Christian motives of literary fairy tales by A.S. Pushkin

Bibliographic description:

Nesterov A.K. Christian motives and images in the novel Crime and Punishment [Electronic resource] // Educational encyclopedia site

Features of representation of Christian motives in the novel "Crime and Punishment".

To judge who Raskolnikov is, one can only learn the language the author speaks.

To do this, you must always remember that we have before us the work of a man who, during the four years spent in hard labor, read only the Gospel - the only book allowed there.

His further thoughts develop at this depth.

Therefore, "Crime and Punishment" cannot be considered a psychological work, and Dostoevsky himself once said: "They call me a psychologist, but I am only a realist in higher sense". With this phrase, he emphasized that psychology in his novels is an outer layer, a rough form, and the content and meaning are contained in spiritual values, in a higher sphere.

The foundation of the novel stands on a powerful gospel layer, almost every scene carries something symbolic, some kind of comparison, some kind of interpretation of various Christian parables and legends. Every little thing has its own meaning, the author's speech is thoroughly saturated with specific words that point to the religious overtones of the novel. The names and surnames chosen by Dostoevsky for the heroes of his novels are always significant, but in Crime and Punishment they are an important key to understanding the main idea. In a workbook, Dostoevsky defined the idea of ​​the novel as follows: “There is no happiness in comfort, happiness is bought by suffering. A person is not born for happiness. A person deserves his happiness, and always by suffering. In his image (Raskolnikov) the idea of ​​exorbitant pride, arrogance and contempt is expressed to this society (in no case of individualism). His idea is to take this society into power." The author does not focus on whether the main character is a criminal or not - this is already clear. The main thing in the novel is suffering for the sake of happiness, and this is the very essence of Christianity.

Raskolnikov is a criminal who violated the law of God, who challenged the Father. Therefore, Dostoevsky gave him just such a surname. She points to schismatics who did not obey the decision of church councils and deviated from the path of the Orthodox Church, that is, they opposed their opinion and their will to the opinion of the church. It reflects the split in the soul of the hero who rebelled against society and God, but who does not find the strength to reject the values ​​associated with them. In the draft version of the novel, Raskolnikov says this about this Dunya: “Well, if you get to such a point that you stop in front of her, you will be unhappy, but if you step over, then maybe you will be even more unhappy. There is such a line.”

But with such a surname, his name is very strange: Rodion Romanovich. Rodion is pink, Roman is strong. In this regard, we can recall the naming of Christ from the prayer to the Trinity: "Holy God, Holy Mighty, Holy Immortal, have mercy on us." Rodion Romanovich - Pink Strong. Pink - germ, bud. So, Rodion Romanovich is the bud of Christ. Rodion in the novel is constantly compared with Christ: the pawnbroker calls him "father", which does not correspond to either the age or the position of Raskolnikov, but this is how they refer to the clergyman, who is for the believer a visible image of Christ; Dunya loves him "infinitely, more than herself," and this is one of Christ's commandments: "Love your God more than yourself." And if you remember how the novel ended, it becomes clear that everyone, from the author to the peasant in the scene of repentance, knows about the crime committed. They call on the "bud of Christ" to blossom, to take precedence over the rest of the hero's being, who has renounced God. The latter can be concluded from the words of Rodion: "Damn it!"; "Damn it all!"; "... to hell with her and with a new life!" - it looks no longer just like a curse, but like a formula for renunciation in favor of the devil.

But Raskolnikov "finally stopped on the ax" not as a result of the reasons printed on paper: not the theory of "extraordinary" people, not the misfortunes and sorrows of the Marmeladovs and the girl he met by chance, and not even the lack of money pushed him to the crime. The real reason hidden between the lines, and it lies in the spiritual split of the hero. Dostoevsky described it in Rodion's "terrible dream", but the dream is difficult to understand without a small but very weighty detail. First, let's turn to the father of the hero. In the novel, he is called only "father", but in his mother's letter, Afanasy Ivanovich Vakhrushin, who was a friend of his father, is mentioned. Athanasius is immortal, John is the grace of God. This means that Raskolnikov's mother receives the money he needs from the "immortal grace of God." The Father appears before us as God, which is supported by his name: Roman. And faith in God is strong in Rus'. Now let's return to the dream in which the hero loses his faith and gains confidence in the need to change the world himself. Seeing the sin of people, he rushes to his father for help, but, realizing that he cannot or does not want to do anything, he himself rushes to help the "horse". This is the moment at which faith in the power of the father is lost, in his ability to arrange so that there is no suffering. This is the moment of loss of trust in God. Father - God "died" in Raskolnikov's heart, but he constantly remembers him. "Death", the absence of God, allows a person to punish someone else's sin, and not to sympathize with him, allow him to rise above the laws of conscience and the laws of God. Such a "rebellion" separates a person from people, allows him to walk like a "pale angel", deprives him of consciousness of his own sinfulness. Raskolnikov compiled his theory long before sleep, but he hesitated to test it in his own practice, since faith in God still lived in him, but after sleep it was gone. Raskolnikov immediately becomes extremely superstitious, superstition and faith are incompatible things.

Dostoevsky on the first pages of the novel contrasts this dream with a scene with a drunk being transported in a cart, and since this happens in reality, this episode is the truth, and not a dream. In a dream, everything is different from reality, except for the size of the cart, which means that only this is perceived by Raskolnikov adequately. Rodion rushed to defend the poor horse because she was given an unbearable cart and forced to carry it. But in fact, the horse copes with its load. Here lies the idea that Raskolnikov is challenging God on the basis of non-existent injustices, for "everyone is given a burden according to their strength and no one is given more than he can bear. A horse in a dream is an analogue of Katerina Ivanovna, who herself invented unreal troubles that are difficult, but bearable, because, having reached the edge, there is always a defender: Sonya, Raskolnikov, Svidrigailov... It turns out that our hero is a lost soul who has lost faith in God and rebelled against him due to a misperception of the world.

And this lost soul, every person, starting with the pawnbroker, to return to the true path. Alena Ivanovna, calling him "father", reminds Raskolnikov that he, being Christ, should not challenge God. Then Rodion meets Marmeladov.

A sharp opposition of surnames immediately catches the eye: on the one hand - something "splitting", on the other - a viscous mass blinding the "split" existence of Rodion. But the meaning of Marmeladov is not limited to the surname. The meeting of the characters begins with the words: “There are other meetings, even with people completely unfamiliar to us, in whom we begin to be interested at first sight ...” - the scene of the Meeting is displayed here, when the prophet Simeon recognizes Christ and prophesies about him. In addition, the name of Marmeladov is Semyon Zakharovich, which means "he who hears God, the memory of God." In the confession-prophecy, Marmeladov seems to say: "Look, we have bigger troubles than you, but we are not going to cut and rob people." Taking Marmeladov home, Raskolnikov leaves on the windowsill "how much copper money he had." Then, thinking, "I wanted to return", "but, judging that it was already impossible to take ... I went to the apartment." Here the dual nature of the hero is clearly manifested: impulsively, at the first impulse of his heart, he acts in a divine way, after thinking and judging, he acts cynically and selfishly. He experiences real satisfaction from an act by acting impulsively.

Deciding to kill, Raskolnikov became a criminal, but he "killed himself, not the old woman." He “lowered the ax on the head with a butt” to the old woman, while the blade was directed at him. He killed his sister with a blade, but here is Lizaveta's gesture: "outstretched hand", as if releasing him of his sin against her. Raskolnikov did not kill anyone but himself, which means he is not a murderer. After the crime, he must choose either Sonya or Svidrigailov. They are the two paths offered to the hero.

Marmeladov showed the right choice to Rodion, talking about his daughter. In Dostoevsky's drafts there is this entry: "Svidrigailov is despair, the most cynical. Sonya is hope, the most unrealizable." Svidrigailov is trying to "save" Raskolnikov, offering him to act as if he were acting himself. But only Sonya can bring true salvation. Her name means "wisdom that listens to God." This name absolutely corresponds to her behavior with Raskolnikov: she listened to him and gave him the wisest advice so that he would repent, and not just turn himself in. When describing her room, Dostoevsky compares it to a barn. The barn is the same barn where the baby Christ was born. In Raskolnikov, in Sonya's room, the "bud of Christ" began to open, he began to be reborn. It is difficult for him to communicate with Sonya: she tries to show him the right path, but he cannot stand her words, because he cannot believe her due to a lack of faith in God. Giving Rodion an example of strong faith, she makes him suffer, suffer for the sake of happiness. Sonya thereby saves him, gives him hope for happiness, which Svidrigailov would never have given him. Here lies another important idea of ​​the novel: man is saved by man and cannot be saved in any other way. Raskolnikov saved the girl from a new abuse, Sonya - him from despair, loneliness and final collapse, he - Sonya from sin and shame, his sister - Razumikhina, Razumikhin - his sister. He who does not find a person dies - Svidrigailov.

Porfiry, which means "crimson", also played a role. The name in the highest degree is not accidental for a person who will torture Raskolnikov "And having undressed Him, they put on Him a purple robe; and weaving a crown of thorns, they put it on His head ..." this is associated with the scene when Porfiry tried to knock out a confession from Raskolnikov: Rodion blushes while talking, his head starts to hurt. And also Dostoevsky repeatedly uses the verb "cluck" in relation to Porfiry. This word is very strange when used for an investigator, but this verb indicates that Porfiry rushes with Raskolnikov like a chicken with an egg. The egg is an ancient symbol of resurrection to a new life, which the investigator prophesies to the hero. He also compares the criminal to the sun: "Become the sun, and you will be seen..." The sun personifies Christ.

The people constantly laugh at Raskolnikov, and ridicule is the only possible "forgiveness", the inclusion back into the people's body of a particle that escaped from it and impiously ascended above it, imagining itself to be something supernatural. But the laughter of forgiveness seems to the hero a desecration of his idea and makes him suffer.

But suffering is "fertilizer", having received which the "bud of Christ" will be able to open. The flower will finally bloom in the epilogue, but already in the scene of repentance, when Raskolnikov "knelt down in the middle of the square, bowed to the ground and kissed this dirty earth with pleasure and happiness," laughter does not irritate him, it helps him.

“For nine months now, Rodion Raskolnikov, a convict of the second category, has been imprisoned in prison.” That is how much time is needed for the development of the fetus in the womb. In prison, Raskolnikov suffers for nine months, that is, he is reborn. "Suddenly Sonya appeared next to him. She approached him barely audibly and sat down next to him." Here Sonya plays the role of the Mother of God, and Rodion himself appears as Jesus. This is a description of the icon of the Mother of God "The guarantor of sinners." The sudden surge of feelings in Raskolnikov, following these words, is the moment of resurrection, the moment of "birth from the Spirit." The Gospel of John says, "Jesus answered and said unto him, Truly, truly, I say to you..."

After the expiration of the term, Raskolnikov will find his happiness, for he will finally suffer it. Having rebelled against God, he committed a crime, after which he began to suffer, and then repented, therefore, he is both a sufferer and a repentant criminal at the same time.

Title page

I . Intro: "Let there be light"

By its nature, Russian literature has no analogues, just as the Russian soul, mysterious for the whole world and for ourselves, has no analogues. A Russian person constantly reflects, looking for some kind of subtext in everyday phenomena that justifies these phenomena. so list literary parallels in Russian literature one can go on almost ad infinitum. Every occasion in life, a Russian person has a habit of seeing from a special angle of view, which, by the way, can change with this angle with age.

Unlike foreign literature, in the works of Russian authors, one way or another, religious, biblical, and at the same time mythological motifs can be traced.

Why is this happening? Yes, simply because initially the writer in his work, through events in the material world, seeks to make us start thinking about our spiritual world.

Ever since the adoption of Christianity by Byzantium, our life has been subconsciously saturated with Christian culture, from where it got into secular literature. Thus, even in the most un-Christian works at first glance, this aspiration can be found. (1)

Christian motives have always been characteristic of Russian literature: A.S. Pushkin - “And the tired traveler grumbled at God ...”, “Prophet”, “Demon”; M.Yu. Lermontov - "Prayer", "Prophet", "Three palm trees"; F.M. Dostoevsky - "Crime and Punishment"; L.N. Tolstoy - "Resurrection" and many others.

The Christian traditions of Russian literature have found their worthy continuation in the work of I.S. Turgenev. So, reading the novel "Fathers and Sons", inremember the parable prodigal son: Bazarov's departure from his parents and return home.

Nikolai Petrovich Kirsanov does not understand how a person can forget God.

In the novel "Rudin" I.S. Turgenev presented his own interpretation of the plot about Ahasuerus. For the time being, the religious and philosophical content of the novel, hidden in the subtext, bursts to the surface in the finale, revealing itself in the Christian concept of the world and man: "We all walk under God."The motif of homelessness and wanderings, not as a “wanderlust”, but precisely as a punishment for sin, which goes back to Ahasuerus and is rooted in the more ancient biblical image of Cain, is one of the leading ones in the motive complex that forms the image of Rudin.

The object of my research work is the poetic works of the great writer. This study is especially fascinating for me, because I.S. Turgenev was skeptical: “I feel a positive, almost physical, antipathy towards my

1.I.P. Karpov. The person who creates. Orthodox traditions in Russian literatureXIX century, p. 8.

poems - I not only do not have a single copy of my poems - but I would give it dearly so that they do not exist in the world at all. (1)

Meanwhile, Turgenev's poetry is interesting in many respects.

The purpose of my research work is to find and interpret Christian motifs in relatively small and little-known works by I.S. Turgenev, as well as comparing them with the original source - to check whether these motives are an adapted translation of the Holy Scripture for modern reader of that time, whether or not the author distorts the meaning of the motif relative to the original source.

I consider the topic of the work relevant, because in modern society more and more attention is paid to Orthodoxy, its role in the education of a person, which coincides with the tasks of literature; in addition, the topic of the study did not find due attention from literary critics.

I used the following methods in my work:

- theoretical scientific method;

- methodscontent - analysis, quantitative analysis of texts for the purpose of subsequent meaningful interpretation, cHolistic analysisworks of art,problematic analysis.

Complete collection of works and letters in 28 volumes. Letters in 13 volumes, vol. 10, M.-L., 1965, p. 256 (letter to S. A. Vengerov dated June 19, 1874).

Chapter I

Poetic text

The presence of poetic works in the work of I.S. Turgenev for the uninitiated reader is nonsense. However, as mentioned earlier (Introduction), they took place in the work of the great writer. For research work, I initially chose little-known works of small volume with headings of Christian or mythological themes.

An example of a poetic work, the analysis of which I made, was the poem "Confession".

Analyzing any text, we first of all pay attention to the title, since it contains the main problem of the work. So, what is the meaning of the word "confession"? Confession - (in Orthodoxy and Catholicism) - the sacrament of repentance, which consists in the recognition of a committed sin and is an integral part of the life of a Christian. To make a confession, repentance and the intention not to sin in the future are necessary. (1.)

At first glance, the poem by I.S. Turgenev's "Confession" is a rebellion aimed at modern writer society.

In the first seventh, the writer introduces us to the atmosphere of indifference that prevailed in society in the 1840s. It is worth noting that here he does not deduce himself from the concept of "we", thereby including himself as a complicity in the general indifference and silence.

In the lines “Among the cold twilight / Rays of life-giving science / Flicker reluctantly ...” there is a reference to the work of M.V. Lomonosov “Ode on the day of accession to the All-Russian throne of Her Majesty Empress Elisaveta Petrovna in 1747”: 1747 - the year of approval of the new charter of the Academy sciences, society personifies the empress with enlightenment itself. When in the time of Turgenev for a tough internal politics Nicholas the First, the ruler himself seemed to be a relic of the past, hindering the development of the state.

The mechanism of confession is drawn in the third and fourth seven lines. A person who comes to confession comes face to face with a "stranger". IN this case understranger , in the meaning of "false, uninvolved", refers to the confessing priest. If we follow the logic of the writer, then we will get the following alignment: preparing for confession, a person goes through all his unrighteous deeds in his mind, composes in front of him a kind of “composition”, memorized; after which he hands it over to the priest, for whom this process, in principle, is a repetitive, habitual, and quite natural phenomenon. Here it is worth remembering the very essence of man: the phenomena often encountered in life cease to amaze, become self-evident.

He will not be captivated by our heat -

He will not be touched by our sadness ...

What he got as a gift

We repeat briskly by heart.

1. The material is taken from Wikipedia - the free encyclopedia

Also in the poem "Confession" the theme of distrust and alienation, loss of trust between people is touched upon. The topic of divulging the secret of confession is especially touched upon - the priest, under pain of death, swears to remain a “translator” of the thoughts of the confessor to God and nothing more. However, in this fragment, the disclosure of a confession is considered as an unpleasant, but habitual thing:

Like animals, we are alien to each other ...

So what? some weirdo

Starts business - look! needlessly

Already blabbed like a fool.

spoke eloquently

All the secrets of your heart...

And rest proudly

Doing absolutely nothing.

It is worth adding to this the fact that the confession that has taken place has practically no effect on the subsequent material life a person (this idea is repeated in the work of L.N. Tolstoy "Childhood").

In the poem, it is easy to notice the irony that continues throughout the entire work, but is especially pronounced in the fifth seven-line: “My God!”, “Fate!!”, “So!! We do not regret reproaches!!”. The penultimate column is generally a pre-climax in terms of tempo and semantic load: the speed of the rhythm is at its peak, the writer often uses rhetorical exclamations, and the tautology “laughing with laughter” makes us pay attention to the dependent word of the phrase “laughing a slave”. A slave is a forced person who is directly exploited by another person and who considers it impossible to change this situation. “The laughter of a slave” is his cry of the soul, an unfortunate cry of despair.

The expression "undeserved life" in relation to the Bible is already incorrect: life cannot be deserved, it is given by God. According to Turgenev, “undeserved life” is a sinful, unjust life that has become “undeserved” in the process of life itself.

In the culminating part (the last column), the author's idea gets the highest point of development (to enhance the effect of teaching and censure, a direct appeal to the public is used - "no matter how you rebel"). No matter how the motive of protest, rebellion against reality, manifested itself in the previous seven lines, in the last column the writer comes to the form of an Orthodox confession - to humility:

No matter how you rebel against Rock -

His law is inviolable...

Turgenev in the final lines that fall under lexical stress:

Will not change the people of the East

Their nomadic tents.

raises the question of the static development of Russian society, its patriarchy, fear of change, at the same time attributing Russia to the peoples of the East.

Summing up, I consider it necessary to note some differences in the conceptconfessions regarding the Holy Scriptures and regarding the understanding of I.S. Turgenev (they are presented in the table below). In this case, the author somewhat distorts the concept of the original source (in the Bible, confession is a conversation between a person and God, and according to Turgenev, confession is an expression of one's personal experiences in general). The writer simultaneously compares the situation in modern world with the fact that the "model" and, not finding similar features, literally castigates society for its slow humility and unconditional submission to Fate, that is, blind inaction.

Comparison table

Confession according to Turgenev

Differences

- sacrament

The Sacrament, according to the teachings of the Christian Church, is a sacred ceremony in which the grace of God is communicated to believers in an invisible way by a visible sign (water, bread and wine, murine). (2.)

- public domain ("us", "our", "we")

Turgenev transforms the intimate procedure of confession into a public speech, in which he ridicules the vices of his contemporary generation.

- repentance for sin

*Repentance, in Christianity, an expression of repentance for committed sins, allowing the sinner to hope for forgiveness, granted to him in the act of remission of sins. (3.)

- confession of sins

(“silence is not painful for us”, “we are indifferent”, “we are strangers to each other”, “and under love - and under suffering, fake a master”)

The writer in the poem introduces the phrase “practical malice”, which in the expression “practical malice is ridiculous” is perceived as “grounded malice”.

* Malice - this concept does not denote a certain human property or quality, they rather express an internal, hostile to God position, manifested in all areas of life. (4.)

Thus, Turgenev calls his generation incapable of not only truly righteous, but also truly sinful deeds.

- graves are equated with the memory of ancestors to be honored, to be treated with respect.

- graves are made up with people (“We are indifferent, like graves; / We, like graves, are cold…”)

In both casesgraves a metaphorical meaning is attached, but the great writer finds this meaning for himself in the associative series "graves - people"

- fate = obedience

* Submission - complete submission, obedience, obedience. (5.)

- destiny = slavery

* Slavery is an open form of exploitation of man by man (6.)

Comparing the concepts of "fate" in Christianity and in the worldview of I.S. Turgenev, one can come to the conclusion that fate in a person's life is an overwhelming factor.

2 - Small encyclopedic Dictionary F. Brockhaus and I.A. Efron

3 - Encyclopedia Around the World

4 - "Bible Encyclopedia", F.A. brockhaus

5 - Explanatory Dictionary, edited by D.N. Ushakov

6 –

Chapter II

prose text

About poems in prose by I.S. Almost every schoolchild, starting from the seventh grade, remembers Turgenev at least something. In the school curriculum, the authors - compilers of textbooks most often include the poems "Russian Language", "Sparrow" and "How good, how fresh the roses were ...", intended for reading such by schoolchildren by heart, on which acquaintance with poems in prose often ends altogether.

In the second chapter of his research work, an example of a small-sized prose text by the author of "Fathers and Sons" with - as in the First chapter - the heading of a Christian or mythological theme - a prose poem "The Beggar" will be considered. (1.)

The question of rich and poor is quite common in Scripture. But nevertheless, the Bible has its own position on this matter: “Two things I ask of You, do not refuse me before I die: remove vanity and falsehood from me, do not give me poverty and riches, feed me with daily bread, so that, being satiated I did not deny you and say, "Who is the Lord?" and so that, having become impoverished, he would not steal and use the name of my God in vain. (2.)

Perhaps it is worth citing a couple of facts from the history of literature. The poem "The Beggar", written in 1878, is included in the cycle "Poems in Prose", published in 1882 in the Twelfth issue of Vestnik Evropy. The author's friend Stasyulevich was more concerned about the publication of "Senior Thoughts", as I.S. Turgenev called his works (according to some sources, it was he who came up with the final name of the cycle).

The atmosphere that prevailed in the 70s of the 19th century can rightly be called a reaction to the state reform on the abolition of serfdom (despite the fact that the great writer spent almost all this time abroad, his works addressed precisely the Motherland, its experiences ).

In Turgenev's "Beggar" there is no visible confrontation between wealth and poverty - the moral aspect is more consecrated, but just as there is no North Pole without the South, it is also impossible to talk about poverty without wealth.

The image of the lyrical hero in the work shows a person typical of modern Turgenev society (faith played a huge role in the upbringing of that generation, and as a result, following the instructions of the Bible), if we add here the narration in the first person (“I”, “me” , "mine") and its similarity with notes in personal diaries, then we can come to the following conclusion: lyrical mountain - the lyrical "I" of the author, his poetic double; the use of a "double" is a way of revealing the author's consciousness.

In the description of the beggar in the introductory part of the narrative, one feels the narrator’s slightly dismissive attitude towards him: “a decrepit old man”, “an unfortunate creature”, “he mumbled for help” - you need to pay attention to the fact that

1. Proverbs 30:7-9, Proverbs of Solomon

2. Beggar - very poor, poor, living on alms (Dictionary of the Russian language, S.I. Ozhegov)

throughout the rest of the story, the narrator will never name a beggarhuman (!), and the very situation that arose between the characters was provoked by the poor man, stopping this passerby. It is still not entirely clear to me: the lyrical hero would pass by or stop for alms (3.).

The beggar is deprived of material goods, and the hero, who did not take with him "neither a wallet, nor a watch, nor even a handkerchief," had no choice but to "give" him a particle of warmth that was with him: "Lost, embarrassed, I shook hard this dirty, trembling hand ... ʺDo not seek, brother; I have nothing, brotherʺ̏. "Brother" is the key word in this passage, because according to the Bible all people are brothers.

Conclusion

Concerning the work of I.S. Turgenev, it is worth paying particularly close attention to the fact that if we arrange the author’s works by the date of their creation and compare the complexity of the compositions, then we will get a vicious circle (in the 40s, the first poems of the writer were published: “The Crowd”, “Confession”, "When I Pray", and in the 70s - early 80s - poems in prose: "The Curse", "Prayer", "The Beggar", "Christ").

Traditionally, the writer's work "goes on the rise": from small works (poem, fairy tale, essay, story) to medium (story, novel), sometimes large ( epic novel). Turgenev's work made a circle - from poetic lines to medium-sized works, and from them already to poetic prose.

Some literary scholars associate the genre of Turgenev's prose poem with Arabic, Oriental and ancient poetry or biblical traditions.

Speaking about Christian motives in Russian literature in general, it is important to remember that in almost any work written after the Adoption of Christianity, one can catch a kind of connection with the "Holy Scripture". In the work of I.S. Turgenev

Bibliography

PLAN

1. The history of the emergence of Christianity 3

2. Structure of Christian doctrine 5

3. The main features of Christian culture 8

4. Significance of Christianity for the development of European culture 11

Literature 12

1. The history of the emergence of Christianity

Belief in an almighty God originates in Judaism, the religion of the ancient Jews. This belief expresses the tragic history of the people, described in the Old Testament, a collection of books sacred to both Judaism and Christianity. The Old Testament history is full of wanderings and hopes, the bitterness of the Babylonian and Egyptian captivity 1 And of course, such a history gave rise to a religion that is fundamentally different from the Hellenic one. The gods of Hellas expressed the trust of the Hellenes in the established order of the universe, their hope for a decent life in one of the niches of the divine cosmos. But for the ancient Jews, the present cosmos was a world of exile and captivity. The gods, who personified the forces of this cosmos, were subject to its fate, which for the Jews was ill-fated. People needed hope, and only God, who himself was the creator of the world and the ruler of cosmic destiny, could give it. This is how the original version of Judaism, the most ancient monotheistic religion, was formed.

The God of the ancient Jews, the God of the Old Testament, was a type of the Christian God. Strictly speaking, for Christianity it is one and the same God, only his relationship with man changes. So the Old Testament faith is seen as a preparation for the New Testament, that is, a new union of man with God. And indeed, despite the significant differences in the ideas of the Old and New Testaments, it is among the Old Testament sages that the spiritual inquiries that Christianity was able to answer for the first time appear. But first, let's look at the differences.

If the God of the Old Testament is addressed to the whole people as a whole, then the God of the New Testament is addressed to each individual. The Old Testament God pays great attention to the implementation of a complex religious law and the rules of everyday life, numerous rituals that accompany each event. The God of the New Testament is addressed primarily to the inner life and inner faith of each person.

However, already in the Old Testament we see a person's thirst for a genuine meeting with God and the desire to spiritually free himself from submission to the outer side of life. These motives are primarily expressed in the book of Job and the book of Ecclesiastes (Men A. History of religion. In the 1st vol. M., 1993. Vol. VI, ch. 11-13). This striving for the spiritual overcoming of the external side of being is especially manifested at the turn of our era, for the people again fall under the rule of foreigners, who this time were the Romans. In Old Testament history, God fulfilled his promise, gave the people a place to independent living. Now it only remained to wait for the Savior, who, according to the beliefs of the ancient Jews, was to save the whole people and become the head of the kingdom. But the Savior (in Greek - Christ) did not come, and it only remained to think: maybe the expected salvation will not have a national-state, but a spiritual character? This is exactly what Jesus preached.

2. Structure of Christian doctrine

Man was created by God in the “image and likeness of God”. i.e., is a person with freedom and creativity. The freedom of the individual is connected with the fact that it embodies the supermundane spirit, which originates from the Divine Spirit. Original sin Adam and Eve violated the godlikeness of man and alienated him from God, but the image of God remained intact in man. All further history is considered by Christianity as the history of the reunion of man with God.

The Old Testament expresses the external connection between man and God, carried out through the law (the law regulates external relations, the external being of a person). Christianity proper begins with Jesus giving the New Testament and restoring man's inner connection with God 2 .

The highest religious goal of Christianity is salvation. The specificity of the Christian understanding of salvation is expressed in the dogmas of the trinity and the Incarnation. God eternally has three equal persons (persons) - Father, Son, Holy Spirit - united by a single divine essence (“nature”) and having a single will. At the same time, Christian theology requires "not to confuse persons and not to separate essences." The Savior (Christ) is one of the persons of the one God (God the Son). God the Son incarnates in human nature (“incarnates”) and becomes Jesus of Nazareth in order to atone for original sin and create conditions for the restoration of human likeness to God. “God became man so that man could become God,” said the Fathers of the Church (though man is called to become not God “by nature,” but “God by grace”). Salvation requires spiritual efforts from a person, and, above all, faith, but it is impossible to be saved on your own, this requires an appeal to Jesus Christ and the effective intervention of the Savior himself. The Path of Salvation is the path of becoming like Jesus: spiritual merging with the person of Christ and (with His help) purification and transformation of one's (sinful) nature, which leads a person to the final deliverance from the power of sin and death. However (due to the consequences of original sin), a person cannot escape bodily death. However, the soul of a person and his personality (spiritual "I") are immortal.

The path to salvation and eternal life in unity with God for man lies through physical death; this path is paved by the death on the cross and the bodily resurrection of Jesus Christ. Salvation is possible only in the bosom of the Church, which is the "body of Christ": it unites believers into one mystical body with the "deified", sinless human nature of Christ. The theologians compared the unity of the Church with the unity of loving spouses, merging with love into one flesh, having the same desires and will, but preserving themselves as free individuals. Christ is the head of this one, but many-sided church body, just as the husband is the head of the marriage union (hence the self-name of the nuns: “brides of Christ”).

Christian morality proceeds from the inherent value of the individual (the individual is the "image of God" in man) and the inseparable connection between goodness, truth and freedom. “... You will know the truth and the truth will make you free”, “Everyone who commits sin is a slave of sin,” Jesus said. At the same time, goodness and truth are expressed not in impersonal formal rules, but in the very person of Jesus Christ; hence the fundamental non-formalizability of Christian morality, which in its very essence is the morality of freedom. Expressing the freedom of man, the truly Christian faith rests not on fear and external debt, but on love directed towards Christ and towards each person as the bearer of the image of God: “And now these three remain: faith, hope, love; but the love of them is greater.”

Good is created by a person on the paths of applying free will in the name of personality and love: “He who does not love, he did not know God, because God is love.” A different application of free will turns into its self-denial and spiritual degradation of a person. Thus, human freedom contains not only the possibility of good, but also the risk of evil. Evil is a false use of freedom; the truth of freedom is goodness. Therefore, evil does not have an independent essence and is reduced only to the negation of good: all supposedly independent definitions of evil turn out to be only definitions of good, taken with the opposite sign.

Evil was born as a wrong decision of a free spirit, but through the initial fall it took root in human nature, “infected” it. Hence the specificity of Christian asceticism: it struggles not with human nature itself, but with the sinful principle living in it. In itself, human nature is god-like and worthy of spiritualization and immortality (in this Christianity differs from Platonism, Gnosticism and Manichaeism). A bodily resurrection awaits man; after the Last Judgment, the righteous are destined for bodily immortality in new, transfigured bodies. Since it is difficult for a person to cope with the sinful desires rooted in his nature, he must humble pride and hand over his will to God; in such a voluntary renunciation of self-will, true, and not imaginary, freedom is acquired.

In Christianity, moral norms are addressed not to external affairs (as it was in paganism) and not to external manifestations of faith (as in the Old Testament), but to internal motivation, to the “inner man”. The highest moral authority is not duty, shame and honor, but conscience. Duty expresses the external relationship between man and God, man and society; shame and honor express the external expediency of nature and society. Conscience is the voice of a free spirit that makes a person independent of nature and society and subordinates it only to its own higher truth. We can say that the Christian God is the highest truth of human conscience, personified and deified as the grace-filled meaning of all being: “... The law was given through Moses, but grace and truth came through Jesus Christ”; "God is a spirit, and those who worship Him must worship in spirit and in truth." Therefore, a person must partake of spiritual truth, as if reborn from it: “What is born of the flesh is flesh, and what is born of the Spirit is spirit. ...You must be born again.”

Belief in the immortality of the soul and in the Last Judgment plays a huge role in Christian religiosity. Elevating man as a free and god-like transcendental being, Christianity cannot free man from the need to live and die in a world where there is no just recompense for good and evil. Belief in the immortality of the soul and retribution beyond the grave is called upon to give a person not only knowledge, but also a direct feeling of the absolute power of the moral norms of Christianity.

The most important component of Christianity is eschatology - the doctrine of the end of the world, the second coming of Christ, the bodily resurrection of the dead and the Last Judgment, after which the kingdom of the righteous should be established on the new earth under the new sky.

Over the course of two millennia, various trends arose in Christianity. Three of them are the most famous: Catholicism, Orthodoxy, Protestantism. Along with the names (and also within them, there are many smaller churches, sects and cults.

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MAOU "Molchanovskaya secondary school No. 1"

Research

"Christian Plots and Images in Russian Literature"

Kritskaya L.I.

Eremina I.V. - teacher of the Russian language and literature, Moscow School of Education No. 1

Molchanovo - 2014

Christian plots and images in Russian literature

Introduction

Our entire culture is built on the basis of folklore, antiquity and the Bible.

The Bible is an outstanding monument. The book of books created by the nations.

The Bible is a source of stories and images for art. Biblical motifs run through all our literature. The main thing, according to Christianity, was the Word, and the Bible helps to return it. It helps to see a person from humanitarian positions. Each time requires truths, and therefore an appeal to biblical postulates.

Literature refers to the inner world of man, his spirituality. The main character becomes a person who lives according to evangelical principles, a person whose main thing in life is the work of his spirit, free from the influence of the environment.

Christian ideas are a source of unfading light, which is served in order to overcome chaos in oneself and in the world with it.

From the very beginning of the Christian era, many books about Christ were written, but the church recognized, that is, canonized, only four Gospels, and the rest - up to fifty in number! - brought either to the list of the renounced, or to the list of apocrypha, allowed not for worship, but for ordinary Christian reading. The Apocrypha were dedicated to both Christ and practically all the people from his inner circle. Once these apocrypha, collected in the Cheti-Minei and retold, for example, by Dmitry Rostovsky, were a favorite reading in Rus'. “Consequently, Christian literature has its own Holy Sea and there are streams and rivers flowing into it or, rather, flowing from it.” Christianity, carrying a new worldview that differs from pagan ideas about the origin of the Universe, about the gods, about the history of the human race, laid basics of Russian written culture, caused the emergence of a class of literate.

The Old Testament history is the history of trials, falls, spiritual cleansing and renewal, faith and unbelief of individuals and the whole nation - from the Creation of the world to the coming of the Messiah Jesus Christ, with whose name the New Testament is associated.

The New Testament introduces us to the life and teachings of Christ the Savior from his miraculous birth to the crucifixion, appearance to the people and ascension. At the same time, the Gospel must be considered from several angles: religious teaching, ethical and legal source, historical and literary work.

The Bible is the most important (key) ethical and legal work.

At the same time, the Bible is a literary monument, light in the basis of our entire written verbal culture. The images and plots of the Bible inspired more than one generation of writers and poets. Against the backdrop of biblical literary stories, we often perceive today's events. In the Bible we find the beginnings of many literary genres. Prayers, psalms have found continuation in poetry, in hymns...

Many biblical words and expressions have become proverbs and sayings, enriching our speech and thought. Many plots formed the basis of stories, novels, novels by writers of different times and peoples. For example, "The Brothers Karamazov", "Crime and Punishment" by F. M. Dostoevsky, "The Righteous" by N. S. Leskov, "Tales" by M. E. Saltykov-Shchedrin, "Judas Iscariot", "The Life of Vasily Thebesky" by L. Andreev , “The Master and Margarita” by M. A. Bulgakov, “A Golden Cloud Spent the Night”, A. Pristavkin “Yushka” by A. Platonov, “The Block” by Ch. Aitmatov.

The Russian bookish word arose as a Christian word. It was the word of the Bible, liturgy, lives, the word of the Church Fathers and saints. First of all, our writing has learned to speak about God and, remembering Him, to tell about earthly affairs.

Starting from ancient literature to the works of today, all our Russian literature is colored by the light of Christ, penetrating into all corners of the world and consciousness. Our literature is characterized by the search for truth and Good, commanded by Jesus, so it is oriented towards the highest, absolute values.

Christianity introduced a higher principle into literature, gave a special structure of thought and speech. "The Word became flesh and dwelt among us, full of grace and truth" - that's where poetry comes from. Christ is the Logos, the incarnate word contained in itself the fullness of truth, beauty and goodness.

The sounds of biblical speech always gave rise to a lively response in a sensitive soul.

The biblical word is a storehouse of knowledge of God, thousands of years of wisdom and moral experience, because it is an unsurpassed example of artistic speech. This side of Scripture has long been close to Russian literature. “We find many lyrical poems in the Old Testament,” Nikolai Yazvitsky noted in 1915. “In addition to the hymns and songs scattered in the books of Genesis and the Prophets, the whole book of Psalms can be considered a collection of spiritual odes”

Christian motifs enter literature different ways receive different artistic development. But they always give creativity a spiritually ascending direction, they orient it towards something absolutely valuable.

All Russian literature of the 19th century was imbued with gospel motifs, ideas about life based on Christian commandments were natural for people of the last century. F. M. Dostoevsky warned our 20th century that the retreat, the “crime” of moral norms leads to the destruction of life.

Christian symbols in the novel "Crime and Punishment" by F. M. Dostoevsky

For the first time, religious themes are seriously introduced by F.M. Dostoevsky. In his work, four main evangelical ideas can be distinguished:

"man is a mystery";

“a low soul, having come out from under oppression, oppresses itself”;

"the world will be saved by beauty";

"ugliness will kill."

The writer knew the Gospel from childhood, and in adulthood it was his reference book. Circumstances death penalty Petrashevists were allowed to experience a state on the verge of death, which turned Dostoevsky to God. The winter ray of sun from the dome of the cathedral marked the physical embodiment of his soul. On the way to hard labor, the writer met with the wives of the Decembrists. The women gave him a Bible. He did not part with her for four years. Dostoevsky experienced the life of Jesus as a reflection of his own: in the name of what suffering? It is this very copy of the Gospel that Dostoevsky describes in the novel “Crime and Punishment”: “There was some book on the chest of drawers ... It was the New Testament in Russian translation. The book is old, used, leather-bound. This book has a lot of pages covered with pencil and pen marks, some places marked with a fingernail. These marks are an important evidence for understanding the religious and creative quests of the great writer. “I will tell you about myself that I am a child of disbelief and consciousness up to now and even ... to the grave cover ... I have put together a symbol of faith in which everything is clear and holy to me. This symbol is very simple; here it is: to believe that there is nothing more beautiful, deeper, more sympathetic, more reasonable, more courageous and more perfect than Christ, and not only not, but with zealous love I tell myself that it cannot be. Moreover, if someone proved to me that Christ is outside the truth, then I would rather stay with Christ than with the truth. (from a letter from F. M. Dostoevsky to N. D. Fonvizina).

The question of faith and unbelief became the main one in the life and work of the writer. This problem is at the center of best novels: "Idiot", "Demons", "The Brothers Karamazov", "Crime and Punishment". The works of Fyodor Mikhailovich Dostoevsky are filled with various symbols and associations; a huge place among them is occupied by motifs and images borrowed from the Bible and introduced by the writer in order to warn humanity, which is on the verge of a global catastrophe, the Last Judgment, the end of the world. And the reason for this, according to the writer, is the social system. The hero of "Demons" Stepan Trofimovich Verkhovensky, rethinking the gospel legend, comes to the conclusion: "This is exactly like our Russia. These demons leaving the patient and entering the pigs are all the sores, all the uncleanness, all the demons and all the demons that have accumulated in our great and sweet patient, in our Russia, for centuries, for centuries!”

For Dostoevsky, the use of biblical myths and images is not an end in itself. They served as illustrations for his reflections on the tragic fate of the world and Russia as part of world civilization. Did the writer see the paths leading to the improvement of society, to the mitigation of morals, to tolerance and mercy? Undoubtedly. The key to the revival of Russia, he considered the appeal to the idea of ​​Christ. The theme of the spiritual resurrection of the individual, which Dostoevsky considered the main one in literature, pervades all his work.

"Crime and Punishment", which is based on the theme of moral decline and spiritual rebirth of man, is a novel in which the writer presents his Christianity. There can be many reasons for the death of the soul, but here is the path that leads to salvation, according to the writer, there is only one - this is the path of turning to God. I am the resurrection and the life; he who believes in Me, even if he dies, will come to life, ”the hero hears the gospel truth from the lips of Sonechka Marmeladova.

Having made Raskolnikov's murder of an old pawnbroker the basis of the plot, Dostoevsky reveals the soul of a criminal who has violated the moral law: "Thou shalt not kill" is one of the main biblical commandments. The reason for the terrible delusions of the human mind, rationally explaining and arithmetically proving the justice and benefit of the murder of a mischievous old woman, the writer sees in the retreat of the hero from God.

Raskolnikov is an ideologue. He puts forward an anti-Christian idea. He divided all people into "rulers" and "trembling creatures." Raskolnikov believed that everything was allowed to the “lords”, even “blood for conscience”, and “trembling creatures” could only produce their own kind.

Raskolnikov tramples on the sacred - unshakable right for human consciousness: he encroaches on a person.

“Do not kill. Do not steal! - written in an ancient book. These are the commandments of mankind, axioms accepted without proof. Raskolnikov dared to doubt, decided to check them. And Dostoevsky shows how this incredible doubt is followed by a host of other agonizing doubts and ideas for those who violate the moral law - and it seems that only death can save him from torment: by sinning with his neighbor, a person harms himself. Suffering affects not only the mental sphere of the criminal, but also his body: nightmares, frenzy, seizures, fainting, fever, trembling, unconsciousness - destruction occurs at all levels. Raskolnikov is convinced by his own experience that the moral law is not prejudice: “Did I kill the old woman? I killed myself, not the old woman! Here he slammed himself, forever! The murder turned out to be not a crime for Raskolnikov, but a punishment, suicide, a renunciation of everyone and everything. Raskolnikov's soul is drawn to only one person - to Sonya, to the same, like him, a violator of the moral law, rejected by people. It is with the image of this heroine that the gospel motifs in the novel are connected.

Three times he comes to Sonya. Raskolnikov sees in her a kind of "ally" in crime. But Sonya goes to shame and humiliation for the sake of saving others. She is endowed with the gift of infinite compassion for people, in the name of love for them she is ready to endure any suffering. One of the most important gospel motives in the novel is connected with the image of Sonya Marmeladova - the motive of the victim: “There is no greater love than if someone lays down his life for his friends” (John 15, 13) Like the Savior who endured the torments of Calvary for us, Sonya betrayed himself to a daily painful execution for the sake of a consumptive stepmother and her hungry children.

Sonya Marmeladova is Raskolnikov's main opponent in the novel. She - with her whole fate, character, choice, way of thinking, self-awareness opposes his cruel and terrible life scheme. Sonya, placed in the same inhuman conditions of existence as he, even more humiliated than he, is different. A different system of values ​​was embodied in her life. By sacrificing herself, by giving up her body for reproach, she preserved living soul and that necessary connection with the world, which is broken by the transgressor Raskolnikov, tormented by the blood shed in the name of the idea. In Sonya's suffering is the atonement of sin, without which the world and the person who creates it, lost his way and lost his way to the temple, do not exist. In the terrible world of the novel, Sonya is that moral absolute, the bright pole that attracts everyone.

But the most important thing for understanding the ideological meaning of the novel is the motive of the spiritual death of a person who has fallen away from God and his spiritual resurrection. “I am the vine and you are the branches; whoever abides in Me and I in him bears much fruit; for without Me you can do nothing... Whoever does not abide in Me will be cast out like a branch and wither; but such branches are collected and thrown into the fire, and they are burned,” the Savior said to his disciples at the Last Supper” (John 15, 5-6). Such a dry branch is similar to the protagonist of the novel.

In the fourth chapter of the 4th part, which is the climax in the novel, the author's intention becomes clear: not only the spiritual beauty of Sonechka, her selflessness in the name of love, her meekness is shown to the reader by Dostoevsky, but most importantly - the source of strength to live in unbearable conditions - faith in God. Sonechka becomes a guardian angel for Raskolnikov: reading in the apartment of the Kapernaumovs (the symbolic character of this name is obvious: Capernaum is a city in Galilee, where Christ performed many miracles of healing the sick) to him an eternal book, namely an episode from the Gospel of John about the greatest miracle performed Savior - about the resurrection of Lazarus, she tries to infect him with her faith, pour her religious feelings into him. It is here that the words of Christ are heard, which are very important for understanding the novel: “I am the resurrection and the life, he who believes in me, even if he dies, will live. And whoever lives and believes in me will never die.” In this scene, Sonya's faith and Raskolnikov's unbelief collide. The soul of Raskolnikov, "killed" committed crime, to gain faith and rise again, like Lazarus.

Sonya, whose soul is full of “insatiable compassion”, having learned about Raskolnikov’s crime, not only sends him to the crossroads (“... bow, kiss the ground you defiled first, and then bow to the whole world, on all four sides, and tell everyone aloud : “I killed!” Then God will send you life again”), but she is also ready to take on his cross and go with him to the end: “Together we will go to suffer, together we will bear the cross! ..” Putting her cross on him, she as if blesses him on the hard path of the torment of the cross, with which only it is possible to atone for what he has done. The theme of the Way of the Cross is another of the gospel motifs of the novel Crime and Punishment.

The hero's path of suffering is his path to God, but this path is difficult and long. Two years later, in hard labor, the hero’s epiphany comes: in nightmares about a pestilence that struck all of humanity, Raskolnikov’s illness is easily recognized; it is still the same idea, but only brought to its limit, embodied on a planetary scale. A person who has fallen away from God loses the ability to distinguish between good and evil and carries a terrible danger for all mankind. Demons, possessing people, lead the world to destruction. But demons will be free where people expel God from their souls. The picture of a man dying from a “terrible pestilence”, seen by Raskolnikov, in illness, in delirium, is the direct cause of the coup that happened to him. These dreams served as an impetus for the resurrection of the hero. It is no coincidence that the disease is timed to coincide with the end of Great Lent and Holy Week, and in the second week after the Resurrection of Christ, a miracle of transfiguration occurs, which Sonya dreamed and prayed for while reading the Gospel chapter. In the epilogue, we see Raskolnikov crying and hugging Sonya's legs. "They were resurrected by love ... he was resurrected, and he knew it ... Under his pillow lay the Gospel ... This book belonged to her, it was the one from which she read to him about the resurrection of Lazarus."

The entire novel "Crime and Punishment" is built on the motif of the resurrection of man to a new life. The path of the hero is the path through death to faith and resurrection.

For Dostoevsky, Christ stood at the center of both being and literature. The idea that if there is no God, then everything is allowed, haunted the writer: "Having rejected Christ, they will flood the whole world with blood." Therefore, gospel motifs occupy important place in Dostoevsky's prose.

Christian views of LN Tolstoy.

Tolstoy entered Russian literature in the 1950s. He was immediately noticed by critics. N.g. Chernyshevsky singled out two features of the writer's style and worldview: Tolstoy's interest in the "dialectic of the soul" and the purity of moral feeling (special morality).

Tolstoy's special self-consciousness is trust in the world. For him, naturalness and simplicity were the highest value. They had the idea of ​​simplification. Tolstoy himself also tried to lead a simple life, although a count, although a writer.

Lev Nikolaevich came to literature with his hero. A complex of features that were dear to the writer in the hero: conscience (“conscience is God in me”), naturalness, love of life. The ideal of the perfect man for Tolstoy was not a man of ideas, not a man of action, but a man capable of changing himself.

Tolstoy's novel War and Peace was published simultaneously with Dostoyevsky's Crime and Punishment. The course of the novel from artificiality and unnaturalness to simplicity.

The main characters are close to each other in that they are true to the idea.

Tolstoy embodied his idea of ​​folk, natural life in the image of Platon Karataev. "Round, a kind person with soothing neat movements, able to do everything “not very well and not very badly”, Karataev does not think about anything. He lives like a bird, as freely inwardly in captivity as in freedom. Every evening he says: “Lay, Lord, with a pebble, raise it with a ball”; every morning: "He lay down - curled up, got up - shook himself" - and nothing worries him, except for the simplest natural needs of a person, he rejoices in everything, knows how to find the bright side in everything. His peasant warehouse, his jokes, kindness became for Pierre "the personification of the spirit of simplicity and truth." Pierre Bezukhov remembered Karataev for life.

In the image of Platon Karataev, Tolstoy embodied his favorite Christian idea of ​​non-resistance to evil by violence.

Only in the 70s Tolstoy in his work on the novel "Anna Karenina" refers to the idea of ​​faith. The reason for this appeal was the crisis that Tolstoy experienced in the mid-70s. During these years, literature for the writer is the most disgusting passion. Tolstoy wants to give up writing, he begins to engage in pedagogy: he teaches peasant children, develops his own pedagogical theory. Tolstoy carries out reforms on his estate, brings up his children.

In the 1970s, Tolstoy changed the scale of his artistic interest. He writes about the present. In the novel "Anna Karenina" - the story of two private people: Karenina and Levin. The main thing in it is a religious attitude to the world. For the novel, Tolstoy took an epigraph from their Bible, from the Old Testament: "Vengeance is mine, and I will repay"

At first, Tolstoy wanted to write a novel about an unfaithful wife, but the idea changed in the hall of the work.

Anna Karenina is cheating on her husband, so she is a sinner. It seems to her that she is right, natural, since she does not love Karenin. But by making this little lie, Anna gets caught in a web of lies. Many relationships have changed, and most importantly - with Serezha. But more than anything else, she loves her son, but he becomes a stranger to her. Confused in her relationship with Vronsky, Karenina decides to commit suicide. She will be rewarded for this: secular rumor, legal law and the court of conscience. In the novel, all three of these possibilities for Tolstoy's condemnation of Anna Karenina's act are disputed. Only God can judge Anna.

Karenina decided to take revenge on Vronsky. But at the time of the suicides, she pays attention to small details: “She wanted to fall under the first carriage, which had caught up with her in the middle. But the red bag, which she began to remove from her hand, delayed her, and it was already too late: the middle passed her. We had to wait for the next car. A feeling similar to the one she experienced when, while bathing, she was preparing to enter the water, seized her, and she crossed herself. The habitual gesture of the sign of the cross evoked in her soul a whole series of girlish and childhood memories, and suddenly the darkness that covered everything for her broke, and life appeared to her for a moment with all her bright past joys.

She feels terror under the wheels. She wanted to get up and straighten up, but some force crushed and shredded her. Death Tolstoy portrayed terribly. The measure of sin requires the measure of punishment. Karenina is punished by God in this way and this is revenge for sin. Tolstoy begins to perceive human life as a tragedy.

Only since the 80s did Leo Nikolayevich Tolstoy come to the canonical Orthodox faith.

For Dostoevsky, the most important problem was the resurrection. And for Tolstoy, the same problem is interesting as the problem of overcoming death. "The Devil", "Father Sergius" and, finally, the story "The Death of Ivan Ilyich". The hero of this story resembles Karenin. Ivan Ilyich was accustomed to power, to the fact that one stroke of the pen can decide the fate of a person. And it is with him that something unusual happens: he slipped, hit - but this accidental blow turns into a serious illness. Doctors can't help. And the consciousness of imminent death comes.

All relatives: wife, daughter, son - become strangers to the hero. Nobody needs him and suffers for real. There was only a servant in the house, a healthy and handsome guy, as a human being became close to Ivan Ilyich. The guy says: "Why don't you work hard - we will all die."

This is a Christian idea: a man cannot die alone. Death is work, when one dies, all work. To die alone is suicide.

Ivan Ilyich - a man of an atheistic warehouse, a secular man, doomed to inaction, begins to remember his life. It turns out that he did not live on his own. My whole life was in the hands of chance, but I was lucky all the time. This was spiritual death. Before his death, Ivan Ilyich decides to ask his wife for forgiveness, but instead of "forgive me!" he says "miss it!". The hero is in a state of final agony. The wife makes it difficult to see the light at the end of the tunnel.

Dying, he hears a voice: "It's all over." Ivan Ilyich heard these words and repeated them in his soul. Death is over, he told himself. “She is no more.” His consciousness became different, Christian. The resurrected Jesus is a symbol of the soul and conscience.

The idea of ​​the resurrection of the soul, as the main idea of ​​Leo Tolstoy's work, became the main one in the novel "Sunday".

The protagonist of the novel, Prince Nekhlyudov, experiences fear and awakening of conscience in court. He understands his fatal role in the fate of Katyusha Maslova.

Nekhlyudov is an honest, natural man. In court, he confesses to Maslova, who did not recognize him, and offers to atone for his sin - to marry. But she is embittered, indifferent and refuses him.

Following the convicted Nekhlyudov goes to Siberia. Here there is a twist of fate: Maslova falls in love with another. But Nekhlyudov can no longer turn back, he has become different.

Having nothing to do, he opens the commandments of Christ and discovers that such suffering has already happened.

The reading of the commandments brought about the resurrection. Nekhlyudov stared at the light of the burning lamp and froze. Remembering all the ugliness of our life, he clearly imagined what this life would be like if people were brought up on these rules. And a delight that had not been experienced for a long time seized his soul. It was as though he, after a long languor and suffering, suddenly found peace and freedom.

He did not sleep all night and, as it happens with many, many who read the Gospel for the first time, while reading, he understood in all their meaning the words, read many times and unnoticed. Like a sponge, he absorbed water into himself that necessary, important and joyful thing that was revealed to him in this book. And everything he read seemed familiar to him, seemed to confirm, brought to consciousness what he had known for a long time, before, but did not fully realize and did not believe.

Katyusha Maslova is also resurrected.

Tolstoy's thought, like Dostoevsky's, is that true insight into God is possible only through personal suffering. And this is the eternal idea of ​​all Russian literature. The result of Russian classical literature is the knowledge of the Living Faith.

Christian motifs in fairy tales M. E. Saltykov-Shchedrin

Just like F. M. Dostoevsky and L. N. Tolstoy, M. E. Saltykov-Shchedrin developed his own system of moral philosophy, which has deep roots in the millennial cultural tradition of mankind. From childhood, the writer knew and understood the Bible perfectly, especially the Gospel, which played a unique role in his self-education, he will remember his contact with the great book in his last novel “Poshekhonskaya Antiquity”: “The Gospel was such a life-giving ray for me ... it sowed the rudiments in my heart common human conscience. In a word, I have already left the consciousness of vegetation and began to realize myself as a man. Not only that: I transferred the right to this consciousness to others. Up to now I have known nothing about the hungry, nor about the suffering and burdened, but I have seen only human beings, formed under the influence of the indestructible order of things; now these humiliated and insulted stood before me, radiant with light, and loudly cried out against the innate injustice, which gave them nothing but fetters, and insistently demanded the restoration of the violated right to participate in life. The writer becomes a defender of the humiliated and offended, a fighter against spiritual slavery. In this relentless struggle, the Bible turns out to be a true ally. Numerous biblical images, motifs, plots, borrowed by Shchedrin from both the Old and New Testaments, make it possible to discover and understand the multidimensionality of Shchedrin's creativity. They figuratively, succinctly and succinctly convey important universal human content and reveal the secret and passionate desire of the writer to enter the soul of every reader, to awaken dormant moral forces in it. The ability to understand precisely the hidden meaning of one's existence makes any person wiser, and his worldview more philosophical. To develop this ability in oneself - to see the eternal, parable content in the external, momentary - helps with his mature creativity - “Tales for children of a fair age” - Saltykov-Shchedrin.

The plot "not just fairy tales, not that were" "Village fire" introduces the peasants-fire victims, with their unfortunate fate and is directly compared with the biblical story of Job, who, by the will of God, went through terrible, inhuman suffering and torment in the name of testing sincerity and strength his faith. The roll call is bitterly ironic. The tragedy of modern Jobs is a hundred times worse: they have no hope for a prosperous outcome, and the tension mental strength costs them their lives.

In the fairy tale “The Fool”, the gospel motive “you must love everyone!”, Transmitted by Jesus Christ to people as a moral law, becomes the core one: “Love your neighbor ... love your enemies, bless those who curse you, do good to those who hate you and persecute you” (Matt., 5 ). The bitter sarcasm and deep sadness of the author are caused by the fact that the hero Ivanushka, from childhood by nature living in accordance with this commandment, in human society seems foolish, "blissful". The writer has a tragic feeling from this picture of the moral perversion of a society that has not changed since the time when Jesus Christ came with a sermon of love and meekness. Mankind does not fulfill the promise given to God, the covenant. Such apostasy has disastrous consequences.

In the fairy tale-parable "Hyena" the satirist talks about one "breed" morally fallen people- "hyena". In the finale, the gospel motif arises of the expulsion by Jesus Christ of their possessed man of the legion of demons that entered the herd of pigs (Mark 5). The plot acquires not a tragic, but an optimistic sound: the writer believes, and Jesus strengthens in him the faith and hope that the human will never completely perish and the "hyena" features, demonic spells are doomed to dissipate and disappear.

Saltykov-Shchedrin is not limited to the elementary use of ready-made artistic images and symbols in his works. Many fairy tales relate to the Bible on a different, higher level.

Let's read the story wise scribbler”, most often interpreted as a tragic reflection on a fruitlessly lived life. The inevitability of death and the inevitability of a moral judgment on oneself, on the life lived, organically introduce the themes of the apocalypse into the fairy tale - the biblical prophecy about the end of the world and the terrible judgment.

The first episode is the story of an old scribbler about how “one day he just didn’t hit his ear a little”. For the piskar and other fish, who were dragged somewhere against their will, all to one place, it really was a terrible judgment. Fear fettered the unfortunate, the fire burned and the water boiled, in which the “sinners” humbled themselves, and only he, the sinless baby, was released “home”, thrown into the river. Not so much the specific images as the very tone of the narrative, the supernatural nature of the event is reminiscent of the apocalypse and makes the reader remember the coming doomsday, which no one can avoid.

The second episode is the sudden awakening of the hero's conscience before his death and his reflections on the past. “The whole life instantly flashed before him. What were his joys? Who did he comfort? To whom did you give good advice? To whom did you say a kind word? Who sheltered, warmed, protected? Who heard about it? Who remembers its existence? And he had to answer all the questions: "No one, no one." The questions that arise in the mind of the scribbler refer to the commandments of Christ, in order to make sure that the life of the hero did not correspond to any of them. The most terrible result is not even that the scribbler has nothing to justify himself from the heights of eternal moral values, which he “accidentally” forgot about in his “trembling” for his “belly”. With the plot of the tale, the writer addresses every ordinary person: the theme of life and death in the light of biblical symbolism develops as the theme of the justification of human existence, the need for moral and spiritual perfection of the individual.

Just as organically and naturally close to the Bible is the fairy tale "Konyaga", in which the everyday plot about the plight of a peasant is enlarged to a timeless, universal scale: in the story about the origin of Konyaga and Pustoplyasov from one father, an old horse, a reflection of the biblical story about two sons of one father, Adam, to Cain and Abel. In "Konyaga" we will not find an exact correspondence to the biblical story, but the closeness of the idea, the artistic thought of the two plots is important for the writer. The biblical story introduces into Shchedrin's text the idea of ​​the primordial nature of human sin - mortal enmity between people, which in a fairy tale takes the form of a dramatic division of Russian society into an intellectual elite and an ignorant peasant mass, of the fatal consequences of this internal spiritual break.

In "Christ's Night" the climactic event in sacred history is recreated by poetic means - the resurrection of Jesus Christ on the third day after the crucifixion. The main Christian holiday is dedicated to this event - Easter Saltykov-Shchedrin loved this holiday: the holiday of Christ's bright resurrection brought an amazing feeling of emancipation, spiritual freedom, which the writer so dreamed of for everyone. The holiday symbolized the triumph of light over darkness, spirit over flesh, good over evil.

The same content is guessed in Shchedrin's fairy tale. In it, without hiding, the writer reproduces the gospel myth of the resurrection of Christ: “Rising early on the first day of the week on Sunday, Jesus appeared to Mary Magdalene, from whom he cast out seven demons. Finally, he appeared to the eleven apostles themselves, who were reclining at the supper ... And he said to them: go into all the world and preach the Gospel to all creation. Whoever believes and is baptized will be saved, and whoever does not believe will be condemned” (Mark 16)

In Shchedrin's tale, this event was combined and merged with another - the image of the Last Judgment and the picture of the second coming of Jesus Christ. Changes in the gospel text allowed the writer to make not only understandable, but also visible, plastically tangible the ideal theme of the fairy tale - the inevitable resurrection of the human spirit, the triumph of forgiveness and love. To do this, the writer introduced a symbolic landscape into the narrative: the themes of silence and darkness (“the plain becomes numb”, “deep silence”, “snow shroud”, “mourning points of villages”), symbolizing for the writer “terrible bondage”, slavery of the spirit; and the themes of sound and light (“the hum of a bell”, “burning spiers of churches”, “light and warmth”), meaning renewal and liberation of the spirit. The resurrection and appearance of Jesus Christ confirm the victory of light over darkness, spirit over inert matter, life over death, freedom over slavery.

The resurrected Christ meets people three times: with the poor, the rich, and Judas – and judges them. "Peace to you!" - Christ says to the poor people who have not lost faith in the triumph of truth. And the Savior says that the hour of national liberation is near. Then he turns to the crowd of the rich, world-eaters, kulaks. He brands them with a word of censure and opens the way of salvation for them - this is the judgment of their conscience, painful, but fair. These meetings make him remember two episodes of his life: prayer in the Garden of Gethsemane and Golgotha. At these moments, Christ felt his closeness to God and to people who then still, not believing him, mocked him. But Christ realized that they were all embodied in him alone and, suffering for them, he atoned for their sins with his own blood.

And now, when people, having seen with their own eyes the miracle of the resurrection and coming, "filled the air with sobs and fell on their faces," he forgave them, for then they were blinded by malice and hatred, and now the veil has fallen from their eyes, and people have seen the world, bathed in the light of Christ's truth, they believed and were saved. The evil that has blinded people does not exhaust their nature; they are able to heed the goodness and love that the "son of man" came to awaken in their souls.

Only Judas Christ did not forgive the fairy tale. There is no escape for traitors. Christ curses them and dooms them to eternal wandering. This episode caused the most heated debate among the writer's contemporaries. L. N. Tolstoy asked to change the ending of the tale: after all, Christ brought repentance and forgiveness into the world. How to explain such an end to the "Christ night"? For the writer, Judas is the ideological opponent of Christ. He betrayed deliberately, being the only one of all people who knew what he was doing. The punishment of immortality corresponds to the severity of the crime committed by Judas: “Live, damned! And be for future generations a testament to the endless execution that betrayal awaits.

The plot of "Christ's Night" shows that in the center of the fairy-tale world of Saltykov-Shchedrin there has always been the figure of Jesus Christ as a symbol of innocent suffering and self-sacrifice in the name of the triumph of moral and philosophical truth: "Love God and love your neighbor as yourself." The theme of Christian conscience, the gospel truth, which is the leading one in the book, links the individual fairy tales included in it into a single artistic canvas.

The image of social disorders and private human vices turns into a human tragedy under the writer's pen and the writer's testament to future generations to arrange life on new moral and cultural principles.

N.S. Leskov. righteousness theme.

“I love literature as a means that gives me the opportunity to express what I consider to be true and good ...” Leskov was convinced that literature is called upon to raise the human spirit, to strive for the highest, not the lowest, and “evangelical goals” are dearer to her any others. Like Dostoevsky and Tolstoy, Leskov valued in Christianity practical morality, striving for active goodness. “The universe will someday collapse, each of us will die even earlier, but as long as we live and the world stands, we can and must by all means in our power increase the amount of good in ourselves and around ourselves,” he said. “We will not reach the ideal, but if we try to be kinder and live well, then we will do something ... Christianity itself would be futile if it did not contribute to the multiplication of goodness, truth and peace in people.”

Leskov constantly strived for the knowledge of God. “Religiousness has been in me since childhood, and rather happy, that is, one that early began to reconcile faith with reason in me.” In Leskov's personal life, the angelic divine principle of the soul often encountered ebullition, with the "intolerance" of nature. His path in literature was difficult. Life forces any believer, any seeker, aspiring to God, to solve one main question: how to live according to the commandments of God in a difficult life full of temptations and trials, how to unite the law of heaven with the truth of the world lying in evil? The search for truth was not easy. In the conditions of the abomination of Russian life, the writer began to look for the good and the good. He saw that “the Russian people love to live in an atmosphere of the miraculous and live in the realm of ideas, seeking solutions to the spiritual tasks set by their inner world. Leskov wrote: “The history of the earthly life of Christ and the saints honored by the church is the favorite reading of the Russian people; All other books are still of little interest to him. Therefore, “to promote the development of the people” means “to help the people become Christians, because they want this and it is useful for them.” Leskov confidently, knowingly insisted on this, saying: "I know Rus' not in writing ... I was my own person with the people." That is why the writer was looking for his heroes among the people.

“The iconostasis of the righteous and saints” of Russia was called by M. Gorky the gallery of original folk characters created by N.S. Leskov. One of Leskov's best ideas was embodied in them: "Just as a body without a spirit is dead, so faith without deeds is dead."

Russia Leskov is motley, loud-mouthed, polyphonic. But all the narrators are united by a common generic trait: they are Russian people professing orthodox christian ideal of active goodness. Together with the author himself, they "love goodness just for the very good and do not expect any reward from it, anywhere." As Orthodox people, they feel like wanderers in this world and are not attached to earthly material goods. All of them are characterized by a disinterested and contemplative attitude to life, which allows them to keenly feel its beauty. In his work, Leskov calls the Russian people to "spiritual progress", moral self-improvement. In the 1870s, he goes looking for the righteous, without whom, according to the popular expression, "not a single city, not a single village stands." “The people, according to the writer, are not inclined to live without faith, and you will not consider the most exalted properties of his nature anywhere, as in his attitude to faith.”

Starting with a vow “I won’t rest until I find at least that small number of three righteous ones, without whom there is“ no hail of standing ”, Leskov gradually expanded his cycle, including 10 works in his last lifetime edition: “Odnodum”, “Pygmy”, “ Cadet Monastery”, “Russian Democrat in Poland”, “Non-lethal Golovan”, “Silverless Engineers”, “Lefty”, “The Enchanted Wanderer”, “The Man on the Watch”, “Sheramur”.

Being a pioneer of the type of righteous man, the writer showed its significance both for public life: “Such people, standing aside from the main historical movement ... make history stronger than others”, and for the civil formation of a person: “Such people are worthy to know and in certain cases of life to imitate them, if they have the strength to contain the noble patriotic spirit that warmed their hearts, inspired the word and guided their actions. The writer asks eternal questions: is it possible to live without succumbing to natural temptations and weaknesses? Can anyone reach God in the soul? Will everyone find their way to the Temple? Does the world need the righteous?

The first of the stories of the cycle conceived by Leskov is Odnodum and the first righteous man is Alexander Afanasyevich Ryzhov. Coming from petty officials, he had a heroic appearance, physical and moral health.

The basis of his righteousness was the Bible. From the age of fourteen he delivered mail, and "neither the distance of the tedious journey, nor the heat, nor the cold, nor the winds, nor the rain frightened him." Ryzhov always had a cherished book with him, he extracted from the Bible "great and solid knowledge, which formed the basis of all his subsequent original life." The hero knew a lot of the Bible by heart and especially loved Isaiah, one of the famous prophets who gave a prediction about the life and deed of Christ. But the main content of Isaiah's prophecy is the denunciation of unbelief and human vices. It was one of these passages that young Ryzhov shouted in the swamp. And biblical wisdom helped him develop moral rules, which he faithfully observed in his life and work. These rules, drawn from the Holy Scriptures and from the conscience of the hero, met both the needs of his mind and conscience, they became his moral catechism: “God is always with me, and besides him, no one is afraid”, “Eat your bread in the sweat of your face” , “God forbids taking bribes”, “I don’t accept gifts”, “if you have a great restraint, then you can get by with a small one”, “it’s not about the dress, but about reason and conscience”, “it’s forbidden to lie by the commandment - I won’t lie” .

The author characterizes his hero: “He honestly served everyone and especially did not please anyone; in his thoughts, he reported to the One, in whom he unfailingly and firmly believed, calling him the Founder and Master of all things”, “pleasure ... consisted in doing one’s duty, served faithfully, in office was“ zealous and serviceable ”,“ was moderate in everyone”, “was not proud”…

So, we see the "biblical eccentric" lives in a biblical way. But this is not a mechanical adherence to established norms, but rules understood and accepted by the soul. They form the highest level of personality, which does not allow even the slightest deviation from the laws of conscience.

Alexander Afanasyevich Ryzhov left behind "a heroic and almost fabulous memory." With a close assessment: "He himself is almost a myth, and his story is a legend" - begins the story "Non-lethal Golovan", which has the subtitle: "From the stories of the three righteous." The hero of this work is given the most highest performance: "mythical face" with "fabulous reputation". Golovan was nicknamed non-lethal because of the conviction that he is “a special person; a man who is not afraid of death. How does a hero deserve such a reputation?

The author notes that he was a "simple man" from a family of serfs. And he dressed as a “man”, in an age-old, oiled and blackened sheepskin coat, worn both in frost and in heat, but the shirt, although canvas, was always clean, like boiling water, with a long colored tie, and it “informed Golovan’s appearance something fresh and gentlemanly... because he really was a gentleman." In the portrait of Golovan, there is a resemblance to Peter 1. He was 15 inches tall, had a dry and muscular build, swarthy, round-faced, with blue eyes ... A calm and happy smile did not leave his face for a minute. Golovan embodies the physical and spiritual power of the people.

The writer claims that the very fact of his appearance in Orel in the midst of a plague epidemic that claimed many lives is not accidental. In the time of disasters, the people's environment “puts forward heroes of generosity, fearless and selfless people. IN ordinary time they are not visible and often do not stand out from the mass; but he will run into the people of "pimples", and the people single out a chosen one from themselves, and he works miracles that make him a mythical, fabulous, non-lethal face. Golovan was one of those…”

The hero of Leskov is surprisingly capable of any work. He "was in full swing from morning until late at night." This is a Russian man who can handle everything.

Golovan believes in the inherent ability of every person to show goodness and justice at a decisive moment. Forced to act as an adviser, he does not give a ready-made solution, but tries to activate the moral forces of the interlocutor: “... Pray and do it as if you need to die now! Tell me, how would you do it this time?” He will answer. And Golovan will either agree, or say: “And I, brother, dying, that’s how I did it better.” And he will tell everything cheerfully, with his usual smile. People trusted Golovan so much that they trusted him to keep a record of purchases and sales of land. And Golovan died for the people: during the fire, he drowned in a boiling pit, saving someone else's life or someone's property. According to Leskov, a true righteous person does not retire from life, but takes an active part in it, tries to help his neighbor, sometimes forgetting about his own safety. He walks the Christian path.

The hero of the story-chronicle "The Enchanted Wanderer" Ivan Severyanych Flyagin feels some kind of predestination of everything that happens to him: as if someone is watching him and directing his life path through all the accidents of fate. From birth, the hero belongs not only to himself. He is the child promised to God, the praying son. Ivan does not forget about his destiny for a minute. Ivan's life is built according to the well-known Christian canon, concluded in a prayer "for those who swim and travel, in illnesses suffering and captive." According to his way of life, this is a wanderer - a runaway, persecuted, not attached to anything earthly, material. He went through cruel captivity, through terrible Russian ailments, and, having got rid of "all sorrow, anger and need", turned his life to the service of God and the people. According to the plan, behind the enchanted wanderer stands the whole of Russia, whose national image is determined by its Orthodox Christian faith.

The appearance of the hero resembles the Russian hero Ilya Muromets. Ivan has irrepressible strength, which sometimes breaks through in reckless actions. This silushka jumped at the hero in a story with a monk, in a duel with a valiant officer, in a battle with a Tatar hero.

The key to unraveling the mystery of the Russian national character is Flyagin's artistic talent, which is associated with his Orthodox Christian worldview. He sincerely believes in the immortality of the soul and sees in the earthly life of a person only a prologue to eternal life. An Orthodox person keenly feels the short duration of his stay on this earth, he realizes that he is a wanderer in the world. The final pier of Flyagin is a monastery - the house of God.

The Orthodox faith allows Flyagin to look at life disinterestedly and reverently. The hero's view of life is broad and full-blooded, as it is unlimited by anything narrowly pragmatic and utilitarian. Flyagin feels beauty in unity with goodness and truth. The picture of life unfolded by him in the story is God's gift.

Another feature of Flyagin's inner world is also connected with Orthodoxy: in all his actions and deeds, the hero is guided not by his head, but by his heart, an emotional impulse. “A simple Russian God,” said Leskov, “has a simple dwelling -“ in the bosom. Flyagin has the wisdom of the heart, not the mind. WITH young years Ivan is in love with the life of animals, the beauty of nature. But a powerful force, not controlled by the mind, sometimes leads to mistakes that have dire consequences. For example, the murder of an innocent monk. The Russian national character, according to Leskov, clearly lacks thought, will, and organization. This gives rise to weaknesses, which, according to the writer, have become a Russian national disaster.

Lesk's hero has a healthy "seed", a fruitful foundation for living development. This seed is Orthodoxy, sown into Ivan's soul at the very beginning of his life's journey by his mother, which grew with the awakening of conscience in the face of a monk who periodically appeared to him and suffered from his mischief.

Loneliness, trial by captivity, homesickness, the tragic fate of the gypsy Grusha - all this awakened Ivan's soul, opened before him the beauty of selflessness, compassion. He goes into the army instead of the only son of the old men. Since then, the meaning of Ivan Flyagin's life has been the desire to help a suffering person in trouble. In monastic seclusion, the Russian hero Ivan Flyagin purifies his soul by performing spiritual feats.

Having gone through an ascetic self-purification, Flyagin, in the spirit of the same folk Orthodoxy, as Leskov understands him, acquires the gift of prophecy. Flyagin is filled with fear for the Russian people: “And tears were given to me, wonderfully plentiful! .. I was crying about my homeland.” Flyagin foresees the great trials and shocks that the Russian people are destined to endure in the coming years, he hears an inner voice: "Arm!" “Are you going to go to war yourself?” they ask him. “But how about it? the hero answers. “Certainly, sir: I really want to die for the people.”

Like many of his contemporaries, Leskov believed that the main thing in the Christian doctrine was the commandment effective love and that faith without works is dead. It is important to remember God and pray to him, but this is not enough if you do not love your neighbors and are not ready to help anyone who is in trouble. Without good deeds, prayer will not help.

Righteous Leskov - teachers of life. "The perfect love that animates them puts them above all fears."

Alexander Blok. Gospel symbolism in the poem "The Twelve".

The twentieth century. A century of turbulent changes in Russia. The Russian people are looking for the path that the country has to take. And the Church, which for centuries has been the guide of people's moral consciousness, could not but feel the burden of the people's rejection of centuries-old traditions. “The genius gave people new ideals, and, therefore, showed a new path. People followed him, destroying and trampling without hesitation everything that had existed for many centuries, that had been formed and strengthened by dozens of generations,” wrote Leo Tolstoy. But can a person easily and painlessly give up his former existence and go on a new, only theoretically calculated path? Many writers of the 20th century tried to answer this question.

Trying to solve this problem Alexander Blok in the poem "The Twelve", dedicated to October.

What does the image of Jesus Christ in the poem "The Twelve" symbolize?

This is the assessment given to this image by critics and writers in different years.

P. A. Florensky: “The poem“ The Twelve ”is the limit and completion of Blok’s demonism ... The character of the charming vision, the parodic face that appears at the end of the poem“ Jesus ”(note the destruction of the saving name), extremely convincingly proves the state of fear, longing and unreasonable anxiety“ deserving of such time."

A. M. Gorky: “Dostoevsky ... convincingly proved that there is no place for Christ on earth. Blok made the mistake of a half-believing lyricist by placing Christ at the head of the "Twelve"

M. V. Voloshin: “The twelve Red Guards of Blok are depicted without any embellishment and idealization ... there is no data, except for the number 12, to consider them apostles, in the poem. And then, what are these apostles who go out to hunt their Christ? speaks through him.

E. Rostin: “The poet feels that this robber Russia is close to Christ… For Christ came first of all to harlots and robbers and called them the first in his kingdom. And because of this, Christ will be at their head, take their bloody flag and lead them somewhere along their inscrutable paths.

It is quite obvious that the image of Christ is an ideological core, a symbol, thanks to which the "Twelve" acquired a different philosophical sound.

The poem had a huge resonance throughout Russia. She helped to comprehend what was happening, especially since Blok's moral authority was undeniable. Arguing with him, clarifying the ambiguity of the image of Christ, people also clarified their attitude towards the revolution, the Bolsheviks, Bolshevism. It is impossible not to take into account the time, 1918. No one could yet predict how events would develop, what they would lead to.

For many years, Jesus was even perceived as the image of the first communist. It was quite historical. In the first years of Soviet power, the Bolshevik ideas were perceived by the majority precisely as a new Christian doctrine. “Jesus is the pinnacle of humanity, realizing in himself the greatest of all human truths – the truth about the equality of all people ... You are the successors of the work of Jesus,” Academician Pavlov wrote in the Council of People's Commissars, reproaching the Bolsheviks for excessive cruelty, but hoping to be heard.

But did the author of The Twelve share such views? Of course, he was not an atheist, but he separated Christ from the church as a state institution of autocracy. But even the Twelve do without the name of the saint, they do not even recognize him. Twelve Red Guards marching “eh, eh, without a cross” are depicted as murderers who “everything is allowed”, “no regrets” and “drinking blood” is like chewing a seed. Their moral level is so low, and their life concepts are so primitive, that there are no deep feelings and lofty thoughts do not have to speak. Murder, robbery, drunkenness, debauchery, "black malice" and indifference to the human person - this is the appearance of the new masters of life walking "by sovereign step", and pitch darkness surrounds them for a reason. "God bless!" - exclaim the revolutionaries, who do not believe in God, but call on Him to bless the "global conflagration in the blood" they fanned.

The appearance of Christ with a bloody flag in his hand is the key episode. Judging by the diary entries, this ending did not give rest to Blok, who never commented publicly on the meaning of the last lines of the poem, but from his notes, not intended for publication, it is clear how painfully Blok was looking for an explanation for this: “I just stated the fact: if you look closely into the blizzards along the way, you will see "Jesus Christ." But I myself deeply hate this womanly ghost.” “There is no doubt that Christ is walking with them. The point is not “whether they are worthy of him”, but the terrible thing is that He is again with them, and there is no other yet; do you need another one? "I'm kind of exhausted." Christ "in a white halo of roses" goes ahead of people who create violence and, perhaps, already profess another faith. But the Savior does not abandon His children who do not know what they are doing, who do not keep the commandments given by Him. To stop the wild revelry, to reason and return the murderers to the bosom of God - this is the true work of Christ.

In the bloody chaos, Jesus personifies the highest spirituality, cultural values, unclaimed, but not disappearing. The image of Christ is the future, the personification of the dream of a truly just and happy society. That's why Christ "is unharmed even from a bullet." The poet believes in man, in his mind, in his soul. Of course, this day will not come soon, it is even “invisible”, but Blok has no doubts that it will come.

Leonid Andreev. Old Testament and New Testament parallels in the writer's work.

Like Leo Tolstoy Leonid Andreev passionately opposed violence and evil. However, he questioned Tolstoy's religious and moral idea, never associated with it the liberation of society from social vices. The preaching of humility and non-resistance was alien to Andreev. The theme of the story "The Life of Basil of Thebes" is "the eternal question of the human spirit in its search for its connection with infinity in general and infinite justice in particular."

For the hero of the story, the search for a connection with "infinite justice", that is, with God, ends tragically. In the image of the writer, the life of Father Vasily is an endless chain of harsh, often simply cruel tests of his boundless faith in God. If his son drowns, he drinks his grief out of grief, Father Vasily will remain the same fervently believing Christian. In the field where he went, having learned about the trouble with his wife, he “put his hands to his chest and wanted to say something. The closed iron jaws trembled, but did not give in: gritting his teeth, the priest forced them apart, and with this movement of his lips, similar to a convulsive yawn, loud, distinct words sounded:

I believe.

Lost without an echo in the desert of the sky and the frequent ears of corn was this prayer cry, so insanely similar to a challenge. And as if objecting to someone, passionately convincing and warning someone, he again repeated

I believe".

And then the twelve-pound boar will die, the daughter will fall ill, the expected child will be born an idiot in fear and doubt. And, as before, he will completely drink the popadya and, in desperation, will try to lay hands on himself. Father Vasily will tremble: “Poor thing. Poor. All are poor. Everyone is crying. And there is no help! Ooo!"

Father Vasily decides to take off his dignity and leave. “Their soul rested for three months, and again lost hope and joy returned to their home. With all the strength of the suffering experienced, the popadya believed in new life... "But fate prepared another tempting test for Father Vasily: his house burns down, his wife dies of burns, and a catastrophe breaks out. Having given himself over to contemplation of God in a state of religious ecstasy, Father Vasily wants to do for himself what is supposed to be done by the Almighty himself - he wants to resurrect the dead!

“Father Vasily opened the tinkling door and through the crowd ... went to the black, silently waiting coffin. He stopped, raised his right hand imperiously, and hurriedly said to the decaying body:

I'm telling you, get up!"

He utters this sacramental phrase three times, leans towards the hump, “closer, closer, grabs the sharp edges of the coffin with his hands, almost touches the blue lips, breathes in them the breath of life - the disturbed corpse answers him with a stinking, coldly ferocious breath of death.” And the shocked priest finally had an insight: “So why did I believe? So why did you give me love for people and pity - to laugh at me? So why did you keep me captive, in slavery, in chains all my life? Not a free thought! No feelings! Not a breath! Crushed in my faith in God, finding no excuse human suffering, father Vasily, in horror and insanity, runs away from the church onto a wide and torn road, where he fell dead, fell "prone, bony face into the roadside gray dust ... And in his posture he retained the swiftness of the run ... as if he continued to run dead."

It is easy to see that the plot of the story goes back to that biblical legend about Job, which occupies one of the central places in the reflections and disputes of Dostoevsky's heroes in The Brothers Karamazov about divine justice.

But Leonid Andreev develops this legend in such a way that the story of Basil of Thebes, who lost more than Job, is filled with a godless meaning.

In the story "The Life of Basil of Thebes" Leonid Andreev posed and solved "eternal" questions. What is truth? What is justice? What is righteousness and sin?

He raises these questions in the story Judas Iscariot.

Andreev takes a different approach to the image of the eternal traitor. He portrays Judas in such a way that it is a pity not for the crucified God the Son, but for the suicide Judas. Using biblical legends, Andreev says that the people are to blame for both the death of Christ and the death of Judas, that humanity has in vain blamed Judas Iscariot for what happened. Forcing one to think about the "baseness of the human race", the writer proves that the cowardly disciples of the Prophet are guilty of betraying the Son of God. “How did you allow this? Where was your love? The thirteenth apostle, like Christ, was betrayed by everyone.

L. Andreev, trying to philosophically comprehend the image of Judas, calls to think about the solution to the human soul, which is convinced of the dominance of evil. The humanistic idea of ​​Christ cannot stand the test of betrayal.

Despite the tragic end, Andreev's story, like many of his other works, does not give grounds for concluding that the author is completely pessimistic. The omnipotence of fate concerns only the physical shell of a person doomed to death, but his spirit is free, and no one is able to stop his spiritual quest. The emerging doubt about ideal love - for God - leads the hero to real love - for a person. The abyss that previously existed between Father Vasily and other people is overcome, and the priest finally comes to understand human suffering. He is shocked by the simplicity and truth of the revelations of parishioners at confession; pity, compassion for sinful people and despair from the understanding of his own powerlessness to help them push him to rebellion against God. He is close to the anguish and loneliness of the gloomy Nastya, the throwing of a drunken priest, and even in the Idiot he sees the soul "omniscient and mournful."

Belief in one's own chosenness is a challenge to fate and an attempt to overcome the madness of the world, a way of spiritual self-affirmation and a search for the meaning of life. However, having the makings of a free man, Thebeian cannot but bear the consequences of spiritual slavery that came from the experience of the past and his own forty years of life. Therefore, the method that he chooses to realize his rebellious plans - the accomplishment of a miracle by the "chosen one" - is archaic and doomed to failure.

Andreev poses a two-pronged problem in The Life of Basil of Thebes: he gives a positive answer to the question of the high possibilities of a person, and evaluates the probability of their realization with the help of God's providence negatively.

M. A. Bulgakov. The peculiarity of understanding biblical motifs in the novel "The Master and Margarita".

The 1930s was a tragic period in the history of our country, the years of unbelief and lack of culture. This particular time Mikhail Afanasyevich Bulgakov places in the context of sacred history, comparing the eternal and the temporal. The temporary in the novel is a reduced description of the life of Moscow in the 30s. “The world of writers, members of MOSSOLIT is a mass world, an uncultured and immoral world” (V. Akimov “On the winds of time”). The new cultural figures are untalented people, they do not know creative inspiration, they do not hear the “voice of God”. They do not claim to know the truth. This wretched and faceless world of writers is opposed in the novel by the Master - a personality, creator, creator of a historical and philosophical novel. Through the Master's novel, Bulgakov's characters enter another world, another dimension of life.

In Bulgakov's novel, the gospel story about Yeshua and Pilate is a novel within a novel, being its original ideological center. Bulgakov tells the legend of Christ in his own way. His hero is surprisingly tangible, vital. One gets the impression that he is an ordinary mortal person, childishly trusting, simple-hearted, naive, but at the same time wise and insightful. He is physically weak, but spiritually strong and, as it were, is the embodiment of the best human qualities, a herald of high human ideals. Neither beatings nor punishment can force him to change his principles, his boundless faith in the predominance of the good in man, in the "realm of truth and justice."

At the beginning of Bulgakov's novel, two Moscow writers are talking on Patriarch's Ponds about a poem written by one of them, Ivan Bezdomny. His poem is atheistic. Jesus Christ is depicted in it in very black colors, but, unfortunately, as a living, real person. Another writer, Mikhail Alexandrovich Berlioz, an educated and well-read man, a materialist, explains to Ivan Bezdomny that there was no Jesus, that this figure was created by the imagination of believers. And the ignorant but sincere poet "on all this" agrees with his learned friend. It was at this moment that a devil named Woland, who appeared on the Patriarch's Ponds, intervenes in the conversation of two friends and asks them a question: “If there is no God, then, one asks, who controls human life and the whole routine on earth?” "The man himself controls!" Homeless replied. From this moment, the plot of The Master and Margarita begins, and the main problem of the 20th century, reflected in the novel, is the problem of human self-government.

Bulgakov defended culture as a great and eternal universal human value, created by endless human labor, the efforts of the mind and spirit. Continuous efforts. The destruction of culture, the persecution of the intelligentsia, which he considered "the best layer in our country," he could not accept. This made him a "Protestant", a "satiric writer".

Bulgakov defends the idea: human culture is not an accident, but a pattern of earthly and cosmic life.

The twentieth century is the time of all sorts of revolutions: social, political, spiritual, the time of the denial of the old ways of managing human behavior.

“No one will give us deliverance: neither a god, nor a king, nor a hero. We will achieve liberation with our own hand” - this is the idea of ​​time. But managing oneself and other human lives is not so easy.

The mass man, liberated from everything, uses "freedom without a cross" primarily in his own interests. Such a person treats the world around him as a predator. It is incredibly difficult to express new spiritual guidelines. Therefore, objecting to the quick answer to Bezdomny, Woland says: “I’m sorry ... after all, in order to manage, you need to have some kind of plan at least for a ridiculously short period, well, let’s say a thousand years!” A person who has mastered culture and developed his life principles on its basis can have such a ridiculous plan. Man is responsible for the entire routine of life on earth, but the artist is even more responsible.

Here are the heroes who are sure that they control not only themselves, but also others (Berlioz and Homeless). But what happens next? One dies, the other is in a madhouse.

In parallel with them, other heroes are shown: Yeshua and Pontius Pilate.

Yeshua is confident in the possibility of human self-improvement. This Bulgakov hero is associated with the idea of ​​goodness as recognition of the spiritual uniqueness, personal value of each person (“There are no evil people!”). Yeshua sees the truth in harmony between man and the world, and everyone can and should discover this truth; striving for it is the goal of human life. Having such a plan, one can hope for "management" of oneself and "everything in general, the routine on earth."

Pontius Pilate, the viceroy of the Roman emperor in Yershalaim, in his service carrying out violence on the controlled land, lost faith in the possibility of harmony between people and the world. Truth for him is in submission to an imposed and irresistible, albeit inhuman, order. His headache- a sign of disharmony, a split that this earthly and strong person is experiencing. Pilate is alone, he gives all his affection only to the dog. He forced himself to come to terms with evil and is paying for it.

“The strong mind of Pilate parted ways with his conscience. And a headache is a punishment for the fact that his mind allows and supports the unjust arrangement of the world. (V. Akimov "On the winds of time")

Thus, in the novel, the discovery of the “True Truth” takes place, which combines reason and goodness, mind and conscience. Human life is equal to spiritual value, spiritual idea. All the main characters of the novel are ideologists: the philosopher Yeshua, the politician Pilate, the writers Master, Ivan Bezdomny, Berlioz, and even the "professor" of black magic Woland.

But an idea can be inspired from without; it can be false, criminal; Bulgakov knows well about ideological terror, about ideological violence, which can be more sophisticated than physical violence. “You can “hang” human life on a thread of a false idea and, having cut this thread, that is, having convinced yourself of the falsity of the idea, kill a person,” writes Bulgakov. By itself, a person will not come to a false idea, by his good will and sound reasoning he will not accept it into himself, he will not connect his life with it - evil, destructive, leading to disharmony. Such an idea can only be imposed, inspired from outside. In other words, among all violence, the worst is ideological, spiritual violence.

Human strength is only from good, and any other strength is already from the "evil one." Man begins where evil ends.

The novel "The Master and Margarita" is a novel about a person's responsibility for good.

The events of the chapters, which tell about Moscow in the 1920s and 1930s, take place during Holy Week, during which a kind of moral revision of society is carried out by Woland and his retinue. “The moral inspection of the whole society and its individual members continues throughout the novel. Any society should be based not on material, class, political, but on moral foundations. (V. A. Domansky “I did not come to judge the world, but to save the world”) For faith in imaginary values, for spiritual laziness in search of faith, a person is punished. And the heroes of the novel, people of imaginary culture, cannot recognize the devil in Woland. Woland appears in Moscow in order to find out whether people have become better over a thousand years, whether they have learned to manage themselves, to note what is good and what is bad. After all, social progress requires an obligatory spiritual…. But Woland in Moscow is not recognized not only by the townsfolk, but also by people of the creative intelligentsia. Woland does not punish the townsfolk. Let them! But the creative intelligentsia must bear responsibility, it is criminal, because instead of the truth, it propagates dogmas, which means that it corrupts the people, enslaves them. And as it was already said, spiritual enslavement is the most terrible. That is why Berlioz, Bezdomny, Styopa Likhodeev are punished, for "to each will be given according to his faith," "all will be judged according to their deeds." And the artist, the Master, must bear special responsibility.

According to Bulgakov, the writer's duty is to restore a person's faith in lofty ideals, to restore the truth.

Life requires from the Master a feat, a struggle for the fate of his novel. But the Master is not a hero, he is only a servant of the truth. He loses heart, abandons his novel, burns it. The feat is accomplished by Margarita.

Human destiny and the historical process itself is determined by the continuous search for truth, the pursuit of the highest ideals of truth, goodness and beauty.

Roman Bulgakov about the responsibility of a person for his own choice of life paths. It is about the all-conquering power of love and creativity, elevating the soul to the highest heights of true humanity.

The gospel story depicted by Bulgakov in his novel is also addressed to the events of our national history. “The writer is concerned about the questions: what is the truth - following the state interests or focusing on human values? How do traitors, apostates, conformists appear? 1

The dialogues of Yeshua and Pontius Pilate are projected onto the atmosphere of some European countries, including ours in the 30s of the 20th century, when the individual was mercilessly oppressed by the state. This gave rise to general distrust, fear, duplicity. That is why the little people who make up the world of Moscow philistinism are so insignificant and petty in the novel. The author shows various parties human vulgarity, moral decay, ridicules those who apostatized from goodness, lost faith in a lofty ideal, began to serve not God, but the devil.

The moral apostasy of Pontius Pilate testifies that under the conditions of any totalitarian regime, be it imperial Rome or Stalin's dictatorship, even the strongest person can survive and succeed only guided by the immediate state benefit, and not by his own moral guidelines. But, unlike the tradition established in the history of Christianity, Bulgakov's hero is not just a coward or an apostate. He is the accuser and the victim. Having ordered the secret liquidation of the traitor Judas, he takes revenge not only for Yeshua, but also for himself, since he himself may suffer from a denunciation to the emperor Tiberius.

The choice of Pontius Pilate correlates with the entire course of world history, is a reflection of the eternal conflict between the concrete historical and the timeless, universal.

Thus, Bulgakov, using biblical story, gives an estimate modern life.

The bright mind of Mikhail Afanasyevich Bulgakov, his fearless soul, his hand, without a shudder or fear, tears off all the masks, reveals all the real guises.

In the novel, life beats with a mighty stream, the creative omnipotence of the artist triumphs in it, defending the spiritual dignity of art in the twentieth century, an artist who, therefore, is subject to everything: God and the devil, the fate of people, life and death themselves.

Ch. Aitmatov. The specifics of Christian images in the novel "The Scaffold".

Twenty years after the first publication of The Master and Margarita, a novel appeared Chingiz Aitmatov"The Scaffold" - and also with an inserted short story about Pilate and Jesus, but the meaning of this device has drastically changed. In the situation of the “perestroika” that has begun, Aitmatov no longer cares about the drama of relations between the writer and the authorities, he shifts the focus to the drama of the people’s rejection of the sermon of the Righteous, drawing a too direct and even, perhaps, blasphemous parallel between Jesus and the hero of the novel.

Aitmatov offered his artistic interpretation of the gospel story - the dispute between Jesus Christ and Pontius Pilate about truth and justice, about the appointment of man on earth. This plot once again speaks of the eternity of the problem.

Aitmatov comprehends the famous gospel scene from the standpoint of today.

In what does Aitmatov's Jesus see the meaning of existence on earth? The point is to follow humanistic ideals. Live for the future.

The novel explores the theme of a return to faith. Mankind, having gone through the suffering and punishment of the Last Judgment, must return to simple and eternal truths.

Pontius Pilate does not accept the humanistic philosophy of Christ, because he believes that man is a beast, that he cannot do without wars, without blood, just as flesh cannot do without salt. He sees the meaning of life in power, wealth and power: “People will not be taught either sermons in temples or voices from heaven! They will always follow the Caesars, like herds following the shepherds, and, bowing before power and blessings, they will honor the one who turns out to be merciless and more powerful than all "...

A kind of spiritual counterpart of Jesus Christ in the novel is Avdiy Kalistratov, a former seminarian who was expelled from the seminary for freethinking, because he dreamed of purifying the faith from human passions, from the will of the Caesars, who subjugated the servants of the Church of Christ. He told his father-coordinator that he would seek a new form of God to replace the old one that came from pagan times, he explained the motives for his apostasy as follows: “Really, in two thousand years of Christianity, we are not able to add a single word to what was said not in biblical times? Tired of his own and other people's wisdom, the coordinator practically predicts the fate of Christ to Obadiah: “And in the world you cannot be blown off your head, because the world does not tolerate those who question the fundamental teachings, because any ideology claims to possess the ultimate truth.”

For Obadiah, there is no road to the truth outside of faith in the Savior, outside of love for the God-Man, who gave his life in the name of atonement for the sins of all mankind. The Christ in Obadiah's imagination says: “Vice is always easy to justify. But few people thought that the evil of lust for power, with which everyone is infected, is the worst of all evils, and one day the human race will pay for it in full. Peoples will perish." Obadiah is faced with the question of why people sin so often, if it is known exactly what needs to be done in order to get into the desired kingdom of heaven? Either the predetermined path is wrong, or they are so torn away from the Creator that they do not want to return to him. The question is old and heavy, but it requires an answer from every living soul who is not completely mired in vice. In the novel, only two heroes are true and they believe that people will eventually create a kingdom of goodness and justice: this is Obadiah and Jesus himself. The soul of Obadiah moved back two thousand years in order to see, understand and try to save the one whose death is inevitable. Obadiah is ready to give his life for the one who is dearer to him than anything in the world.

He is not only a preacher, but also a fighter who fights evil for high human values. Each of his opponents has a clearly articulated worldview that justifies his thoughts and actions. IN real life the categories of good and evil have become mythical concepts. Many of them are struggling to prove the superiority of their own philosophy over the Christian one. Take, for example, Grishan, the leader of one of the small gangs, into which Obadiah falls by inscrutable ways. He set out, if not to defeat a specific evil with the word of God, then at least to reveal the reverse side for those who can follow the path of escaping reality into narcotic dreams. And Grishan opposes him as the very tempter who seduces a weak person with a pseudo-paradise: “I enter God,” he says to his opponent, “from the back door. I bring my people closer to God faster than anyone else.” Grishan publicly and consciously preaches the most attractive idea - the idea of ​​absolute freedom. He says: "We are running from the mass consciousness, so as not to be captured by the crowd." But this flight is not capable of bringing deliverance from even the most primitive fear of state laws. Obadiah felt this very subtly: "Freedom is freedom only when it is not afraid of the law." Obadiah's moral dispute with Grishan, the leader of the "messengers" for marijuana, in some ways continues the dialogue between Jesus and Pilate. Pilate and Grishan are united by disbelief in people, in social justice. But if Pilate himself preaches the “religion” of strong power, then Grishan preaches the “religion of high”, replacing the high human desire to moral and physical perfection by drug intoxication, penetration to God "from the back door." This path to God is easy, but the soul is given to the Devil.

Obadiah, dreaming of the brotherhood of people, the age-old continuity of cultures, appealing to human conscience, is alone and this is his weakness, because in the world that surrounds him, the boundaries between good and evil are blurred, high ideals are trampled, lack of spirituality triumphs. He does not accept Obadiah's preaching.

Obadiah seems powerless before the forces of evil. At first, he is brutally beaten half to death by the "messengers" for marijuana, and then, as Jesus is crucified by the thugs from the "junta" of Ober-Kandalov. Having finally established himself in his faith and convinced of the impossibility of influencing with a holy word those who only outwardly retained their human appearance, who are capable of destroying everything that exists on this long-suffering earth, Obadiah does not renounce Christ - he repeats His feat. And the words of the crucified Obadiah sound like a voice crying out in a real desert: “There is no self-interest in my prayer - I do not ask for even a fraction of earthly blessings and do not pray for the extension of my days. I will not stop crying out only for the salvation of human souls. You, Almighty, do not leave us in ignorance, do not allow us to seek excuses in the closeness of good and evil in the world. The life of Obadiah is not in vain. The pain of his soul, his suffering for the people, his moral feat infect others with "world pain", encourage them to join the fight against evil.

A special place in the quest of Obadiah is occupied by his god-building. For Aitmatov, the ideal of humanity is not God-Yesterday, but God-Tomorrow, the one that Avdiy Kalistratov sees him: “... all people taken together are the likeness of God on earth. And the name is that hypostasis God - God-Tomorrow ... God-Tomorrow is the spirit of infinity, and in general it contains the whole essence, the totality of human deeds and aspirations, and therefore, how to be God-Tomorrow - beautiful or bad, kind-hearted or punishing “Depends on the people themselves.”

Conclusion

The return to Christ as a moral ideal does not at all mean that writers strive to please the resurgent religious consciousness of many of our contemporaries. It is conditioned, first of all, by the idea of ​​salvation, the renewal of our world, devoid of the "name of the saint."

Many poets and prose writers sought to find the truth, to determine the meaning of human existence. And they all came to the conclusion that it is impossible to build the happiness of some on the misfortune of others. It is impossible to renounce centuries-old traditions and moral principles and build a universal house of equality and happiness from scratch. This is possible only if one follows the path laid down in man by nature itself. By way of harmony, humanism and love. And the conductors of this truth on earth are people who have managed to feel true, pure and eternal love for people.

More than one generation of writers will turn to gospel motifs, the closer a person is to eternal truths, commandments, the richer his culture, his spiritual world.

Oh, there are unique words

Whoever said them spent too much.

Only blue is inexhaustible

Heavenly and mercy of God. (Anna Akhmatova).

Muravin A.V., Candidate of Philology D., Associate Professor Zaporozhye National University The article is devoted to the study of Christian motives in the work of V. Vysotsky. In an appeal to eternal themes the poet acts as one of the heirs of Russian classical literature. Key words: Bible, gospel image, humanization, interpretation, Orthodox culture. some motives in the work of V. Visotsky . He sings as one of the declines in Russian classical literature at animalistic to eternal themes. Key words: Bible, gospel image, folklore, interpretation, Orthodox culture. YSOTSKIY / Zaporizhzhya National University, Ukraine.The article deals with the research of Christian motives in creative activity of V.Vysotskiy. In his approach to eternal subjects the poet is considered to be one of the heirs of the Russian classical Literature. Key words: the Bible, gospel image, personification, interpretation, orthodox culture. The Bible is one of the most mysterious books in the cultural heritage of all mankind . Its reading provokes a great variety of interpretations, which often led to the most severe religious wars. The great Ukrainian philosopher G. Skovoroda in his "theory of three worlds" assigned the role of the third world to the Bible - the world of symbols, knowing which, a person will be able to know himself and his destiny in life. All writers, poets and philosophers, brought up on Christian values, touched in their work on the eternal issues raised in the Bible. Russian culture was no exception - the themes of the Bible, Orthodoxy, faith and unbelief have been raised in the works of all major masters of the word since ancient times. Russian religious thought at the turn of the 19th - 20th centuries. in the person of V. Solovyov, K. Leontiev, N. Berdyaev, L. Shestov, N. Fedorov, V. Rozanov and many others, she became famous for her original interpretation of the Gospel, trying to interpret its spirit and combine it with the messianic features of Russian consciousness. V. Vysotsky as a representative of the literature of the 60s - 70s of the XX century, could not but touch on topics relevant to this time in his songs. At the same time, realizing himself as one of the heirs of Russian classical literature, he touched in his works on eternal themes, one of which was the theme of God and faith in contemporary society. Of course, from the point of view of a devout believer, the very assumption of the presence of Christian motives in Vysotsky's songs is extremely controversial, all the more so to talk about them as something defining. Many will be offended by the image of the "evil jester" from which Vysotsky often spoke about God. However, some important factors should not be forgotten: the socio-political and cultural atmosphere of the 60s-70s and the literary traditions in which these problems were developed and considered. It can be said with confidence that in his interpretation of biblical stories, Vysotsky followed his literary predecessors - in particular, Dostoevsky, Bulgakov and Gogol. The poet is related to them by elements of phantasmagoria, fantasy, irony, which turn into evil satire when biblical images are superimposed on the surrounding reality (as, for example, in "The Scapegoat Song" of 1973). At the same time, thinking about faith and man, Vysotsky, who was hardly familiar with the work of Russian religious philosophers, involuntarily followed their developments - in particular, much in common can be found in Vysotsky's songs and the works of Berdyaev - which once again allows us to talk about some common spiritual principle, uniting people of different origins, education and views, who lived in different historical eras. Since the end of the 19th century, Russian literature has established an attitude towards the Russian people as the bearer of the highest moral principle in the face of the Orthodox faith. Through the mouth of one of his characters, Dostoevsky called the Russian people "a God-bearing people, coming to renew and save the world in the name of a new god, and to whom alone have been given the keys of life and a new word." N. Berdyaev wrote in the final lines of his work "The Russian Idea": "The Russian people are religious in their type and in their spiritual structure. Religious anxiety is also characteristic of non-believers. Russian atheism, nihilism, materialism acquired a religious coloring. Russian people from the people's, labor layer, even when they left Orthodoxy, they continued to seek God and God's truth, to seek the meaning of life ... Even among those Russians who not only do not have the Orthodox faith, but even raise a persecution against Orthodox Church, remains in the depths of the soul a layer formed by Orthodoxy ". Kirillov's famous characterization of Nikolai Stavrogin also easily fit into this aesthetics: "If Stavrogin believes, he does not believe that he believes; if he doesn’t believe, then he doesn’t believe that he doesn’t believe.” Berdyaev, on the other hand, owns the paradoxical, at first glance, idea of ​​a deep inner relationship between early Christian ideas and Russian communism. A few decades later, this same idea will sound like a matter of course in the Strugatsky brothers "Weaved down with evil." The events of 1917 and the civil war were a real shock for representatives of the Russian intelligentsia; Zinaida Gippius wrote in her diary (entry dated December 22, 1919): "The Russian people have never been Orthodox. Never been consciously religious... Renounces without scratching! The innocence of a child or an idiot" [op. 7, 319]. long years the connection between people and faith was severed. Some reconciliation of the state with the church took place during the Great Patriotic War, when they resorted to any methods to raise the spirit of the troops, but by the beginning of the 60s, an unspoken taboo was again imposed on the topics of faith and the human spirit: "about God, about faith as the basis of being (rather than just mentioning) it was not allowed to speak." In this regard, the representatives of "village" literature were in a particularly difficult position. Solzhenitsyn spoke about the complete lack of spirituality of the new generation in the essay "The Easter Procession" (1966), widely known in samizdat: "The procession without those praying! The procession without those who are baptized! The procession in hats, with cigarettes, with transistors on the chest!. What will become of these born and bred chief millions of ours? Why the enlightened efforts and hopeful foresights of thoughtful minds? What good do we expect from our future?" . The conclusions of the writers B. Mozhaev, F. Abramov, V. Astafiev, Soloukhin and others were also disappointing: "the drying up of moral principles ..., the destruction of the entire moral order." But if "village prose" was characterized by pessimism, then a return to the reader M. Bulgakov's novel "The Master and Margarita" marked not only the return of a literary masterpiece, but also the acquisition of this ideal lost among the people. And in this regard, the image of Yeshua Ha-Nozri is very indicative, behind which one could easily guess the image of Christ created by no means according to the gospel canons. Bulgakov was the first in Russian literature to single out the human hypostasis of Jesus, thereby bringing him as close as possible to an ordinary person. In his interpretation, Christ was more of a dreamer-poet who piously believed in the coming kingdom of justice than a sent son of God, which is why the novel so insistently emphasized his loneliness (in contrast to the corresponding passages in the Bible that described Christ's entry into Jerusalem, his sermons in the presence of thousands of people). people, his disciples). With such an interpretation, Bulgakov gave the biblical image a creative element, which brought Christ even closer to man, and at the same time affirmed the divinity of man himself through this creative principle. It would be a mistake to call this interpretation of the image of Christ a revision of the Gospel, which was characteristic of Western religious thought; rather, it is a kind of humanization of the Gospel images. A similar interpretation is already found in the early poetry of V. Vysotsky. So, his quatrain dates back to 1964, which could well have become the beginning of a song: Do not look at my young age, And there is nothing to cling to youth. Christ was sold by Judas at thirty-three, Well, I was sold at eighteen. like my own." The logic of the hero of the song could be built something like this: if Jesus is the Son of God, and people for God are also children created by Him, then each person in his destiny repeats the life path of Christ. Unfortunately, we cannot say with certainty whether Vysotsky intended the further development of this theme in this particular song, however, the idea of ​​the humanization of Christ gets its unexpected development in another, more famous song- "About poets and hysterics" (another name is "About fatal dates and figures"), 1971 with a dedication to "My poet friends". The theme of the poet in modern society merges in it with the humanization of Christ and the likening of the poet himself to Christ. The first lines are already indicative: "Whoever ends his life tragically, that is a true poet, and if at the exact time, then in full measure." It is difficult to imagine a more tragic death in Christianity than the death of Christ - from a religious point of view, all other earthly deaths are only a reflection and repetition of His death. This is indirectly indicated by folk saying"Christ endured - and he commanded us." A little further on, the final rapprochement of the poet and Christ takes place on the basis of creative creativity in Bulgakov's traditions: And at thirty-three Christ - He was a poet, he said: Don't kill! If you kill, I’ll find it everywhere, they say. But nails in His hands, so that he doesn’t do anything, And nails in the forehead, so that he doesn’t think about anything. At concerts, the poet often performed the second version, which further strengthened this rapprochement. Thus, Vysotsky gives religious depth to one of the key themes of world literature. Against this background, the ending of the song (“Those who left without dates gained immortality, so do not rush the living too much!”) Sounds not only as a call for sensitivity and careful attitude of society towards its poets, but also as a question: how many more such deaths are needed in order to so that society is finally satiated? And this is not about the simple death of an ordinary person, which is already terrible and difficult to endure, but about the death that "chooses the best and mows down one by one." There is an episode in the Gospel of Matthew: when the guards came to arrest Jesus, he asks his apostles not to resist: “Or do you think that I cannot now implore My Father, and He will present Me more than twelve legions of Angels? How will the Scriptures come true, what should it be?" In Vysotsky's song, the question latently sounds: should it always be like this and should it be like that at all? Should the old prophecies have their former force when "the life span is increased"? It is not at all necessary for a modern poet to accept a martyr's crown - he is from that breed of people who "walk with their heels on the blade of a knife and cut their bare souls into the blood," because they are the bearers of the highest truth, the spiritual heirs of Jesus. The Russian religious thinker N. Fedorov suggested "interpreting apocalyptic prophecies as conditional, which has never been done before." N. Berdyaev, analyzing his work, adds: "Indeed, the end of the world cannot be understood ... as a fate. This would be contrary to the Christian idea of ​​freedom. The fatal end described in the Apocalypse will come as a result of the paths of evil. If ... Christian humanity will unite for the common fraternal cause of victory over death and the general resurrection, then it can directly pass into eternal life. The Apocalypse is a threat to humanity, immersed in evil, and it sets an active task for man. Passive expectation of a terrible end is unworthy of man ". Vysotsky also leads to something similar, only in a narrower sense: I pity you, adherents of fatal dates and numbers. Languish like concubines in a harem. The life span has increased - and, perhaps, the ends of the Poets have moved away for a while. Yes, it’s true, the neck is long - a bait for a noose, And the chest is a target for arrows, but don’t rush! So don't rush the living! .A similar motive sounds already two years earlier, in 1969, in the song "I do not love", which the poet himself called program. The first line of the song is already eloquent: "I do not like a fatal outcome." It is not only about the rejection of fatalism: the very words "fatum", "rock" have a more religious meaning than is commonly thought. For example, in English the word "rock" in religious significance sounds like "doom", and in this form it appears in English translation Bible (in particular, in the Apocalypse this word translates the combination "Last Judgment"). In the same song, V. Vysotsky for the first time clearly and directly formulates his attitude towards Christ as pity: "I do not like violence and impotence, that's just a pity for the crucified Christ." This pity has nothing to do with contemptuous pity towards "adherents of fatal dates and numbers", rather, it can be regarded as an aesthetic allusion to Dostoevsky's famous phrase: "Pity, do not expel pity from our society, because without it, without pity , it will fall apart." Apparently, Vysotsky pities Christ as a brother in misfortune and sees in his fate a symbolic reflection of his probable future, which will later be said as follows: My turn will come after. nonsense, That I will break my back And I will also break my head. And they will sympathize slightly with the deceased - from afar. This also reflects the logic of the hero from the quatrain "Do not look at my young age ...", which from a literary abstract space passes into concrete reality. The motif of fighting the "fatal outcome" and disagreeing with the dogmatism of the prophecies also appears in the 1973 song "I left the business ...", which is based on the famous words from the Book of Ecclesiastes "There is no prophet in his own country." The postulate of Ecclesiastes varies both in the form of bureaucratic vocabulary ("There are no irreplaceable - and let's sing a requiem to the departed - let them be empty!"), And as a parallel with the ancient Greek legend about the philosopher Diogenes, who was looking for a person ("There are no prophets - you will not find them by day with fire"). The truth revealed to the character of the song sounds similar: "The face was opened - I stood facing him and he told me lightly and sadly: - there are no prophets in your Fatherland, but there are not many in other fatherlands either." However, this wisdom is alien to the hero of Vysotsky. Like the poet himself, he is a fighter, and his natural reaction to this truth is this: I take off into the saddle, I grow into a horse - body to body. The horse will fall under me - I already bit the bit! I left the business, from such a good Because of the blue mountain, other things caught up. hero - not to be consoled, but to prove precisely his innocence. In a 1978 poem "It's destiny for me..." this thought is expressed more specifically: It's my destiny - to the last line, to the cross Arguing to the point of hoarseness, and behind it - dumbness, Persuading and proving with foam at the mouth, That this is not all, not the same and not the one that the labazniks lie about the mistakes of Christ, that the slab has not yet been buried in the ground. ..If it's fate to drink the cup, If the music with the song is not too rough, If I suddenly prove it, even with foam at the mouth, I'll leave and say that not everything is vanity! .Among the literary allusions and allusions in this poem, the line about "a slab that was not buried in the ground" attracts attention. In combination with the previous one, it clearly points to the New Testament parable about the resurrection of Lazarus by Jesus and speaks of the belief that such a metaphorical resurrection of the soul is not an invention and is possible for everyone, regardless of their lifestyle and upbringing. The last phrase of the poem is also taken from the book of Ecclesiastes. And here one gets the impression that Vysotsky is arguing with the Old Testament for the New Testament. At first glance, this may seem like a paradox, but it is a paradox that can be explained in the light of the history of the spread of Christianity in Rus'. As you know, the New Testament became known in Rus' much earlier than the Old. And it was New Testament Christianity, according to the well-known culturologist V. Polikarpov, that was perceived by the pagan East Slavic consciousness as true. It is noteworthy that Russian literature, in its canonical patterns, also developed the provisions of the New Testament. The Gospels became the subject of study and interpretation of Russian religious thought. This shows the peculiarity of the Russian perception of the Bible, which was refracted in the work of V. Vysotsky. If we talk about the humanization of biblical images, then one cannot help but pass by the comic song "About the carpenter Joseph, the Virgin Mary and the Holy Spirit" (or "Anticlerical"), written in 1967. At first glance, it may seem to offend religious feelings, but this is not entirely the case. The history of all world cultures knows the phenomenon of folk (or, in the terminology of N. Krymova, "street") theater, widespread in the Middle Ages and reflecting the popular perception of book culture, not excluding church culture. Plays on biblical subjects, especially on the theme of the birth of Christ, were very popular. Far from always, these productions were of a reverent nature, which was already noted by D. Likhachev. Their apparent anti-religiousness, on which Soviet literary criticism insisted, has a completely natural explanation based on knowledge of the mentality of the Russian people. N. Berdyaev also wrote that “the nature of a Russian person is very polarized. On the one hand, humility, renunciation; on the other hand, a rebellion caused by pity and demanding justice. On the one hand, compassion, compassion; on the other hand, the possibility of cruelty ; on the one hand - the love of freedom, on the other - the propensity for slavery. .. The Russian people, according to their eternal idea, do not like the structure of this earthly city ". In this case, the "earthly city" was understood as the state structure itself with all its attributes, including the church as an institution of the state. A free interpretation of biblical stories was a spontaneous protest against religion, but not against faith.The song of V. Vysotsky just has powerful folklore grounds, especially since its beginning - "I am returning from work, I put the rasp against the wall ..." resembles numerous jokes on the topic of deceived husbands. The Gospel of Matthew tells of the birth of Christ: “After the betrothal of His Mother Mary to Joseph, before they were combined, it turned out that She was pregnant with the Holy Spirit. Joseph, her husband, being righteous and not wanting to publicize her, wanted to secretly let her go. But when he thought this, behold, the Angel of the Lord appeared to him in a dream and said: Joseph, son of David! Don't be afraid to take Mary as your wife; for what was born in her is from the Holy Spirit. "The apostle especially insists that Joseph did not know Mary as a wife until her very birth - this is mentioned twice in the Gospel. Vysotsky's song is a play on this plot, a fantasy on how this could actually be happening.It can be said that this is a male view of the folk theater. And if it is appropriate in this case to talk about the atheistic orientation of this song, then one should also recognize the atheistic beginning in the very people's mentality, which fundamentally contradicts all Russian literature of the last two centuries. Moreover, in the work of V. Vysotsky there are songs with a play on plots from Eastern culture - "Song about the transmigration of souls", "Song about yogis", also dating back to 1967, which by no means indicates a deliberate denial or ridicule of the world a religious culture that knows more serious encroachments on its postulates - in particular, the teachings of the Albigensians, which questioned the divine origin of Christ. eternal theme in a biblical context, then in this song the play is based on linking the plot to the specific reality of the turn of the 60s - 70s - the departure of Jews from Soviet Union to Israel, declared the "promised land" and the political situation of that time. In this song, Vysotsky is rather ironic not in relation to biblical subjects, but to the stereotypes of Soviet society and Jewish messianism created on the basis of them. In particular, this is indicated by the occasional phraseological unit "Israeli sea", a kind of synonym for the Russian folklore expression "milk river, jelly banks". Vysotsky is also ironic in relation to his heroes - this is how Mishka Shifman reacts to his friend's criticism of Moshe Dayan: Mishka immediately fell into ecstasy After drinking a liter And says: "They kicked us out of Egypt! Insults I can't forgive this! I I want to wash away the shame from the birth of Christ! .The indignation of Mishka Shifman can be connected both with the Arab-Israeli conflict of 1967, and with the ordeals of the Jewish people after their exodus from Egypt, as described in the Old Testament. The combination of linguistic and historical-biblical playing out within one song gives an idea of ​​the author's assessment of the situation. Vysotsky makes it clear that at its core Israel is the same ordinary state, like many others, very far from the "promised land". However, the obsession with one's chosenness may eventually play a cruel joke on the state in general and its population in particular. In this context, the poet's irony sounds warning. In general, any messianic idea, according to N. Berdyaev, is very dangerous, since its adherents can easily fall into chauvinism, which will have a very negative impact on relations between countries, especially if you have to defend this idea with arms in hand. So the biblical story is filled with modern content, relevant to this day. The theme of the relationship between man and God in the songs of V. Vysotsky is closely connected with the traditions of humanization. And here one important aspect attracts attention: the heroes of Vysotsky speak with God on an equal footing. This is very clearly expressed in two songs of the military cycle - "Song of a Fighter Pilot" (from a kind of mini-cycle "Two Songs about One Air Combat") in 1968 and in "Song of a Lost Friend" in 1974. Religious cultures were founded on deep respect and reverence for the warriors who fought and died for their country. At the same time, no distinction was made between those who fell in the wars of conquest and liberation: after death, everyone was prepared for eternal life, which, in the minds of different peoples, differed only in details. Russian Orthodox culture was no exception: for example, the participation of two Orthodox monks, Peresvet and Oslyaby, in the battle on the Kulikovo field with the personal blessing of the hegumen of the Trinity Lavra Sergius of Radonezh became a historical fact. The defense of the Solovetsky Monastery by monks and Pomors during the Crimean War of 1853-1856 also went down in history. This did not contradict the Orthodox canons with regard to wars: the only type of repentance imposed on the monks and lay soldiers was the ban on communion for a year, since any sin, even involuntary, must be atoned for. The heroes of Vysotsky, if they have to think about their afterlife, do not even doubt that the ancient traditions will be observed in their regard: I know that others will settle scores with them. But, gliding through the clouds, Our souls will take off like two planes - After all, they cannot live without each other. At the same time, it does not matter in what society they grew up and who they were during their lifetime - believers or atheists: death for their homeland automatically writes off all sins from them and even gives them the right to stand on a par with angelic host: The archangel will tell us: "It will be tight in paradise." But only the gates - click! We will ask God: - Enter us with a friend In some angelic regiment! And I will ask God, the Spirit and the Son, To fulfill my will: May my friend forever close my back, As in this last battle. The word "will" draws attention to itself, which once again speaks of the equality of this hero before God: he deserved not to ask, but to express his will, which is allowed only by equals. And there is no doubt that his will will be fulfilled. In this song, you can still notice a certain dreaminess, a certain touch of youthful maximalism, confidence that everything will be exactly as it should be. However, what seems natural from a human point of view is far from being so indisputable from the point of view of God. Here is how, for example, they meet the deceased pilot in "The Song of the Lost Friend": The pilot was met dryly by the Paradise airfield. He sat on his belly, But did not crawl on it. But the reception given to the deceased is hardly for this reason. Of course, Christianity of any kind took the manifestation of human dignity for pride, but, as mentioned above, death in battle wrote off all sins, regardless of their severity and what faith the deceased had. Rather, the point here is in disbelief - more precisely, in the words of Christ addressed to his apostles: "According to your faith, let it be rewarded to you." Woland utters the same words in The Master and Margarita, referring to the severed head of Berlioz: a preacher of the theory that after cutting off the head, life in a person stops, he turns into ashes and disappears into oblivion.I am pleased to inform you ... that your theory is both solid and witty. However, after all, all theories stand one another. There is also one among them, according to which each will be given according to his faith. May it come true! You are going into oblivion, and I will be happy to drink from the cup into which you are turning into being. According to The Tale of Bygone Years, his winner drank from the same cup made from the skull of the Kievan prince Svyatoslav. But if the chronicler had it - first of all, a story about the triumph of the winner over the vanquished, and only then - a silent reproach to the prince for his refusal to accept Christianity, then Bulgakov has this motive - the desire to convey the gospel truth to the reader through "part of that force that always wants evil and always does good" Woland himself does not need to prove the obvious to satisfy his pride - this would be an unworthy act for him. The same theme - the theme of disbelief and retribution for it - is one of the most important in Vysotsky's work, which brings him closer to the works of writers - "villagers" .Analyzing the work of Vysotsky as a whole, we can draw the following conclusion: regardless of what beliefs he himself held, in his songs he reflected the spiritual emptiness of a society devoid of traditional moral principles. Consequently, the conclusion drawn in relation to the writers of representatives of "village" literature can also be applied to him: a Russian person cannot exist outside of Orthodoxy. In this, Vysotsky and his like-minded people are the direct spiritual heirs of Dostoevsky's work. LITERATURE Berdyaev N. The Russian Idea. / N.A. Berdyaev - Kharkov: Folio, 1999 - 398 p. Berdyaev N. Dostoevsky's worldview / N.A. Berdyaev Russian idea. - Kharkov: Folio, - 1999.398 p. Bulgakov M. Master and Margarita. white guard. / M.A. Bulgakov - Khabarovsk: Khabarovsk book publishing house, 1989 - 606 p. Vysotsky V. Selected / V.S. Vysotsky - M.: Soviet writer, 1988. - 592 p. S. Vysotsky - Smolensk: Rusich, 2003. - 480 p. Dostoevsky F. Demons / F.M. Dostoevsky - Collected. cit.: In 10 t. - T. 7. - M .: State publishing house of art. literature, 1957. - 757 p. Kara-Murza S. Soviet civilization / S.G. Kara-Murza: In 2 volumes - V. 2. - M .: EKSMO Publishing House LLC, 2007. - 768 pp. Muravin A. 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