Korsun, he learned that the mouth of the Dnieper was not far from Korsun, and he wanted to go to Rome, and sailed to the mouth of the Dnieper, and from there he went up the Dnieper. And it so happened that he came and stood under the mountains on the shore. And in the morning he got up and said to the disciples who were with him: “Do you see these mountains?” On these mountains the grace of God will shine, there will be a great city, and God will erect many churches.” And having ascended these mountains, he blessed them, and put up a cross, and prayed to God, and came down from this mountain, where Kyiv would later be, and went up the Dnieper. And he came to the Slavs, where Novgorod now stands, and saw the people living there - what their custom was and how they washed and whipped themselves, and he was surprised at them. And he went to the country of the Varangians, and came to Rome, and told about how he taught and what he saw, and said: “I saw a marvel in the Slavic land on my way here. I saw wooden bathhouses, and they would heat them up, and they would undress and be naked, and they would douse themselves with leather kvass, and they would pick up young rods on themselves and beat themselves, and they would finish themselves off so much that they would barely get out, barely alive, and douse themselves with cold water, and This is the only way they will come to life. And they do this constantly, not tormented by anyone, but tormenting themselves, and then they perform ablution for themselves, and not torment.” Those who heard about this were surprised; Andrei, having been in Rome, came to Sinop.

The Glades lived separately in those days and were governed by their own clans; for even before that brethren (which will be discussed later) there were already glades, and they all lived with their clans in their own places, and each was governed independently. And there were three brothers: one named Kiy, the other - Shchek and the third - Khoriv, ​​and their sister - Lybid. Kiy sat on the mountain where Borichev now rises, and Shchek sat on the mountain that is now called Shchekovitsa, and Khoriv on the third mountain, which was nicknamed Khorivitsa after his name. And they built a city in honor of their elder brother, and named it Kyiv. There was a forest and a large forest around the city, and they caught animals there, and those men were wise and sensible, and they were called glades, from them glades are still in Kyiv.

Some, not knowing, say that Kiy was a carrier; then Kyiv had transport from that