One of the very first works that sang of the battle on the Kulikovo field, "Zadonshchina" has already been mentioned above in connection with "The Tale of Igor's Campaign" (see pp. 77-78). This monument is remarkable not only because it is an indisputable evidence of the antiquity and authenticity of the Tale of Igor's Campaign, not only because it is dedicated to such significant event in the history of Russia, but also by its own literary significance.
The exact time of the creation of "Zadonshchina" is unknown. We adhere to the point of view on this issue, most clearly formulated by VF Rzhiga. The researcher, calling “Zadonshchina” “The Word of Zephanius of Ryazan,” wrote: “To understand the Word of Zephanius of Ryazan, it is also important to clarify the time of its creation. Literary scholars who dealt with this question, for the most part, answered it approximately, referring the Word of Zephaniah either to the beginning of the 15th century or to the end of the 14th century. Only relatively recently attention was drawn to the fact that the monument mentions Tornava, i.e., Tarnovo, the capital of the Bulgarian kingdom, and since in 1393 Turkish troops took Tarnovo, it was concluded from this that the Word of Zephanius of Ryazan was created before 1393 d. In order to clarify this provision, the indication in the Word of Zephaniah was also used to the fact that 160 years had passed from the time of the battle on the Kalka River to the Mamaev battle. If this chronological indication is interpreted as having to do with the dating of the work, then it turns out that the Word of Zephaniah was written in 1384. It is difficult to say whether this is true or not. It must be admitted, however, that attempts to date the monument to a time closer to 1380 seem quite expedient. They correspond to that obviously emotional character which the Word of Zephaniah has from beginning to end. In this regard, there is reason to believe that the Word of Zephaniah appeared immediately after the Battle of Kulikovo, perhaps in the same 1380 or the next.
M. A. Salmina, who compared "Zadonshchina" with the chronicle story about the Battle of Kulikovo, came to the conclusion that the author of "Zadonshchina" used the text of a lengthy chronicle story, the time of which she dates back to 40 mi. 15th century (for more on this, see below, p. 197). Consequently, according to Salmina, "Zadonshchina" could not have arisen before the end of the 40s. 15th century The arguments given by M. A. Salmina in favor of the textual dependence of the “Zadonshchina” on a lengthy chronicle story are unconvincing. Moreover, a textual comparative analysis of the "Zadonshchina" and the chronicle story, taking into account the indisputable dependence of the "Zadonshchina" on the "Tale of Igor's Campaign", gives grounds to assert that the chronicle story in the form in which it was read in the code of 1408 experienced on itself the influence of "Zadonshchina".
Thus, the comparison of "Zadonshchina" with the annalistic story about the Mamaev Battle only confirms the correctness of the point of view, according to which "Zadonshchina" is a direct response to the Battle of Kulikovo.
"Zadonshchina" came to us in 6 lists, behind which short conventions, often used in the scientific literature: 1) Y, mid-seventeenth in. (also referred to as the list of Undolsky - GBL, collected by Undolsky, No. 632); 2) And 1, late XVI - early XVII in. (also referred to as Historical First - State Historical Museum, Collection Museum, No. 2060); 3) And 2, late XV - early XVI century. (also referred to as Historical Second - State Historical Museum, collection of Museum, No. 3045; a fragment of the text without beginning and end); 4) F, second half of the 17th century. (BAN, No. 1.4.1.; a brief excerpt is the very beginning of the work); 5) K B, 1470s. (also referred to as Kirillo Belozersky or Efrosinovsky - GPB, collection of Kirillo Belozersky Monastery, No. 9/1086); 6) C, XVII century. (also referred to as Synodal - State Historical Museum, coll. Synodal, No. 790). The name "Zadonshchina" is found only in the title of the list K B and belongs to the author of this list, Euphrosyn (about Euphrosyn and his book-writing activity, see below, p. 192), in other lists the monument is called "The Word" about Grand Duke Dmitry Ivanovich and his brother Prince Vladimir Andreevich or "Praise" to these princes. In all lists, the text is heavily distorted, full of errors, the KB list is an abbreviation of the processing of the original text made by Euphrosynus. The poor preservation of the text of "Zadonshchina" in the surviving lists forces us to use the reconstructed text of the work.
In the "Zadonshchina" we do not have a description of the ups and downs of the Battle of Kulikovo (we will find all this in the "Tale of the Battle of Mamaev"), but a poetic expression of emotionally lyrical feelings about the event. The author recalls both the past and the present, his story is transferred from one place to another: from Moscow to the Kulikovo field, again to Moscow, to Novgorod, again to the Kulikovo field. He himself defined the nature of his work as "pity and praise to the Grand Duke Dmitry Ivanovich and his brother, Prince Vladimir Ondreevich." This is pity - lamentation for the dead, and praise - glory to the courage and military prowess of the Russians.
“Zadonshchina” is all based on the text of “The Tale of Igor's Campaign” – here is the repetition of entire passages from the Lay, and the same characteristics, and similar poetic devices. But "Zadonshchina" not only rewrites, but alters the "Word" in its own way. The appeal of the author of Zadonshchina to the Lay is creative: “The author of Zadonshchina had in mind not the unconscious use of the artistic treasures of the greatest work of ancient Russian literature - The Tale of Igor's Campaign, not a simple imitation of his style (as is usually considered) , but a completely conscious comparison of the events of the past and present, the events depicted in the Tale of Igor's Campaign, with the events of contemporary reality. Both of them are symbolically opposed in Zadonshchina. By this comparison, the author of Zadonshchina made it clear that disagreement in the actions of the princes (as was the case in the Lay) leads to defeat, while uniting everyone to fight the enemy is a guarantee of victory. In this regard, it is significant that the "Zadonshchina" does not say anything about Mamai's allies Oleg Ryazansky and Yagail of Lithuania. And at the same time, about the Novgorodians (who, apparently, did not take part in the Battle of Kulikovo), the author of Zadonshchina writes that, having learned too late about Mamai’s campaign and no longer hoping to catch up “for help” to the Grand Duke, nevertheless “like orly flocking” and left Novgorod “on the sidelines” (p. 382) to the Moscow prince. The author of Zadonshchina, contrary to historical truth, sought to show the complete unity of all Russian lands in the fight against Mamai.
Comparison of the past with the present, the events described in the "Word" with the events of 1380, goes from the very beginning and throughout the text. Already in the introduction, this comparison is expressed clearly and has a deep meaning. The beginning of the troubles of the Russian land, the author of “Zadonshchina” leads from the ill-fated battle on Kayala and the battle on Kalka: “... filthy Tatars, Busormans ... on the river on Kayal they defeated the Afet family (i.e., Russians, - L. D.). And henceforth the Russian land sits gloomy, and from the Kalatsky rati to Mamaev the battle is tight and covered with sadness ”(p. 380). From the moment of the Mamaev battle, a turning point came in the fate of the Russian land: “Let us descend, brethren and friends and sons of the Russians, we will compose word by word, we will rejoice the Russian land and cast sorrow on eastern country"(p. 380). And we can trace such a comparison and opposition throughout the text. Let's give just one example. When Dmitry sets out on a campaign, “the sun shines clearly on him in the East and will tell the way” (p. 386). Recall that in the "Word" Igor's army leaves at the moment solar eclipse(“Then Igor gazed at the bright sun and saw from him that all his howling was covered by darkness”). In the story "Zadonshchina" about the movement of Mamai's forces to the Kulikovo field, a picture of sinister natural phenomena is given: foxes lie on bones” (p. 386). In the Lay, this passage is correlated with the march of the Russian forces.
In the "Zadonshchina", in comparison with the "Word", images of church poetics are more often used ("for the land, for Russia and for the peasant faith", "having stepped into your golden stirrup, and take up your sword in right hand, and pray to God and his most pure mother, ”etc.). The author of "The Tale of Igor's Campaign" turned to the means of oral folk poetics and processed them creatively, creating his own original poetic images based on folklore material. The author of "Zadonshchina" simplifies many of these images, his poetic means, ascending to the poetics of oral art, are closer to their prototypes, a number of original epithets of "Zadonshchina" in comparison with "The Tale of Igor's Campaign" are clearly folk oral in nature (a typical epic style phrase “such is the word”, “quick don”, “damp earth” and some others).
The style of "Zadonshchina" is variegated: the poetic parts of the monument are closely intertwined with parts that are prosaic, sometimes even businesslike. It is possible that this variegation and "disorganization" of the text are explained by the state of the lists of the monument that have come down to us. Prosaisms could have arisen as a result of later layers, and do not reflect the author's text.
In the lists of "Zadonshchina" K B and C, in the title the author of the work is named Zephanius from Ryazan, about whom we know nothing. The name Zephaniah is also mentioned in the text of the Zadonshchina itself, and here the author of the Zadonshchina speaks of Zephaniah as a different person in relation to him: “I will remember the chisel Zephaniah” (list Y), “And here we will remember Sophon the chisel” (list FROM). In addition, in a number of lists of the main edition of the "Tale of the Mamaev Battle" Zephanius is already named in the title as the author of the "Tale". All this gave R.P. Dmitrieva grounds to suggest that Zephanius, contrary to the generally accepted opinion, was not the author of the Zadonshchina. R.P. Dmitrieva believes that Zephanius is the author of a poetic work about the Battle of Kulikovo that has not come down to us, to which, independently of each other, both the author of the “Zadonshchina” and the author of the “Tale” addressed. The possibility of the existence of another, not preserved poetic monument about the Battle of Kulikovo, as Academician A. A. Shakhmatov believed, follows from the nature of the textual relationships of the surviving works of the Kulikovo cycle. A. A. Shakhmatov called this hypothetical text "The Word about the Battle of Mamaev."
In addition to its literary merits, in addition to the emotional significance that is inherent in this work, "Zadonshchina" is remarkable as a reflection of the advanced political idea of ​​its time: Moscow should be at the head of all Russian lands, and the unity of Russian princes under the rule of the Moscow Grand Duke serves as a guarantee of the liberation of the Russian land from Mongol-Tatar domination.

A poetic story about the events of the Battle of Kulikovo, in contrast to the documentary "Tale", is given in another monument of ancient Russian literature - "Zadonshchina". The story is dedicated to the glorification of the victory of the Russian troops over the Mongol-Tatar hordes. The author drew the factual material from the chronicle story, and the Tale of Igor's Campaign served as a literary model - he used the poetic plan and artistic techniques of the Lay. The story juxtaposes past and present events. This is manifested, according to D.S. Likhachev, the pathos of historical design. The struggle against the Polovtsy is interpreted here as a struggle for national independence.

In "Zadonshchina" the poetic attitude of the author to the events of the Battle of Kulikovo is expressed. His story, as in "The Tale of Igor's Campaign", is transferred from one place to another: from Moscow to the Kulikovo field, again to Moscow, to Novgorod, again to the Kulikovo field. The present is intertwined with memories of the past. The author himself described his work as "pity and praise to the Grand Duke Dmitry Ivanovich." "Pity" is a cry for the dead. "Praise" - glory to the courage and military prowess of the Russians, one of the modern scientists believes.

"Zadonshchina", like "The Lay of Igor's Campaign", does not seek to consistently describe the entire course of events, its goal is different - to sing the victory of the Russians, to glorify the Grand Duke Dmitry Ivanovich and his brother, Prince Vladimir Andreevich of Serpukhov. This idea forced the author to consciously contrast the episodes of the Russian defeat in Igor's campaign with the victorious battle on the Don. The author of "Zadonshchina" sees an important historical milestone in the Battle of Kulikovo: the time of "tightness and sorrow" began with the defeat on Kalka, and it ended with victory in the Battle of Kulikovo.

The text of "Zadonshchina" is correlated with the "Tale of Igor's Campaign". The author consciously compares events, seeing in the Lay an aesthetic role model. To explain his idea to the reader, he prefaced it with a preface composed in epic tones. "Let's get together, brothers and friends, sons of Russia, let's make up word for word and glorify the Russian land, let's throw sadness on the eastern country, proclaim victory over the filthy Mamai, and give praise to Grand Duke Dmitry Ivanovich, and his brother Prince Vladimir Andreevich ..." 1 .

The author refers to the past of Russia: "... let us remember the first years of the times and praise the prophetic Boyan, a skilled harp player in Kyiv. That Boyan laid his skillful fingers on living strings and sang glory to the Russian princes ... And I praise with songs and under the harp with violent words and this Grand Duke Dmitry Ivanovich..." 2 .

In The Tale of Igor's Campaign, formidable omens accompany the campaign of Russian troops: "wolves howl, foxes bark at Russian shields." In "Zadonshchina" the same ominous signs accompany the campaign of the Tatar troops: the impending death of the Tatars makes birds fly under the clouds, eagles screech, wolves and foxes howl. In the "Word" - "children of demons" (Polovtsy) by clicking the field "barrier"; in "Zadonshchina" - "Russian sons wide fields with a wedge garden." In the "Word" - "black earth under the hooves" was sown with the bones of Russians. In "Zadonshchina" - "the earth under the hooves is black with Tatar bones" was sown. Everything that was addressed in the "Tale of Igor's Campaign" to the Russian land, in "Zadonshchina" turned to its enemies.

The result of the battle is sad: it is terrible and pitiful to hear how crows croak over human corpses, to see grass covered in blood. Nature itself expresses sympathy for the dead - the trees bowed to the ground from sadness. The sad news that many died near the Don reached Moscow. The wives lamented for the dead, their weeping is compared to the pitiful singing of birds. The women in weeping seem to echo each other, the many-voiced weeping grows, spreads, so the Kolomna wives also lamented, as if "the squints sang pitiful songs early." In the weeping of wives, there is not only “pity” and grief, but also a strong-willed call “to scoop out the Don with helmets, and block the Sword River with Tatar corpses”, “close the gates of the Oka River”, so that the filthy ones could no longer come to the Russian land.

In the composition "Zadonshchina" the weeping of Moscow and Kolomna wives is the turning point of the battle. "And, having called a cry, Prince Vladimir Andreevich rushed with his army to the regiments of filthy Tatars ...". So the cries and cries of Russian women merge with battle cries and calls on the Kulikovo field.

In "Zadonshchina" there is no detailed depiction of the decisive moment of the battle; the dialogue between Vladimir Andreevich and Dmitry Ivanovich occupies a central place in the story of the final victory. Vladimir Andreevich encourages his brother and urges him not to yield, not to hesitate: "The Tatars are already trampling our filthy fields and beaten a lot of our brave squad - there are so many human corpses that greyhound horses cannot gallop: they roam knee-deep in blood" 3. The military appeal of Dmitry Ivanovich and his appeal to Prince Vladimir Andreevich are built on the image of a "chalice" ("charm"), which goes back to the symbolic comparison of the battle with the feast. Dmitry Ivanovich tells the soldiers that here, on the Kulikov field, "your Moscow sweet honeys", and he calls on Vladimir Andreevich to drink "honey circle spells", to attack the Tatar army with his strong regiments.

Swiftly and powerfully, burning with the desire to drink the “circular honey spell”, the Russian regiments advance - the wind roars in banners, the Russian sons blocked the fields with a click, the filthy regiments turned back, beat and flogged them mercilessly. The author portrays the confusion and helplessness of enemies as artistic details: the Tatars run, covering their heads with their hands, fleeing from swords, their princes fall from their horses. Confusion and fear were so strong that the Tatars gnashed their teeth and tore their faces. Them emotional condition the monologue-lamentation also conveys: “We, brothers, will not be in our land, and we won’t see our children, and we won’t caress our wives, but we will caress the damp earth, and we will kiss the green ant, and we won’t go to Russia with the army and don't ask us for tribute from the Russian princes" 4 .

It is important that the enemies themselves admit their complete defeat, the author can only add that "the Tatar land groaned, filled with troubles and grief, ... their joy has already drooped." Now, over the Russian land, which for a long time was "gloomy" and "sadness seized", "joy and glee" spread, and the glory of victory swept through all the lands.

Mamai, once a formidable conqueror, flees to Kafu. It is known that Mamai fled there some time after the Battle of Kulikovo and was killed there. But the author of "Zadonshchina" does not mention the death of Mamai, he only cites the caustic, mocking speech of the friags (Genoese), woven from folklore images. The friags compare Mamai with Batu and ironically: Batu captured the entire Russian land with small forces, and Mamai came with nine hordes, and was left alone, "there is no one to spend the winter in the field with." Their words are especially caustic: "It is evident that the Russian princes gave you a good meal ... It is evident that they were very drunk at the fast Don on the Kulikovo field, on feather-grass." The expressions "strongly regaled", "strongly drunk on grass-feather grass" (that is, to death) again return to the image of "battle-feast" and "honey bowl", but now in an ironic sense. Not by the news of the death of Mamai, but by mockery in the mouths of other peoples, the honor and glory of the once powerful enemy are humiliated. In the view of ancient Russian warriors, mockery and notoriety were a shame worse than death, and therefore they preferred death on the battlefield to defeat and captivity.

The author of Zadonshchina contrasts the inglorious end and loneliness of Mamai with the spiritual unity of Russian princes and warriors. He returns to the description of what is happening on the Kulikovo field, and completes the story with a scene of "standing on the bones": on the battlefield, the victors gather the wounded, bury the dead, count their losses. It is "terrifying and sad" to look at the place of the battle - "the corpses of Christians lie like haystacks." Dmitry Ivanovich and all the survivors pay tribute to those who laid down their lives "for the holy churches, for the Russian land, for the Christian faith." 300 thousand soldiers participated in the Battle of Kulikovo on the part of the Russians, and 253 thousand were "cut" by Mamai. 5 Addressing the fallen, Dmitry Donskoy said: "Forgive me, brothers, and bless me in this age and in the future" 6 . Having earned honor and a glorious name for themselves, the brothers Dmitry Ivanovich and Vladimir Andreevich return home to the glorious city of Moscow.

"Pity and praise" - this is how the author himself defined the emotional mood and meaning of his work. He did not set out to give an accurate, detailed account of the movement, the disposition of troops, the course of the battle itself. The entire text of "Zadonshchina" consists mainly of speeches, monologues, lamentations, dialogues, appeals, appeals. "Zadonshchina" is an emotional response to the Battle of Kulikovo, the glory of a great victory, and not a historical story.

The connection between "Zadonshchina" and oral folk art is palpable. This is manifested in folklore imagery, repetitions, epithets, comparisons, as well as in the lamentation of Russian women for dead soldiers (their appeal to the wind, the Don, the Moscow River). Symbolic images of folk poetry (geese, swans, falcons, gyrfalcons, wolves, eagles) are constantly present in the work.

The national-patriotic pathos of the literary monument is emphasized by the lyrical proclamation of the idea of ​​rallying and uniting all the forces of the Russian land.

QUESTIONS AND TASKS

1. Reread the text. Why can "Zadonshchina" be considered a poetic expression of the author's attitude to the events of the Battle of Kulikovo?
2. How is the story structured?
3. How is the patriotic idea expressed, the glorification of the victory of the Russians and the glorification of Dmitry Donskoy? Bring text.
4. What genre of folk art resembles the beginning of "Zadonshchina"?
5. What does the author want to tell about, remembering Boyan from "The Tale of Igor's Campaign"?
6. How does the author introduce the theme of the present and past of Russia into the narrative? Why and for what does he glorify the Russian princes who "stand up for the Christian faith"?
7. How are events developing? Tell us about the ceremonial gathering and the campaign, about the deeds of Russian soldiers and use the author's description.
8. Which of the heroes of the Battle of Kulikovo does the author describe in the most detail and why? How is Peresvet portrayed? What role do the words play in characterizing his personality: "Better to be killed than captured"? What is the author's assessment of the hero?
9. How does the mood of the author and the description of events change after the defeat of the Russians (nature, lamentations of wives, the spread of sad news throughout Russia)?
10. How does the crying of Russian wives respond to the actions of the princes and induce them to new battle? What is the outcome of the battle? Tell us about the flight of the Tatars, their crying.
11. Show, referring to the text, that "Zadonshchina" is an emotional response to the Battle of Kulikovo. How does the nature of the author's depiction of events meet this goal? How does the author's voice sound?
12. Why does the author end the story by listing the names of those killed in the Battle of Kulikovo?
13. Show that the narrative is also factual in nature.
14. What is the meaning of the words of Dmitry Donskoy after the battle: "Forgive me, brothers, and bless me in this century and the future"? How do they characterize the prince?
15. The author defines the ideological and artistic meaning of his story as "pity" and "praise". Is he right? Prove based on content.
16. Trace the connections of "Zadonshchina" with oral folk art (folklore images and artistic techniques).
17. How does "Zadonshchina" compare with "The Tale of Igor's Campaign" (poetic plan and artistic devices)? Find common artistic images, constant epithets, comparisons.
18. Prepare a message: "Zadonshchina" and "The Tale of Igor's Campaign". Compare the works by theme, plot, composition.
19. Compare the descriptions of the battle scenes in "The Tale of the Devastation of Ryazan by Batu", "The Tale of the Battle of Mamaev" and "Zadonshchina". What are the similarities and differences between these descriptions?

The invasion of Mamai in 1380, the Mamai Battle on the Don, at the mouth of the Nepryadva River (south of Tula, not far from the Lithuanian border, September 8, 1380) served as the plot of a number of stories. There are actually four main stories about the Battle of Mamaev that have come down to us: the story, conditionally called “Chronicle”, “The Legend of the Battle of Mamaev”, “The Word of the Life and Death of Grand Duke Dmitry Ivanovich, Tsar of Russia” and “Zadonshchina”.

The style of "The Tale of Igor's Campaign", reflected in the "Zadonshchina"

"Zadonshchina" was created in imitation of "The Tale of Igor's Campaign" at the beginning of the 15th century. Zephanius, Ryazan elder. Why in the 15th century the author resurrected the HP's style. ?

It seems to us that this was done in order to draw a parallel between the two monuments dedicated to the defense of the Russian land. An educated reader should have associations with the Lay. But if the “Word” tells about the separation of the Russian princes and its main idea is the idea of ​​unity, then “Zadonshina”, on the contrary, speaks of the victory of the Russian united army.

The image of Russian princes in the "Zadonshchina".

In contrast to the Lay, in Zadonshchina, on the contrary, the author turns to Bayan and tries to follow him, glorifying the Russian princes: “. let us praise the victory over the filthy Mamai, and let us glorify the Grand Duke Dmitry Ivanovich and his brother, Prince Vladimir Andreevich.

History reference:

Dmitry Ivanovich Donskoy (1350-1389)

Born in Moscow on October 12, J350 Father - Moscow Grand Duke Ivan Ivanovich Red burn only 33 years old. When he died in 1359, his son was barely 9 years old. Dmitry's mother's name was Acheksandrop (in monasticism Mary). Some historians suggest that she was the daughter of the Moscow thousand Vasily Velyaminov. Taking advantage of Dmitry's infancy, the Suzdal-Nizhny Novgorod prince Dmitry Konstantinovich managed in 1360 to receive a label for a great reign. Two years later, with the support of the Metropolitan of Russia Alexei and the Moscow boyars, Moscow managed to return the title of Grand Duke to Dmitry Ivanovich. In 1366, he married the daughter of the Suzdal-Nizhny Novgorod prince Dmitry Konstantinovich - Evdokia. For 22 years of married life, 12 children appeared - 8 sons and 4 daughters. Successfully fought with Lithuania, Tver, Ryazan, the Golden Horde. In 1380 he won a brilliant victory on the Kulikovo field, but two years later Moscow was burned to the ground by Khan Tokhtamysh. The heavenly patron of the Grand Duke was Saint Dmitry Solunsky.

Vladimir Andreevich the Brave (Prince of Serpukhov, 1358-1410)

In 1358, Vladimir's older brother, Ivan, died, and five-year-old Vladimir became a prince. In 1362, at the age of eight, he took part in a campaign to Pereyaslavl. In 1364, he concluded an agreement with Dmitry Donskoy, his cousin, under which he undertook to obey his elder brother in everything. Since then, he took part in all the campaigns of Dmitry Donskoy, in the Battle of Kulikovo he commanded a reserve regiment (whose entry into battle decided the outcome of the battle). In 1393, he led the Moscow army on a campaign to Novgorod. When the Grand Duke Vasily Dmitrievich left Moscow to participate in the battles (in 1395 against Timur and in 1408 against Edigei), he entrusted the management of it to Vladimir.

Succession of the princes of Moscow from the princes of Kyiv

Pedigree tree.

The content of the "Zadonshchina" and the campaign of Dmitry Ivanovich.

a) gathering regiments

At the beginning of the campaign, Dmitry and his brother are characterized with the phraseology “The Tale of Igor's Campaign”, but instead of an appeal to the nightingale tickle of Bayan, we read here: “The lark is a bird, on red days already - ha! ascend under the blue clouds, sing the glory of the Grand Duke Dmitry Ivanovich and his brother Vladimir Andreevich. The replacement of the southern Russian nightingale "Slova" with a lark is very successful. The lark is a Zalessky bird. Unsuccessful, however, is the appeal to his singing in September. Further, the gathering of regiments: "Horses neigh in Moscow, tambourines beat in Kolomna." According to various sources, his cousin Vladimir Andreevich, the prince of Serpukhov-Borovsky, the princes of Belozersky, Tarussky, Kashinsky, Bryansk, Novosilsky, Rostov, Starodubsky, Yaroslavl, Obolensky, Molozhsky, Murom and, possibly , other. Governors are also mentioned: Kolomna, Vladimir, Yuryev, Kostroma, Pereyaslav; boyars: Moscow, Serpukhov, Pereyaslav, Dmitrovsky, Mozhaisk, Zvenigorod, Uglich, Vladimir, Suzdal, Rostov; pans of Lithuania. The princes in the "Zadonshchina" agree and obedient, moreover, nameless, with the exception of Dmitry with his brother and two Olgerdovichs.

History reference

Olgerd - Grand Duke of Lithuania (1345-1377)

The son of Gediminas, in 1345 became the Grand Duke of Lithuania. Brother Keistut helped him in all matters. He led a successful struggle for the expansion of the Grand Duchy of Lithuania, mainly at the expense of Russian lands. He took part in the battles with the Teutonic Order at the river. Strėve (west of Trakai, 1348) and at Rudvei (1370). In 1363 he defeated the Tatar troops at the Blue Waters. An attempt to conclude an alliance with Khan Dzhanibek against Moscow in 1349 was unsuccessful. He made three unsuccessful trips to Moscow - in 1368, 1370 and 1372. In 1377, Andrei's son, who had been imprisoned in Pologiye, and then expelled from Lithuania by political opponents and fled to Pskov, went over to the service of the Moscow prince. Participated in the battle on the river. Vozhe "Battle of Kulikovo. His brother, Bryansk prince Dmitry Olgerdovich commanded the reserve.

But there were no regiments from Nizhny Novgorod, Novgorod the Great, Tver in that campaign. To explain the absence of Novgorodians in Dmitry’s army, it was invented: “Men Novgorodians are standing at St. Sophia, archery is the word:“ We, brethren, can’t keep up with Grand Duke Dmitry Ivanovich for help!

The prince's goal is high: he is not looking for glory for himself, like Prince Igor, but for freedom for the entire Russian land. His appeal to the princes is filled with faith in the strength of the united army: “My brothers, Russian princes, we are all the nest of Grand Duke Vladimir of Kyiv! We were not born to offend either a falcon, or a hawk, or a gyrfalcon, or this filthy Mamai! Throughout the work, the refrain sounds: "For the Russian land, for the Christian faith." This, according to Zephaniah, was the reason for the victory. The purpose of the trip is noble.

The army of Dmitry Ivanovich went on a campaign in August 1380. It was a clear and quiet day. In the Kremlin, on the squares and streets, on the walls and towers, there were many people. According to custom, wives said goodbye to their husbands with a “final kiss”, realizing that many of them would not return from the battle.

“Horses are neighing in Moscow, glory is ringing throughout the Russian land. Pipes are blown in Kolomna, tambourines are beaten in Serpukhov, there are banners at the Don the Great on the shore. Veche bells are ringing in Veliky Novgorod. All the Russian princes came to Dmitri Ivanovich” - this is how Sofony Ryazanets describes in the “Zadonshchina” the mood of national upsurge, inspiration, readiness to sacrifice one’s life for Russia in those days

Columns of troops left the Kremlin through the Nikolsky, Frolovsky (Spassky) and Konstaitino-Eleninsky gates. One of the detachments, which included a number of regiments of the Russian principalities, went to Kolomna along the Brashev road, the Belozersky princes with their own forces - Bolvanovskaya, the Grand Duke himself - along the Serpukhov road. “Then, after all, like falcons,” says “Zadonshina,” “they broke away from the golden blocks, flew from the stone city of Moscow to the blue skies and thundered with their golden bells, they want to strike at many herds of swans and goose. This, brothers, was not the falcons that flew out of the stone city of Moscow, it was the Russian daring men who left with their sovereign, with the Grand Duke Dmitry Ivanovich, but they want to attack the great Tatar force.

In Kolomna, on the Maiden's Field, according to the Tale, Dmitry, at a review of the troops, appointed princes and a governor to the regiments. On August 20, the army moved along the northern bank of the Oka to the west to the mouth of Lopasna. The Russian governors, led by Dmitry, as before, acted quickly and energetically, according to a plan developed in advance. The first to move from Kolomna with part of the troops was the commander-in-chief, Grand Duke Dmitry Ivanovich. Then he was joined by other princes and boyars, the roundabout Timofey Vasilyevich Velyaminov. On the way, the "residual" detachments joined them. After a few dienes, on August 27 - 28, the entire army crossed to the southern bank of the Oka, at the confluence of the Lopasni river. At the place of crossing, Prince Dmitry left Timofey Vasilievich - he was supposed to meet and bring in the "foot rati or horses" that had not yet arrived.

The path of a large Russian army from Moscow to the Don, to the meeting place with Mamai, testifies to the high strategic skill of Russian commanders.

The army, passing west from Kolomna and turning south from Lopasnya, marched along the western outskirts of the Ryazan principality, preventing a possible unification of the forces of Oleg Ivanovich of Ryazan, Jagail Olgerdovich of Lithuania and, finally, Mamai.

History reference:

Jagiello - Grand Duke of Lithuania (1377-1392)

In J377 he became the Grand Duke of Lithuania, from 1386 - King of Poland Vladislav II Yagelo, the ancestor of the Yageyaloiov dynasty. In 1380 he concluded an alliance with the Golden Horde against the Moscow Kiyazh-espnsh, was an ally of Mamai in the Battle of Kulikovo. Seeking help Teutonic Order, which was given in 1382 by Zhematpish. In 1392, power was transferred to Vitovt, retaining the title of " supreme prince» Lithuanian.

The maneuver, as subsequent events showed, fully justified itself. Mamai was left alone. Oleg kept neutrality. The Moscow army, according to the strict order of Dmitry Ivanovich, did not offend the population of the Ryazan lands. Jagiello with his army was simply late for the meeting place with Mamai - the rapid movement of the Russian rati outstripped his actions, frustrated the plans of the allies. The Lithuanian prince managed to speak only on the 20th of September.

In the "wild field" south of the Oka, Russian warriors walked carefully - unexpected attacks by the Horde cavalry were possible in the steppe.

Being already south of the Oka, Dmitry Ivanovich, according to the XVI century. , sent "guards" "in the field under the Horde Mamaev." These were Semyon Melik, Ignaty Kren, Foma Typin, Pyotr Gorsky, Karp Aleksandrov, Pyotr Chirikov "and many other deliberate and courageous and well-arranged witnesses." Their goal was to find out about the whereabouts of Mamai, his intentions. They got the "language", and he said that Mamai was waiting for the approach of the allies, did not "cherish" (does not expect) the rapid advance of Dmitry's troops.

The Russian army approached the Don on September 6th. And the Tatar guard detachments have already encountered Russian watchmen. Grand Duke Dmitri and his companions conferred for a long time at the Don: to cross the river or stay on its northern bank and wait for the Horde troops to approach. Some were in favor of crossing over to the western coast; others objected to this, fearing that the Russians would be opposed here by the Ordish-Lithuanian-Ryazan forces. But the majority of Russian soldiers were in favor of crossing the Don and decisively fighting the enemy. The main commanders also spoke out for this. The determination of Prince Dmitry is conveyed in the Nikon Chronicle in the following words: “Lutchi was not to go against the godless forces (against the Horde. - V. B.), rather than, having come and having done nothing, return back. Let's go now, on September day, beyond the Don, and there we will lay our heads for our brethren.

c) the beginning of the battle

Before the battle, the author of "Zadonshpna" draws a formidable picture of the field, covered with countless hordes of Mamai. She appears in red and black colors: "huge clouds", "bloody dawns". Tatars are compared with gray wolves, with geese and swans. Russians appear in the images of noble and courageous birds; falcons, gyrfalcons and hawks.

Dmitry Ivanovich does not take any steps without praying to God. If in the “Word” there are continuous unfortunate omens, then in the “Zadonshchina”: “The sun shines clearly for him and shows the way, and Boris and Gleb offer prayers for their relatives.” Thus, a premonition is created that the campaign will be successful.

Before the battle, Dmitry reminds his brother of their common genealogy and talks about the strength of the Russian governors and squads, listing their weapons.

How does our story describe the Battle of Kulikovo?

The Russian army crossed on the night of September 7-8 to the western bank of the Don, at the confluence of the Nepryadva River. The warriors saw a low-lying plain in front of them (the sandpipers lived in the marshes here, hence the Kulikovo field), rising somewhat to the south, in the direction of the Red (i.e., beautiful) hill. The Russian army is located in the northern part of the Kulikovo field; in the rear of the position, the waters of the Don roared, the narrow but fast Nepryadva River with its tributary flowed from the right flank, and the Smolka River flowed from the left. Deep ravines and dense forests stretched along both flanks, which could not but impede the maneuverability of Mamaev's cavalry. Such was the location of the Russian troops on the right bank of the Nepryadva. However, there is a point of view (V. A. Kuchkin), according to which the battle took place on its left bank.

The crossing over the Don clearly speaks of the well-thought-out and actively offensive strategy of the Russian commanders. Such a step testified to the determination to fight to the end, for victory - after all, a retreat in the event of an unsuccessful battle would be extremely difficult, a river flowed behind the backs of the warriors.

The Russian regiments took up combat positions: in the center - a large regiment, in front of it - the advanced and sentry, behind - a reserve, on the flanks - regiments of the right and left hands; To the east of the regiment of the left hand in the oak grove, Dmitry set up a cavalry ambush regiment. “And you went out into the field cleanly at the mouth of the Nepryadva River, performing” - Russian soldiers, led by their governors, as the chronicle says, began to prepare for battle. Sources, in accordance with the literary tradition and to some extent reflecting real events, report some signs before the battle. According to one version, Prince Dmitry Ivanovich and Dmitry Bobrok-Volynets left late at night for the Kulikovo field between the Russian and Horde regiments. There was silence in the disposition of the Russian army (“and there was great silence”), shouts were heard in the camp of the enemy, “a great knock”, as if carts were moving there, fortifications were being built, trumpets were sounding.

Russian commanders, according to another version, get off their horses, and, putting their ears to the ground, they allegedly hear the cries and cries of Russian and Tatar wives. Both signs are interpreted in a favorable spirit for the Russians - they will prevail, although many of them will die.

In the morning, a heavy fog spread over the Kulikovo field - "a great haze over the whole earth, like darkness." At about 11 am, the fog finally dissipated. Trumpets sounded, zurns played, drums beat. Flags fluttered in the wind. Dmitry Ivanovich "ordered his regiments to march." He himself took off the grand ducal dress and armor and handed them over to the boyar Mikhail Brenk, who dressed in them and stood under the black and gold banner of the commander in chief. Dmitry Ivanovich put on the dress of a simple warrior and moved from a large regiment to the front line, to the front ranks of his soldiers.

* Prince, - the governors urged him, - do not stand in front of the fight, but stand behind, or on the wing, or somewhere else!

* But how, - answered Dmitry Ivanovich, - I will say to someone: “Brothers, let us stand firmly against the enemy!”, And I myself will stand behind and hide my face? I cannot do this in order to hide myself and hide myself, but I want to start first of all in word and deed, and lay down my head before everyone else, so that others, seeing my boldness, will do the same. but they did it with much diligence!

The regiments of Mamai headed towards the Russian army. On black horses and in dark buff-skin armor, the riders resembled a black cloud advancing on the battlefield. “And fearlessly weave two great powers,” says the chronicler, “sleeping for bloodshed, for a quick death; but the Tatar's power to see was gloomy darkened, and the Russian power to see in light armor, like some kind of great river flowing. It was felt that both opponents - the Russians and the Horde - prepared for a bloody and merciless battle, from which many would not return alive.

d) the battle of Chelubey and Peresvet

The warriors of both sides stood up against each other; “and there was no place where they parted, and it was terrible to see two forces converging on bloodshed.”

The battle began, as the legend recorded in the 16th century says, with a duel - the hero Chelubey left the Tatar ranks, the monk Peresvet in a monastic robe left the Russians. Dispersing the horses, they struck with spears, and both fell dead. (“And when they both fell to the ground, they died, and both of them came to that end”). The battle has begun.

History reference:

Peresvet Alexander (d. 1380) - a monk of the Trinity-Sergius Monastery. Hero of the Battle of Kulikovo.

The enemy attacked the advanced regiment with all its might and, despite its heroic resistance and its own losses, destroyed it.

e) Dmitry Ivanovich in battle

Dmitry Ivanovich, who was among the soldiers of the advanced regiment, “was the first to fight and fought a lot with the Tatars in front.” He was surrounded by enemies from all sides, Dmitry's armor was beaten, he himself "was beaten a lot on the head and on the shoulders and on the stomach and stabbed and flogged, but he did not escape from death." Dmitry Ivanovich, as it later became known from the stories of those soldiers with whom he fought side by side against the enemy, was seriously wounded. According to the news of the 16th century, he was twice knocked down from his horse. The prince was seen when he fought first with two, then with three members of the Horde. All beaten, wounded, he reached a felled tree on foot and lay under it until he was found by two “simple howls”, Kostroma natives. When Vladimir Andreevich drove up to him after the battle, Dmitry could hardly get to his feet. None of this is described in Zadonshchina.

The Horde broke into the ranks of a large regiment, a bloody slaughter ensued - “and there was a strong scolding and an evil slash, and blood flowed like water, and countless dead fell from both sides, from the Tatar and Russian. They not only killed with weapons, but also died under horse legs, they suffocated from the great crowding, because one hundred could not fit on the Kulikovo field, between the Don and the Sword, such a multitude of converging forces.

f) Russian losses

Despite the heroic, fearless struggle of the Russians, "the Tatars have begun to be overcome." They broke through to the place where Mikhail Brenk was standing in rich grand ducal attire. He fought bravely and fell in battle. Enemies cut down the shaft of the grand ducal banner. But, despite the heavy losses, the large regiment did not flinch, stood to the death. He was supported by the Vladimir, Suzdal squads of the governor Timofey Vasilyevich Velyaminov. They restored order, the grand ducal banner still fluttering over the thinned columns of a large regiment.

Unable to gain the upper hand in the center, Mamai transferred the main blow to the right flank of the Russian army, but even here it was not possible to break the Russian soldiers. Finally, the furious and terrible attack of Mamai's cavalry like a tornado hit the regiment of the left hand. The most dramatic moments of the battle had come. The left flank slowly retreated to Nepryadva, the enemy cavalry rushed forward, and the reserve regiment could not resist. Mamai, who was watching the course of the bloody battle, was already celebrating a quick victory - his cavalry outflanked the Russian center. She rushed to the rear to the crossings in order to cut off the Russian retreat.

g) entry into battle of an ambush regiment

At this critical moment, unexpectedly for the enemy, the ambush regiment of Vladimir Andreevich and Dmitry Mikhailovich Bobrok-Volynets entered the bon. The chronicles report the impatience of the warriors, who strove to join the bon as soon as possible, to come to the aid of the fighting and dying brethren. But the "wise and daring governor" Prince Dmitry Mikhailovich of Volyn stopped them, waiting for the appointed hour. The long-awaited moment came in the afternoon, when the battle had already lasted for several hours.

The hour is coming, and the time is drawing near! Go ahead, brothers and friends, shouted Bob-rock-Volynets, and fresh Russian cavalry burst out of the oak forest in a whirlwind. As "falcons on goose flocks" Russian soldiers flew into the Horde. The blow to the flank and rear of the enemy was so swift and terrible that the enemy was crushed and defeated. Part of the enemy cavalry rushed to flee to Nepryadva and drowned in its waves, the other - to the south, crushing their own infantry on the way.

The appearance of fresh Russian forces, prudently placed in an ambush by Russian commanders, horrified Mamai's soldiers. The turning point in the course of the battle in the memory of the people remained connected precisely with the oak forest. Traditions say that she grew up overnight in order to hide for the time being from the enemy of the warriors Dmitry Ivanovich. These legends, born in popular rumor, reflected the general belief that the Russian land itself stood up to defend the Fatherland from the enslavers.

All Russian regiments, inspired by the onslaught of the ambush regiment, went on the offensive: “. and the Tatar regiments ran, and the Russian regiments chased after them, beaten and flogged. Mamai ran with his princes in a small squad. And they drove them to the river Swords (Beautiful Swords - V. B.), and the cavalry regiments chased to their camps and captured their estates and wealth a lot.

Results of the battle

Mamai's army was utterly defeated and ceased to exist. His pitiful remnants fled to the Horde. The once all-powerful ruler Mamai soon suffered a new defeat, this time from Khan Tokhtamysh, and then was killed by his former allies, the Italians, and Cafe (Feodosia).

The Russian soldiers, led by Dmitry Ivanovich, nicknamed Donskoy after the Battle of Kulikovo, remained in place for eight days, triumphing over the enemy. The efforts of themselves, their fathers and grandfathers, the heroic battle of the entire North-Eastern Russia bore fruit - the eternal enemy of the Russian and many other peoples conquered by him, suffered such a crushing defeat, which decisively affected subsequent historical destinies Golden Horde and Russia, their relationship.

The Russians suffered great losses, which is spoken of with great bitterness in the Zadonshchina, the names of the dead princes and governor are listed. The sorrow of the Russian land for the dead is betrayed, as in the Lay, with the help of lamentation.

After that comes praise to Vladimir Andreevich, who turned the bon to victory. The picture of the defeat of the Tatars and the joy of the Russian land - all this is composed of a mosaic selection of images of "The Tale of Igor's Campaign". The final speech of Dmitry Ivanovich is typical for this era: “And the great prince Dmitry Ivanovich said:“ Brothers, princes and boyars. , you are destined to be that place between the Don and the Dnieper, on the Kulikovo field, on the Nepryadva River, and you laid down your heads for the holy churches, I will ground the Russian, for the Christian faith.

Thus, "Zadonshchina" quite objectively showed the course of the Battle of Kulikovo, but the image of Dmitry Donskoy is not the main one in this work. Prince Vladimir Andreevich appears before us especially brightly, while Dmitry is shown as a man who united the Russian princes to fight the Horde hordes.

In history, the personality and deeds of Dmitry Donskoy are assessed by historians as follows:

Solovyov S. M.:

“In 1389, the Grand Duke of Moscow Dmitry died, still only 39 years old. Grandfather, uncle and father of Dmitry in silence prepared rich funds for an open, decisive struggle. Dmitri's merit consisted in the fact that he knew how to use these means, knew how to deploy the prepared forces and put them to good use in time. The best evidence of the special importance attached to Dmitry's activity by his contemporaries is the existence of a special legend about the exploits of this prince, a special, decorated written life of him. Dmitry’s appearance is described in this way: “Byashe is strong and courageous, and has a great body, and is broad, and broad-shouldered, and is fraught with greatness, and is very heavy with himself, and his hair is black, his eyes are marvelous.”

Important consequences of Dmitry's activities are found in his spiritual testament, in which we meet a previously unheard-of order: the Moscow prince blesses his son Vasily with the great princedom of Vladimir, who calls him his fatherland. Donskoy is no longer afraid of rivals for his son either from Tver or from Suzdal. In addition to Vasily, Dmitry had five more sons: Yuri, Andrei, Peter, Ivan and Konstantin. The testator expresses the hope that his sons will stop giving access to the Horde.

Speaking about the importance of Dmitriev's reign in the history of North-Eastern Russia, we should not forget about the activities of the boyars of Moscow: they, taking advantage of the circumstances, defended the rights of their young prince and their principality, which they ruled until Dmitri's manhood. The latter did not remain ungrateful to the people who wished him well so much; the following places of his life serve as proof, revealing the full extent of the influence of the boyars on the events of Dmitriev's reign. Feeling the approach of death, Dmitry, according to the writer of his life, gave his sons the following instruction: “Love your boyars, give them a worthy honor against their service, do nothing without their will.”

Kiselev A.F.:

“The reign of Dmitry Donskoy was marked by a powerful rise in the self-consciousness of the Great Russian people. This surge of joint efforts of "Power" and the communal "Earth" was closely connected with the liberation aspirations of the Russian people. The merit of Dmitry and Metropolitan Alexy is that they understood these aspirations and put themselves at the service of national interests. Dmitry Donskoy became the first politician whose actions were determined by state interests. Statement of new political problems led to new approaches to their solution. The union of the northeastern Russian principalities, based on the principles of advice and mutual assistance, showed its strength in the Tver campaign, in the battle on the Vozha River and in the Battle of Kulikovo.

Almost all of Dmitry Ivanovich's political testament is designed for the future. In it, in the form of legal provisions, ready-made solutions are given to specific political problems that will only arise years later. Dmitry's concern for what will happen after him distinguishes his spiritual diploma from all other testaments of the Moscow princes.

Many provisions of the spiritual diploma of Dmitry Donskoy remained relevant for a long time. Not by chance, according to the description of the archive embassy order, made in the 17th century, there are more lists of Dmitry's spiritual diploma than lists of other documents. But in history, the image of Dmitry Donskoy remained not so much as a lawyer and developer of socio-political ideas, but as a prince-warrior who raised his people to fight against the hated yoke.

The prince's faith in the final liberation of Russia from Tatar yoke was also reflected in his will. In it, after a detailed listing of the amounts that can be collected from Moscow possessions for the Horde tribute, it is written: “And God will change the Horde, my children will not give access to the Horde.” This belief of Dmitry Donskoy was not without foundation and after a while became a reality.

Yurganov A.L.:

“His glory as a prince is incomparable to anyone else. Even Alexander Nevsky "loses" - after all, he did not fight with the main enemy of Russia, the Mongols, but collaborated.

Dmitry Donskoy looked to the future. Unlike his grandfather, he, fighting the princes of Tver, considered his main goal to be the liberation of the country from the Horde. If in the era of Ivan Kalita the actions of the princes of Tver were an alternative to the policy of Moscow, then in the time of Dmitry Donskoy Tver turned out to be an opponent of the course of the Moscow princes to liberate the yoke and unite the country. This metamorphosis is dramatic. After the Battle of Kulikovo, Moscow from the center of the strongest principality in the north-east of Russia became recognized national capital uniting Russian lands around itself. In his will, Dmitry Donskoy transferred the principality to his son as his "patrimony", without mentioning the Horde in this regard. He clearly emphasized the prospect of the fall of the yoke (“God will change the Horde”). In this era, a great stage of social self-awareness began.

But the main thing that all stories agree on is that thanks to Dmitry Donskoy, the struggle against the yoke of the Mongol khans acquired a powerful moral sound, becoming a national struggle for freedom and independence.

military story about the battle of Kulikovo 1380, a monument of ancient Russian literature of the late 14th century. Author "Z." used the work of Zephanius Ryazants, as well as "The Tale of Igor's Campaign". The main idea of ​​"Z." - the struggle for the unity of the Russian principalities in the face of an external enemy, as well as opposing the disastrous outcome of events in the "Word" to the victorious one in "Z."

Great Definition

Incomplete definition ↓

ZADONSHINA

On September 8, 1380, on the Kulikovo field (a locality within the Tula region, located in the upper reaches of the Don River, at the confluence of the Nepryadva River, in 1380 - a "wild field" - an uninhabited steppe), a battle took place between the coalition of Russian princes , headed by the Grand Duke of Moscow Dmitry Ivanovich, with the Mongol-Tatar army, reinforced by mercenary detachments, under the leadership of the Horde ruler Mamai. This was the first big battle between the Russians and the enslavers after the establishment of the Mongol-Tatar yoke (1237), which ended in the complete defeat of the Mongol-Tatars. The Battle of Kulikovo (often called the Battle of Mamaev) did not put an end to the foreign yoke in Russia (this will happen only after 100 years - in 1480), but the nature of the relationship between the Russian principalities and the Horde has changed dramatically, the dominant unifying role of the Moscow principality and the Moscow prince has been identified. The Battle of Kulikovo showed that in an alliance, the Russian principalities could successfully resist the Mongol-Tatars. The victory at the Kulikovo field was of great moral significance for national self-consciousness. It is no coincidence that the name of St. Sergius (see LIFE ...): the founder and rector of the Trinity Monastery, according to legend, blessed the campaign of Dmitry of Moscow (see TALE OF LIFE) (nicknamed "Donskoy" after the battle on Kulikovo Field) against Mamai and, contrary to monastery rules, sent with Dmitry's soldiers on the battlefield of two monks of his monastery - Oslyabya and Peresvet. Interest in the events of the Battle of Kulikovo in Russia has not weakened since the time of the battle to the present day. AT Ancient Russia a number of works dedicated to the battle of 1380 were created, which in science are combined under the name "Kulikovo cycle": chronicle stories about the Battle of Kulikovo, "Zadonshchina", "The Legend of the Mamaev Battle". 3.- emotional, lyrical response to the events of the Battle of Kulikovo. 3. has come down to us in 6 lists, the earliest of which is Kirillo-Belozersky (K-B), compiled by the monk of the Kirillo-Belozersky monastery Euphrosyn in the 70-80s. XV century, is a revision of only the first half of the original text. Only two lists contain the full text, all lists contain many errors and distortions. Therefore, based on the data of only all the lists taken together, it is possible to reconstruct the text of the work. Based on the totality of a number of indirect data, but mainly on the basis of the very nature of the work, most researchers date the time of its creation to the 80s. 14th century V. F. Rzhiga, who paid much attention in his works to 3., wrote: “Attempts to date the monument to a time closer to 1380 seem quite appropriate. They correspond to the explicitly emotional character that the Word of Zephaniah has (3.- L.D.) from beginning to end. In this regard, there is reason to believe that the Word of Zephaniah appeared immediately after the Battle of Kulikovo, perhaps in the same 1380 or the next. " It is traditionally considered that the author of 3. was a certain Zephanius Ryazanets: in two lists 3. he is named in the title as the author of the work. In the Chronicle of Tver there is a small passage of text, close in separate readings to 3. and "The Tale of the Battle of Mamaev", beginning with the following phrase: "And this is the writing of Sophony Rezants, the Bryansk boyar, to the praise of Grand Duke Dmitry Ivanovich and his brother Prince Volodimer Andreevich" (before this entry is the date of the Battle of Kulikovo - 1380). A. D. Sedelnikov drew attention to the similarity of this name with the name of the Ryazan boyar from the entourage of the Ryazan prince Oleg - Sofony Alty-kulachevich (Oleg Ryazansky in 1380 was going to take the side of Mamai). Thus, Zephanius of Ryazan is undoubtedly somehow connected with the monuments of the Kulikovo cycle. But can we consider him the author of 3.? In some lists of the main edition of the "Tales of the Battle of Mamaev" Zephanius is named the author of this work. In the text itself 3. it is said about him as a person in relation to the author 3. an outsider: "Az (i.e. "I" - the author of 3.) will remember the chisel Zephanius. .." Based on this reading, 3. the researcher of the Kulikovo cycle I. Nazarov argued back in 1858 that it identifies Zephanius as the predecessor of the author 3. In recent times The hypothesis about the authorship of Zephanius was considered by R.P. Dmitrieva, who came to the conclusion that Zephanius was not the author of 3.: "... the latter refers to Zephanius as a poet or singer of his time, whose work he was inclined to imitate" (" Was Zephanius Ryazanets the author of "Zadonshchina"?" - P. 24). Apparently, Zephanius was the author of yet another poetic work about the Battle of Kulikovo, which has not come down to us, the poetic images of which influenced the authors of both 3. and "Tales of the Battle of Mamaev." This assumption is consistent with the hypothesis of Acad. A. A. Shakhmatova on the existence of the non-preserved "Tale of the Battle of Mamaev". The main idea 3. is the greatness of the Battle of Kulikovo. The author of the work exclaims that the glory of the victory on the Kulikovo field reached different parts of the earth ("Shibla glory to the Iron Gates, and to Karanachi, to Rome, and to Cafe by the sea, and to Tornav, and from there to Tsaryugrad to the praise of the Russian prince") . The work is based on the real events of the Battle of Kulikovo, but this is not a consistent historical story about the preparation for the battle, about the battle itself, about the return of the winners from the battlefield, but the emotional refraction of all these events in the author's perception. The story is transferred from one place to another: from Moscow to the Kulikovo field, again to Moscow, to Novgorod, again to the Kulikovo field. The present is intertwined with memories of the past. The author himself described his work as "pity and praise to the Grand Duke Dmitry Ivanovich and his brother, Prince Vladimir Ondreevich". "Pity" is a cry for the dead, for the difficult share of the Russian land. "Praise" - glory to the courage and military prowess of Russian soldiers and their leaders. About many events, about which the "Legend of the Mamaev Battle" narrates in detail, in 3. is said in one or two phrases, half a hint. So, for example, about the actions of an ambush regiment under the command of Prince Vladimir Andreevich of Serpukhov, a cousin of Dmitry Donskoy, who decided the outcome of the battle, it is said: The helmet shines like a crowbar, damask swords rattle against Khin's helmets. If the detailed narrative of the "Tale of the Battle of Mamaev" had not been preserved, many places 3. would have remained mysterious and inexplicable for us. Already by the nature of the work, by the combination of lamentation and praise in it, 3. is close to the "Tale of Igor's Campaign" But this proximity is not only general character, but the most direct, and this is another remarkable feature of this work of ancient Russian literature. The "Word" was a model for the author 3. at the textual level as well. The plan depends on the "Word" 3., a number of poetic images 3.- repetition of the poetic images of the "Word", individual words, turns, large passages of the text 3. Repeat the appropriate places, "Words". Author 3. turned to the "Word" as a model in order to compare and contrast political environment in Russia of the time of the "Words" (80s of the XII century) from the 80s of the XIV century. The main ideological meaning of the "Words" was the author's call to the Russian princes to forget internecine strife and unite their forces to fight the external enemies of Russia The author 3. in the victory over the Horde, saw the real embodiment of the call of his brilliant predecessor: the combined forces of the Russian princes were able to defeat the Mongol-Tatars, who were previously considered invincible.The author 3. rethinks the text of the "Lay" in accordance with the events of the Mamaev massacre and much 3. it is distinguished by stylistic inconsistency - the poetic parts of the text alternate with prose, which are in the nature of business prose 3. to a greater extent than the "Word", the methods of oral folk poetic creativity are characteristic. The main thing is that in the "Word" techniques and elements close to oral folk art are presented in the artistically executed author's processing, author's rethinking, in 3. they are much closer and words but, and in character to oral sources. This circumstance and the state of the lists 3. (numerous distortions and errors) served as the basis for the assumption about the folklore, oral origin of the monument. It is quite possible that individual lists 3. were written down from memory, and not copied from other lists, but there are no grounds to consider that 3. originally a work of oral creativity. 3. goes back to the "Word" - a literary monument. The combination in 3. of a poetic text with prose, close in nature to business writing, also speaks of the literary character of the monument. This is also evidenced by the church-religious symbolism and terminology strongly expressed in 3.. A number of scientists proceed from the position according to which the "Word" was written in imitation of 3. (French scientists L. Leger, A. Mazon, Russian historian A. A. Zimin). Comparative textual analysis of the "Words" and 3. with the involvement of reminiscences from 3. in the "Tale of the Battle of Mamaev", the study of the nature of the book-writing activity of Euphrosynus, who owns the authorship K-B list 3., the study of the phraseology and vocabulary of the "Words" and 3., a comparative analysis of the grammar of the "Words" and 3. - all testify to the secondary nature of 3. in relation to the "Lay of Igor's Campaign". 3. repeatedly translated into modern Russian, several poetic transcriptions of the monument were created (V. M. Sayanov, I. A. Novikov, A. Skripov, A. Zhovtis), 3. translated into a series foreign languages . A large scientific literature is devoted to the monument. The main bibliographic indexes for 3.: Droblenkova N. F., Begunov Yu. ; L., 1966.- S. 557-583; Aralovets N.A., Pronina P.V. Battle of Kulikovo in 1380: Literature Index // Battle of Kulikovo: Sat. Art.-M., 1980.-S. 289-318. The following is a bibliography of only the most basic publications and studies 3. Ed.: Monuments of the ancient Russian language and literature of the XV-XVIII centuries / Podg. for publication and provided explanatory remarks. Pavel Sichoni. Issue. 3: "Zadonshchina" according to the lists of the XV-XVIII centuries. - Pgr., 1922; Adrianov-Peretz V.P. 1) Zadonshchina: Text and notes // TODRL. - 1947. T. a. - S. 194-224; 2) Zadonshchina: Experience in the reconstruction of the author's text // TODRL. - 1948.- T. b-S. 201-255, Rzhiga VF Word of Zephanius Ryazanets about the Battle of Kulikovo ("Zadonshchina"): With the application of the text of the Word of Zephanius and 28 pictures from the text according to the manuscript of the State. ist. museum of the 16th century - M., 1947; Tale of the Battle of Kulikovo / Ed. M. N. Tikhomirov, V. F. Rzhiga, L. A. Dmitriev. M., 1959 - S. 9-26 (ser. "Literary monuments"); "The Tale of Igor's Campaign" and the monuments of the Kulikovo cycle: On the question of the time for writing the "Lay".-M.; L., 1966.-S. 535-556 - Zadonshchina / Preparing. text, translation and notes. L. A. Dmitrieva//Izbornik (1969).-S. 380-397, 747-750; Pole Kulikovo: The Legend of the Battle of the Don / Entry. Art. D. S. Likhachev; Comp. preparation texts, after and note. L. A. Dmitrieva. M., 1980. - S. 20-49; Zadonshchina / Predg. text, translation and notes. L. A. Dmitrieva // PLDR: XIV-mid-XV century.-M., 1981- S. 96-111, 544-549; Legends and stories about the Battle of Kulikovo / Ed. preparation L. A. Dmitriev and O. P. Likhacheva.-L., 1982.-S. 7-13, 131-137. Lit .: Nazarov I. The legend of the Mamaev battle // ZhMNP. - 1858, - July - August. - P. 80-85; Shambinago S. K. The story of the Mamaev battle. - St. Petersburg, 1906. - S. 84-143; Likhachev D.S. 1) Zadonshchina//Lit. study.- 1941.-№ 3.-S. 87-100; 2) Features of imitation of "Zadonshchina": On the question of the relationship of "Zadonshchina" to the "Tale of Igor's Campaign" / / Gus. lit.-1964.-No. 3.-S. 84-107; 3) Zadonshchina // Great Heritage.- S. 278-292; 4) The relationship between the lists and editorial offices of "Zadonshchina": A study by Angelo Danti // TODRL. - 1976.-T. 31.-S. 165-175; 5) Textological triangle: "The Tale of Igor's Campaign", the story of the Ipatiev Chronicle about the campaign of Prince Igor in 1185 and "Zadonshchina": To the textological remarks of prof. J. Fennela // Likhachev D. S. "The Tale of Igor's Campaign" and the culture of his time. L., 1978.-S. 296-309; Solovyov A.V. The author of "Zadonshchina" and his political ideas // TODRL.- 1958.- T. 14.- P. 183-197; Rzhiga VF 1) The word of Zephanius Ryazants about the Battle of Kulikovo ("Zadonshchina") as a literary monument of the 80s. 14th century // Tale of the Battle of Kulikovo.- S. 377-400; 2) About Zephaniah Ryazanets//Ibid.-p.401-405; Adrianov-Perets V.P. "The Tale of Igor's Campaign" and "Zadonshchina" //

September 8, 1380 United Russian army under the leadership of the Moscow prince Dmitry Ivanovich, they defeated the Mongol hordes of Mamai on the Kulikov field. "Zadonshchina", created at the end of the 14th and beginning of the 15th century, is one of the largest works telling about this event.

It is very close to "The Tale of Igor's Campaign" in its poetics, lexical turns, and composition. Emotional evaluation for the author is more important. Than the details themselves.

Character traits:

1) Down to earth style

2) More listings

3) Documentation (numerical designations)

4) Historicism

The use of the poetic plan and artistic techniques of "The Tale of Igor's Campaign" in "Zadonshchina" is due to the entire ideological and artistic conception of this work. Zephanius specially compared the events of the past with the events of today: "The Word" - called on the Russian princes to unite in order to fight the enemies; "Zadonshchina" - glorified the unity of the Russian princes, thanks to which the victory was won.

Poetic plan: two main parts: "Pity" and "praise".

Composition:

1) Introduction: sets the listener in a high solemn mood, gives praise to Dmitry Ivanovich. "Zadonshchina" establishes a genealogical connection between the princes of Moscow and Kyiv, emphasizing that the new political center of Russia is Moscow.

2) Part I: devoted to the description of the Russian troops, their campaign, the first battle and defeat. The fallen soldiers are mourned by their wives - princesses and boyars. The lamentations of the wives are built according to the scheme of lamentation of Yaroslavna.

3) Part II: Glorification of the victory won by the Russians in the second battle.

Style:

Major, joyful. The Christian element is strengthened, pagan mythological images are completely absent. complex metaphors.

Some methods of oral folk poetry are widely used: negative comparisons, symbolic images of folk poetry: geese, swans, falcons, wolves, eagles.

Main idea: Zephanius directed all his pathos, lyrically agitated and pathetic tone of narration to the propaganda of the idea of ​​rallying, uniting all the forces of the Russian land around Moscow and the Moscow prince.

28. P news about the battle of Kulikovo. "The Tale of Mama's Massacre".

In 1380, the Moscow prince Dmitry Ivanovich rallied almost the entire Northeast Russia and dealt a crushing blow to the Golden Horde.

After the victory at the Kulikovo field, the question of the final overthrow of the Mongol-Tatar yoke was only a matter of time.

The victory over Mamai significantly strengthened the authority of Moscow in the eyes of the entire people. She played an important role in the development of literature and art.

Historical events 1380 were widely reflected in oral folk art, as well as in various genres of literature: the chronicle story, "Zadonshchina", "The Tale of the Mamaev Battle".

Chronicle of the Battle of Kulikovo.

The story "The Massacre of Grand Duke Dmitry Ivanovich on the Don with Mamai" was created in the hot pursuit of events.

Here an emotionally expressive journalistic assessment of events is given. The central hero of the chronicle story is the Grand Duke of Moscow. The work emphasizes his piety and military prowess. The “Christ-loving” and “God-loving” prince is an ideal Christian who constantly prays to God.

The ideal Christian warrior is opposed in the annalistic story to the "godless", "impious" Mamai and his allies - the "filthy" Lithuanian prince Jagiello and the traitor, Ryazan prince Oleg.

The battle itself is depicted with the help of expressions and techniques characteristic of a military story.

The main goal of the Chronicle is to show the superiority of the courage of the Russian troops over the arrogance and ferocity of the "godless Tatars" and "filthy" Lithuania, to stigmatize the betrayal of Oleg Ryazansky.

"The Legend of the Mamaev Battle".

In the middle of the 15th century, on the basis of the chronicle story about the Battle of Kulikovo, "Zadonshchina" and oral traditions, the "Legend of the Battle of Mamaev" was created, which has come down to us in numerous lists, in four editions.

In the "Tale" the religious moment is significantly strengthened. Numerous monologues-prayers emphasize Dmitry's piety. The "Tale" sought to emphasize the complete unity of secular and ecclesiastical authorities.