Karpov I.P. National triad “Orthodoxy - autocracy - nationality” (A.S.

Pimen - character description

PIMEN - central character tragedy by A. S. Pushkin “Boris Godunov” (1825), monk-chronicler of the Chudov Monastery, “a meek and humble elder”, under whose leadership is the young monk Grigory Otrepiev, the future Pretender. Pushkin drew material for this image (as well as for others) from N. M. Karamzin’s “History...”, as well as from the epistolary and hagiographic literature of the 16th century (For example, P.’s story about the death of Fyodor Ioannovich is based on the work of Patriarch Job. ) Pushkin wrote that P. is not his invention: “In it I collected the features that captivated me in our old chronicles.” The poet attributed to these traits touching meekness, innocence, something childish and at the same time wise, zeal, piety in relation to the power of the king, given from God. P. is the hero of one scene, the fifth scene of the tragedy. P.'s role is relatively small. However, the function of this character in the development of the plot, in the connections of ideas and images, is important and significant. The conflict of tragedy in the scene with P. receives significant clarification.

From Shuisky's story in the first film we know about the regicide committed in Uglich, its culprit is named - Boris Godunov. But Shuisky is an indirect witness, who found “fresh traces” at the scene of events. P. is the only eyewitness among the characters who saw with his own eyes the slaughtered prince, who heard with his own ears how “under the ax the villains repented and named Boris.” For Shuisky, the death of Dmitry is trivial, like any political murder, of which there is no number. Vorotynsky also thinks in the same terms, although his reaction is more emotional: “A terrible crime!” P.’s assessment is completely different (in tone, in meaning): “Oh, terrible, unprecedented grief!” This grief is terrible and unprecedented because Boris’s sin falls on everyone, everyone turns out to be involved in it, for “we have called the regicide our ruler.” In P.’s words there is not just a moral assessment, which cannot be denied to Godunov himself (the pangs of conscience torment him and P. judges it existentially: one person committed the crime, but everyone must answer. An unprecedented grief is coming to Rus', “a real disaster for the Moscow state.” (“A comedy about the real misfortune of the Moscow state ...” is one of the draft titles of Pushkin’s tragedy.) P. does not yet know how this grief will manifest itself, but his premonition makes the monk merciful. Therefore, he orders his descendants to be humble: let them remember their kings , “for sins, for dark deeds, they humbly beg the Savior.”

Here a significant difference is revealed from the “court” of the Holy Fool, who refused Boris’s prayer. The symmetry of these images, P. and the Holy Fool, has long been noticed and studied, in particular, by V. M. Nepomniachtchi. However, the closeness of the characters does not mean that they equally express the “voice” people", "voice of God". Pushkin's realism lies in the fact that each of his heroes has his own "voice". The dramaturgy of the scene in the cell of the Chudov Monastery is built on the contrast of P.’s calmness (the constant epithet: “the past is calm and silent,” “his calm appearance,” “calmly looks at the right and the guilty”) and the confusion of Gregory, whose “peace was disturbed by demonic dreams.” Throughout the entire scene, P. tries to convince Otrepyev of the futility of worldly pleasures and the bliss of monastic service. However, his memories of a fun-filled youth, noisy feasts and battles only inflame Gregory’s imagination. The story about Demetrius, especially the careless mention - “he would be your age” - provokes a “wonderful thought” that will determine the further course of events. P., as it were, turns Gregory into an impostor, and completely unintentionally. In the theory of drama, such an action is called peripeteia (according to Aristotle, “the change of what is done in its opposite”). As a result of the peripeteia, the plot of the tragedy is drawn into a dramaturgical knot. In M. P. Mussorgsky’s opera “Boris Godunov” (1868-1872), P.’s role was expanded. The composer (and the author of the libretto) told him the Patriarch's story (the fifteenth scene of the tragedy - "The Tsar's Duma") about the miraculous epiphany of a blind shepherd in front of the tomb of Tsarevich Dimitri. In the opera, this story follows after the scene with the Holy Fool (in the tragedy - before it) and becomes the final blow fate, punishing the child killer. The most famous performers of the role of P. are I. V. Samarin (Maly Theater, 1880), V. I. Kachalov (Moscow Art Theater, 1907); in the opera - V. R. Petrov (1905) and D. Mikhailov (1936).

The idea of ​​Pimen is inseparable from the monastery cell - these are precisely the circumstances in which the character of the hero is revealed. The poet emphasized impermeability to others spiritual world Pimen, the inaccessibility of his understanding and the young Gregory, who often wanted to guess what he was writing about. The chronicler bending over his work reminds Gregory of a clerk, but the comparison is more external.

Psychologically, Pimen is completely different. No, he is not indifferent to what he talks about, especially to “good and evil.” For him, evil is evil, and good is the greatest human happiness. With pain, he tells Gregory about the Bloody Sin that he witnessed. Pimen perceives as “grief” the “crowning” of Boris to the throne, which was completely contrary to the laws of God and man.

Pimen sees the highest purpose of the chronicler’s life in telling descendants the truth of history.

Pimen, wise in life, finds true “bliss” in deep reflection, in his concentrated writing. The highest wisdom of life is contained for Pimen in his inspired work, filled with true poetry for him. The draft preserved a prose entry containing Pimen’s sincere confession: “I’m approaching the time when it’s time for me to be entertaining.” In his declining years, only one thing is “interesting” for Pimen: his “last legend.” The peculiarity of the chronicler’s internal appearance is his majestic calm. Majesty in Pimen’s sacred work, performed in the name of lofty goals. Dignity and greatness come from the consciousness of fulfilled duty.

A living, integral, individual human character is an alloy of traits, sometimes unexpected and contradictory. The combination of seemingly incompatible qualities is noted by Pushkin in the chronicler: “something infantile and at the same time wise...” In the draft last word read as "decrepit". It seemed to the author, however, that it was important to highlight not so much the chronicler’s weakness as his sophistication combined with the spontaneity of perception.

The image of the chronicler created in Pushkin’s tragedy is a collective image of the poet Ancient Rus', a type of poetic consciousness in general. The poet always acts as an echo of his time. And it was precisely this combination of the historically real and the poetically fictional that the author saw in Pimen: “It seemed to me that this character was all together new and familiar to the Russian heart.” “Sign” - because there were many such chroniclers in Rus'. “New” - because it was created by the imagination of the artist, who brought into this image a creative principle so close to himself.

Image of the Impostor

Before us is the character of a hero whose main quality is political adventurism. He lives for endless adventures. Behind this hero there is a whole string of names: Grigory, Grigory Otrepiev, Pretender, Dimitri, False Dimitri. He can speak pathetically. Sometimes, having begun to play a role, he becomes so involved in it that he himself begins to believe in his lies.

The impostor is sincerely jealous of the moral purity of Prince Kurbsky. The clarity of the soul of Kurbsky, fighting for a just cause, and also avenging his insulted father, evokes in the Pretender the realization that he himself is deprived of this precious property. True patriot fatherland, inspired by the fulfillment of a dream, Kurbsky and the Pretender, playing a role, insignificant in his selfish aspirations - such is the contrast of characters.

On the eve of the battle on the Lithuanian border, repentance awakens in the Pretender:

Russian blood, O Kurbsky, will flow!

You raised your sword for the king, you are pure.

I’m leading you to the brothers; I am Lithuania

I called to Rus', I’m going to red Moscow

I show the enemies the cherished path!..

The remorse of a guilty conscience needs to be drowned out, and the Pretender finds a way to do this, placing the blame on Boris for what he himself does: “But let my sin fall not on me - but on you, Boris the regicide!” if in the mouth of the chronicler Pimen the accusation against Boris sounded like a verdict of conscience, the words of the Pretender about Godunov’s crime are only self-deception for the purpose of imaginary self-affirmation.

The impostor masterfully plays the role he has taken on, plays it carelessly, without thinking about what this might lead to. Only once does he take off his mask: when he is overwhelmed by the feeling of love, he is no longer able to pretend:

No, I’m done pretending! I'll tell you

The whole truth...

. . . . . . . . . . . . . . . . . . . .

I lied to the world; but not for you, Marina,

Execute me; I'm right with you.

No, I couldn't deceive you.

You were my only shrine,

I didn’t dare pretend in front of her...

“I couldn’t deceive...”, “I didn’t dare...” - The impostor is capable of thoughtless frankness.

The character of the Impostor is not at all as simple as it might seem: different facets of it manifest themselves in different circumstances.

PIMEN

PIMEN is the central character of A.S. Pushkin’s tragedy “Boris Godunov” (1825), the monk-chronicler of the Chudov Monastery, “a meek and humble old man,” under whose command is the young monk Grigory Otrepiev, the future Pretender. Pushkin drew material for this image (as well as for others) from N.M. Karamzin’s “History...”, as well as from epistolary and hagiographic literature of the 16th century. (For example, P.’s story about the death of Fyodor Ioannovich is based on the work of Patriarch Job.) Pushkin wrote that P.’s character is not his invention: “In him I collected the features that captivated me in our old chronicles.” The poet attributed to these traits touching meekness, innocence, something childish and at the same time wise, zeal, piety in relation to the power of the king, given from God.

P. is the hero of one scene, the fifth scene of the tragedy. P.'s role is relatively small. However, the function of this character in the development of the plot, in the connection of ideas and images, is important and significant. The conflict of tragedy in the scene with P. receives significant clarification. From Shuisky's story in the first film we know about the regicide committed in Uglich, its culprit is named - Boris Godunov. But Shuisky is an indirect witness who found “fresh traces” at the scene of events. P. is the only eyewitness among the characters who saw with his own eyes the slaughtered prince, who heard with his own ears how “under the ax the villains repented and named Boris.” For Shuisky, the death of Dmitry is trivial, like any political murder, of which there is no number. Vorotynsky also thinks in the same terms, although his reaction is more emotional: “A terrible crime!” P.’s assessment is completely different (in tone, in meaning): “Oh, terrible, unprecedented grief!” This grief is terrible and unprecedented because Boris’s sin falls on everyone, everyone is involved in it, for “we have called the regicide our ruler.” In P.’s words there is not just a moral assessment, which cannot be denied to Godunov himself (pangs of conscience torment him too). P. judges existentially: one person committed a crime, but everyone must answer. An unprecedented grief is coming to Rus', “a real misfortune for the Moscow state.” (“A comedy about the real misfortune of the Moscow state...” is one of the draft titles of Pushkin’s tragedy.) P. does not yet know how this grief will manifest itself, but his premonition makes the monk merciful. Therefore, he instructs his descendants to be humble: let them, remembering their kings, “humbly beg the Savior for their sins, for their dark deeds.” Here a significant difference is revealed from the “court” of the Holy Fool, who refused Boris prayer. The symmetry of these images, P. and the Holy Fool, has long been noticed and studied, in particular, by V.M. Nepomnyashchy. However, the closeness of the characters does not mean that they equally express the “voice of the people”, “the voice of God”. Pushkin's realism lies in the fact that each of his heroes has his own “voice”. The dramaturgy of the scene in the cell of the Chudov Monastery is built on the contrast of P.’s calmness (the constant epithet: “the past<...>calmly and silently,” “his calm appearance,” “calmly looks at the right and the guilty”) and the confusion of Gregory, whose “peace was disturbed by demonic dreams.” Throughout the entire scene, P. tries to convince Otrepyev of the futility of worldly pleasures and the bliss of monastic service. However, his memories of a fun-filled youth, noisy feasts and battles only inflame Gregory’s imagination. The story about Demetrius, especially the careless mention - “he would be your age” - provokes a “wonderful thought” that will determine the further course of events. P., as it were, turns Gregory into an impostor, and completely unintentionally. In drama theory, such an action is called peripeteia (according to Aristotle, “the change of what is done in its opposite”). As a result of the twists and turns, the plot of the tragedy is pulled into a dramaturgical knot.

In the opera M.P. Mussorgsky's "Boris Godunov" (1868-1872) P.'s role was expanded. The composer (and the author of the libretto) told him the Patriarch's story (the fifteenth scene of the tragedy - “The Tsar's Duma”) about the miraculous epiphany of a blind shepherd in front of the tomb of Tsarevich Dimitri. In the opera, this story follows after the scene with the Holy Fool (in the tragedy - before it) and becomes the last blow of fate punishing the child killer.

The most famous performers of the role of P. are I.V. Samarin (Maly Theater, 1880), V.I. Kachalov (Moscow Art Theater, 1907); in opera - V.R. Petrov (1905) and M.D. Mikhailov (1936).

S.V.Stakhorsky

Literary heroes. - Academician. 2009 .

See what "PIMEN" is in other dictionaries:

A, husband. Report: Pimenovich, Pimenovna; decomposition Pimenych.Derivatives: Pimenka; Pima; Pimanya; Pimaha; Pimasha.Origin: (Greek poimen shepherd; trans. shepherd.) Name days: February 23, May 21, August 20, September 9, September 10, October 11. Dictionary of personal names. Pimen... ... Dictionary of personal names

Shepherd, shepherd Dictionary of Russian synonyms. pimen noun, number of synonyms: 1 name (1104) ASIS Dictionary of Synonyms. V.N. Trishin. 2013… Dictionary of synonyms

Modern encyclopedia

- (Izvekov Sergei Mikhailovich) (1910 90) Patriarch of Moscow and All Rus' since 1971. He was tonsured a monk in 1927. Archimandrite since 1950, bishop since 1957, archbishop since 1960, metropolitan since 1961. Manager of the affairs of the Moscow Patriarchate in 1960 61, permanent... ... Big Encyclopedic Dictionary

- (in the world Sergei Mikhailovich Izvekov) (1910 90), Patriarch of Moscow and All Rus' from 1971. He was tonsured a monk in 1927. Archimandrite from 1950, bishop from 1957, archbishop from 1960, metropolitan from 1961. Manager of the affairs of the Moscow Patriarchate in 1960 61 ,... ...Russian history

Pimen- (Izvekov Sergei Mikhailovich) (1910 90), Patriarch of Moscow and All Rus' from 1971. He was tonsured a monk in 1927. Archimandrite from 1950, bishop from 1957, archbishop from 1960, metropolitan from 1961. Manager of the affairs of the Moscow Patriarchate in 1960 61, permanent … … Illustrated Encyclopedic Dictionary

Pimen- (Sergei Mikhailovich Izvekov; 1910 1990) Patriarch of Moscow and All Rus'. Born on July 23, 1910 in the city of Bogorodsk, Moscow province, in the family of an employee. In 1925 he graduated from high school in Bogorodsk and on December 4 of the same year at the Sretensky Monastery ... Orthodoxy. Dictionary-reference book

Pimen, Pimin (Greek ποιμήν shepherd) male name. Pimen the Great Pimen (Patriarch of Moscow) Pimen (Metropolitan of Kiev) Pimen (Archbishop of Novgorod) Pimen (Khmelevsky) Pimen (Belolikov) In literature, Pimen is a character in the play... ... Wikipedia

Pimen- (in the world of Izvekov Ser. Mikh.) (1910 90) Patriarch of Moscow. and all Rus' (since 1971). Doctor of theology, honor. member Leningr. (1962) and Moscow. (1963) spirit. academies He took monastic vows in 1927 with the name Plato in Moscow. Sretensky Mon. At the same time he led the choir in Moscow. temple... ... Russian humanitarian encyclopedic dictionary

Izvekov Sergei Mikhailovich (1910 1990), Patriarch of Moscow and All Rus' since 1971. He was tonsured a monk in 1927. Archimandrite since 1950, bishop since 1957, Archbishop of Tula and Belevsky since 1961. Metropolitan of Leningrad and Ladoga, permanent member... ... Encyclopedic Dictionary

Books

• Memoirs of Archimandrite Pimen, abbot of the St. Nicholas Monastery on Ugresh. 1876-, Pimen. The book is a reprint of 1877. Despite the fact that serious work has been done to restore the original quality of the publication, some pages may...

Karpov I.P. National triad “Orthodoxy - autocracy - nationality” (A.S. Pushkin “Boris Godunov”)

The tragedy “Boris Godunov” is one of Pushkin’s central works, in which his genius, his Russian Orthodox soul, his vision of the history of the people, his innermost thoughts were fully demonstrated. Let's look at the image of the monk-chronicler Pimen and try to comprehend the meaning of the scene “Night. Cell in the Chudov Monastery" in aspect author's position, bearing in mind the content of the tragedy as a whole.

§ 1. The image of Pimen is the spiritual center of the tragedy

Pushkin compares the poet to an “echo” that responds to everything. Responsiveness is one of the most essential features of the author’s position (“Echo”). Pushkin endows the poet with the mission of a prophet: “With the verb, burn the hearts of people,” this reveals the author’s awareness of the divine purpose of poetry (“Prophet”). Pushkin takes credit for the awakening of good feelings in people, the glorification of freedom, and the call to mercy:

This is how the idea of ​​Christian compassion is affirmed (“I erected a monument to myself not made by hands...”).

The author's position is expressed in “Boris Godunov” in its fundamentally important manifestations, which gives the content of the tragedy - in comparison with lyrical works- a deeper and more sublime spiritual and national-historical meaning.

Pimen bequeaths the continuation of chronicle writing to the monk Grigory Otrepiev, who turns out to be unable to do this, overcome by “demonic dreams.” Secondly, Pimen ends his “tale” with an episode of the murder of Tsarevich Theodore, the son of Ivan the Terrible:

Thus, Pimen’s work is, as it were, continued by the creator of the tragedy himself. The author takes the position of a chronicler: he begins the story from the historical moment where Pimen stopped; he chooses the consequence of a “terrible crime” - the bad conscience of Boris Godunov - as one of the main spiritual causes of the disasters of the tsar and his kingdom.

Of course, “Boris Godunov” is not a chronicle itself, nor is it a stylization of the chronicle narrative, remaining a work of art, that is, figurative, but the spiritual position of the chronicler is manifested in the entire structure of the work, which we will try to further substantiate.

Pimen - full-fledged artistic image, the content dominant of which is aspiration towards God. In this regard, only the Patriarch is comparable to Pimen, but in the speeches and actions of the Patriarch there is a lot of worldliness, coming from preoccupation with the affairs of the state, while Pimen - in his striving for the eternal - is majestically calm.

Pimen’s appearance is depicted in the light of Gregory’s loving gaze: “How I love his calm appearance,” “humble, majestic.”

These definitions expressed Pushkin’s desire to reflect the typical, beloved properties of Russian monastic chroniclers.

“The character of Pimen,” wrote Pushkin, “is not my invention. In him I collected the features that captivated me in our old chronicles: simplicity, touching meekness, something childish and at the same time wise, zeal, one might say pious, for the power of the tsar given to them by God, a complete absence of vanity, partiality...” (The Hand of Pushkin 1935 : 745).

The “humble, majestic” appearance of a righteous man, a monk, a shepherd is captured not only on icons, which can be determined by the “requirements of the genre”, iconographic tradition, but also by the images (pictorial and photographic) that have come down to us of Russian archpastors, appearance which are united by rigor, concentration and spiritual enlightenment.

Pimen is shown in spiritual disposition, which can be defined as prayerful spiritual tenderness, which is also not only an individual characteristic of the character in the tragedy, but one of the highest states of the Orthodox soul. Pushkin also knew this state, which was reflected both in his lyrics (epitaphs, translations of prayers, many poems) and in tragedy.

“Many pages of Boris Godunov are saturated with spiritual tenderness: it breathes in the mouth of Pimen, the Terrible Tsar, whom the latter remembers, in the pre-dinner prayer read by a boy in Shuisky’s house, and in the patriarch’s touching story about the miracle from the relics of Tsarevich Dimitri, and, finally, in the will to the son of Boris himself, when he, having accepted the schema, departs from this world with words of repentance and reconciliation on his lips” (Anastasius, Metropolitan 1996: 92).

Pimen is depicted at a period in his life when he realizes that it is time for him to “rest”, to “put out the candle”, he feels the proximity of his own death, that is, he is inherent in the awareness of his imminent appearance before the Almighty, which gives his speeches special persuasiveness.

Gregory, as a man who is tormented by “demonic dreams,” is only partly right in his characterization of Pimen:

Pimen is not indifferent to people (his attitude towards Ivan the Terrible, the humble Tsar Theodore, the common sin of naming a regicide “sovereign”). His calmness comes from the awareness of a higher power, a higher court that threatens people, from a state of prayer, which is the only way an Orthodox monk can respond to a person’s sins.

“In it the poet gave the most complete, most prominent and most truthful type of Orthodox Russian ascetic that has ever been in our fiction"(Anastasy 1996: 81).

The meaning of the image of Pimen is spiritual: the hero is connected with the action of the tragedy indirectly: by assessing events, kings, and is not a historical figure.

Scene “Night. The cell in the Chudov Monastery” is in a certain way included in the composition of the tragedy. It is preceded by episodes: a conversation between two courtiers (Shuisky and Vorotynsky), the presence of people on Red Square and Maiden Field, the accession of Boris Godunov. It is followed by an episode of the news of Gregory's escape (Chambers of the Patriarch) and a monologue by Boris Godunov about the results of his six-year reign (Royal Chambers). Thus the scene “Night. Cell in the Miracle Monastery" is placed, as it were, deep into the narrative space, inside the main themes: the existence of the Russian Orthodox people, the tsar, his “government”, the intricacies of the life of the courtiers, the attitude of the people towards the tsar, the beginning of the actions of Gregory - the “cursed urchin”.

Finally, we note that Pimen’s first monologue, “One more, last legend,” sets majestic intonation and verbal tone further narration, in which Church Slavonic vocabulary, high tragic style and the living Russian folk language merge into an organic whole.

The depth and integrity of Pimen’s character suggests consideration of this image in the light of important for Russia Pushkin's era concepts: Orthodoxy, autocracy, nationality.

§ 2. Orthodoxy

Every word of Pimen is significant in the system of the Orthodox worldview, worldview and experience of the world. It is not just a “formula”, “a part of church etiquette”, “an accepted rule”.

Behind every word of a monk there is a meaning defined by Holy Scripture and centuries-old tradition Patristic Tradition, which is deeply felt and brilliantly expressed by Pushkin.

Pimen defines his work as the fulfillment of a duty bequeathed by God:

The words “To me, a sinner,” begin the assessment of everything that happens, which in worldly language can be called “villainy,” “betrayal,” “murder,” “bad conscience,” but for a believer it is called “sin.”

Everything in the world happens according to the will or permission of God, hence Pimen’s chronicle:

Pimen, by the very fact of his monastic position, the spirituality of his worldview, thoughts and assessments, affirms a huge meaning of the Orthodox Church, monastery, monasticism in the life of both a common man and a crowned prince.

He contrasts secular life as “pleasure” and monastic life as “bliss”:

He remembers Tsar Ivan the Terrible in moments of his repentance, thoughtfulness, quiet conversation, when the tsar made a vow: “I will come to you, damned criminal,” and the monks prayed for him.

Pimen is a monk, a chronicler - the highest moral and righteous height from which the author surveys the remaining characters, their actions, deeds, and motives of behavior.

“Pushkin understood with his Russian instinct that the best part of our people's soul, who saw in monasticism the highest ideal of spiritual and religious life. Her tireless longing for the mountainous fatherland found a response in his own heart, calling him there, “to the cell beyond the clouds, to the neighborhood of God Himself” (Anastasy 1996: 81).

Pimen teaches a young monk, the heir of his works:

“Without further ado”, i.e. without being self-willed, without introducing your personal, sin-prone will into what is described. Pimen’s words express deep faith in the existence of two worlds - Divine, heavenly, angelic and earthly, ours, earthly, human. The saints of God and the prophets seem to connect these two worlds; miracles and heavenly signs are evidence of God’s peace. This is how Pimen expresses the Orthodox understanding of the structure of the world.

He remembers Ivan the Terrible's son Theodore as a humble king (one of the main Christian virtues), beloved by God for his humility.

Before his death, King Theodore has a “heavenly vision”:

Before death, God sends an Angel to a Christian leading a righteous life - throughout all the centuries of Orthodoxy in Russia, this miracle has been constantly witnessed. After the death of Tsar Theodore -

Pushkin correctly guesses the smallest details of the Orthodox worldview and worldview, expressing them in Pimen’s speech. Thus, an Orthodox person, touched by the mystery of death, seized by the faint hope of seeing in what state of mind a deceased person leaves this sinful world, and how he appears before God, peers into the face of the deceased.

* * *

Zhukovsky wrote after Pushkin’s death:

“We stood over him for a long time, silently, without moving, not daring to disturb the mystery of death, which was taking place before us in all its touching sacredness. When everyone had left, I sat down in front of him and for a long time, alone, I looked into his face. At that moment, one might say, I saw the face of death itself, divinely secret; the face of death without a veil. What a mark she put on him! and how amazingly she expressed both her and his secret in him. I assure you that I have never seen on his face an expression of such deep, majestic, triumphant thought. It, of course, was hidden in him before, being characteristic of his high nature; but this purity was revealed only when everything earthly was separated from him with the touch of death” (Quoted in: Konstantin, Archimandrite 1991: 21).

Metropolitan Anastasy understood the last moments of Pushkin’s life as follows:

“So the purified and enlightened soul of the poet flew away from its bodily shell, leaving its stamp on it - the stamp of visions of another, better world. Death captured the mystery of spiritual birth in new life, how his short existence on earth ended” (Anastasy 1996: 128).

* * *

The Orthodox faith unites the Russian people, which is expressed in the idea of ​​people’s responsibility to each other and to God:

Vorotynsky discusses Godunov's state of mind:

Grigory Otrepyev (Impostor) realizes the sinfulness of his behavior:

Finally, Pimen (“We have angered God”) asserts the common responsibility of the people.

Thus, all the characters of the tragedy are the same in the author’s assessment and self-esteem: whatever their actions, they see, realize themselves, their states of mind, actions from the point of view of the commandments of Christ.

* * *

The state, everyday, and personal life of people depicted in the tragedy is Christian life.

It is impossible not to see this, not to understand, not to take it into account when analyzing the work.

1) The people (“Moscow”) go to ask Boris Godunov to agree to the kingdom - to Novodevichy Convent. The monastery is the center of the Orthodox life of the Russian people.

2) Tsar Boris’s first monologue begins with an appeal to To the Patriarch. Further, the Patriarch is next to the king during the most important state and personal events.

Tsar Boris asks the late righteous Tsar Theodore to grant him the “Sacred blessing on power.” In tragedy, the motif of blessing is repeated several times.

The tsar who accepted the kingdom and his entourage go to bow to the tombs of the “Departing Rulers of Russia.”

3) “Night. Cell in the Miracle Monastery": the conversation between Pimen and Gregory is imbued with Christian disposition and Christian symbolism.

4) The first news of the escape of Grigory Otrepiev is conveyed in the dialogue between the Patriarch and the abbot of the Chudov Monastery.

5) Tsar Boris in the monologue “I have reached the highest power” anticipates “heavenly thunder and grief”, speaks of himself as a person with a guilty conscience.

6) Representatives of the people are the black tramps Misail and Varlaam.

7) In Shuisky’s house, the feast ends with prayer - an appeal to God. Despite the fact that what follows is a completely “courtly” conversation between Shuisky and Afanasy Pushkin, prayer for the Tsar is an integral part of Orthodox worship and the home prayers of Orthodox Christians.

8) Tsar Boris, having learned from Shuisky about the appearance of Tsarevich Dimitri (the Pretender), speaks of the legality of his accession to the throne, because he was elected by the people and “crowned” by the Patriarch. Tsar Boris conjures Shuisky “by the cross and by God” to tell the truth about the fate of the “murdered baby.” Shuisky talks about his stay at the body of the murdered prince. Moreover, as if continuing Pimen’s story about the death of Tsar Theodore, he speaks about the face of the murdered prince:

9) The appearance of Gregory, already as an Pretender, begins with a promise to baptize the Russian people into Catholicism:

In a conversation with Marina, the Impostor admits:

10) During a military threat from the Pretender and foreigners, Tsar Boris commands that the monks pray. The Patriarch talks about the case of healing from the relics of the murdered Tsarevich Demetrius, advises the Tsar to expose the Pretender, to begin the fight against him in a Christian way:

It is no coincidence that in the tragedy the Impostor is called differently.

Originally Answered: Who is the Impostor? - also implies an answer to the question: how to deal with it? Patriarch: shooter, accursed, vessel of the devil, enemy, demonic son, undressed accursed; bailiff: fugitive heretic, thief, swindler; boyar Pushkin - in an address to Shuisky: a saved prince, a certain spirit, a brave rogue, a shameless impostor; Shuisky in a conversation with Pushkin: a daredevil; Shuisky - in a conversation with Godunov: an impostor, an unknown tramp; Godunov: formidable adversary, empty name, shadow, ghost, defrocked, fugitive monk.

Thus, the impostor is a shadow, a ghost that darkens the souls of people, which means that it is necessary to fight him as with demonic darkness, which the Patriarch understands and proposes.

But for Tsar Boris this would mean deep repentance for the murder he committed, which he does not dare to do, persisting in sin. Prince Shuisky offers “other means are simpler”; the courtier’s tried and tested method is deception. In the end, everything is decided by executions, denunciations: “Every day, then an execution. The prisons are packed."

11) In the scene “Plain near Novgorod-Seversky” one of the Russian soldiers responds to Margeret’s words: “Kwa! qua! you love, overseas frog, to croak at the Russian prince; But we are Orthodox.” The Russians retreat before the troops of the Pretender because - as Orthodox Christians - they cannot fight against the Orthodox prince.

12) The people in front of the cathedral in Moscow, the holy fool Nikolka says to Tsar Boris: “Little children are offending Nikolka... Order them to be slaughtered, just as you stabbed the little prince”; "No no! You cannot pray for King Herod - the Mother of God does not command.”

13) Before his death, Tsar Boris understands his responsibility before God:

14) Afanasy Pushkin in a speech to the people at the Execution Ground:

This is the scheme of the main Christian themes, images, assessments in the tragedy. This material demonstrates the impossibility of understanding the tragedy and the author’s position without taking into account the fact that the work was created by an Orthodox poet based on the history of the Russian Orthodox state and was intended for an Orthodox reader.

§ 3. Autocracy

Pimen’s “testament” defines the very essence of the relationship of a Russian Orthodox person to the Tsar: for labors, for glory, for goodness - remembrance, for sins, for dark deeds - a prayer to the Savior to admonish the Tsar.

In this regard, there is no place for rebellion, disobedience, or revolution. The king is responsible to God for his deeds:

Remembering Ivan the Terrible, Pimen says:

Pushkin expresses the Orthodox point of view on the relationship of power to the people, understanding the spiritual basis of this relationship: not law, but grace. An Orthodox tsar must convey moral purity to his subjects.

“Science, literature, charity, school education, and especially Christian conviction and animated Orthodoxy - these are the means through which a true public figure, a true lover of the people, imparts the moral powers of his spirit to public life” (Antony 1996: 143).

“Studying the history of the Time of Troubles leads him to one conviction, which is later fundamental to his political worldview - to the conviction that the monarchy is the foundation of the Russian political life"(Frank 1990: 405).

§ 4. Nationality

The Russian Orthodox people in their holiness, national identity, patriotism, their sinfulness and repentance are the main (substantial) theme of the tragedy.

Pushkin objectifies state thinking in tragedy, thinks historical events as social, moral, spiritual integrity in the complexity of internal contradictions.

“The general foundation of Pushkin’s political worldview was a national-patriotic mentality, formalized as state consciousness” (Frank 1990: 409).

Considering the unity and integrity of the depicted historical reality and the originality of Pushkin’s worldview, it should be noted that the people are everyone who is depicted in the work: these are people of the same nationality, the same Orthodox faith, and the same common sin.

Within this integrity there is a division into the Tsar, the courtiers, the Patriarch, Pimen, the Pretender - and the common people themselves. The latter is also presented as divided, firstly, into the people being pushed around and controlled (mass scenes) and the people in their individuality and their work determination (poor monks, archers, the tavern owner).

Without this heterogeneity of the people, the meaning of the scene “Tavern on the Lithuanian Border” may be unclear. In the development of the action, this scene introduces only one idea: Grigory Otrepiev crosses the Lithuanian border, which could be introduced into any character’s line. This scene also adds little to the image of Gregory: Gregory is resourceful and decisive. This means that the meaning of the scene is precisely in the depiction of the people - a specific people, given in the sphere of their life and work: poor monks collect money for the monastery, the bailiffs think about how to make money while at the same time observing their official duties, the hostess is preoccupied with oppression and extortion.

The “people” gathered by the authorities for their own purposes is a different matter. This is a special quality and state of the people when they are torn away from their vital affairs and are drawn to participate in politics, but this people can not only obediently allow themselves to be deceived by the courtiers, but also “be silent.”

* * *

Pimen the monk writes a chronicle - the history of the people, his thoughts are directed towards God, and from this Divine height he sees the position of the people and the responsibility of the people for the spiritual content of their actions: “we angered God, “we” sinned - “we” called.

Thus, in Pimen’s speech, another promising substantive line is set, further developed in the dramatic narrative: the people are conceived in all their integrity and common responsibility before God for the conciliar action (“named”).

The purpose of the Pimen Chronicle:

With his work, Pimen appeals to the descendants of the Orthodox, he himself - Orthodox monk chronicler Orthodox kingdom And Orthodox people. Pushkin also addresses the Russian Orthodox reader.

There is another meaning in these words of Pimen: “descendants” are thought of not as something “other”, separate from those living today, but as people united with those living in faith, in relation to the king and their native land.

Thus, in Pimen’s worldview, worldview and worldview, the main idea of ​​Pushkin’s time is embodied - the idea of ​​unity of Orthodoxy, autocracy and people.

The chronicler monk Pimen is one of Pushkin’s highest creations (“a positive image”, in the dry language of literary criticism). Such an image could not be “composed” as something separate from the soul of its creator. Pushkin did not “reincarnate” in Pimen; in the image of the chronicler, the best that was in Pushkin was expressed (objectified): an internal kinship with Russian Orthodox folk culture.

Being inside this culture, we - two hundred years after the birth of the poet and more than one hundred and seventy years after the creation of the image of Pimen - perceive the image of the chronicler, the tragedy as a whole, its language as our own, native, because with all the living and dead we have the same “moral air” - with our God “everyone is alive.”

“Orthodox Russian culture, which surrounded him from everywhere, like moral air, imperceptibly nourished and formed his spirit: he owes it, undoubtedly, the breadth of his heart, ready to accommodate the whole world and making him truly “all-man” in in the best sense this word; from her he took the love of God’s truth, a gracious acceptance of life and a reconciled attitude towards death, and much more, which makes his image so close and dear to all of us” (Anastasy 1956: 254)

No matter how cruel Russian history appears in Pushkin’s works, we must not forget the poet’s confession:

“Although I personally am heartily attached to the sovereign, I am far from admiring everything that I see around me; As a writer - I am irritated, as a person with prejudices - I am offended - but I swear on my honor that for nothing in the world I would not want to change my fatherland or have another history other than the history of our ancestors, the way God gave it to us" ( Pushkin 1992: 310).

Literature

1. Anastasius 1956: Anastasius, Met. Moral character Pushkin // Archpastoral messages, words and speeches of His Eminence Metropolitan Anastassy, ​​First Hierarch of the Russian Church Abroad. Anniversary collection for the 50th anniversary of the Bishop's ministry. 1906-1956. N.Y., Jordanville, 1956.
2. Anastasius 1996: Anastasius, Met. Pushkin in his attitude to religion and the Orthodox Church // A.S. Pushkin: the path to Orthodoxy. - M., 1996.
3. Anthony 1996: Anthony, Bishop. A word before the memorial service about Pushkin, said at Kazan University on May 26, 1899 // A.S. Pushkin: the path to Orthodoxy. M., 1996. Konstantin 1991.
4. Konstantin 1991: Konstantin, archimandrite (K.I. Zaitsev). The religious problem of Pushkin / Publ. and comment. Mikhail Filin // Russian Frontier. Special issue of the newspaper “Literary Russia”. M., 1991. No. 7. June 7.
5. Pushkin 1992: Pushkin A.S. Collection cit.: In 10 volumes. M., 1992. T. 10.
6. By the Hand of Pushkin 1935: By the Hand of Pushkin: Uncollected and unpublished texts. - M., 1935.
7. Frank 1990: Frank Semyon. Pushkin as a political thinker // Pushkin in Russian philosophical criticism: The end of the 19th - the first half of the 20th century. / Comp., intro. Art., biobibliographer. certificates from R.A. Galtseva. M., 1990.