History of Russian literature X — XVII centuries. Study
Russian satire of the 17th century. since ancient times, since the 12th century, the popular genre of “sensible alphabets” - works in which individual phrases were arranged in alphabetical order – has also been involved in its sphere. Until the 16th century inclusive, the “interpretive alphabets” contained mainly church-dogmatic, edifying, or church-historical materials. Later they are supplemented with everyday and accusatory material, in particular, illustrating the fatality of drunkenness. In many cases, such alphabets were adapted specifically to the goals of schooling.
The ABC of the Naked and Poor Man, also known in manuscripts under the titles The Legend of the Naked and Poor Man, The Story of the Naked in Alphabet, etc., belongs to the category of purely satirical works. The neighborhood in which the ABC of the Naked is found in manuscript collections is popular in the 17th century. satirical stories - indicates that she herself was interpreted as a work close to these stories, and not as an "intelligent alphabet" in its traditional sense. Basically, “The ABC of the Naked” contains a first-person story about the bitter fate of a barefoot, hungry and cold person living in Moscow, exploited by the rich and “dashing people” in general, and the details of the text sometimes vary significantly according to the lists. In general, the poor man is portrayed as the son of wealthy parents, who always had "fritters and hot butter pancakes and good pies." “My father and my mother left me their house and property,” he says about himself. In the oldest list of the XVII century. the hero’s ruin is explained as follows: “Envy from relatives, violence from the rich, hatred from the neighbors, sale from the sneakers, flattering slanders, they want to knock me off my feet ... My house would be intact, but the rich swallowed, and the relatives plundered.” It happened so because the young man after his father and mother “remained young”, and his “relatives” plundered his father’s property. In other, later lists, the young man’s misadventures are explained by the fact that he “drank it all away and squandered everything,” or they are not explained in any way, accompanied by a remark that says nothing: “Yes, God didn’t order me to own it ...”, or: “Yes, I didn’t order God let me live in my poverty...”, etc. Even the miserable attire of the young man went to pay off debts. “I had the kindest Rogozin Ferezis, and the strings were washcloths, and even then people took a debt,” he complains. He also has no land that he could plow and sow. “My land is empty,” he says, “and it is all overgrown with grass, I have nothing to weed and nothing to sow, moreover, there is no bread.” The ABC is written in rhythmic prose, rhymed in some places, such as:
People see that they live richly, but they don’t give us anything, the devil knows where and what they save their money for ... I don’t find peace for myself, I always break my bast shoes and boots, but I don’t make good for myself.
There are also sayings in it, like: “What was he to promise, if he himself had nowhere to take it”; “I would go to visit, but there’s nothing, but they don’t call anywhere”; “I would have sewn a odnoryatka with corals (corals) for the holiday, but my bellies are short,” etc. All these features of the ABC of the Naked, along with its typical colloquial language, put it on a par with such works of satirical literature of the second half of XVII in., as "Kalyazinskaya petition", "The Tale of Priest Sava", etc. (see below). The ABC, both in terms of its content and everyday details, should be dated to the second half of the 17th century, and its emergence is associated with the urban environment, the internal relations of which it reflects.
ABC about a naked and poor man
A z esmi naked and barefoot, hungry and cold, eat infrequently.
God knows my soul that I don't have a penny for my soul.
Vsdait the whole world, that I have nowhere to take and there is nothing to buy.
A kind man in Moscow spoke to me, promised me a loan of money, and I came to him the next morning, and he refused me; but he laughed at me for no good reason, and I will cry that laugh to him: what was there to promise, if not.
If only he would remember his word and give me money, and I came to him, and he refused me.
There are a lot of things in people, but they won’t let us, but they themselves will die.
I live, good fellow, I haven’t eaten all day, and I have nothing to eat.
Yawning on my belly from the great malnourished, the walkers of the lips are dead, and I have nothing to eat.
My land is empty, all overgrown with grass;
And my belly wasted on the other sides of the ox-hour, and my poverty, Golenkov, was exhausted.
How can I, poor and tribal, live and where can I get away from dashing people, from unkind people?
Rich people drink and eat, but they don’t offer naked people, but they themselves don’t recognize that even the rich are dying.
With my mind, I would see a lot in my place, both colored dresses and money, but I have nowhere to take, to lie, to steal not a hochitsa.
Why is my stomach disgraced? Rays are strange, accept death, lowered to walk like a freak.
Woe to me! Rich people drink and eat, but they don’t know that they themselves will die, but they won’t give them to the naked.
I don’t find peace for myself, I don’t find my poverty, I break my bast shoes, but I won’t get any good.
My mind cannot be touched, my stomach cannot be found in its poverty, everyone has risen up against me, wanting to immerse me, a good fellow, but God will not give out - and the pig cannot be eaten.
I don’t know my hill how to live and how to earn my living.
My stomach is hard, and my heart has disappeared from the turmoil and cannot be touched.
A great misfortune has happened to me, I walk in poverty, not eating all day; and won't let me eat. Alas for me, poor, alas, without a tribe, where can I lay my head from a child’s dashing people?
Ferezis were kind to me, but people removed the lichia for debt.
He was buried from debtors, but he was not buried: bailiffs are sent, put on the right, put on the legs, but I have nowhere to take, and there is no one to buy the merchant.
My father and mother left me their estate, but dashing people took possession of everything. Oh my trouble!
My house was intact, but God did not order to live and own. I didn’t want to be someone else’s, it didn’t work out in my own way, how can I, the poor, hunt?
I would go to the city and run away to a single-row cloth, but I don’t have money, but I don’t believe in debt, what should I do?
I would flaunt and walk cleanly and well, but not in anything. Good for me!
I would fidget around the bench in the old row row.
Erychitsa on the belly from the great malnourished, would eat meat, but get stuck in the teeth. It was to go to visit, but nobody calls.
He's hitting his belly with the great undernourished, he doesn't want to play, he didn't have dinner in the evening, he didn't have breakfast in the morning, he didn't have dinner today.
Yuryl would have played, but I'm afraid of God, and behold the fear of sin and people litter. if he were rich, then he would not know people, and in evil days he would not know people either.
I would think well and dress up, but there’s nothing for me. People do not know how to stick to this poverty, and with it an identity. Dogs don’t bark at Milov, bite Postylov, drag him out of the yard. Foma-priest is stupid, he does not know sin, but he cannot tell people, thank him for that and God save him.
The text (in the list of 1663) is published according to the publication: Adrianov-Peretz V.P. Russian democratic satire of the 17th century. Ed. 2nd, add. M., 1977, p. 229-231 ("Additions" prepared by N. S. Demkova), 149-150, 175-181, 236-237 (comments).
Of course, the essence of the funny remains the same in all ages, but the predominance of certain features in the "comic culture" makes it possible to distinguish in laughter national traits and features of the era. Old Russian laughter belongs in its type to medieval laughter.
Medieval laughter is characterized by its focus on the most sensitive aspects of human existence. This laughter is most often directed against the very person of the laugher and against everything that is considered holy, pious, honorable.
The orientation of medieval laughter, in particular, against the laugher himself was noted and quite well shown by M. M. Bakhtin in his book "The Creativity of Francois Rabelais and the Folk Culture of the Middle Ages and the Renaissance." He writes: "Note important feature folk-festive laughter: this laughter is also directed at the laughing ones themselves. "Service to the tavern", "Kalyazinsky petition", "A poem about the life of the patriarchal singers", etc. In all these works, ridicule is made of oneself, or at least of one's environment.
The authors of medieval and, in particular, ancient Russian works most often amuse readers with themselves. They present themselves as losers, naked or ill-dressed, poor, hungry, completely naked or baring the innermost places of their bodies. The reduction of one's image, self-disclosure are typical of medieval and, in particular, ancient Russian laughter. The authors pretend to be fools, "play the fool", make absurdities and pretend to be incomprehensible. In fact, they feel smart, they only pretend to be fools in order to be free in laughter. This is their "author's image", which they need for their "laughter work", which consists in "fooling" and "fooling" everything that exists. "In diabolical songs we rebuke you," - this is how the author of "Service to the Tavern" writes, referring to the latter. (2)
Laughter directed at ourselves is also felt in the comic message of the late 1680s by archers Nikita Gladky (3) and Alexei Strizhov to Sylvester Medvedev.
In view of the fact that this "non-literary" laughter is extremely rare in documentary sources, I quote this letter in full; Gladky and Strizhov jokingly address Sylvester Medvedev:
“Honorable Father Selivestre! Wishing you salvation and health, Alyoshka Strizhov, Nikitka Gladkov beat your forehead with a lot. two hours before light, and stood in the morning at Catherine the Martyr, near the church, and went to their houses half an hour before light. And in our houses we slept for a long time, and ate little. I, Alyoshka, although I am bigger, but I also want from a fish, and me, Nikitka, a fish in Cherkasy. Feed me for Christ's sake, and do not refuse!
Wishing against this scripture, Alyoshka Strizhov beats with his forehead.
Gladkiy and Strizhov "play the fool": they demand delicious food under the guise of ordinary alms.
In ancient Russian laughter there is one mysterious circumstance: it is not clear how in Ancient Rus' parodies of prayers, psalms, services, monastic practices, etc., could be tolerated on such a large scale. It seems to me not very correct to consider all this abundant literature as simply anti-religious and anti-church. The people of Ancient Rus' for the most part were, as you know, sufficiently religious, and we are talking about a mass phenomenon. In addition, most of these parodies were created among petty clerics.
A similar situation was in the West in the Middle Ages. Here are some quotations from M. Bakhtin's book on Rabelais. Here they are: “Not only scholars and petty clerics, but also high-ranking churchmen and learned theologians allowed themselves cheerful recreations, that is, rest from reverent seriousness, and “monastic jokes” (“Joca monacorum”), as one of the most popular works of the Middle Ages was called. In their cells, they created parodic and semi-parodic scholarly treatises and other comic works in Latin... In the further development of comic Latin literature, parodic doublets are created literally on all aspects of the church cult and dogma. parody", one of the most peculiar and still insufficiently understood phenomena medieval literature. Quite numerous parodic liturgies have come down to us (“Liturgy of drunkards”, “Liturgy of players”, etc.), parodies of gospel readings, church hymns, psalms, travesty of various gospel sayings, etc. have come down. Parodic testaments were also created (“ Testament of a Pig", "Testament of a Donkey"), parodic epitaphs, parodic decrees of cathedrals, etc. This literature is almost boundless. And all of it was sanctified by tradition and to some extent tolerated by the church. Part of it was created and lived under the auspices of "Easter laughter" or "Christmas laughter", while part (parodic liturgies and prayers) was directly connected with the "Feast of Fools" and, perhaps, was performed during this holiday ... No less rich and more was more varied comic literature middle ages to vernacular languages. And here we will find phenomena similar to "parodia sacra": parodic prayers, parodic sermons (the so-called "sermons joieux", that is, "jolly sermons" in France), Christmas songs, parodic hagiographic legends, etc. But secular parodies and travesty, giving a comical aspect of the feudal system and feudal heroism. Such are the parodic epics of the Middle Ages: animals, buffoonish, picaresque and foolish; parodic elements heroic epic among the cantastorians, the appearance of comic understudies of epic heroes (the comic Roland), etc. Parodic chivalric novels are created (The Mule Without a Bridle, Aucassin and Nicolet). Various genres of laughter rhetoric develop: all sorts of carnival-type "debates", disputes, dialogues, comic "eulogies" (or "glorifications"), and others. . 17-19).
A similar picture is presented by the Russian democratic satire of the 17th century: "Service to a tavern" and "Feast taverns"," Kalyazinsky petition "," The legend of the hawker ". (4) In them we can find parodies of church hymns and prayers, even such a sacred one as" Our Father ". And there is no indication that these works On the contrary, some were supplied with prefaces to the "pious reader".
The point, in my opinion, is that ancient Russian parodies are not parodies in the modern sense at all. These are special parodies - medieval ones.
The Brief Literary Encyclopedia (vol. 5, M., 1968) gives the following definition of parody: "The genre of literary and artistic imitation, imitation of the style individual work author, literary direction, genre with the aim of ridiculing it" (p. 604). Meanwhile, ancient Russian literature, apparently, does not know this kind of parody in order to ridicule a work, genre or author. The author of an article on parody in the Brief Literary Encyclopedia writes further: "Literary parody 'mimics' not reality itself (real events, persons, etc.), but its depiction in literary works" (ibid.). In ancient Russian satirical works, it is not something else that is ridiculed, but a situation of laughter is created within the work itself. Laughter is directed not at others, but at oneself and at the situation that is created within the work itself. It is not the individual author's style or the worldview inherent in this author, not the content of the works that is parodied, but only the very genres of business, church or literary writing: petitions, messages, court documents, dowry paintings, travelers, medical doctors, certain church services, prayers, etc. etc. A well-established, firmly established, ordered form is parodied, which has its own, only inherent features - a sign system.
As these signs, we take what in historical source studies is called the form of the document, i.e., the formulas in which the document is written, especially the initial and final ones, and the arrangement of the material - the sequence order.
By studying these ancient Russian parodies, one can get a fairly accurate idea of what was considered mandatory in a particular document, what was a sign, a sign by which one or another business genre could be recognized.
However, these formulas-signs in Old Russian parodies did not serve at all just to "recognize" the genre, they were needed to give the work one more meaning that was absent in the parodied object - the meaning of laughter. Therefore, signs-signs were plentiful. The author did not limit their number, but sought to exhaust the features of the genre: the more, the better, i.e., "the funnier." As signs of the genre, they were given in excess, as signals for laughter, they had to saturate the text as densely as possible so that the laughter would not be interrupted.
Old Russian parodies date back to the time when individual style, with very rare exceptions, was not recognized as such (5). The style was realized only in its connection with a certain genre of literature or a certain form of business writing: there was a hagiographic and annalistic style, a solemn sermon style or a chronographic style, etc.
Starting to write this or that work, the author had to adapt to the style of the genre that he wanted to use. Style was in ancient Russian literature a sign of the genre, but not of the author.
In some cases, the parody could reproduce the formulas of this or that work (but not the author of this work): for example, the prayer "Our Father", this or that psalm. But such parodies were rare. There were few specific works parodied, as they had to be well known to readers in order to be easily recognized in parody.
Signs of the genre - certain recurring formulas, phraseological combinations, in business writing - a form. The signs of a parodied work are not stylistic "moves", but certain, remembered "individual" formulas.
On the whole, it was not the general character of the style in our sense of the word that was parodied, but only memorable expressions. Words, expressions, turns, rhythmic pattern and melody are parodied. There is a distortion of the text. In order to understand parody, one must know well either the text of the parodied work, or the "form" of the genre.
The parodied text is distorted. This is, as it were, a "false" reproduction of the parodied monument - a reproduction with errors, like false singing. It is characteristic that parodies of church services were indeed sung or pronounced in a singsong voice, just as the parodied text itself was sung and pronounced, but they were sung and pronounced deliberately out of tune. The "Service to the Kabaku" parodied not only the service, but the very performance of the service; not only the text was ridiculed, but also the one who served, so the performance of such a "service" most often had to be collective: a priest, a deacon, a sexton, a choir, etc.
In "The ABC of a Naked and Poor Man" there was also a parodied character - a student. "ABC" is written as if from the perspective of someone who is learning the alphabet, thinking about his failures. These characters, as it were, did not understand the real text and, distorting it, "blurred" about their needs, worries and troubles. Characters are not objects, but subjects of parody. It is not they who parody, but they themselves do not understand the text, they stupefy it, and they themselves make fools out of themselves, incapable students who think only of their own need.
Parodied mainly organized forms of writing, business and literary, organized forms of the word. At the same time, all signs and signs of organization become meaningless. There is a "unsystematic trouble".
The meaning of ancient Russian parodies is to destroy the meaning and orderliness of signs, to make them meaningless, to give them an unexpected and disordered meaning, to create an disordered world, a world without a system, an absurd, stupid world - and to do this in all respects and with the greatest completeness. The completeness of the destruction of the sign system, ordered by the signs of the world, and the completeness of the construction of the disordered world, the world of "anti-culture", (6) absurd in all respects, is one of the goals of parody.
Old Russian parodies are characterized by the following scheme for constructing the universe. The universe is divided into the real, organized world, the world of culture - and the world is not real, not organized, negative, the world of "anti-culture". In the first world, prosperity and orderliness of the sign system dominates, in the second - poverty, hunger, drunkenness and complete confusion of all meanings. People in the second are barefoot, naked, or dressed in birch bark helmets and bast shoes - bast shoes, bast-matted clothes, crowned with straw crowns, do not have a stable social position and generally no stability, "rummage between the yard", the tavern replaces them with a church, a prison courtyard - a monastery, drunkenness - ascetic exploits, etc. All signs mean something opposite to what they mean in the "normal world".
This is a pitch-black world - an invalid world. He is emphatically contrived. Therefore, at the beginning and end of the work, absurd, confusing addresses, an absurd calendar indication are given. In the "Dowry List" the offered wealth is calculated as follows: "Yes, 8 households of Bobyl, in them one and a half people and a quarter, - 3 people of business people, 4 people on the run and 2 people in trouble, one in prison, and the other in the water." (7) "And everything is revered from the Yauza to the Moskva River for six versts, and from place to place one finger" (Russian satire, p. 127). Before us is a fable, a fable, but a fable, in which life is unfavorable, and people exist "on the run" and "in trouble."
The author of the clownish petition says about himself: "He came out of the field, crawled out of the forest, wandered out of the swamp, but no one knows who" (Essays, p. 113). The image of the addressee, i.e. the person addressed by the author, is also deliberately unrealistic: “A complaint to us, gentlemen, is about the same person as you yourself. Eyes drooping, a star in the forehead, a beard of three hairs is wide and broad, kavtan ... noy, Tver buttons, beaten into three hammers "(ibid.). Time is also unrealistic: "It's in the month of Savras, on a gray Saturday, on a nightingale four, on a yellow heel ..." (ibid.). "The Month of Kitovras on an absurd day ...", - this is how the "Service to the Tavern" begins (ibid., p. 61). A heap of nonsense is created: "he kept his hands in his bosom, and ruled with his feet, and sat with his head in the saddle" (ibid., p. 113).
These “fables” are “turned up”, but not even those works and not those genres from which they take their form (petitions, court cases, dowry paintings, travelers, etc.), but the world itself, reality and create a kind of “fiction” , nonsense, the wrong side of the world, or, as they say now, "anti-world". In this "anti-world" its unreality, unimaginability, and illogicality are deliberately emphasized.
The anti-world, fables, the wrong world, which are created by the so-called ancient Russian "parodies", can sometimes "twist" even the works themselves. In the democratic satire "The Medicine Book, How to Treat Foreigners", the medical book is turned over - a kind of "anti-medical book" is created. These "shifters" are very close to modern "parodies", but with one significant difference. Modern parodies to some extent "discredit" parodied works: they make them and their authors funny. In "The Medical Doctor How to Treat Foreigners" there is no such discrediting of medical practitioners. It's just another medical book: upside down, overturned, turned inside out, funny in itself, turning laughter on itself. It gives recipes for unrealistic remedies - deliberate nonsense.
In The Medical Book on How to Treat Foreigners, it is proposed to materialize, weigh on an apothecary scales abstract concepts that cannot be weighed and used, and give them in the form of medicines to the patient: polite crane steps, sweet-sounding songs, daytime lordships, the thinnest flea lope, palm splashing, owls' laughter, dry Epiphany frost, etc. The world of sounds has been turned into real drugs: "Take a white pavement thud 16 spools, a small spring conago top 13 spools, a light cart creak 16 spools, a hard bell ringing 13 spools." Further in the "Healer" appear: a thick bearish roar, a large cat's grunt, a chicken high voice etc. (Essays, p. 247).
Characteristic from this point of view are the very names of Old Russian parodic works: "diabolical" songs (ibid., p. 72), "ridiculous" songs (ibid., p. 64), "empty" kathismas (ibid., p. 64); the depicted celebration is called "absurd" (ibid., p. 65), etc. Laughter in this case is directed not at another work, as in the parodies of modern times, but at the very one that the perceiver reads or listens to. This is typical for the Middle Ages "laughing at oneself" - including at that work, which in this moment read. Laughter is immanent in the work itself. The reader does not laugh at some other author, not at another work, but at what he reads and at its author. The author "plays the fool", turns laughter on himself, and not on others. That is why the "empty kathisma" is not a mockery of some other kathisma, but is antikathisma, closed in itself, laughing at itself, a fable, nonsense.
Before us is the underside of the world. The world is upside down, really impossible, absurd, stupid.
The "inversion" can be emphasized by the fact that the action is transferred to the world of fish ("The Tale of Ruff Ershovich") or the world of poultry ("The Tale of the Hen"), etc. The transfer of human relations in "The Tale of Ruff" to the world of fish is so it is effective for itself as a method of destroying reality, that there is already relatively little other "nonsense" in The Tale of Ruff; she is not needed.
In this reverse, inverted world, a person is withdrawn from all the stable forms of his environment, transferred to an emphatically unreal environment.
All things in fiction do not receive their own, but some kind of someone else's, absurd purpose: "At the small vespers, let's say goodbye in small cups, and even call in half a bucket" (Essays, p. 60. Actors, readers, listeners are invited to do what they obviously they cannot do it: "The deaf listen amusingly, the naked rejoice, you will be cut with a belt, stupidity is approaching you" (ibid., p. 65).
Stupidity, stupidity is an important component of Old Russian laughter. The laugher, as I said, "plays the fool", turns the laughter on himself, plays the fool.
What is an old Russian fool? This is often a very smart person, but doing what is not supposed to, violating custom, decency, accepted behavior, exposing himself and the world from all ceremonial forms, showing his nakedness and the nakedness of the world - an unmasker and unmasked at the same time, a violator of the sign system, a person, misusing it. That is why nudity and exposure play such a big role in ancient Russian laughter.
The inventiveness in the depiction and statement of nudity in the works of democratic literature is striking. Tavern "anti-prayers" sing of nudity, nudity is depicted as liberation from worries, from sins, from the bustle of this world. This is a kind of holiness, the ideal of equality, "heavenly life." Here are some excerpts from the "Service to the Tavern": "the voice of the wasteland is like an all-day exposure"; "in three days he was cleansed to the naked" (Essays, p. 61); "rings, man, get in the way, it's harder to wear boots, trousers, and you change them for beer" (ibid., pp. 61-62); "and that (tavern) will save you to the naked from the whole dress" (ibid., p. 62); "because the color of nakedness is brought to us" (ibid., p. 52); "whether who, drunk to the naked, will not remember you, tavern" (ibid., p. 62); "the naked rejoice" (ibid., p. 63); "naked, it does not hurt, nor does a native shirt smolder, and the navel is bare: when rubbish, you cover yourself with your finger"; “thank you, Lord, it was, but it swam away, there’s nothing to think about, don’t sleep, don’t stand, just keep the defense against bedbugs, otherwise it’s fun to live, but there’s nothing to eat” (ibid., p. 67); "verse: a pianist like a naked body and prosperous misery" (ibid., p. 89).
A special role in this outcrop is played by the nudity of the guzna, which is also emphasized by the fact that the naked guzna is smeared in soot or feces, sweeps the floor, etc.; "with a bare goose, I soot from the blankets of revenge forever" (ibid., p. 62); "he recognized himself with the yaryzhny and rolled on the boards naked in the soot" (ibid., p. 64, cf. pp. 73, 88, etc.).
The function of laughter is to expose, reveal the truth, undress reality from the veils of etiquette, ceremoniality, artificial inequality, from the entire complex sign system of a given society. Exposure equalizes all people. "Brotherhood Golyanskaya" is equal to each other.
At the same time, stupidity is the same nakedness in its function (ibid., p. 69). Stupidity is the uncovering of the mind from all conventions, from all forms, habits. That is why fools speak and see the truth. They are honest, truthful, brave. They are merry, as people who have nothing are merry. They don't understand any conventions. They are truth-seekers, almost saints, but only inside out too.
Old Russian laughter is "undressing" laughter, revealing the truth, laughter of the naked, not appreciating anything. A fool is, first of all, a person who sees and speaks the "naked" truth.
In ancient Russian laughter, an important role was played by turning clothes inside out (sheepskins turned inside out with fur), hats worn backwards. Matting, bast, straw, birch bark, bast had a special role in funny disguises. These were, as it were, "false materials" - anti-materials favored by mummers and buffoons. All this marked the wrong side of the world, which lived the old Russian laughter.
Characteristically, when heretics were exposed, it was publicly demonstrated that heretics belonged to the anti-world, to the pitch (hellish) world, that they were "unreal". Archbishop Gennady of Novgorod in 1490 ordered that heretics be mounted on horses face to tail in turned-out dress, birch bark helmets with bast tails, crowns of hay and straw, with the inscription: "Behold the satanic army." It was a kind of undressing heretics - their inclusion in the wrong, demonic world. In this case, Gennady did not invent anything (8) - he "exposed" the heretics in a completely "Old Russian" way.
The underworld does not lose touch with the real world. Real things, concepts, ideas, prayers, ceremonies, genre forms, etc. are turned inside out. However, here's what is important: the "best" objects are subjected to turning inside out - the world of wealth, satiety, piety, nobility.
Nudity is, first of all, nakedness, hunger is opposed to satiety, loneliness is abandonment by friends, homelessness is the absence of parents, vagrancy is the absence of a settled place, the absence of one's home, relatives, a tavern is opposed to church, tavern fun is church service. Behind the ridiculed world, something positive looms all the time, the absence of which is the world in which a certain young man lives - the hero of the work. Behind the wrong world there is always a certain ideal, even the most trifling one - in the form of a feeling of satiety and contentment.
The antiworld of Ancient Rus' therefore opposes not ordinary reality, but some ideal reality, the best manifestations of this reality. The anti-world is opposed to holiness - therefore it is blasphemous, it is opposed to wealth - therefore it is poor, opposed to ceremonial and etiquette - therefore it is shameless, opposed to dressed and decent - therefore it is undressed, naked, barefoot, indecent; the anti-hero of this world opposes the well-born - therefore he is rootless, opposes the sedate - therefore he jumps, jumps, sings cheerful, by no means sedate songs.
In The ABC of the Naked and Poor Man, the negative position of the naked and poor man is constantly emphasized in the text: others have it, but the poor man does not; others have but do not lend; I want to eat, but there is nothing; I would go to visit, but there is nothing, they do not accept and do not invite; “People have a lot of everything, money and clothes, they don’t give me any sense”, “I live in Moscow (i.e., in a rich place, - D. L.), I don’t have anything to eat and buy not for nothing, but for nothing give"; “People, I see that they live richly, but they don’t give us anything, naked, the devil knows where they save their money” (ibid., pp. 30-31). The negativity of the world of the naked is emphasized by the fact that in the past, the naked had everything he needs now, could fulfill those desires that he cannot now: "my father left me his estate, I drank it all away and squandered"; "My house was whole, but God did not command me to live in my poverty"; "I would fidget after a wolf with sabaks, but there's nothing to do, but I won't be able to run"; "I would eat meat, but dashingly gets stuck in my teeth, and besides, there is nowhere to get it"; "Honor to me, well done, in the presence of my father, my relatives paid, and everyone drove me out of my mind, and now my relatives and friends mocked me" (ibid., pp. 31-33). Finally, the negativity is emphasized by a completely “buffoonish” technique - a rich cut of clothes that are completely poor in material: “I had good Ferizas - dressed, and the tie was a long lace, and those dashing people pulled off a debt, and I was completely naked” (ibid., p. 31). The naked, unborn and poor man of the "Azbuka" is not just naked and poor, but once rich, once dressed in nice clothes, who once had respectable parents, once had friends, a bride.
He used to belong to a prosperous class, was well-fed and with money, had life "stability". He is deprived of all this now, and it is precisely this deprivation of everything that is important; the hero not only does not have, but is deprived: deprived of good looks, deprived of money, deprived of food, deprived of clothes, deprived of his wife and bride, deprived of relatives and friends, etc. The hero wanders, has no home, has no place to lay his head.
Therefore, poverty, nakedness, hunger are not permanent phenomena, but temporary. This is the lack of wealth, clothing, satiety. This is the underworld.
"The Tale of a Luxurious Life and Fun" demonstrates the general poverty of human existence in forms and in a sign system rich life. Poverty is ironically presented as wealth. "And that is his estate between rivers and the sea, near mountains and fields, between oaks and gardens and groves of the chosen ones, sweet-water lakes, many-fish rivers, fertile lands." treats (see: Izbornik, p. 592). There is also a lake of wine from which everyone can drink, a swamp of beer, a pond of honey. It is all a hungry fantasy, a wild fantasy of a beggar in need of food, drink, clothing, rest. Behind this whole picture of wealth and satiety is poverty, nakedness, hunger. This picture of unrealizable wealth is "revealed" by a description of an incredible, tangled path to a rich country - a path that looks like a labyrinth and ends in nothing: "And whoever is transported by the Danube, do not think home" (ibid., p. 593). On the way, you need to take with you all the eating utensils and weapons in order to "bounce" from the flies - there is so much sweet food there, for which the flies are so greedy and hungry. And duties on that way: "from the arc for a horse, from a hat for a person, and from the entire convoy for people" (ibid., p. 593).
A similar reminder that somewhere it’s good, somewhere they drink, eat and have fun, can also be seen in the playful postscripts on the Pskov manuscripts collected by A. A. Pokrovsky in his famous work “Ancient Pskov-Novgorod Written Heritage”: (10 ) “they drink through the tyn, but they don’t call us” (Shestodnev, XIV century, No. 67 (175, 1305) - Pokrovsky, p. 278); "God give health to this wealth, that kun, then everything is in the kalita, that the part, then everything is on itself, strangled wretchedly, looking at me" (Parimeinik, XVI century, No. 61 (167, 1232) -Pokrovsky, p. 273). But just as the devil, according to ancient Russian ideas, all the time retains his kinship with angels and is depicted with wings, so in this anti-world the ideal is constantly reminded. At the same time, the anti-world is opposed not just to the ordinary world, but to the ideal world, just as the devil is opposed not to man, but to God and angels.
Despite the remaining connections with the "real world", in this wrong world, the completeness of the inversion is very important. It is not just one thing that is turned upside down, but all human relations, all objects of the real world. Therefore, when constructing a picture of the purl, outer or oprichnina world, the authors usually take care of its greatest integrity and generalization. The meaning of "The ABC of a Naked and Poor Man" lies in the fact that everything in the world is bad: from beginning to end, from "Az" to "Izhitsa". "ABC about naked" - "encyclopedia" of the wrong side of the world.
In the sequence of describing the new Moscow order as a world turned inside out, there is the meaning of the well-known Yaroslavl chronicle joke about "Yaroslavl miracle workers": "In the summer of 971 (1463). In the city of Yaroslavl, under Prince Alexander Feodorovich Yaroslavsky, at the Holy Savior in the monasteries in the community -do-worker, Prince Theodore Rostislavich of Smolensk, and with children, with Prince Konstantin and David, and from their coffin to forgive a multitude of countless people: these miracle-workers appeared not for good to all Prince Yaroslavsky: they said goodbye to all their fathers for a century, served them to Grand Duke Ivan Vasilyevich, and the prince of the great against their fatherland gave them volosts and villages, and from the old days, Alexi Poluektovich, the clerk of the Grand Duke, mourned about them, so that the fatherland would not be his. the new miracle worker, John Ogofonovich Existing, contemplators of the Yaroslavl land: from whom the village is good, he took away, and from whom the village of good, he took away and wrote to the Grand Duke, and who is good himself, boarin or the son of a boyar, wrote him down himself; and many of his other miracles cannot be powerfully written down or exhausted, because in the flesh there are tsyashos. "(11)
The underworld is always bad. This is the world of evil. Proceeding from this, we can understand the words of Svyatoslav of Kiev in the "Tale of Igor's Campaign", which have not yet been sufficiently well understood in the context: "This is evil - the prince is inconvenience to me: you will turn back the year". The dictionary-reference book "Words about Igor's Campaign" quite clearly documents the meaning of the word "naniche" - "inside out". This word is quite clear in its meaning, but the meaning of the whole context of the "Word" with this "on nothing" was not clear enough. Therefore, the compiler of the Dictionary-Reference V. L. Vinogradova put this word under the heading "portatively". Meanwhile, "on the back of the year of the return" can be translated quite accurately: "bad times have come," for the "front" world, the "front" years are always bad. And in the "Word" the "handle" world opposes a certain ideal, it is remembered immediately before: the soldiers of Yaroslav win with the shoemakers with one of their cliques, one of their glory, the old is getting younger, the falcon does not give his nest to offense. And now this whole world "naniche" turned. It is quite possible that the mysterious "infinite kingdom" in the epic "Vavilo and the Buffoons" is also a turned inside out, inverted world - a world of evil and unreality. There are hints of this in the fact that the king Dog, his son Peregud, his son-in-law Peresvet, his daughter Perekrasa, is at the head of the "inish kingdom". The "inferior kingdom" burns out from the game of buffoons "from edge to edge." (12)
The world of evil, as we have already said, is perfect world, but turned inside out, and above all, turned out piety, all church virtues.
The church turned inside out is a tavern, a kind of "anti-paradise", where "everything is the other way around", where kissers correspond to angels, where life in paradise is without clothes, without worries, and where people do everything topsy-turvy, where "wise philosophers they change for stupidity”, service people “serve with their backbone on the stove”, where people “speak quickly, spit far away”, etc. (Essays, p. 90).
"Service to the tavern" depicts the tavern as a church, while "Kalyazin petition" depicts the church as a tavern. Both of these works are by no means anti-church, they do not mock the church as such. In any case, it is no more than in the Kiev-Pechersk patericon, where demons can appear either in the form of an angel, (13) or in the form of Christ himself (Abramovich, pp. 185-186). From the point of view of this "wrong world", there is no blasphemy in the parody of "Our Father": this is not a parody, but an anti-prayer. The word "parody" in this case is not suitable.
From this it is clear why such blasphemous works from our modern point of view as "Service to a tavern" or "Kalyazin petition" could in the 17th century. recommended to the pious reader and were considered "useful". However, the author of the preface to the "Service of the Tavern" in the list of the XVIII century. wrote that "Service to the tavern" is useful only to those who do not see blasphemy in it. If someone treats this work as blasphemy, then it should not be read to him: “If someone is entertaining and thinks to apply blasphemy, and from this his conscience, being weak in nature, is embarrassed, let him not be forced to read, but let him leave the mighty and read and use" (Russian satire, p. 205). 18th century preface clearly notes the difference that appeared in relation to "comic works" in the 18th century.
For old Russian humor, jokes are very characteristic, serving the same exposure, but the "exposing" of the word, which primarily makes it meaningless.
Jest is one of the national Russian forms of laughter, in which a significant proportion belongs to its "linguistic" side. Jokes destroy the meaning of words and distort them outer shape. The joker reveals the absurdity in the structure of words, gives an incorrect etymology or inappropriately emphasizes the etymological meaning of a word, connects words that are outwardly similar in sound, etc.
Rhyme plays a significant role in jokes. Rhyme provokes a comparison of different words, "stupefies" and "uncovers" the word. The rhyme (especially in raeshny or "skazka" verse) creates a comic effect. The rhyme "cuts" the story into monotonous pieces, thus showing the unreality of what is depicted. It's the same as if a person were walking, constantly dancing. Even in the most serious situations, his gait would cause laughter. "Fantastic" (raeshnye) (14) verses reduce their narratives to this comic effect. Rhyme combines different meanings resemblance, stupefies phenomena, makes similar dissimilar, deprives the phenomenon of individuality, removes the seriousness of what is being told, makes even hunger, nakedness, barefoot funny. The rhyme emphasizes that we have before us a fiction, a joke. The monks in the "Kalyazinsky Petition" complain that they have "turnips and horseradish, and a black bowl of Ephraim" (Essays, p. 121). Ephraim is clearly a fable, idle talk. The rhyme confirms the clownish, frivolous conversation of the work; The "Kalyazin petition" ends: "And the original petition was written and composed by Luka Mozgov and Anton Drozdov, Kirill Melnik, and Roman Berdnik, and Foma Veretennik" (ibid., p. 115). These surnames are invented for the sake of rhyme, and the rhyme emphasizes their clearly invented character.
Proverbs and sayings also often represent humor, mockery: "I drink kvass, but if I see beer, I will not pass it by"; (15) "Arkan is not a cockroach: hosh has no teeth, but eats his neck" (Old collections, p. 75); "Galchen in the kitchen, thirsty in the brewery, and naked, barefoot in the soap shop" (ibid., p. 76); "Vlas searched for kvass to his liking" (ibid., p. 131); "Eroch's lament, not having sipped peas" (ibid., p. 133); "Tula's zipunas blew out, and she sheathed Koshira in rags" (ibid., p. 141); "They drank at Fili's, but they beat Fili" (ibid., p. 145); "Fedos loves to bring" (ibid., p. 148).
The function of syntactic and semantic parallelism of phrases in the jokes of "The Tale of Thomas and Erem" or farce grandfathers serves the same purpose of destroying reality. I mean constructions like the following: "Jerem in the neck, and Foma in jerks" (Russian satire, p. 44); “Yerema has a cage, Thomas has a hut”, “Yerema is in bast shoes, and Thomas is in pistons” (ibid., p. 43). In essence, the story emphasizes only the insignificance, poverty, senselessness and stupidity of the existence of Thomas and Yerema, and these heroes do not exist: their “pairing”, their brotherhood, their similarity depersonalize and stupefy both. The world in which Foma and Yerema live is a destroyed, "absent" world, and these heroes themselves are not real, they are dolls, meaninglessly and mechanically echoing each other. (16)
This technique is not uncommon for other humorous works. Wed in the "Dowry List": "the wife did not eat, and the husband did not dine" (Essays, p. 125).
In ancient Russian humor, one of the favorite comic devices is oxymoron and oxymoron combinations of phrases. (17) P. G. Bogatyrev drew attention to the role of oxymoron in the art of farce grandfathers, in The Tale of Thomas and Yerema and in the Painting on the Dowry. But here is what is especially important for our topic: those combinations of opposite meanings are taken for the most part, where wealth and poverty, clothing and nudity, satiety and hunger, beauty and ugliness, happiness and unhappiness, whole and broken, etc., are opposed to each other, etc. Cf. in the "Dowry Painting": "... a mansion building, two pillars driven into the ground, and covered with a third" (Essays, p. 126); "The mare does not have a single hoof, and even that is all broken" (ibid., p. 130).
The unreality of the underworld is emphasized by metathesis. (18) Metathesis is constant in the "Medicine for Foreigners" and in the "Dowry Painting": "A running mouse and a flying frog", "A pair of Galan chickens with horns and four pairs of geese with arms" (Russian satire, p. 130); "Canvas whistle and for dancing two pairs of cerebellum trousers" (ibid., p. 131).
How deep into the past go character traits ancient Russian laughter? It is impossible to establish this precisely, and not only because the formation of medieval national characteristics laughter is associated with traditions that go far into the depths of pre-class society, but also because the consolidation of all sorts of features in culture is a slow process. However, we still have one clear evidence of the presence of all the main features of Old Russian laughter already in the 12th-13th centuries. - this is "Prayer" and "Word" by Daniil Zatochnik.
These works, which can be considered as one, are built on the same principles of the ridiculous as the satirical literature of the 17th century. They have the same themes and motifs that later became traditional for Old Russian laughter. The sharpener makes me laugh with his miserable position. His main subject of self-mockery is poverty, disorder, exile from everywhere, he is a "prisoner" - in other words, an exiled or enslaved person. He is in an "inverted" position: what he wants is not there, what he achieves - he does not receive, he asks - they do not give, he strives to arouse respect for his mind - in vain. His real poverty is opposed to the prince's ideal wealth; there is a heart, but it is a face without eyes; there is a mind, but it is like a night raven in the ruins, nakedness covers it like the Red Sea of the pharaoh.
The world of the prince and his court is a real world. The world of the Sharpener is opposite to it in everything: “But when you have fun with many brushes, remember me, eating bread is dry; or drink sweet drink, and remember me, lying under a single board and dying in winter, and piercing raindrops like arrows” (Izbornik, with .228).
Friends are just as unfaithful to him, as in the satirical works of the 17th century: “My friends and my neighbor, and they rejected me, for I did not put before them a meal of various brashens” (ibid., p. 220).
In the same way, worldly disappointments lead Daniel to "cheerful pessimism": "The same is not for them a friend of faith, nor rely on a brother" (ibid., p. 226).
The techniques of the comic are the same - jokes with its "revealing" rhymes, metatheses and oxymorons: "Zane, sir, to whom Bogolyubov, and to me a fierce grief; to whom the Lake is white, and to me it is blacker than tar; to whom Lache is a lake, and to me sitting on it weep bitterly ; and to whom is Novgorod, but the corners fell to me, for not a percentage of my part "(ibid.). And these are not simple puns, but the construction of an "anti-world" in which there is not exactly what is in reality.
Laughingly, Daniel makes various ridiculous suggestions about how he could get out of his distressed state. Among these buffoonish assumptions, he dwells most of all on this one: to marry an evil wife. Laughing at your ugly wife is one of the most "true" methods of medieval buffoonery.
"A marvelous diva, whoever has a wife to capture an evil profit by dividing." "Or say to me: marry a rich man for the sake of greatness; drink and eat." In response to these suggestions, Daniel describes an ugly wife leaning against a mirror, blushing in front of him and angry at her ugliness. He describes her disposition and his family life: "It’s better for me to lead an ox to my house, rather than an evil wife to understand: an ox would neither say nor think evil; and the evil wife is furious, and the meek rises (the tamed one is brought in - D. L.), to accept pride in wealth, and condemn others in poverty" (ibid., p. 228).
Laughing at one's wife - only supposed or actually existing - was a kind of laughter most common in the Middle Ages: laughter at oneself, the usual for Ancient Rus' "fooling", buffoonery.
Laughing at one's wife survived even the most ancient Rus', becoming one of the favorite methods of buffoonery among farce grandfathers of the 18th and 19th centuries. The farce grandfathers described their wedding, and their family life, and the manners of their wife, and her appearance, creating a comic character, which, however, they did not show off to the public, but only drew her to the imagination.
An evil and vicious wife is her petty and improvised domestic anti-world, familiar to many, and therefore very effective.
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1 Bakhtin M. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. M., 1965, p. 15 (hereinafter referred to in the text: Bakhtin).
2 Adrianov-Perets V.P. Essays on the history of Russian satirical literature of the 17th century. M.-L., 1937, p. 80 (hereinafter referred to in the text: Essays).
3 Nikita Gladky was sentenced to death along with Sylvester Medvedev for blaspheming the patriarch. So, he, walking past the chambers of the patriarch, threatened: “If I go into the chamber to the patriarch and scream, he won’t find a place with me from fear.” On another occasion, Gladkiy boasted that he would "get" "to the motley robe." Subsequently, Gladky was pardoned. For the text of the letter, see: Investigation cases about Fyodor Shaklovit and his accomplices. T. I. SPb., 1884, column. 553-554.
4 About clownish prayers in the 18th and 19th centuries. see: Adrianov-Perets V.P. Samples of socio-political parody of the XVIII-beginning. 19th century - TODRL, 1936, vol. III.
5 See: Likhachev D.S. Poetics of Old Russian Literature. L., 1971, .". 203-209.
6 See: Lotman Yu. M. Articles on the typology of culture. Tartu, 1970 (see especially the article "The problem of the sign and the sign system and the typology of Russian culture of the 11th-19th centuries"). - I note that the ancient Russian opposition of the world to the antiworld, the "other kingdom" is not only the result of scientific research, but also a direct given, vividly felt in Ancient Rus' and to a certain extent realized.
7 Russian democratic satire of the 17th century. Preparation of texts, article and commentary. V. P. Adrianov-Peretz. M.-L., 1954, p. 124 (further references - in the text: Russian satire).
8 Ya. S. Lurie writes on this occasion: “Whether this ceremony was borrowed by Gennady from his Western teachers or it was the fruit of his own vengeful ingenuity, in any case, the Novgorod inquisitor did everything in his power not to yield to the “Spanish king "(Kazakova N. A., Lurie Y. S. Anti-feudal heretical movements in Russia of the XIV-beginning of the XVI century. M.-L., 1955, p. 130). I think that in the "ceremony" of the execution of heretics there was neither borrowing nor personal ingenuity, but to a large extent there was a tradition of the ancient Russian underworld (cf. completely Russian, and not Spanish "materials" of clothes: sheepskin, bast, birch bark).
9 "Izbornik". (Collection of works of literature of Ancient Rus') M., 1969, p. 591 (hereinafter referred to in the text: Izbornik).
10 Pokrovsky A. A. Ancient Pskov-Novgorod written heritage. Review of parchment manuscripts of the Printing and Patriarchal libraries in connection with the question of the time of formation of these book depositories. - In the book: Proceedings of the fifteenth archaeological congress in Novgorod in 1911. T. I. M., 1916, p. 215-494 (hereinafter referred to in the text: Pokrovsky).
11 Complete collection of Russian chronicles. T. XXIII. Yermolinskaya chronicle. SPb., 1910, p. 157-158. - "Tsyashos" - written in "upside down" letter - the devil.
12 See in " explanatory dictionary"V. Dahl: another - different, in the meaning of another, not this one. Compare and another interpretation:" "Inish kingdom" is usually understood by researchers as foreign, alien; or "inferior" is interpreted as "beggar" (Epics. Preparatory text , introductory article and commentary by V. Ya. Propp and B. N. Putilov, V. 2. M., 1958, p. 471).
13 Abramovich D. Kiev-Pechersk Patericon (introduction, text, notes). U Kiev, 1931, p. 163 (hereinafter referred to in the text: Abramovich).
14 "Skazovy verse" - a term proposed by P. G. Bogatyrev. See: Bogatyrev P. G. Questions of theory folk art. M., 1971, p. 486.
15 Simony Paul. Ancient collections of Russian proverbs, sayings, riddles, etc. of the 17th-19th centuries. SPb., 1899, p. 75 (further references - in the text: Ancient collections).
16 See more about jokes: Bogatyrev P. G. Questions of the theory of folk art, p. 450-496 (article "Artistic means in humorous fair folklore").
17 P. G. Bogatyrev defines both in this way: “An oxymoron is a stylistic device consisting in combining words opposite in meaning into a certain phrase ... We call an oxymoron combination of phrases a combination of two or more sentences with an opposite meaning” (ibid., p. 453-454).
18 According to P. G. Bogatyrev, metathesis is “a stylistic figure where parts of nearby words move, such as suffixes, or whole words in one phrase or in adjacent phrases” (ibid., p. 460).
From the book. "Historical Poetics of Russian Literature", St. Petersburg, 1999
Russian satire of the 17th century. involved in its sphere and from time immemorial, since the XII century. popular among us is the genre of “sensible alphabets” - works in which individual phrases were arranged in alphabetical order. Until the 16th century inclusive, the “interpretive alphabets” contained mainly church-dogmatic, edifying, or church-historical materials. Later they are supplemented with everyday and accusatory material, in particular, illustrating the fatality of drunkenness. In many cases, such alphabets were adapted specifically to the goals of schooling.
About a Naked and Poor Man”, also known in manuscripts under the titles “The Legend of the Naked and Poor Man”, “The Story of the Naked Man in Alphabet”, etc., belongs to the number of purely satirical works. Neighborhood, in which the ABC of the Naked is found in handwritten collections, are popular in the 17th century. satirical stories - indicates that she herself was interpreted as a work close to these stories, and not as an "intelligent alphabet" in its traditional sense. Basically, “The ABC of the Naked” contains a first-person story about the bitter fate of a barefoot, hungry and cold person living in Moscow, exploited by the rich and “dashing people” in general, and the details of the text sometimes vary significantly according to the lists. In general, the poor man is portrayed as the son of well-to-do parents who always had "fritters and hot butter pancakes and good pies." “My father and my mother left me their house and property,” he says of himself. In the oldest list of the XVII century. The ruin of the hero is explained as follows: “From relatives envy, violence from the rich, hatred from neighbors, sale from sneakers, flattering slander, they want to knock me off my feet. My house would be intact, but the rich would swallow it, and the relatives would plunder it.” It happened so because the young man after his father and mother “remained young”, and his “relatives” plundered his father’s property. In other, later lists, the young man’s misadventures are explained by the fact that he “drank it all away and squandered it,” or they are not explained in any way, accompanied by a meaningless remark: “Yes, God did not order me to own it. ', or: 'Let God not command me to live in my poverty. “, etc. Even the miserable attire of the young man all went to pay off debts. “I had the kindest Rogozin Ferezis, and the strings were washcloths, and even then people took a debt,” he complains. He also has no land that he could plow and sow. “My land is empty,” he says, “and it is all overgrown with grass, I have nothing to weed and nothing to sow, moreover, there is no bread.” The ABC is written in rhythmic prose, rhymed in some places, such as:
People see that they live richly, but they don’t give us anything naked, the devil knows where and what they save money for. I don’t find peace for myself, I always break bast shoes and boots, but I don’t make good for myself.
There are also sayings in it, like: “What was he to promise, if he himself had nowhere to take it”; “I would go to visit, but there is nothing, but they don’t invite me anywhere”; “I would have sewn a odnoryatka with corals (corals) for the holiday, but my bellies are short,” etc. All these features of the ABC of the Naked, along with its typical colloquial language, put it on a par with such works of satirical literature of the second half of the 17th century like “Kalyazinskaya Petition”, “The Tale of Priest Sava”, etc. (see below). The ABC, both in terms of its content and everyday details, should be dated to the second half of the 17th century. and its emergence is associated with the urban environment, the internal relations of which it reflects.
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ABC ABOUT THE NAKED AND POOR PERSON
| Parameter name | Meaning |
| Article subject: | ABC ABOUT THE NAKED AND POOR PERSON |
| Rubric (thematic category) | Literature |
| Az am naked, naked and barefoot, hungry and cold, eat indiscriminately. | |||
| God knows my soul that I don't have a penny for my soul. | |||
| Tell the whole world that I have nowhere to take and there’s nothing to buy. | |||
| A good man spoke to me in Moscow, promised me a loan of money, and I came to him the next morning, and he refused me. And as soon as he laughed at me, and I’ll cry that laugh to him: it was our business to promise, if there wasn’t any? | |||
| It would be nice, man, to remember his word, and give me money; and I came to him, and he refused me. | |||
| Eat there is a lot of everything in people, but they won’t give us, but themselves die. | |||
| I live, good fellow, all day long eat, and I have nothing to eat. | |||
| Yawning on my belly from the great malnourished; walkers, my lips are dead, and it’s hard for me to eat. | |||
| My land is empty, all overgrown with grass; plow not for chim and sow nechavo, but there is nowhere to take. | |||
| And my stomach was exhausted, dragging on other sides, and my poorness, Golenkov, was exhausted. | |||
| How can I, poor and tribal, hunt and where can I get away from dashing people, from unkind people? | |||
| Rich people drink and eat, but they don’t offer naked people, but they themselves don’t recognize that even the rich are dying. | |||
| With my mind, I would have seen a lot in my place, both colorful dresses and money, but I have nowhere to take, to lie, to steal not a good thing. | |||
| Why is my life disgraceful? Rays strange live death, accept it, walk like a freak. | |||
| Oh woe! Rich people drink and eat, but they don’t know that they themselves will die, but they won’t give them to the naked. | |||
| I don’t find peace for myself, my vigilance, I break my bast shoes, but I don’t fit in | |||
| My mind do not feel, my stomach - do not find your vigilance, everyone rose up on me, wanting to immerse me, well done, into the hands; but God will not give out - and the pig will not eat! | |||
| I don’t know my bitterness how to live and how I can trade. | |||
| My belly is hard, but my heart has disappeared from the turmoil and cannot be touched. | |||
| I made a great bda, I go in vigilance, I don’t eat all day, but I won’t give me anything to eat. | |||
| Alas for me, poor, alas, tribal! Where can I dashing people of the child and bow your head? | |||
| Ferezis were kind to me, but people removed the lichia for debt. | |||
| Buried from debtors, but not buried: bailiffs are sent, put on the right; put on the legs, but I have nowhere to take and there is no buyer. | |||
| My father and mother left me estate had their own, but dashing people took possession of everything. Oh, my bad! | |||
| My house was intact, but God did not command to live and rule. | |||
| I didn’t want someone else, it didn’t work out in my own way. How, how can I, poor, hunt? | |||
| I would go to the city, but I would run away from the cloth of Khoroshenkov to a single-row, but there is no money, but not to believe in debt; how should I be? | |||
| I would flaunt and walk neatly and well, but not in anything. Liho me! | |||
| I would fidget around the bench in the old garden row. | |||
| Erychitsa by belly from great nedoetkov; I would eat meat, but get stuck in the teeth. | |||
| It was to go to visit, but nobody calls. | |||
| Yuchitsya on the belly with the great nedoetkov, do not want to play; I didn’t have dinner in the evening, I didn’t have breakfast in the morning, I didn’t eat today. | |||
| Yuril would have played, but I'm afraid of God, but that's a sin; fear and people litter. | |||
| If I were rich, then there would be people knew, and in evil days - and people did not know. | |||
| I would have thought it over well, but dressed up, but there’s nothing for me. | |||
| By the way, don't know how people to pester, and with her an identifying person. | |||
| Dogs do not bark at milov, A bite postylova and drag him out of the yard. | |||
| Foma-priest is stupid, he does not know sin, but he cannot tell people; on that to him - ʼʼGod save!ʼʼ; and save god. | |||
| "Service to the tavern" ("Feast of the taverns") | |||
|
A STORY ABOUT KARP SUTULOV
THE STORY ABOUT SOME RICH AND GLORIOUS GUEST ABOUT CARP SUTULOV AND ABOUT THE WISE EVO, HOW YOU DON'T DESTROY YOUR HUSBAND'S LODGE
If someone is a guest, Velmy is rich and glorious, named Karp Sutulov, having a wife with him, named Tatiana, very beautiful. And he lives with her in great love. And to that guest Karp living in a certain city, and in the same city a friend was very rich and glorious, and very faithful in everything, named Afanasy Berdov. Well, the predetermined guest Karp Sutulov will have time to go to buy his own in the Lithuanian land. And go hit your friend Afanasy Berdov with your forehead: ʼʼMy beloved friend, Afanase! Now give me time to go to buy mine in the Lithuanian land, I leave my wife alone in my house; and you, my dearest friend, supply my wife, about what you will be beaten by a man, in everything. I’ll come from my purchase, I’ll beat you with a forehead and pay ʼʼ. His friend Athanasius Berdov said to him: ʼʼMy friend Karpe, I am glad to supply your wifeʼʼ. Karp went to his wife and said to her:
ʼʼAz was with his friend Athanasius and beat him with his forehead about you, if without me you will need money, but my friend Athanasius will provide you with everything; rekoh mn he: ʼʼAz glad to supply your wife without youʼʼ.
Karp also ordered his wife Tatiana taco: ʼʼMy lady Tatiana, God be between us. When you start to create without me frequent feasts for good wives, for your sisters, I leave you money for what you need to buy brashn for good wives, for your sisters, and you go on my order to my friend Athanasius Berdov and ask him for brashn money, and he will give you a hundred rubles, and you, tea, will live on before me. And watch my advice, don’t give it back without me, and don’t defile my bed.
And this river, go to buy. And the wife, accompanying him on his way far, honestly and kindly, and joyfully bid, and return to your house, and starting after her husband to make frequent feasts for many good wives, and having fun with them velmi, remembering her husband Karp in joy.
And she began, and she lived without her husband for a long time, and so she spent the rest of the money. And already 3 years have passed since my husband went, she goes to her husband’s friend, to Afanasy Berdov, and she says to him: “Lord, my friend, friend of my husband, my husband! Give me a hundred rubles of money to my husband. And my husband Karp, when he went to buy his own and punished, - punished:
ʼʼWhen there is no money before me to buy something, and you go with my word to my friend, to Afanasy Berdov, and take from him a hundred rubles ʼʼ. And now you, perhaps, I need a hundred rubles for money for brashna before my husband. When my husband comes from his purchase, and then he will give you everything. He is in vain in his eyes and in the beauty of her face velmi diligently, and inflaming her with his flesh, and saying to her with his flesh: ʼʼ I will give you a hundred rubles for money, just lie down with me at nightʼʼ. She hesitated about that word and did not know what to answer, and she said to him: ʼʼI can’t do that without the command of my spiritual father; and he said to him: ʼʼI will go and ask my spiritual father what he commands me, then I will do with youʼʼ.
And soon he went and called his spiritual father to himself, and said to him: “My spiritual father, that you command to do this, because my husband will go away to buy his own and punish me:” me, and you go to my friend, to Afanasy Berdov, and he, on my advice, will give you a hundred rubles' money. Now I can’t get my money for a brush, and I’m going to my husband’s friend, to Athanasius Berdov, on the advice of my husband. He said to me: ʼʼAz ti dam a hundred rubles, just wake up with me at night to sleepʼʼ. And I don’t know what to do, I don’t dare you, my spiritual father, to do it with him without your command, and you command us to do it? for the nightʼʼ. She, however, was amazed at the words of Velmi and does not know what to answer her spiritual father, and she said to him: ʼʼ Give me, father, a period for a small year ʼʼ.
And going from him to the archbishop's court secretly, and erect to the archbishop: ʼʼO great saints, that you command us to do this, because my husband is a merchant very glorious, Karp Sutulov, I’ll buy mine in the Lithuanian land, this is already his third summer and after left himself to me for the need of money. From now on, I will not get the money to live on before him. And how my husband went to buy his own and punished me: “If you don’t get money, than to feed me, and you, on my advice, go to my friend, to Afanasy Berdov, and he, on my order, will give you money for the need for brashna one hundred rubles, for the need of a brush ʼʼ. And now I went to my husband's friend Afanasy Berdov and asked him for money for myself to get her husband a hundred rubles. He said to me: ʼʼAz ladies and a hundred rubles, just lie down with me at nightʼʼ. And I did not dare to do this without the command of my spiritual father, and going to my spiritual father, and ask about this my spiritual father, what he commands. He spoke to me: ʼʼIf you do with me, I will give you two hundred rublesʼʼ. And I didn’t dare to do that with him. The archbishop said: ʼʼLeave both of them, the priest and the guest, but be one with me, and I will give you three hundred rublesʼʼ. She does not know what to answer him, and does not want to listen to such words and speak to him: ʼʼO great saints, how can I escape from the fire of the future?ʼʼ He said to her: ʼʼI will allow you in everythingʼʼ.
She said, she commands him to be at the third hour of the day. And so he went to his spiritual father and said to him: ʼʼFather, be to me at the 6th hour of the dayʼʼ. Then go to your husband's friend, to Afanasy Berdov: ʼʼFriend of my husband, come to me at the 10th hour of the dayʼʼ. Now the archbishop is coming, she met him with great honor. He commanded, kindling his flesh on her, and brought her money three hundred rubles, and gave it, and you want to stay with her. She also said: ʼʼWhat do you require, put on this old garment the very same stay with me; in it you are in the presence of a multi-colored people and glorify God, in the same packs to the god of being ʼʼ. He said: ʼʼ No one has seen me and in this dress, that they have clothed it with me, but some can see us with you ʼʼ. She said to him: “God, father, sees all our deeds, if we hide our wandering from a man, but he does not require all the news, he does not require denunciation. And the Lord himself will not come with a club on you and on all the evil-doing, such a person will send evil on you, and he will beat you and dishonor you, and betray you for denunciation by the evil-doing others. And this verb to the archbishop. He said to her: ʼʼOnly, my lady, I don’t have any other clothes that they wear in the world, do I demand any kind of clothesʼʼ from you. She gave him her female asshole, as if she herself was wearing it on her body, and that san took off him and put it in her chest and said to him: “Az except for sowing clothes I don’t have in my house, because I gave it to the porto that my husband was wearing my. The archbishop, with joy, took and lifted a women's shirt on himself: ʼʼ Why do we, madam, demand better than sowing clothes, so I demand to be with you ʼʼ. She answered to this: ʼʼBehold, I will do it, but before that let us bow down to meʼʼ.
And at that time, the priest came to the gate, her spiritual father, by order of her, and brought her two hundred rubles with him, and began to push through the gate. She soon rises through the window and splashes her hand, and she herself says: ʼʼGood is the Lord, later on he will give me immeasurable and great joyʼʼ. The archbishop said: ʼʼ What, lady, was Velmy joyfully obsessed with being? ʼʼ She said to him: ʼʼ Behold, my husband has come from the purchase, but at this time I was expecting him ʼʼ. The archbishop said to her: ʼʼMy lady, where should I go for shame and dishonor?ʼʼ She said to him: ʼʼAnd you, my lord, go to the chest and sit, and I will let you down in time.ʼʼ. He soon went to the chest, but she locked him in the chest. Pope, going to the porch, she met him, he gave her two hundred rubles and began to talk with her about lovely words. She said: ʼʼMy spiritual father, how have you been deceived by me? For the sake of a single hour, for the sake of both, torment with you forever ʼʼ. Pop the speech to her: “My spiritual child, what can I say, if in any sin you anger God and your spiritual father, then what do you want to implore God and be merciful to do?” She said to him: “Yes, are you, father, righteous judge? Is it imashi power to heaven or let me into torment?ʼʼ
And those who say a lot to them, even if the guest is rich at the gate, her husband's friend, Afanasy Berdov, began to push through the gate. She soon jumped to the window and looked out the window, saw the rich guest, her husband's friend, Afanasy Berdov, clapping his hands and going along the upper room. Pop said to her: ʼʼTell me, child, who came to the gate and that you are joyfully obsessed with fast?ʼʼ She said to him: ʼʼDo you see, father, my joy, now my husband has come to me from the purchase and the light of my eyesʼʼ. Pop the speech to her: ʼʼ My victory! Where can I, my lady, hide myself for the sake of shame? ʼʼ She said to him: ʼʼ Do not be afraid, father, of this, but be afraid of your death, mortal sin; die alone, and create sin, torment imashi forever ʼʼ. And in this temple a chest was decreed to him. He is in one srachits and standing without a belt. She said to him: ʼʼGo, father, to another chest, I will let you out of my yardʼʼ in time. He will soon go to the chest. She locked it in the chest and went soon to let the guest in. The guest came to her in the upper room and gave her a hundred rubles of money. She comes to him with joy. He was in vain for the inexpressible beauty of her face velmi diligently. She said to him: ʼʼFor the sake of it, diligently look at me and command me to praise me? But isn’t it possible for some people to praise their wife, she’s very evil, he’s chaste then praise ʼʼ. He said to her: ʼʼMy lady, when I am satisfied and enjoy your beauty, then I will go away to my houseʼʼ. She didn’t know how to take the guest away from her, and ordered the slave to get out and knock. The slave girl, at the command of her mistress, went out and started pushing loudly at the gate. She will soon flow to the window and say: ʼʼO all-visible joy, oh my perfect love, about the light of my eyes and the joy of my soul!ʼʼ The guest said to her: ʼʼWhat, my lady, is she joyfully obsessed with being? What did she see behind the window? ʼʼ She said to him: ʼʼ This husband came from buying his own ʼʼ. The guest, having heard such verbs from her, began to bgati in the upper room and said to her: ʼʼ My lady, tell me, where can I hide from the shame of sowing? He soon rushed into the chest. She locked him in a chest.
And in the morning he went to the city to the military court and ordered to report to the governor so that he would go out to her. And a speech to her: ʼʼWhere did your wife come from and why did you order me to go out to you?ʼʼ She said to him: ʼʼBehold, sir, this city’s living wife, do you know, sir, my husband, a rich merchant named Sutulov ?ʼʼ He spoke to her: ʼʼI know well your husband, because your husband is a famous merchant.ʼʼ. She said to him: “This is the third summer since my husband went away to buy his own and ordered me to take a merchant from him, a merchant of this city, from Athanasius named Berdov, a hundred rubles of money - my husband has a friend, - he never gets it. But after my husband, I did many feasts for good wives, and now I lack silver. But I went to the merchant of this, to Afanasy Berdov, and did not receive the merchant of this house, from whom my husband ordered me to take. You give me perhaps a hundred rubles, I’ll give you three chests in slaughter with precious robes and valuable ʼʼ. And the governor said to her: “Az I hear that you are a good husband and you are a wife and a rich man, I’ll give you a hundred rubles without a mortgage, and as God brings from your husband’s purchase, I’ll take it from him.” Then she said to him: “Take it, for God's sake, for many robes and dragia Velmi in those sanduks, so that the tati do not steal those sanduks from me. Then, sir, I should be in punishment from my husband, at that time it would begin to speak to me, you would put on the observance of a good man before me. The voivode, having heard, ordered to bring all three chests, more often a truly precious garment.
She went from the governor, taking five people from the military, with whom she came to her house and put, and came to her house again with them, and brought the chests to the military yard, and commanded the governor, she commanded voevod robes to inspect. The governors led her to open the chests and open all three. And you see in a single chest a guest sitting in a single srach, and in another chest a priest in a single srach and a demon belt, and in a third chest the archbishop himself in a female srachice and a demon belt. The voivode, seeing them as such without ranks in single srachits, sitting in chests and laughing, and speaking to them: ʼʼWho put you here in one srachitsah?ʼʼ And commanding them to come out of the chests, and from shame, as if dead, put to shame from a wise wife . And they fell to the governor on the nose and weeping velmy about their sins. The governor said to them: ʼʼ Why are you crying and bowing to me? Bow to this wife, she would forgive you for your foolishnessʼʼ. The governor spoke before them and to that wife: ʼʼWoman, tell me, woman, whom did you lock in chests?
She said to the governor: “How my husband went to buy my own and ordered me from the guest to ask for money a hundred rubles, and how Athanasius went to ask for money a hundred rubles, and how that guest at least stay with me.” The same story about the priest and the archbishop is all genuine, and how she commanded them at what hours to come, and how she deceived them and locked them in sanduks. The voivode, hearing this, marvel at her mind and praise the voivode that she did not defile her bed. And the voevoda grinned and said to her: ʼʼ Good, woman, your slaughter is worth that money ʼʼ. And he took five hundred rubles from the governor from the guest, a thousand rubles from the priest, and five hundred rubles from the archbishop and commanded the governor to let them go, and taking the money with that wife and dividing it in half. And praise her chaste mind, as if she didn’t shame her husband’s eyes, and didn’t create such love with them, and didn’t separate her husband’s advice from her, and brought great honor to him, she didn’t defile her bed.
It was not enough time for her husband to arrive from his purchase. She tells him everything in a row. He rejoiced greatly over such wisdom of his wife, as she had created such wisdom. And tell her husband about that rejoicing.
THE STORY ABOUT FROL SKOBEEV
THE STORY ABOUT THE RUSSIAN NOVGOROD NOVEL FROL SKOBEEV, THE CAPITAL OF THE DAUGHTER OF NARDIN-NASCHEKIN ANNUSHKA
In the Novgorod district there was a nobleman Frol Skobeev. In the same Nougorod district there were estates of the stolnik Nardin-Nashchokin, there was a daughter, Annushka, who lived in those Novgorod estates.
And, having found out Frol Skobeev about that steward's daughter, he took up the intention of having love with that Annushka and seeing her. At the same time, he intended to recognize that patrimony with the clerk, and always went to the house of that clerk. And for some time Frol Skobeev happened to be at that clerk in the house, and at that time the mother of the daughter of the steward Nardin-Nashchokin came to that clerk. And Frol Skobeev saw that that mother always lives with Annushka. And how that mother went from that clerk to his mistress Annushka, and Frol Skobeev followed her and gave that mother two rubles. And that mother said to him: ʼʼMr. Skobeev! Not according to my merits, you are kind enough to show me, for the fact that there is no my service to you. And Frol Skobeev gave this money and said: ʼʼIt doesn’t matter to me!ʼʼ And he went away from her, and soon he didn’t tell her. And that mother came to her mistress Annushka, did not announce anything about it. And Frol Skobeev sat with that clerk and went to his house.
And at that time of entertaining evenings that happen in the gaiety of girlhood, called Svyatki by their girlhood, and that steward Nardin-Nashchokin's daughter Annushka ordered her mother to go to all the nobles who are in the vicinity of that patrimony of the steward Nardin-Nashchokin has a residence and whose nobles have a maiden daughter, so that they can ask those daughters to that steward's daughter Annushka for gaiety at a party. And that mother went and asked all the noble daughters to her mistress Annushka, and at her request, everyone promised to be. And that mother knows that Frol Skobeev has a sister, a girl, and that mother came to Frol Skobeev’s house and asked her sister to come to Annushka, the steward Nardin-Nashchokin. That sister Frola Skobeeva announced to that mother to wait a little while: ʼʼ I will go to my brother, if he orders me to go, then we will announce to you with that. And how Frola Skobeeva's sister came to her brother and announced to him that her mother had come to her from Nardin-Nashchokin's steward's daughter Annushka ʼʼ and asked me to come to their house ʼʼ. And Frol Skobeev said to his sister: ʼʼGo tell that mother that you will not be alone, some nobleman with a daughter, a maidenʼʼ. And that sister Frola Skobeeva began to think a lot about what her brother ordered to say, but she did not dare to disobey the will of her brother that she would be with her mistress this evening with some noble daughter, a maiden. And mother went to the house to her mistress Annushka.
And Frol Skobeev began to say to his sister: ʼʼWell, sister, it's time for you to get out and go to visitʼʼ. And as soon as her sister began to get into the girl's dress, and Frol Skobeev said to his sister: "Bring me, sister, the girl's dress, too, I'll get out, and we'll go with you to Annushka, the headmaster's daughter." And that sister evo veema lamented about that, because ʼʼ if she recognizes evo, then of course there will be a great misfortune for my brother, because that steward Nardin-Nashchokin is a lot of great mercy with the king ʼʼ. At the same time, she did not listen to the will of her brother, she brought him a girl's dress.
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And Frol Skobeev got into the girl's dress and went with his sister to the house of the steward Nardin-Nashchokin to see his daughter Annushka.
Many noble daughters gathered at that Annushka, and Frol Skobeev is right there in a girl's attire, and no one can recognize it. And all the merry girls became different games and have fun for a long time, and Frol Skobeev had fun with them, and no one can recognize it. And then Frol Skobeev was alone in the toilet, and his mother stood in the entryway with a candle. And how Frol Skobeev got out of the closet and began to say to his mother: “How, mother, there are many of our sisters, noble daughters, and there are a lot of your services to us, and no one can give anything for your service.” And the mother cannot admit that he is Frol Skobeev. And Frol Skobeev, having taken out five rubles for money, gave that mother with great compulsion, and mother took that money. And Frol Skobeev sees that she cannot admit it, then Frol Skobeev fell at the feet of that mother and announced to her that he was a nobleman Frol Skobeev and came in a girl's dress for Annushka to have obligatory love with her. And how mother saw that Frol Skobeev was truly, and became in great doubt and did not know what to do with him. At the same time, I’ll remember two many gifts for myself: “Good, Mr. Skobeev, for your mercy to me, I’m ready to fix everything according to your will.” And she came to rest, where the merry girls, and did not announce this to anyone.
And that mother began to say to her mistress Annushka: “Come on, girls, fun, I will announce the game to you, as if before this they were from the children's game.” And that Annushka did not disobey the will of her mother and began to say to her: ʼʼ Well, mother, if you please, how is your will for all our girlish gamesʼʼ. And that mother announced to them a game: ʼʼ Please, Mrs. Annushka, you be the brideʼʼ. And on Frol Skobeeva showed: ʼʼThis girl will be the groomʼʼ. And they led them to a special room for rest, as is usual in a wedding, and all the girls went to escort them to those chambers and came back to those chambers in which they used to have fun. And that mother told those girls to sing vociferous songs so that they would not hear a cry from them. And sister Frola Skobeeva was very much in great sorrow, longing for her brother, and hopes that, of course, there will be a parable.
And Frol Skobeev was lying with Annushka, and he declared himself to her that he was Frol Skobeev, and not a girl. And Annushka became in great fear. And Frol Skobeev, in spite of any fear, grew her virginity. That's why that Annushka asked that Frol Skobeev not to carry her around to others. Then mother and all the girls came to the room where she was lying, and Annushka began to change in her face, and no one can recognize Frol Skobeev, because in a girl's dress. And that Annushka didn’t tell anyone about it, she just took her mother by the hand and led her away from those girls and began to say skillfully to her: “What did you need to do with me? This was not a girl with me, he was a courageous man, nobleman Frol Skobeevʼʼ. And that mother announced to her: “Truly, my lady, that she could not recognize her, she thought that she was such a girl as the others. And when he did such a trifle, you know that we have enough people, we can hide it in a place of death. And that Annushka wished for that Frol Skobeev: ʼʼ Well, mother, it’s already like that, I won’t return it ʼʼ. And all the girls went to the feasting rest, Annushka with them and Frol Skobeev in the same girlish attire, and had fun for a long time of the night. Then all the girls began to have peace, Annushka went to bed with Frol Skobeev. And in the morning all the girls got up, began to disperse to their homes, so did Frol Skobeev and his sister. Annushka let all the girls go, but left Frol Skobeev and her sister. And Frol Skobeev was with Annushka for three days in a girl's attire, so that the servants of the house would not recognize him, and everyone had fun with Annushka. And after three days, Frol Skobeev went to his house and with his sister, and Annushka gave Frol Skobeev 300 rubles in money.
And Frol Skobeev came to his house, very glad to be and made banquets and had fun with his brethren of nobles.
And her father writes from Moscow, the stolnik Nardin-Nashchokin, to the patrimony of her daughter Annushka, so that she goes to Moscow, so that suitors, the steward's children, woo her. And Annushka did not disobey the will of her parent, and soon got ready and went to Moscow. Then Frol Skobeev found out that Annushka had gone to Moscow, and became in great doubt, did not know what to do, because he was a poor nobleman, and had more food for himself to always go to Moscow as a chargé d'affaires. And he took upon himself the intention of how he could get Annushka for his wife. Then Frol Skobeev began to go to Moscow, and his sister evesma sympathizes with him, about his excommunication. Frol Skobeev said to his sister: “Well, sister, don’t worry about anything! Although I’ll lose my stomach, but I won’t leave Annushka behind, either I’ll be a colonel or a dead man. If something happens according to my intention, then I won’t leave you either, but if misfortune happens, then remember your brother. I got out and went to Moscow.
And Frol Skobeev arrived in Moscow and stood in an apartment near the courtyard of the stolnik Nardin-Nashchekin. And the next day, Frol Skobeev went to mass and saw in the church his mother, who was with Annushka. And after the departure of the liturgist, Frol Skobeev came out of the church and began to wait for his mother. And as soon as mother came out of the church, and Frol Skobeev went up to mother, and bowed to her, and asked her to announce him to Annushka. And as soon as mother came to the house, she announced to Annushka the arrival of Frol Skobeev. And Annushka became great in joy and asked her mother to go to mass the next day and take 200 rubles with her and give it to Frol Skobeev. She did it by her will.
And that steward Nardin-Nashchekin had a sister, she was tonsured in the Maiden Monastery. And that steward came to his sister in the monastery, and her sister honorably met her brother. And the stolnik Nardin-Nashchekin was with his sister for a long time and had a lot of conversations. Then her sister humbly asked her brother to let her daughter Annushka and her niece go to the monastery to see her, for which she did not see her for a long time. And the stolnik Nardin-Nashchekin promised to let her go. And she asked Evo: ʼʼ When, even in the oblivion of your house, I will send for her coret and appear, so that you order her to go to me and demon yourself ʼʼ.
And it will happen for some time to that steward Nardin-Nashchekin to go on a visit with his wife. And he orders his daughter: ʼʼIf your sister sends a koreta for you from Moscow and with spawns, then you go to herʼʼ. And he went to visit. And Annushka asked her mother how she could, sent to Frol Skobeev and told him that he, as best as possible, begged for a koreta and came to her himself and said, as if from the sister of the stolnik Nardin-Nashchekin, he had come along Annushka from the Devichev monastery. And that mother went to Frol Skobeev and told him everything on her orders.
And how Frol Skobeev heard from his mother and does not know what to do, and does not know how to deceive anyone, so that many noble people knew that he, Skobeev, a nobleman of a poor, like a great yabida, intercedes for orders. And it came to the memory of Frol Skobeev that the attendant Lovchikov was very kind to him. And he went to that steward Lovchikov, and that steward had many conversations with him. Then Frol Skobeev began to ask that stolnik to grant him a koreto with risers.
And Frol Skobeev came to his veil and gave that coachman a lot of drunk to drink, and he himself put on a footman's dress, and sat on the goats, and went to the steward Nardin-Nashchokin along Annushka. And that Annushkʼʼ saw on her mother that Frol Skobeev had arrived, said Annushka, under the guise of other servants of that house, supposedly sent by her aunt from the monastery. And that Annushka got out, and got into the carriage, and went to the apartment of Frol Skobeev.
And that coachman Lovchikov woke up. And Frol Skobeev saw that Lovchikov's coachman was not in such strong drunkenness, and after drinking it he was very cruelly drunk, and he put him in the carriage, and he himself got into the box and went to Lovchikov's yard.
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And he came to the courtyard, opened the gates and sent the runners and with the cart into the courtyard. The Lovchikovs’ people see that they are standing upright, and the coachman is lying in the carriage, severely drunk, they went and announced to Lovchikov that the coachman was lying drunk in the carriage, and we don’t know who brought them to the yard. And Lovchikov ordered the koreta to be removed and said: “It’s good that he didn’t leave at all, and there’s nothing to take from Frol Skobeev.” And in the morning Lovchikov began to ask that coachman where he was with Frol Skobeev, and the coachman said to him: “I just remember how he came to his apartment, but where he went, Skobeev, and what he did, I don’t know.” And the stolnik Nardin-Nashchokin came from the guests and asked his daughter Annushka, then the mother said that “by order of yours, she was released to your sister in the monastery, so that she sent a koret and appeared ʼʼ. And the stolnik Nardin-Nashchokin said:
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And the steward Nardin-Nashchokin did not visit his sister for a long time and hopes that his daughter is in the monastery with her sister. And already Frol Skobeev married Annushka. Then the stolnik Nardin-Nashchokin went to the monastery to his sister, for a long time he did not see his daughter, and asked his sister: ʼʼ Sister, why don’t I see Annushka? What should I do when I am unhappy with my petition to you? I asked her to send to me; it’s notable that you won’t deign to believe me, but I don’t have such time to send me an ʼʼ. And the steward Nardin-Nashchokin said to his sister: ʼʼ How, madam sister, what do you want to say? I can’t judge about that, for the fact that she was released to you already that month, for the fact that you sent a koret on her and with appearances, and at that time I was visiting and with my wife, and by our order she was released to you ʼʼ. And his sister said to him: ʼʼ No way, brother, I didn’t come and send a kore, Annushka never visited me! And he came to the house, told his wife that Annushka was in trouble, and said that her sister was not in the monastery. And he began to ask his mother who came with the appearances and with the coachman's carriage. And she said that ʼʼ from the Maiden Monastery from your sister came along Annushka, then by your order Annushka ʼʼ went. And about that the steward and the wife of the veem condoled and wept bitterly.
And in the morning the steward Nashchokin went to the sovereign and announced that his daughter had disappeared without a trace. And the sovereign ordered to incite the public about his daughter's daughter: ʼʼIf anyone keeps her secretly, let them announce! If someone does not announce it, and then searches it, then they will be executed by death!ʼʼ And Frol Skobeev, hearing the publication, does not know what they are doing. And Frol Skobeev intended to go to the steward Lovchikov and announce to him that Lovchikov was very kind to him. And Frol Skobeev came to Lovchikov, had many conversations with him, and the steward Lovchikov asked Frol Skobeev: ʼʼWhat, Lord
ABC ABOUT THE NAKED AND POOR PERSON - concept and types. Classification and features of the category "ALPHABET ABOUT THE NAKED AND POOR PERSON" 2017, 2018.
