Yaroslavna's lament is perhaps the most poetic and beautiful episode of the work... It sounds not just like lamentations and prayers, but like a real spell, filled with folk tunes and magical transformations into animals.

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

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

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

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During the campaign he acted with exceptional courage, but he was unable to give up his desire for personal glory, and this led to his defeat. For the first time in the history of the fight against the Polovtsians, the Russian princes - Igor and his brother Vsevolod - were captured. After...

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Comparative analysis of “Yaroslavna’s Lament” from “The Tale of Igor’s Host” and “The Ballad of Galadriel” by Laura Bocharova from the rock opera “Finrod-zong” based on the works of J. R. R. Tolkien.

"Yaroslavna's Lament", a key link in the chain of events described in the "Tale of Igor's Campaign", a monument ancient Russian literature, and the image of a grieving princess, the image of an abandoned people runs like a red thread throughout the entire history of Russian literature - the immortal image of a loving Russian woman.

In “The Lament”, abandoned by her husband, Prince Igor, who went to the war he started and was taken prisoner, Princess Yaroslavna conducts a one-sided monologue with the forces of nature. She doesn’t know if Igor is alive, and begs Mother Nature to help him, first turning to the wind:

“Oh wind, sail!
Why, sir, are you blowing towards me?
Why are you rushing Khin's arrows?
On your light wings
On the warriors of my dear?
Wasn't it enough for you to fly under the clouds?
Cherishing ships on the blue sea?
Why, sir, is my joy
Did you scatter the feather grass?”

In second place among the defenders of the Russian land, the princess puts the Dnieper, the river on which stands the mother of Russian cities, Kyiv:

“Oh Dnepr Slovutich!
You broke through stone mountains
Through the Polovtsian land.
You cherished Svyatoslav’s plantings on yourself
To Kobyakov's camp.
Come, sir, to my dear one,
So that I don’t send him tears to the sea early.”

And the princess’s last appeal, of course, to the Sun:

“Bright and thrice bright sun!
You are warm and wonderful to everyone:
Why, lord, did you spread your hot rays
Are my warriors happy?
In a waterless field thirst twisted their bows,
Have they filled their quivers with grief?”

If she blames the wind for her sorrows, asking him over and over again: “Why?” - Yaroslavna’s attitude towards the Dnieper is diametrically opposite: she rewards great river praise, with affectionate speeches hoping to persuade the patron to contribute to the prince’s safe return home. Yaroslavna calls the Sun “ruler” and also begins with praise; her demanding questions to the primordial solar deity are no longer as accusing as those addressed to the cruel steppe winds. It is significant that it is the princess who turns to the sun in the last, third - magic number- once, because immediately after there follows a stanza filled with hope and light, as if the prince’s path is illuminated by the gods summoned and awakened by Yaroslavna to life:

“The sea burst at midnight,
Tornadoes are coming in clouds.
God shows Prince Igor the way
From the land of Polovtsian
To the Russian land,
To my father's golden table."

"The Ballad of Galadriel" is the opening song to the rock opera Finrod Zong, based on J. R. R. Tolkien's The Lay of Leithian. “This is a story about loyalty, duty, immortality and mortal love,” says the libretto. The plot is based on the love of a mortal man and an immortal elven princess and the noble death of the elven ruler, Finrod Felagund, who sacrificed his life to save the life of a man and fulfill his word. Galadriel is also an elven ruler and sister of Finrod.

There is a circular composition of the plot: in the opening song, Galadriel mourns her dead brother, conducting an imaginary dialogue with him, trying to understand what caused his death. Next, in the main part, comes detailed description events that led to such a sad ending. And at the end, in the final theme, Galadriel, who was not a participant in the main plot, again comes to the fore, summing up a kind of conclusion in the final composition of the rock opera. Thus, Galadriel acts as a connecting link, a character “from the outside,” a spectator who evaluates the entire story, bringing her own morality and orderliness into it.
The same role in “The Tale of Igor’s Campaign” is played by “Yaroslavna’s Lament”.

The entire ballad is built on only appeals on behalf of Galadriel, without any digressions. Galadriel turns not so much to the forces of nature, which is alien to Tolkien’s mythological Christianized system, but rather to abstract concepts such as memory, glory, loyalty, death, etc. And yet she begins her ballad with a question familiar to the Russian reader from the time of “Lament”:

"Tell me, heather, tell me,
Is your summer outfit green?
Is your blooming board light,
Under which my brother sleeps,
my beloved brother,
brother who has forgiven everything?”

In “Lamentation,” Yaroslavna, turning to the wind, mentions the steppe feather grass, while Galadriel directly asks a question to a possible silent witness to the death of Finrod—heather, herbs that have sacred meaning. In the language of flowers, heather (erika) means the loneliness that Galadriel sees before her, remembering her dead brother.
Another representative of the natural principle, close in significance to the Dnieper of Yaroslavna, is the shore:

“Tell me, shore, tell me,
How we renounced the Gifts,
How we lost our blood...
And under the bitterness of loss
my brother, my beloved brother, walked forward.”

Here Galadriel no longer asks a question as such, she talks aloud on topics described in detail by Tolkien: in order to understand what is said in this part of the ballad, you need to know the life story of Galadriel and Finrod and the elves in general. They left their native shore, a country without death or suffering, in order to return the luminous Stones stolen by the forces of evil, going to the lands of mortals many years ago, for which they were cursed and abandoned higher powers.

The “crying” genre is associated with a certain melody, just like folk lamentations. Artistic lament is not just poetry, it is already a song. Laments are always performed out loud, in a chant, this is their function and main purpose. In this, “The Ballad of Galadriel” also preserves the tradition, even if it is called without crying due to the lack of this genre in modern literature, moreover, the “Ballad”, intended for musical performance from the very beginning, is even more faithful to tradition than the “Lamentation”, probably also performed by “vitia” singers, as described in Boyan’s “Lay”.

In addition, laments usually retain the function of praising those to whom they are addressed: the images of Igor and Finrod are idealized, filled with universal human values, they act both as fair and wise rulers, and in a more everyday, family sense, as husbands and brothers.

Yet we see that Galadriel is a more modern, more decisive, strong-willed image than Princess Yaroslavna. Galadriel left her homeland with her brother, leading the people into unknown lands along with him; she rules equally with her husband, being not just a queen - a magical protector, patroness of life on the land under her control. Therefore, she asks for an answer rather not with resentment and a sad question, but with some kind of demand for an answer, realizing, however, that an answer will not be received.

Yaroslavna is the wife of Prince Igor, who went on a campaign against the Polovtsians. Having learned about her husband's captivity, she turns to nature in a pagan way, forgetting in despair Christian faith, accuses of cowardice not the sun and the wind, but the pagan patron gods, blaming them for abandoning her husband when he so needed their help - help not from abstract phenomena, but divine, protection from above. However, “Yaroslavna’s Lament” is devoid of passion, it is not a romance of a beloved, emphasizes philologist Sergei Averintsev, no matter how the researchers try to present it different eras, what makes “Lament” similar to “Ballad”: even though “Lament” shows a wife’s grief over her husband, and “Ballad” shows sisters over their brother, in this they are equal. The emotionality, uplift, and power of the works show that the heroine does not want to remain on the sidelines. The princess exclaims decisively:

“I’ll fly like a cuckoo along the Danube,
I will wet my silk sleeve in the Kayala River,
Morning to the prince his bloody wounds
On his mighty body."

And yet, Yaroslavna is powerless, as is directly stated in her cry; in her grief, she can only wish her husband good luck in the battle for his life, beg the gods, the Dnieper, and the Russian land for another chance for the defeated, broken prince. The reader can only guess what the princess’s participation was in preparing the campaign, whether she was against bloody war(considering that the author put his words into Yaroslavna’s mouth, this is quite possible, but it is unlikely that the young princess could influence her proud and warlike husband). The image of Yaroslavna contains traditional images of the Russian woman, the land, the image of the people, the image of the mother, sister and wife, all those abandoned, orphaned in the endless princely wars, all those who suffered from the tyranny of the feudal princes, and they were collected for good reason: the author sees that only together, With common efforts, we can unite and unite Rus', we can avoid the mistakes of the past, rushing forward.

Galadriel in “The Ballad” and in the rock opera in general is shown as a static figure, she does not participate in the action, she is not present either on the battlefield or at peaceful celebrations. And yet, thanks to the rhythm-setting opening theme - her “Ballad” - she is invisibly present in every scene where her brother is, she yearns with him for what was lost, she dies with him for his ideals and love. Among those present on stage during her performance, she was the only one who survived, but not for merit or bravery, but only because she involuntarily remained on the sidelines. And at the same time, Galadriel finds her way, turning to Finrod in the “Ballad”:

“Brother, I will still go forward.
We have no hope, but there, in the distance, the sunrise is burning.”

This path is seen by the grieving woman as the only correct one, since it leads her to her lost brother, as she speaks about in the last lines of the chorus:

“Look, my brother, look, my heart cannot find peace.
We have one soul - but how different our paths are!
But there, at the end of separation, in a land without grief and adversity,
A golden sunrise will light above the meeting of our hands.”

Focus on a bright future, edification for descendants are put into the mouth of Galadriel in the same way as Yaroslavna: “Lamentation” calls for eliminating the mistakes of the past based on the lessons of past years, sums up the wars and losses previously described by the author, and Galadriel in her final song blesses those , who will come after, the Age of Men, who replaced the Primordial Elves in Middle-earth, humbly accepting the extinction of their kind - for which Finrod died.

In “The Ballad” Galadriel gives an assessment of her brother’s personality, Yaroslavna in “Lamentation” expresses sadness for the unrecognized in Igor. “The Ballad of Galadriel” glorifies the past, “Yaroslavna’s Lament” wishes to make the future better.

As noted by I.S. Grachev, we find similar plots in the literature of different eras (this is Andromache in the ancient “Iliad” by Homer, Tatyana in “Eugene Onegin” by Pushkin, Katerina, Nekrasov’s women, “Yaroslavna” by Marina Tsvetaeva and many others), which allows us to be convinced of the relevance of images and their future prospects.

Literature:

1. Averintsev S., “ An ancient lesson humanity" [Electronic resource] / S. Averintsev. – URL:
2. Bocharova L., Private website of Laura Bocharova, “Finrod-Zong” [Electronic resource] / L. Bocharova – URL: http://www.treismorgess.ru/?p=175
3. Gracheva I.S. Russian literature lessons: Toolkit. - St. Petersburg: "Velen", 1994. - p. 197-229.

Lesson No. 7. Topic: Analysis of the episode in “The Tale of Igor’s Campaign” - “Yaroslavna’s Lament”.

Goals and objectives of the lesson:

Determine the role of Yaroslavna’s crying in the artistic whole of the work.

Developing episode analysis skills.

Fostering a culture of understanding a work of art.

During the classes.

I. Checking the house. tasks.

Oral essay “How the prince appears in the text of the poem...”.

II. Communicate the topic and purpose.

V. Analytical conversation.

Yaroslavna's lament opens the third part of the poem. As we see, not only the Motherland, but also close people suffer from the consequences of the campaign.

With whose fate does Yaroslavna compare her fate? (With the bitter fate of the cuckoo).

Why does Yaroslavna want to turn into a cuckoo?

Are you throwing them into Russian regiments?

Work with the illustration of the artist V. Favorsky “Yaroslavna’s Lament”.

Let's look at the illustration from the engraving by V. Favorsky.

How do you see Yaroslavna? (Yaroslavna stands in the center on a high city wall in the city of Putivl. She stretches out her arms over the fields, peasant huts, over the entire vast world).

Why is Yaroslavna crying at this particular time? (In the original, the time of action is indicated as follows: “early”. In the translations, images of morning, dawn, spring appear).

What is a visor? Why is Yaroslavna crying on her visor, on Yura? (The visor is the upper part of the city walls, on which one could walk. Yur is an open, crowded place. Yaroslavna’s grief is shared by all the people.).

Where is Putivl? Why is Yaroslavna crying there? (Yaroslavna could not expect a husband in Putivl: she was supposed to be in Novgorod-Seversky, the capital of the principality of Igor. The author of “The Tale of Igor’s Campaign” deliberately distorts reality for a specific artistic purpose. Putivl is a city on the border of the Novgorod-Seversky principality).

How are the Danube, Kayala and Putivl related geographically?

Does the Kayala River really exist? (In the chronicle there is no mention of the river on which Igor’s battle with the Polovtsians took place. One interpretation of the name of the river: from the verb “kayati” - “to regret, mourn.” River of Death).

Why is Yaroslavna's voice heard on the Danube? (The spread of Yaroslavna’s voice throughout Rus'. From Putivl, Yaroslavna’s voice through the Russian lands reaches the border river Danube. Personal grief (separation from her husband) takes on a general scale, significant for all of Rus').

Teacher. In “The Tale of Igor’s Campaign” an image of Rus' is created, which is at a crossroads, on the verge of destruction. A parallel can be drawn between the image of Yaroslavna and the image of Rus'.

Why is Igor's wife named by her patronymic and not by her first name? (The name of the heroine by patronymic. What other heroine of “The Tale of Igor’s Campaign” has a name? In the episode of the battle between the Russians and the Polovtsians, Vsevolod’s wife is named Glebovna. The preference for a generic name over an individual one is a pattern throughout the work).

Why is Yaroslavna's voice heard on the Danube? (The spread of Yaroslavna’s voice throughout Rus'. At what distance from each other are the Danube and Putivl? Translation by A. Maykov: Igor hears Yaroslavna’s voice (instead of pointing to the Danube). From Putivl, Yaroslavna’s voice through the Russian lands reaches the border river Danube. Personal grief (separation from her husband) acquires a general scale, significant for all of Rus').

Why doesn’t Yaroslavna mention Vsevolod, Igor’s brother, in her cry? (Yaroslavna’s lament is dedicated only to Igor, because he occupies a special hierarchical position - he is the Prince of Novgorod-Seversky. Family interests are relegated to the background when the problem concerns all of Rus').

Teacher. In Yaroslavna’s cry, the boundary between the personal and the general, the life of a person and the life of the clan, the life of the clan and the life of the people, is erased. But in some episodes the opposite situation is observed? Igor and Vsevolod did not wait for the other princes and went on a campaign alone in pursuit of personal glory.

Why is the episode called “Yaroslavna’s Lament”?

What is crying? How is this word understood in relation to this work?

Crying is when one cries or sheds tears for some reason. One of the meanings of the word “crying” is “ritual mournful song” (dictionary of Ozhegov and Shvedova). Lamentation in “The Tale of Igor’s Campaign” is a ceremonial (etiquette) form.

How many laments are there in “The Tale of Igor’s Campaign”?

Teacher. Cry of Russian wives after defeat. The Golden Word of Svyatoslav is the male version of crying. The crying of Rostislav’s mother, mentioned by Igor in a conversation with Donets (Rostislav is the young brother of Vladimir Monomakh).

Let's dwell on the crying of Rostislav's mother and compare it with Yaroslavna's crying. What is the difference? Rostislav's mother cries for the murdered man, and Yaroslavna for the captive. In the crying of Rostislav's mother, nature mourns for the deceased. In Yaroslavna’s cry, nature must help Igor. In “The Tale of Igor’s Campaign” only the text of Yaroslavna’s lament is given. Rostislav's mother takes a passive position: she mourns the death of her son. Yaroslavna is active: she is trying to help her husband.

Is Yaroslavna's request being fulfilled? How are the two episodes connected: Yaroslavna’s crying and Prince Igor’s escape from captivity? (The forces of nature, to which Yaroslavna turns, help Igor escape.)

Teacher. Seagulls and goldeneyes, sensitive to the approach of a person, warn Igor that the chase is approaching.

Woodpeckers show Igor the way to the river by knocking. Woodpeckers live in thickets of trees growing in the valleys of steppe rivers.

What is special about the word Yaroslavna? Elements of what verbal genre are present in Yaroslavna’s cry? (Yaroslavna’s cry is like a conspiracy, a spell, a prayer. Yaroslavna’s word affects reality, transforms it).

Teacher. An appeal to the forces of nature and an appeal to Russian princes. Both contain a call to activity, to action. The escape of Prince Igor is a prediction that the author’s word will also achieve its goal - the Russian princes will unite and save Rus'.

VI. Listening to lamentation performed by people. art. Russia A. Pokrovskaya (phonograph for the textbook).

VII. Reading lamentations by students.

VIII. Summing up the lesson.

Guys, name one discovery that you made for yourself during the lesson.

X. Homework: Learn Yaroslavna's cry by heart. Prepare for your essay. Illustration (optional).

Target: Developing the ability to write an essay-analysis of an episode.

Tasks:

Provide understanding of the meaning of the episode

To teach to see lexical and syntactic means of expression in the text and determine their role in the text

Learn to make a complex plan

Learn to determine the role of an episode in the structure of a work

Planned educational results:

Students learn about the role this episode in a word"

Improve their ability to see the means of expressive language and determine their role in the text

Expand your vocabulary

Learn to write an essay analyzing an episode

Progress:

Call stage. “True-false statement” technique.

Students work individually with the table, then voice the results.

Analysis of responses.

What passage will the lesson be about?

What do you think is the purpose of returning to this episode again?

Announcing the topic of the lesson.

2. Content stage.

1) Technique “Bloom’s Chamomile”.

Students carefully read the episode and make up questions for it:

Clarifying:

Don't you think...

Did I understand correctly…

Interpretive:

Why?

Explain...

Estimated:

What do you think about it?

What do you think…

Creative:

What would happen if...

How would it change...

Practical:

How can you use…

How will I use...

Students ask each other questions and answer.

2) Work with means of expression in groups.

Group 1 – syntactic means of expressiveness.

Card task.

1) What are stanzas 2, 4, 6, 8 from the point of view of syntax? (direct speech)

2) From the point of view of syntax, what are the words Wind, my glorious Dnieper, and the thrice-bright Sun? What role do these means of language play in this episode? (appeal)

3) What sentences regarding the purpose of the statement and emotional coloring does the author use in the episode? What does this mean?

4) Find syntactic repetitions. For what purpose were they introduced?

Group 2 – lexical means of expression.

Card task.

Include examples of tropes from the episode in the table and indicate their role, choosing it correctly from the clues.

Hints: Gives imagery to the text; indicates the importance of inanimate phenomena; indicates unity with folk art, and therefore with the people.

3) Working with text. Fill in the blanks with words and expressions that suit their meaning:

Captivating image Yaroslavna is a symbol of ____________________. She is sad, ________________, _____________________, asks, _________________, mourns for all Russian soldiers. _______________ voice overcomes ______________, reaches __________________.

In terms of depth of feelings and sincerity, Yaroslavna’s monologue is close to the ______________ song.

4) Problematic issue.

Why is Yaroslavna's cry located in part 3? What does this mean?

(Approximate answer: A woman is a rear, support, support, often invisible, but effective. It is after Yaroslavna’s crying that we see Prince Igor escaping from captivity.)

5) Drawing up a complex plan.

1) A prepared student recalls the structure of a complex plan.

2) Drawing up a plan.

Rough plan.

1.Introduction. Episodes of "The Words..."

Yaroslavna is the heroine of part 3 of “The Word...”

A) 4 parts of the episode.

B) Yaroslavna’s feelings.

C) Proximity to folk song.

D) Place in the composition of this episode.

Conclusion. The importance of the episode “Yaroslavna’s Lament” in “The Tale of Igor’s Campaign.”

3. Reflection stage.

Reception "Interview of a participant in the events." What would you ask the author of “The Tale of Igor’s Campaign”?

Homework: write an essay analyzing the episode using lesson materials.