Eremeevna is one of minor characters Fonvizin's play "The Minor". She is Mitrofan's nanny and nurse. Using her image as an example, the author tries to show how it perverted serfdom servants, how it disfigured and humiliated them. Despite its inherent good human qualities, slavish humiliation takes over. Eremeevna has been serving for the Prostakov-Skotinins for more than 40 years. For this reason, she is slavishly attached to the members of this family and considers serving them her first duty. Without sparing herself, she protects Mitrofan. And when Skotinin attacks the boy, Eremeevna shields him with herself and frantically defends him.

However, this slavish devotion takes on a distorted character, which the author depicts with special artistic power. Against the backdrop of an increased sense of duty to the Prostakov family, the nanny loses her sense of self-worth. She not only endures the boorish attitude towards herself without complaint, but also does not show any protest. And at this time, Mitrofan and Prostakova allow themselves to insult the elderly woman with such words as beast, old witch, khrychovka, and even raise their hand to her. As a result, Eremeevna’s fate is quite difficult, since she has to serve ungrateful and oppressive owners all her life.

"The Minor" was written in 1781. At that time, the most revolutionary idea in Russia was the idea of ​​an enlightened monarchy, proclaimed by the French encyclopedists.

The comedy "The Minor" is rightly considered the pinnacle of Fonvizin's creativity and all Russian drama of the 18th century. While maintaining connections with the worldview of classicism, the comedy became a deeply innovative work.

The play ridicules vices (rudeness, cruelty, stupidity, lack of education, greed), which, according to the author, require immediate correction. The problem of education is central to the ideas of the Enlightenment and is also the main one in Fonvizin’s comedy, which is emphasized by its name.

The specificity of the depicted reality corresponds to language works (one of the rules of classicism). For example, speech Prostakova: rude in addressing the servants (“swindler”, “cattle”, “thief’s mug” - tailor Trishka; “beast”, “rascal” - nanny Eremeevna), caring and affectionate in conversation with her son Mitrofanushka (“live forever, forever learn, my dear friend", "darling"). The “correct” bookish language forms the basis of the speech of the positive characters: it is spoken by Starodum, Pravdin, Milon and Sophia. Thus, the speech of the heroes seems to divide the characters into negative and positive (one of the rules of classicism). Observed in comedy and rule of three. The action of the play takes place in the estate of Mrs. Prostakova (unity of place). The unity of time is also present. Unity of action presupposes the subordination of the action of the play to the author's task, in this case - the solution to the problem of true education. In the comedy, unenlightened characters (Prostakova, Skotinin, Prostakov, Mitrofanushka) are contrasted with educated characters (Starodum, Sophia, Pravdin, Milon).

This completes the adherence to the traditions of classicism.

For Fonvizin, unlike the classicists, it was important not only to pose the problem of education, but also to show how circumstances (conditions) influence the formation of an individual’s character. This significantly distinguishes comedy from works of classicism. In "Nedorosl" the foundations were laid for a realistic reflection of reality in Russian fiction. The author reproduces the atmosphere of landowner tyranny, exposes the greed and cruelty of the Prostakovs, the impunity and ignorance of the Skotinins. In his comedy about education, he raises the problem of serfdom, its corrupting influence on both the people and the nobles. Unlike the works of classicism, where the action developed in accordance with the solution of one problem, "The Minor" is a multi-themed work. Its main problems are closely related to each other: the problem of education - with the problems of serfdom and state power. To expose vices The author uses techniques such as speaking names, self-exposure of negative characters, subtle irony on the part of positive characters. In the mouths of positive heroes, Fonvizin puts criticism of the “corrupt age,” idle nobles and ignorant landowners. The theme of service to the Fatherland and the triumph of justice is also conveyed through positive images.

Common meaning of a surname Staroduma(Fonvizin’s favorite hero) emphasizes his commitment to the ideals of the old, Peter the Great times. Starodum’s monologues are aimed (in accordance with the tradition of classicism) at educating “those in power,” including the Empress. Thus, the scope of reality in comedy is unusually wide compared to strictly classic works.

The system of comedy images is also innovative. Characters traditionally divided into positive and negative. But Fonvizin goes beyond classicism, introducing characters from the lower class into the play. These are serfs, slaves (Eremeevna, Trishka, teachers Kuteikin and Tsyferkin). What was also new was Fonvizin’s attempt to give at least a brief background to the characters, to reveal different facets of the characters of some of them. So, evil, cruel serfdom Prostakova in the finale she becomes an unhappy mother, rejected by her own son. She even evokes our sympathy.

Fonvizin's innovation manifested itself and in creating character speech. It is clearly individualized and serves as a means of characterizing them. Thus, formally following the rules of classicism, Fonvizin’s comedy turns out to be a deeply innovative work. This was the first socio-political comedy on the Russian stage.

Prostakova - noblewoman, mother of Mitrofanushka and sister of Taras Skotinin. Her surname indicates the heroine's lack of education and ignorance, as well as the fact that at the end of the play she gets into trouble.

Prostakova is the driving force behind the comedy. She plots to marry Mitrofan to a wealthy pupil, Sophia (contrary to the original intention of marrying her off to her brother). Later, when her plans collapse, Prostakova wants to secretly marry the newlyweds (despite Sophia’s protests).
The main feature in Prostakova’s character is crazy, animal love for her son. She believes that everything that is beneficial for Mitrofan is good, and that everything that is unprofitable is bad. In this case, the way in which the benefit is achieved does not matter. So, trying to eliminate her son's rival - her brother Skotinin, she grabs his neck, etc. Thus, her moral and ethical concepts are completely perverted. P.A. Vyazemsky wrote about Prostakova: “A mixture of arrogance and baseness, cowardice and malice, vile inhumanity towards everyone and tenderness, equally vile, towards his son, with all this ignorance from which ... all these properties flow ...” Fonvizin sees two reasons for the heroine’s “evil disposition” . The first, internal reason is Prostakova’s ignorance, not refined by her upbringing. The second, social, is the decree of Catherine II “On the freedom of the nobles,” which the ignorant nobles understood as complete power over the serfs without any restrictions. At the end of the play, Prostakova is defeated. She loses everything: power over the serfs, her estate, her son. Its collapse is the defeat of the entire previous system of education and the guarantee of the victory of new ideas declared by the positive characters of the play.

Mitrofanushka- son of the landowners Prostakovs. It is considered an undergrowth because he is 16 years old and has not reached the age of majority. Following the tsar's decree, Mitrofanushka studies. But he does this with great reluctance. He is characterized by stupidity, ignorance and laziness (scenes with teachers).

Mitrofan is rude and cruel. He does not value his father at all, mocks teachers and serfs. He takes advantage of the fact that his mother dotes on him and spins her around as she wants.

Mitrofan stopped in his development. Sophia says about him: “Although he is 16 years old, he has already reached the last degree of his perfection and will not go further.”

Mitrofan combines the traits of a tyrant and a slave. When Prostakova's plan to marry her son to a rich pupil, Sophia, fails, the undergrowth behaves like a slave. He humbly asks for forgiveness and humbly accepts “his sentence” from Starodum - to go serve (“For me, wherever they tell you”). Slave upbringing was instilled in the hero, on the one hand, by the serf nanny Eremeevna, and, on the other hand, by the whole world of the Prostakov-Skotinins, whose concepts of honor are distorted.
Through the image of Mitrofan, Fonvizin shows the degradation of the Russian nobility: from generation to generation, ignorance increases, and the coarseness of feelings reaches animal instincts. No wonder Skotinin calls Mitrofan “damned pig.” The reason for such degradation is an incorrect, disfiguring upbringing.

The image of Mitrofanushka and the very concept of “minor” have become a household word. Nowadays they say this about ignorant and stupid people.

Taras Skotinin- nobleman, brother of Prostakova. Extremely ignorant, stupid. The only interest in his life was the pigs, which he was breeding. For the sake of money, he hoped to marry Sophia, Starodum’s niece. Because of this, he competed with his nephew Mitrofan and conflicted with Prostakova: “When things come to a breakdown, I’ll bend you and you’ll crack.” This hero is a “worthy” representative of his family: he has morally and morally degraded, turned into an animal, as his last name indicates. The reason for such degradation is ignorance, lack of proper education: “...if it weren’t for that Skotinin, he would want to learn something.”

Starodum- Sophia's uncle. His surname means that the hero follows the principles of the era of Peter I (the old era): “My father constantly told me the same thing: have a heart, have a soul, and you will be a man at all times.”

In the comedy, Starodum appears late (at the end of the first appearance). He delivers (together with Milon and Pravdin) Sophia from Prostakova’s tyranny, evaluates her and Mitrofan’s upbringing. Starodum also proclaims the principles of reasonable government system, moral education and enlightenment.
The upbringing of a nobleman, according to Starodum, is a matter for the state. It must include both the education of the mind and the education of the heart. Moreover, education of the heart comes first. After all, without a soul, “the most enlightened clever woman is a pitiful creature.” Education should be based on the power of positive and negative examples and “set the good of the fatherland as its criterion.” Starodum has detailed biography. He is 60 years old, he served at court and retired. Afterwards he lived for a long time in Siberia, where he made a fortune through his labor. Starodum wants to arrange Sophia's happiness, finds her a groom and makes her his heir. This hero is straightforward and insightful. He sees right through Prostakova and her family and tells them to their faces everything he thinks about them.

Servants and teachers have in their speech characteristic features classes and parts of society to which they belong. Speech Eremeevna- these are constant excuses and desires to please.

Eremeevna, Mitrofan’s nanny, is drawn with great artistic force. Fonvizin convincingly shows what a corrupting influence serfdom had on domestic servants, how it disfigures and perverts their inherent good human qualities, develops and fosters slavish humiliation in them. Eremeevna has served Prostakov and Skotinin for forty years. She is selflessly devoted to them, slavishly attached to her home, and has a highly developed sense of duty. Without sparing herself, she protects Mitrofan. When Skotinin wants to kill Mitrofan, Eremeevna, “shielding Mitrofan, going berserk and raising her fists,” as Fonvizin pointed out, shouts: “I’ll die on the spot, but I won’t give up the child. Show up, sir, just kindly show up. I’ll scratch out those thorns.” But this devotion and sense of duty acquires a distorted, slavish character in Eremeevna. She has no sense of human dignity. There is not only hatred for one’s inhuman oppressors, but even protest. Serving her tormentors, “without sparing her life,” Eremeevna lives in constant fear, trembling before her ferocious mistress. “Oh, he’s leaving him! Where should my head go? - she screams with despair and fear, seeing how Skotinin approaches Mitrofan with threats. And when Milon pushes Eremeevna away from Sofia, Eremeevna screams: “My little head is gone!”
And for such selfless and faithful service, Eremeevna receives only beatings and hears only such appeals from Prostakova and Mitrofan as a beast, a dog’s daughter, an old witch, an old bastard. The fate of Eremeevna is difficult and tragic, forced to serve the monster landowners who are unable to appreciate her faithful service.

Characteristics of minor characters in the comedy “Minor”

All his thoughts and interests are connected only with his barnyard. Gogol says about him: “Pigs became for him what an art gallery is for an art lover! He only shows warmth and tenderness towards his pigs. Skotinin is a ferocious serf owner, a master of “ripping off” rent from the peasants. Skotinin is greedy. Having learned that he will bring his husband a fortune that will give him ten thousand in income, he is ready to destroy his rival, Mitrofan.

Eremeevna, Mitrofan’s nanny, is drawn with great artistic force. Fonvizin convincingly shows what a corrupting influence serfdom had on domestic servants, how it disfigures and perverts their inherent good human qualities, develops and fosters slavish humiliation in them. Eremeevna has served Prostakov-Skotinin for forty years. She is selflessly devoted to them, slavishly attached to her home, and has a highly developed sense of duty. Without sparing herself, she protects Mitrofan. When Skotinin wants to kill Mitrofan, Eremeevna, “shielding Mitrofan, going berserk and raising her fists,” as Fonvizin pointed out, shouts: “I’ll die on the spot, but I won’t give up the child. Show up, sir, just kindly show up. I’ll scratch out those thorns.” But this devotion and sense of duty acquires a distorted, slavish character in Eremeevna. She has no sense of human dignity. There is not only hatred for one’s inhuman oppressors, but even protest. Serving her tormentors, “without sparing her life”, Eremeevna lives in constant fear, trembling before her fierce mistress. “Oh, he’s leaving him! Where should my head go? - she screams with despair and fear, seeing how Skotinin approaches Mitrofan with threats. And when Milon pushes Eremeevna away from Sofia, Eremeevna screams: “My little head is gone!”

And for such selfless and faithful service, Eremeevna receives only beatings and hears only such appeals from Prostakova and Mitrofan as a beast, a dog’s daughter, an old witch, an old bastard. The fate of Eremeevna is difficult and tragic, forced to serve the monster landowners who are unable to appreciate her faithful service.

The images of Mitrofan’s home teachers: Tsyfirkin, Kuteikin, Vralman are truthful and vitally convincing in the comedy.

Retired soldier Tsyfirkin is a man with a number of good qualities. He is hardworking: “I don’t like to live idlely,” he says. In the city, he helps clerks “either check the meter or summarize the results,” and “teach the guys in his spare time.” (Fonvizin painted the image of Tsyfirkin with obvious sympathy. In a different light, Fonvizin gives the teacher of Russian and Church Slavonic languages ​​Kuteikin. This is a half-educated seminarian who left the first classes of the theological seminary, “fearing the abyss of wisdom.” But he is not without cunning. Reading the Book of Hours with Mitrofan, he It is not without intention that he chooses the text: “I am a worm, not a man, a reproach of men,” and he also interprets the word worm as “an animal, a beast.” Like Tsyfirkin, he sympathizes with Eremeevna. But Kuteikin sharply. differs from Tsyfirkin in his greed for money. Kuteikin’s language strongly emphasizes Church Slavonicisms, which he brought from his spiritual environment and theological school.

The comedy portrays the German Vralman, a rogue teacher, a man with a lackey's soul, and Starodum's former coachman, in a satirical light. Having lost his job as a result of Starodum's departure to Siberia, he became a teacher because he could not find a position as a coachman. Naturally, such an ignorant “teacher” could not teach his student anything. He did not teach, indulging Mitrofan’s laziness and taking advantage of Prostakova’s complete ignorance.

Destructive and merciless satire fills all the scenes depicting the way of life of the Prostakova family. In the scenes of Mitrofan's teaching, in the revelations of his uncle about his love for pigs, in the greed and arbitrariness of the mistress of the house, the world of the Prostakovs and Skotinins is revealed in all the ugliness of their spiritual squalor.

An equally destructive verdict on this world is pronounced by the group of positive nobles present on stage, contrasted with the bestial existence of Mitrofan’s parents. Dialogues between Starodum and Pravdin. which touch upon deep, sometimes national problems, are passionate journalistic speeches reflecting author's position. The pathos of the speeches of Starodum and Pravdin also performs an accusatory function, but here the exposure merges with the affirmation of the positive ideals of the author himself.

Two problems that especially worried Fonvizin lie at the heart of “The Minor.” This is primarily the problem of the moral decay of the nobility. In the words of Starodum. indignantly denouncing the nobles, in whom nobility, one might say, was “buried with their ancestors,” in his reported observations from the life of the court, Fonvizin not only states the decline of the moral foundations of society, he seeks the reasons for this decline.

Starodum’s final remark, which ends “”: “These are the worthy fruits of evil!” - in the context of the ideological provisions of Fonvizin’s treatise, gives the entire play a special political sound. The unlimited power of landowners over their peasants, in the absence of a proper moral example on the part of the highest authorities, became a source of arbitrariness; this led to the nobility forgetting their duties and the principles of class honor, that is, to the spiritual degeneration of the ruling class. In the light of Fonvizin’s general moral and political concept, the exponents of which in the play are positive characters, the world of simpletons and brutes appears as an ominous realization of the triumph of evil.

Another problem of “Undergrown” is the problem of education. Understood quite broadly, education in the minds of thinkers of the 18th century was considered as the primary factor determining the moral character of a person. In Fonvizin’s ideas, the problem of education acquired national significance, because the only reliable, in his opinion, source of salvation from the evil threatening society - the spiritual degradation of the nobility - was rooted in correct education.

A significant part of the dramatic action in “The Minor” is, to one degree or another, subordinated to the problems of education. Both the scenes of Mitrofan’s teaching and most of Starodum’s moral teachings are subordinated to it. The culminating point in the development of this theme is undoubtedly the scene of Mitrofon's examination in Act IV of the comedy. This satirical picture, deadly in terms of the power of the accusatory and sarcasm contained in it, serves as a verdict on the system of education of simpletons and brutes. The passing of this verdict is ensured not only through the self-disclosure of Mitrofan’s ignorance, but also through the demonstration of examples of a different upbringing. These are, for example, scenes in which Starodum talks with Sophia and Milo. -

A son of his time, Fonvizin, with all his appearance and the direction of his creative quest, belonged to that circle of advanced Russian people of the 18th century who formed the camp of enlighteners. All of them were writers, and their work is permeated with the pathos of affirming the ideals of justice and humanism. Satire and journalism were their weapons. Courageous protest against the injustices of autocracy and angry accusations against the serf owners were heard in their works. This was the historical merit of Russian satire of the 18th century, one of the most prominent representatives which was Fonvizin.

Eremeevna is a minor heroine in Denis Ivanovich Fonvizin’s play “The Minor.” She was Mitrofan's wet nurse and nanny. The author speaks of Eremeevna as a serf peasant woman, strongly devoted to her masters. Fonvizin clearly showed us that the owners did not value them in serfs. good qualities, but only instilled in them slavish obedience.

Eremeevna served the Prostakovs for almost forty years. She listened to a lot of insults from her owners and was paid a small salary - she received five slaps a day and five rubles a year. Eremeevna nursed Mitrofanushka from his very birth and practically replaced him my own mother. Without sparing herself, she constantly protected and protected him. When Skotinin wanted to attack the boy, she shielded him with her body and angrily shouted at Uncle Mitrofan that she was ready to give her life for Mitrofanushka, and if Skotinin did not leave him, then Eremeevna threatened to “tear off his thorns.” But the lazy Mitrofan treated his nanny not as a person, but as an “old bastard” about whom she could always complain to her mother so that she would threaten her.

Many felt sorry for poor Eremeevna, but could not help her. But she never felt sorry for herself. Eremeevna was devoted to her masters like a slave, she had no sense of her dignity, which is what the author emphasized: “I am not zealous for you, mother! You don’t know how to serve anymore... I would be glad not only... you don’t regret your stomach... but you don’t want everything.” Eremeevna was not angry and did not hate the Prostakovs, she unquestioningly carried out all their orders, not paying attention to the fact that the landowner and her son Mitrofanushka called her “a dog’s daughter”, “a beast”, “an old witch” and other nicknames that were offensive to her. However, despite all this, she was very afraid of her mistress, because it was Eremeevna who bore all responsibility for Mitrofanushka, and if something happened to him, then only she would be to blame for everything.

Once there was such a case when Eremeevna, in addition to Mitrofan, thought about herself. This happened at the moment when Milon pushed her away from Sophia, and she exclaimed: “My little head is gone!”

Thus, we can conclude that Eremeevna’s fate is quite tragic and difficult, because all her life she served her monster masters, but they never said a kind word to her, and besides this, she will never receive gratitude from them for her loyalty and affection.

Option 2

This comedy character shows the qualities that a servile life and reluctance to develop form in a person.

Eremeevna is a nanny who has been raising Mitrofanushka since infancy. She is sincerely attached to the undergrowth, despite all his ingratitude. She protects him from Skotinin with her breasts, ready to get into a fight, but not to let her over-aged pupil be offended.

Using the image of Eremeevna, the author shows how people's good feelings turn into their opposite. Her love for her pupil, a natural affection caused by the fact that he grew up under her supervision, turns into overprotection. Having good feelings for Mitrofanushka, she, to the same extent as his parents, pampers her pupil, contributing to his transformation into a useless member of society to himself and those around him.

Eremeevna continues to consider Mitrofan, already an adult according to the concepts of that time, a child. This reflects her natural kindness and conservatism. The nurse, just like her pupil, does not want to study in the broad sense of the word. Eremeevna is much more comfortable living in a world that does not change, since in this case there is no need to make efforts, at least to comprehend the current situation. The nanny turns out to be not only the protector of the undergrowth, but also, to some extent, his spiritual twin.

The wet nurse's tolerance of beatings and humiliation is also caused, to a large extent, by her unwillingness to do anything to change her situation. Eremeevna’s personal efforts cause much more stress than the usual everyday humiliation.

Eremeevna continues to faithfully serve the family and her masters, despite the rudeness and beatings to which she is constantly subjected. Fonvizin emphasizes this in the scenes where the heroine appears. He, like many advanced Russian people, was outraged by the slavish obedience of the representatives of the Russian people. Its reason was the limitations of Eremeevna, who spent her entire life in the role of a servant, with nothing to compare with.

The nurse's servility is combined with her diligence and conscientiousness. One with the other is inextricably intertwined. Fonvizin seeks to show how dangerous such boundless devotion and conscientiousness are. Eremeevna finds herself involved in the dark affairs of her masters. She helps kidnap Sophia. Moreover, Eremeevna does this simply following the habit of obeying everything that the owners order.

In this case, Eremeevna personifies the worst qualities that a number of writers and publicists saw in the Russian people - boundless patience and willingness to obey the most cruel rulers. Fulfilling their every whim, people with a slavish essence further corrupt their masters.

A supporter of enlightenment, knowledge and improvement of the world, the author of the work sharply condemned laziness, regardless of whether it was caused by a rich and idle life or simply by habit and way of life. In the spiritual servility shown by him in the image of Eremeevna, the writer saw fertile ground for the development of vices that destroy both society as a whole and the lives of individual people.

Essay about Eremeevna

Fonvizin Denis Ivanovich ridiculed the characteristics of the nobility in his work “The Minor.” With his eternal servants who worked for nothing without bending their humps. He didn’t like that this fictional intelligentsia was robbing people and living happily ever after. Therefore, he created characters that were as similar as possible to the era of that time. Through rather weak images of people, he deduced his own harmony of hatred of landowners.

Eremeevna, an old woman of unknown years, was the nurse and nanny of the fifteen-year-old Mitrofanushka. Despite the fact that he was already at a decent age, they coddled him like a little baby who always needed to be indulged.

The nanny constantly runs after her “master” and follows all his instructions, as if she were his personal slave. She is unrequitedly attached to the Skotinin family, which makes her even more pathetic.

When a situation occurs that she has to protect her owner, she rushes to the defense so that no one has the right to harm him. On the one hand, these are good maternal qualities that she could use on her children, but God only gave her the right to raise strangers. This deprives her of all adequate feelings, showing that she does not even respect her dignity.

She even decides to commit a crime and watches over Sophia at night to help her masters kidnap her. The only thing Eremeevna gets in return is beatings and poor respect. Considering that she is a minor character, she is contrasting and stands out noticeably from the others.

In order for the image to turn out to be key, Denis Ivanovich Fonvizin had to expose the vices of that society. The image really came out very alive, as evidenced by the letters of Gogol, who said that the comedy amazes with its realism and tragedy of the events that take place in the most remote corners of the country.

And in reality, everything minor characters were expressed very clearly, which enlivened the general mood of the work. To ensure that the work was filled with the power of realism, all the topics that worried society were raised. This endowed the comedy with its indescribable spirit and bold satire.

You need to be able to be merciful and be able to maintain balance in difficult moments of life.

The surname Eremeev comes from the name Eremey. This is the Russian folk form of the ancient Hebrew name Jeremiah, which means “God will exalt” or “Exalted by God.” Yiermeyah is a Latin derivative.
This is what is written about the prophet Jeremiah in the book “Mediterranean Rus' and the Mysteries of the Bible.” He lived at the turn of the 7th – 6th centuries. BC. At this time, Assyria (an ancient state in the Northern Mesopotamia, which was on the territory of modern Iraq) began to lose its power, and the power of Babylon continuously expanded. Even the allied Egypt could not prevent the fall of the powerful Semitic power.
The kings of Judah tried to free themselves from the foreign yoke, seeking support from Egypt. In 602 BC. The Babylonian king Nebuchadnezzar undertook several punitive campaigns against Judea and Jerusalem and in 586 BC. finally captured Judea. He took captive most of the country's inhabitants. The stage of life of the Jewish people that followed was called the “Babylonian Captivity.”
Jeremiah foresaw all these troubles. He prophesied, “From the north comes disaster upon all the inhabitants of the land” (Jeremiah 1:14). This was both a warning and a call to the authorities of Judea to turn policy in a different direction. In vain did Jeremiah tirelessly repeat to them the Lord’s instruction: “And if you say: why, Lord our God, are you doing all this?”, then answer like this: “How have you forsaken Me and served foreign gods in your land (Rus), then You will serve strangers in a land that is not yours."
Russian names of Jewish origin were given to newborns by the church. She named her children in honor of the ancient biblical righteous people or saints and martyrs. And these saints, in turn, often received names, again, in honor of biblical heroes and prophets. This is how Jewish names came into the Russian language.
But there is also a version that some of the names, including Eremey, were first changed into the Greek way (from Greek - Eremey - “giver of wealth”), then into Slavic.
For a long time there were no surnames in Rus'. At first, surnames arose among feudal lords. There was hereditary land ownership, which led to the inheritance of hereditary names, that is, surnames. The first Russian surnames are found in documents dating back to the 15th century. Peasants acquired a surname only after the abolition of serfdom in 1861, but this innovation took root very poorly. Only in 1888, the Senate published a special decree: “To be called by a certain surname is not only the right, but also the duty of every full-fledged person, and the meaning of the surname on some documents is required by law itself.”

In the article “Family Tree” it is written: “Some Eremeevs are untitled Russian and Little Russian nobility from Andrei Eremeev.” The name Andrey cannot be traced further.
And in the Brockhaus encyclopedia it is written the Eremeevs - Russian noble families. Ivan, Nikita, Peter, small Fyodor and big Fyodor Borisovich Eremeevs were included in the nobility in 1555. (Another source says that Ivan Borisovich Eremeev was killed in the Kazan campaign in 1550).

Yakov (name) Tikhonovich Eremeev - killed in 1634 during the siege of Smolensk. This family of Eremeevs was included in the VI part of the “Genealogical Book” of the Kazan and Pskov provinces. The other two families of the Eremeevs are recorded in part VI of the “Genealogical Book” of the Tver province (XVII century). The remaining 15 genera are of late origin.
But, in brief description articles by A.Kh. Khalikov’s “500 Russian surnames of Bulgaro-Tatar origin” contains the following data: “... at the baptism of Eremey, the grandson of Ilik, who left the Horde to serve Dmitry Donskoy...” and also “from Tatar-Mishar - owner - huja-in.”
Dmitry Donskoy – Grand Duke Moskovsky, son of Grand Duke Ivan II the Red, lived from 1350 to 1389.
Here, Eremeevs, choose either you are descendants of one of the noble families and then your surname was first heard in the 15th-16th centuries, or the second, then your ancestor fought in the ranks of D. Donskoy in the 14th century.
These are the first mentions of the surname in the history of the Russian state.

In "Orthodox church calendar" - Jeremiah, prophet – Exalted by God (Jewish). The days of celebration of the saint's memory are indicated (according to the old style):
Prophet - May 1,
Martyr – February 16,
Reverend – January 14, September 28, October 5.
And the holy day of Jeremiah is July 19 according to the new style.

Signs associated with the name Eremey.
1. Eremey, Eremey, think about the crops.
2. On Eremey, go to sowing after the early dew.
3. On Eremey, the lazy plow goes out into the field.
4. If there is bad weather on Eremey, it means a harsh, cold winter.
5. This week is after Yegor and the other after Yeremey.
6. Eremey was not supposed to lend either bread or grain; there would be a bad harvest.
7. If on Yeremeya (May 14, local time) spruce buds bloom early. Soon, we can’t delay sowing.”

And for your information, Lenka Panteleev, who wrote “The Republic of Shkid” is none other than Alexey Ivanovich Eremeev, i.e. namesake

But that is not all.

While browsing the Internet, I came across Lyudmila Eremeeva from Krasnoyarsk. She has been studying the history of the family for ten years now. Her grandson is the fifteenth generation of Eremeevs that she has tracked down. Lyudmila is writing a book about this. And here are excerpts from L. Bezyazykov’s book “Primordial Krasnoyarsk” -
“In 1695, a group of servicemen rose up against the cruel and thieving Krasnoyarsk governor Alexei Bashkovsky. Most of all, the boyar children Trifon and Matvey Eremeev were dissatisfied with the actions of the governor... They removed the governor from his post and elected their own governing body. This riot became known as the “Krasnoyarsk unrest”. Soon after the turbulent events of “shakyness,” Matvey Eremeev and ataman Dmitry Tyumentsev “settled” 86 km below Krasny Yar, forming the village of Atomanovo. The second brother, Tryfon, left for the future Novoselovsk region. People began to call the village that he founded Trifonovka, and later Eremeevo. This village is now at the bottom of the Krasnoyarsk Sea. But how and where the brothers came from in Siberia, and who their parents are remains a mystery.
But this is the Krasnoyarsk region, and Vera Karpeevna, my paternal grandmother, Eremeev’s husband, came from the village of Ust-Isha, on the Isha River. The village is located 66 km from Biysk. The village is ancient. During excavations, burial grounds from the 5th century were found there. Nelli Nikolaevna Eremeeva works as the director of the gymnasium. That is, the descendants of the Eremeevs still live in Ust-Isha. According to Lelka, the sister of my father Illarion Mikhailovich, there are our relatives in the village. And someone in the male line looks like Hilarion like two peas in a pod. After his divorce from Uncle Vasya (Illarion’s older brother), his first wife Lusha and their daughter remained in the village.

But let’s return to the book “Mediterranean Rus' and the Mysteries of the Bible.”

This book tells the story of the “promised land” in the last two thousand years before the birth of Christ. The history of the Jewish people is considered as part of a global process. The influence can be traced ancient civilization(Sumerian, Egyptian, Aryan) on the development of the Jewish ethnos and the formation of its culture and religion. Readers are offered many examples proving the existence in the Bible of a huge layer of Indo-European images brought to the Mediterranean by immigrants from Europe, including from the Russian Plain. In this regard, many biblical myths and legends are explained in a completely new light, and known facts European history receives a deeper interpretation.
But we will find in this book what concerns Eremey. I have already referred to this book above. And Rus' was mentioned there. More from the book...

“The name “Rus”, it seems to us, is not mentioned here by chance. The country of Rusen covered the whole of Canaan, and not just it southern part- Judea. From the Biblical Encyclopedia "The Canaanite land covered both the northern Phoenician cities and the southern coastal lands. In the Encyclopedia of the Bible, on page 547, there is a map of Palestine or the land of Canaan. Palestine lay at the very center ancient world and as close as it was to the inhabited parts of Africa, it was just as close to the states of Europe and Asia. Therefore the Lord himself says: I have set Jerusalem among the nations and the land around it."
One can also talk about the internal, unconscious predisposition of the Jew Jeremiah to Aryan concepts. His name is a slightly corrupted version of the word "Aramean" and its derivative Eremey. The Dictionary of Russian Names derives the name “Eremey” from the Hebrew “Yahweh will exalt.” But this is another common misconception. Eremey is Yar-husband. The Jews borrowed this name from us. Jeremiah lived in Jerusalem, the name of which, when translated from Hebrew, reads as “Yar-mir” or “World of the Aryans.” Aryans (Aryans), the name of the peoples belonging to the Indo-European (primarily Indo-Iranian) linguistic community. As we see, even in the time of Jeremiah its population still remembered former name of your land. This is fragment 8 from Jeremiah 5.19.

The first family coats of arms of the nobility appeared in Russia at the end of the 17th – beginning of the 18th century. The fashion for them came from Poland. Under Paul I, the beginning of the unification of noble family coats of arms was laid. By decree of January 20, 1797, Emperor Paul I ordered the compilation of the “General Armorial of the noble families of the All-Russian Empire.” With this act, Paul, prone to knightly romance, wanted to raise the class spirit of the nobility, focusing on the heroic examples of the past.
In all European States in ancient times, the titles of Nobility and the titles of Knighthood had the same duties - Honor and Courage were the main basis for the actions of the Nobility and Knighthood.
(the decree of Paul I is given below in an abbreviated version)

U K A Z

By God's Grace
WE ARE PAUL THE FIRST
Emperor and Autocratic All-Russian
and so on, and so on, and so on.

... The families of the Princely Empire of OUR for the most part descended from the sons of the Grand Duke Vladimir Svyatoslavovich, who illuminated Russia with the light of the Gospel from the Princely families many families of the Nobility originated, therefore, such families come from Rurik, and therefore in their antiquity they are not inferior to the most ancient Princely and Noble States of other States.
... Having now examined the first part of this Armorial, which has now been presented to US, composed of three sections according to the rules prescribed by OUR DECREES, WE affirm it and command:
1e: All the Coats of Arms included in the Armorial Book must be left forever indispensable, so that without a special command from OUR, or OUR Succeedors, no one under any circumstances is excluded from them and nothing is added to them again.
2e: Each nobleman of the clan whose Coat of Arms in the Armorial Book will be presented with a certificate from the Noble Leader, or famous relatives, that he belongs to that clan, issued on parchment behind a clasp, an exact copy of the Coat of Arms of that clan and from the description thereof.
3e: In cases in which there is a need for someone to prove the dignity of their surname as a nobleman, take as the surest proof of it the general Armorial of the Noble families drawn up at OUR command, which is kept in OUR Senate in St. Petersburg on January 1, 1798.

PAUL

A total of 20 volumes of the Armorial Book were published. The last 20th volume was approved by Nicholas II in February 1917. And the 21st volume - by the Senate under the Provisional Government from June 1 to November 22, 1917.

The surname Eremeev appears in three volumes:
in I – oh number 121,
in III – it is numbered 96 and
in the 19th century under number 118.

In the first volume, probably Eremeev Andrey. And in Encyclopedic Dictionary Brockhaus and Efron found the following entry:

Eremey Konstantinovich - Prince of Dorogobuzh, son of Konstantin Mikhailovich, Prince of Tver (1346-1372). After the death of his brother Semion, who bequeathed his inheritance to the Grand Duke of Tver Mikhail Alexandrovich, he fought over this inheritance until 1368, and when, thanks to the intervention of Moscow, he received part of the inheritance - Gorodok.

A family is a stream that forms a river, and the history of each family creates the history of the Fatherland. It is not for nothing that every genus is called a tree. And every tree has a crown and roots. Interesting? So start finding your roots. Believe me, then the crown will not let you down.
October 20, 2008