Lotman lectures on Russian culture. Yu m. Lotman talks about Russian culture, everyday life and traditions of the Russian nobility (xviii - early xix century). People and ranks

The author is an outstanding theorist and cultural historian, the founder of the Tartu-Moscow semiotic school. Its readership is huge - from specialists to whom works on the typology of culture are addressed to schoolchildren who have picked up the "Commentary" to "Eugene Onegin". The book is based on a series of television lectures about the culture of the Russian nobility. The past era is presented through the realities of everyday life, brilliantly recreated in the chapters Duel, Card Game, Ball, etc. The book is inhabited by heroes of Russian literature and historical figures - among them Peter I, Suvorov, Alexander I, the Decembrists. Actual novelty and wide circle literary associations, the fundamental nature and liveliness of presentation make it the most valuable publication, in which any reader will find interesting and useful for himself.
For students, the book will become a necessary addition to the course of Russian history and literature. The publication was published with the assistance of the Federal Target Program of Russian Book Publishing and the International Fund "Cultural Initiative".
"Conversations on Russian Culture" belongs to the pen of the brilliant researcher of Russian culture Yu. M. Lotman. At one time, the author enthusiastically responded to the proposal of "Art - St. Petersburg" to prepare a publication based on a series of lectures with which he spoke on television. The work was carried out by him with great responsibility - the composition was specified, the chapters expanded, new versions appeared. The author signed the book into the set, but did not see it published - on October 28, 1993 Yu. M. Lotman died. His living word addressed to a multimillion audience was preserved in this book. It immerses the reader in the world of everyday life of the Russian nobility of the 18th - early 19th centuries. We see people of a distant era in the nursery and in the ballroom, on the battlefield and at the card table, we can examine in detail the hairstyle, cut of the dress, gesture, and demeanor. At the same time, everyday life for the author is a historical-psychological category, a sign system, that is, a kind of text. He teaches to read and understand this text, where everyday and everyday are inseparable.
The collection of colorful chapters, the heroes of which are outstanding historical figures, reigning persons, ordinary people of the era, poets, literary characters, are linked together by the thought of the continuity of the cultural and historical process, the intellectual and spiritual connection of generations.
In a special issue of the Tartu "Russian newspaper" dedicated to the death of Yu. M. Lotman, among his statements recorded and saved by colleagues and students, we find words that contain the essence of his last book: “History passes through the House of man, through his private life. Not titles, orders or royal favors, but the 'self-permanence of a person' turns him into a historical person. "
The publishing house would like to thank the State Hermitage and the State Russian Museum for donating gratuitous prints stored in their funds for reproduction in this publication.

Hidden text
INTRODUCTION: Life and Culture PART ONE People and Ranks
Women's World
Women's education in the 18th - early 19th centuries PART TWO Bal
Matchmaking. Marriage. Divorce
Russian dandyism
Card game
Duel
Art of living
The result of the journey PART THREE "Chicks of Petrov's nest"
Ivan Ivanovich Neplyuev - an apologist for reform
Mikhail Petrovich Avramov - critic of the reform
Age of heroes
A. N. Radishchev
A. V. Suvorov
Two women
People of 1812
Decembrist in everyday life INSTEAD OF CONCLUSION "Between the double abyss ..."

Add. Information: Cover: Vasya from Mars Thanks for the book Naina Kievna (AudioBook Lovers Club) -

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34 * rTEYNU. rKHYLYOB: “OEFPYUOPUFSH. - aboutB VBMBI LBCHBMETZBTD<УЛЙЕ>PZHYGETSCH SCHMSAFUS FBL TSE, LBL J RTPUYE ZPUFY, CH CHYG NHODYTE, CH VBYNBLBI. ъBNEYUBOYE PUOPCHBFEMSHOPE, OP CHYRPTBI EUFSH OEUFP RPFYUEEULPE. uUSCHMBUSH ABOUT NOOOY b. th. v. "(VI, 528).

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39 * pFPTSDEUFCHMEOYE UMPCh "IBN" J "TBV" RPMHYUIMP PODOP MAVPRSCHFOPE RTPDPMTSEOYE. DELBVTYUF OYLPMBK FKHTZEOECH, LPFPTSCHK, RP UMPCHBN rKHYLJOB, GERY TBVUFCHB OEOBCHIDEM, YURPMSHUPCHBM UMPCHP IBN YU'BYUUPYUZHY. ON UYUIFBM, SFP IKHDYINY TBVBNY SCHMSAFUS JBEYFOYLY TBVUFCHB - RTPRPCHEDOILY LTERPUFOPZP RTBCHB. dMS OYI PO YYURPMSHUPCHBM CH UCHPYI DOECHOILBI Y RYUSHNBI UMCHP "IBN", RTECHTBFYCH EZP CH RPMYFYUEULIK FETNYO.

UN. PW LFPN CH LO .: lBTRPCHYU e. R. ъBNEYUBFEMSHOSHE VPZBFUFCHB YUBUFOSHI MYG CH tPUUY. eq., 1874, U. 259-263; B FBLCE: mPFNBO a. n. TPNBO b. at. RHYLYOB "ECHZEOIK POEZYO". LPNNEOFBTIK. m., 1980, U. 36-42.

40 * yt. CH FPN TCE YUFPYUOYLE PRYUBOYE PVTSDB UCHBFPCHUFCHB: “uFPM VSCHM OBLTSCHF YUMPCHEL ABOUT UPTPL. about UFPME UFPSMY YUEFSCHTE PLPTPLB Y VEMSCHK VPMSHYPK, LTKHZMSCHK, UMBDLIK RYTPZ U TBOBOSCHNY KHLTBIEOYSNY Y ZHYZKHTBNY.

41 * rPDBZPMPCHPL "pFTSCHCHPL YY RYUSHNB RYUSHNB ATsOPZP TSIFEMS" - OE FPMSHLP OBNEL ABOUT VYPZTBZHYYUEULYE PVUFPSFEMSHUFCHB BCHFPTB, OPBUFUFFUFUCHOUPPETE

42 * FP EUFSH "LBYUEMY CHYDE CHTBEBAEZPUS CHBMB U RTPDEFSCHNY ULCHPYSH OEZP VTHUSHSNY. lBL MAVYNPE OBTPDOPE TBCHMEYUEOYE, LBYE LBYUEMY PRYUBOSCH VSCHMY RHFEYEUFCHEOOYLPN pMEBTYEN (UN .: pMEBTIK bDBN.

44 * BTS YMY PTS - CHYD FTBCHSCH, UYUYFBCHYEKUS B OBTPDOPK NEDYGYOE GEMEVOPK «PE CHTENS FTPYGLPZP NPMEVOB DECHHYLY, UFPSEYE UMECHB PF BMFBTS, DPMTSOSCH HTPOYFSH OEULPMSHLP UMEYOPL ON RHYUPL NEMLYI VETEPCHSCHI CHEFPL (B DTHZYI TBKPOBI tPUUYY RMBLBMY ON RHYUPL BTY YMY ON DTHZYE GCHEFSCH. - a.m.). FPF RHYUPL FEBFEMSHOP UVETEZBEFUS RPUME J UYUYFBEFUS BMPZPN FPZP, YUFP H FP MEFP OE VHDEF BUHY "(. ETOPChB used in nBFETYBMSch RP UEMSHULPIPSKUFCHEOOPK NBZYY H dNYFTPChULPN LTBE -.. uPChEFULBS FOPZTBZHYS 1932, 3, 30 D).

45 * p EDYOPN UCHBDEVOPN PVTSDE CH HUMPCHYSI LTERPUFOPZP VSCHFB ZPCHPTYFSH OEMSHYS. lTERPUFOPE RTYOHTSDEOYE Y OYEEFB URPUPVUFCHPCHBMY TBTKHYEOYA PVTSDPCHPK UVTHLFHTSCH. FBL, B "yUFPTYY UEMB zPTAIYOB" OEBDBYUMYCHSCHK BCHFPT zPTAIYO RPMBZBEF, YUFP PRYUSCHCHBEF RPIPTPOOSCHK PVTSD, LPZDB UCHYDEFEMSHUFCHHEF, YUFP H EZP DETECHOE RPLPKOYLPCH BTSCHCHBMY H ENMA (YOPZDB PYYVPYUOP) UTBH RPUME LPOYUYOSCH "DBVSCH NETFCHSCHK H YVE MYYOEZP NEUFB BOYNBM OE". nSC VETEN RTYNET Y QIYOI PYUEOSH VPZBFSHI LTERPUFOSCHI LTEUFSHSO - RTBUPMPCH Y FPTZPCHGECH, FBL LBL YDEUSH PVTSD UPITBOIMUS CH OETBTHTHYEOPN CHYDE.

46 * yb RTYNEYUBOIK L SRPOULPNKH FELUFKH CHYDOP, UFP THUULPE UMPCHP "CHEOGSCH" OE PYUEOSH FPYUOP RETEDBEF UPDETSBOYE. UMCHP CH PTYZYOBME POBUBEF "DYBDENH ABOUT UFBFKH VKHDSCH" (U. 360). iBTBLFETOP, UFP YOZHPTNBFPT PFPTSDEUFCHMSEF OPCHPVTBYUOSCHI OE U YENOSCHNY CHMBUFIFEMSNY, B U VPZBNY.

49 * OPRPNOIN HTSE PFNEYUBCHYHAUS OBNY MAVPRSCHFOHA DEFBMSH. TEYUSH IDEF PV BRPIE EMYBCHEFSCH REFTPCHOCH. OP LPZDB eETVBFPZ ZPCHPTYF P OEK LBL P YUEMPCHELE, PO KHRPFTEVMSEF TSEOULKHA ZhPTNKH: "ZPUHDBTSCHOS", LPZDB TSE P EE ZPUHDBTUEFCHEOCHAPHOTSHOPUEFUHT.

51 * YDEUSH TEYUSH YDEF PV BOZMYKULPK NKHTSULPK NPDE: RHTBOGKHUULYE TSEOULYE Y NKHTSULYE NPDSCH UVTPYMYUSH LBL CHBYNOP UPPFCHEFUFFCHOOSCHE - CH BOBCHDBUCH LBCHOOCH

65 * "PUFTYCEO RP RPUMEDOEK NPDE" J "LBL DEODY MPODPOULIK PDEF" FBLCE POEZIO. ьFPNH RTPFYCHPRPUFBCHMEOSCH "LHDTY ​​YUETOSCHE DP RMEU" MEOULPZP. "LTYLHO, NSFETSOIL Y RPF", LBL IBTBLFETYKHEFUS MEOULYK CH YUETOPCHPN CHBTEYBOFE, PO, LBL J DTHZYE OENEGLYE UBHDEOFFSCH, LBL IBTBLFETYKHEFUS MEOULYK CH YUETOPCHPN CHBTEYBOFE, PO, LBL J DTHZYE OENEGLYE UBHDEOFSCH, LBL IBTBLFETYKHEFUS

CHETCHCHE UPRPUFBCHMEOYE UATSEFPCH LFYI RTPYCHEDEOIK UN .: yFEKO u. rKHYLYO Y ZPZHNBO. UTBCHOYFESHOPE YUFPTYLP-MYFETBFHTOPE YUUMEDPCHBOYE. DETRF, 1927, U. 275.

66 * oEUNPFTS ON AF YUFP TBCHPD J OPCHSCHK VTBL VSCHMY BLPOPDBFEMSHOP PZHPTNMEOSCH, PVEEUFCHP PFLBSCHCHBMPUSH RTYOBFSH ULBODBMSHOSCHK RTPYZTSCHY TSEOSCH, J VEDOBS ZTBZHYOS tBHNPChULBS VSCHMB RPDCHETZOHFB PUFTBLYNH. chSChIPD YR RPMPCEOIS U RTYUKHEYN ENKH DTSEOFMSHNEOUFCHPN OBYEM bmelubodt I, RTIZMBUYCH VSCHCHYHA LOSJOYOA ABOUT FBOEG Y OBCHBCH ITS RTY FZHPN. pVEEUFCHOOSCHK UFBFKHU, FBLYN PVTBPN, VSCHM ChPUUFBOPCHMEO.

UN .: MELPNGECHB n. y., HUREOULIK v. b. PRYUBOYE PODOPK UYUFENS U RTPUFSCHN UYOFBLUYUPN; eZTPHR c. f. rTPUFEKYE UENYUPFYUEULYE UYUFENSCH FYRPMPZYS UATSEFPCH. - ФТХДЩ RP ЬОБЛПЧЩН UYUFENBN. hSC. R. fBTFKh, 1965.

RPCHEUFY, YDBOOSCHE bmelubodTPN rKHYLYOSCHN. ASU., 1834 W. 187 hours BLBDENYYUEULPN YDBOYY rHYLYOB, OEUNPFTS ON HLBBOYE, YUFP FELUF REYUBFBEFUS RP YDBOYA "rPChEUFEK" 1834 ZPDB, B YUBUFY FYTBTSB RYZTBZH PRHEEO, IPMF FP PVUFPSFEMSHUFCHP OYZDE B YDBOYY OE PZPCHPTEOP.

67 * fBL, p. b. chSENULIK RYYYEF P "NYTOPK, FBL OBSCHCHBENPK LPNNETYUEULPK YZTE, P LBTFPYUOPN CHTENSRTPCHPTSDEOYY, UCHPKUFCHEOOOPN X OBU CHUEN CHUEN CHUTBUFFBOIN RUNN YBCHMPN. pDOB THUULBS VBTSCHOS ZPCHPTIMB CHEOEGY: „LPOEYUOP, LMINBF EDEUSH IPTPY; OP TSBMSH, YUFP OE We LEN UTBYFSHUS B RTEZHETBOUYL ". DTHZPK Oba UPPFEYUEUFCHEOOYL, LPFPTSCHK RTPCHEM YNH B rBTYTsE, PFCHEYUBM ON CHPRTPU, LBL DPCHPMEO IN rBTYTsEN" pYuEOSh DPCHPMEO X OCU LBTSDSCHK CHEYUET VSCHMB UCHPS RBTFYS "" (chSENULYK p uFBTBS BRYUOBS. LOYTSLB. M., 1929, U. 85-86).

UFTBIPCH about. rETERYULB nPDSch, UPDETTSBEBS RYUSHNB VETHLYI NAP TBNSCHYMEOYS OEPDHYECHMEOOSCHI OBTSDPCH, TBZPCHPTSCH VEUUMPCHEUOSCHI YUERGPCH, YUHCHUFCHPCHBOYS NEVEMEK, LBTEF, BRYUOSCHI LOYTSEL, RHZPCHYG J UFBTPBCHEFOSCHI NBOEL, LHOFBYEK, YMBZHPTPCH, FEMPZTEK J RT. oTBCHUFCHOOOPE Y LTYFYUEULPE UPYUYOOYE, CH LPEN U YUFYOOPK UFPTPOSCH PFLTSCHFSCH OTBCHSCH, PVTB TSIYOY Y TBOOSCHS UNEYOSCHS Y CHBTSOSCHS UGEOSCH NPDOBP. n., 1791, U. 31-32.

69 * oz. X oPChYLPChB "rPDTSD MAVPCHOYLPCH A RTEUFBTEMPK LPLEFLE ... NOPZYN OBYYN ZPURPDYUYLBN CHULTHTSYM ZPMPCHSCH ... IPFSF ULBLBFSH ON RPYUFPCHSCHI MPYBDSI B rEFETVHTZ, YUFPVSCH FBLPZP RPMEOPZP LCA OHYE OE RTPRHUFYFSH UMHYUBS" (uBFYTYYuEULYE TSHTOBMSCH of th oPChYLPChB n .; m... ., 1951, U. 105. r. About. KABS PT B "rPYuFE dHIPCh" lTSchMPChB RYYEF nBMYLHMShNHMShLH "with RTYOSM CHYD NPMPDPZP J RTYZPTSEZP YUEMPCHELB, RPFPNH YUFP GCHEFHEBS NPMPDPUFSH, RTYSFOPUFY J LTBUPFB B OSCHOEYOEE CHTENS FBLTSE B CHEUSHNB OENBMPN HCHBTSEOYY J RTY OELPFPTSCHI UMHYUBSI, LBL ULBSCHCHBAF, RTPYCHPDSF CHEMYLYE YUHDEUB" (lTSchMPCh y. b. rPMO. UPVT. UPYu., F. I, U. 43), UT .:

dB, YUEN TSE FSH, tskHTSKH, CH UMKHYUBK RPRBM,

veUUYMEO VSCHCHY FBL Y NBM ... (FBN TSE, F. 3, U. 170).

75 * h DBOOPN UMKHYUBE DMS OBU OECHBTSOP FP PVUFPSFEMSHUFCHP, UFP CH RSHEUE zPZPMS "NPMPDPDK YUEMPCHEL" PLBSCHBEFUS UPCHUEN OE "MEZLPCHEBYUFYUFUKHUEN"

ЕНХ ЗПФПЧЫФШ ЮЕУФЩК ЗТПВ,

nd FIIP GAMIFSH CH VEDOSCHK MPV

aboutB VMBZPTPPDOPN TBUFFPSOSHY.

"VMBZPTPDOPE TBUFFPSOYE" EDEUSH - HFCHETTSDEOOOPE RTBCHYMBNY DHMY. h TBCHOPK UVEREY HVYKUFCHP ABOUT DHMY IBTBLFETYHEFUS LBL "YUEUFOPE".

77 * "rPTPYLPCHCHE" - ZHBMSHYCHCHE LBTFSH (PF YEUFETLY DP DEUSFLY). LBTFSH OBLMEYCHBAFUS PDOB ABOUT DTHZHA, OBRTYNET, YEUFETLB ABOUT UENETLH, ZHYZKHTB NBUFY CHCHTEBEFUS, OBUSCHRBOOSCHK VEMSCHK RPTPYPL DEMBEF BNEFP OE. YKHMET CH IPDE YZTSCH CHSCHFTSIYCHBEF RPTPYPL, RTECHTBEBS YEUFETLH CH UENETLKH Y F. D.

79 * h IPDE BBTFOSCHI YZT FTEVPCHBMPUSH RPTPK VPMSHYPE LPMYUEUFCHP LPMPD. rTY YZTE CH ZhBTBPO VBOLPNEF J LBTSDSCHK Y RPOFETPCH (B YI NPZMP VShFSH VPMEE DEUSFLB) DPMTSEO VSCHM YNEFSH PFDEMSHOKHA LPMPDH. lTPNE FPZP, OEHDBYUMYCHCHE YZTPLY TCHBMY Y TBVTBUCHCHBMY LPMPDSCH, LBL LFP PRYUBOP, OBRTYNET, CH TPNBOY d. VEZYUECHB "UENEKUFCHP ipMNULYI". yURPMSh'PCHBOOBS ("RTPRPOFYTPCHBOOBS") LPMPDB FHF TSE VTPUBMBUSH RPD UFPM. ьFY TBVTPUBOOSCHE, YUBUFP CH PZTPNOPN LPMYUEUFCHE, RPD UFPMBNY LBTFSH RPTCE, LBL RTBCHYMP, UPVYTBMYUSH UMHZBNY Y RTPDBCHSCHEBOSCHYBYE yuBUFP CH FPK LHYUE LBTF ABOUT RPMH CHBMSMYUSH Y HRBCHYE DEOSHZY, LBL FP, OBRTYNET, YNEMP NEUFP PE CHTENS LTHROSCHI YZT, LPFPTSCHE BBTFOP WHAT ABOUT. OLTBUPCH. rPDSHNBFSH LFY DEOSHZY UYUIFBMPUSH OERTYMYUOSCHN, Y POI DPUFBCHBMYUSH RPFPN MBLESN CHNEUFE U LBTFBNY. h YHFMYCHSCHI MEZEODBI, PLTHTSBCHYYI DTHTSVH fPMUFPZP zhEFB Q, P RPCHFPTSMUS BOELDPF FPN, LBL Jef PE CHTENS LBTFPYUOPK YZTSCH OBZOHMUS, YUFPVSCH RPDOSFSH Y RPMB HRBCHYHA OEVPMSHYHA BUUYZOBGYA, fPMUFPK B, X BRBMYCH UCHEYUY UPFEOOHA, RPUCHEFYM ENH, YUFPVSCH PVMEZYUYFSH RPYULY.

82 * yUFPLY LFPZP RPCHEDEYS BNEFOSCH HTSE CH REFETVKHTZE H 1818-1820 ZPDSCH. pDOBLP UETSHESHOSHI RPEDYOLPCH X rHYLYOB CH FFPF RETYPD EEE OE PFNEYEOP. dKhMSh U LAYEMSHVELETPN OE CHPUTYOINBMBUSH rKHYLYOSCHN CHUETSHE. PVYDECHYYUSH OB rKHYLYOB ЪB RIZTBNKH "ъB KHTSYOPN PVAYEMUS S ..." (1819), lAYEMSHVELET CHSCHCHBM EZP ABOUT DHMSH. rKHYLYO RTYOSM CHSCHPCH, OP CHSCHUFTEMIM CH CPUDKHI, RPUME YUEZP DTHYSHS RTYNYTYMYUSH. rTEDRPMPTSEOYE TSE CHM. OBVPLPCHB P DHMY U tshmeechschn CHUE EEE POOFBEFUS RPFYUEULPK ZYRPFEPK.

FBMMENBO DE TEP TSEDEPO. ъBOYNBFEMSHOSHE YUFPTYY. m., 1974, F. 1, U. 159. PF LFPN: mPFNBO a. FTY ЪBNEFLY L RTPVMENE: "RHYLYO Y ZhTBOGKH'ULBS LHMSHFKHTB". - rTPVMENSH RKHYLYOPCHEDEOYS. teizb, 1983.

83 * P h RTEDYEUFCHHAEYI TBVPFBI "eChZEOYY pOEZYOE" HOE RTYIPDYMPUSH RPMENYYUEULY CHSCHULBSCHCHBFSHUS P Leuze vPTYUB yChBOPChB (CHPNPTSOP, RUECHDPOYN; RPDMYOOBS ZHBNYMYS BCHFPTB, LBL J LBLYE FI OH R ™ £ VSCHMP UCHEDEOYS P Oen, OEYCHEUFOSCH HOE). UN .: mPFNBO a. "DBMSh UCHPVPDOPZP TPNBOB". n, 1959. UPITBOSS UHEOPUFSH UCHPYI LTYFYUEULYI ЪBNEYUBOYK P ЪBNSCHUME LFPK LOYZY, S UYUIFBA UCHPEK PVSЪBOOPUFSHA RTYЪOBFSH YI PDOPUFFPTPOPOPOO. NEW UMEDPCHBMP PFNEFYFSH, UFP BCHFPT RTPSCHYM IPTPYE OBOYE VSCHFB RHYLYOULPK PRPIY Y UPEDYOYM PVEIK UVTBOOSCHK BNSHUCHEM YFCHEFPUTPUCHE TELPUFSH NPYI CHSCHULBUSCHCHBOYK, P LPFPTPK CH OBUFPSEEE CHTENS S UPTSBMEA, VSCHMB RTPDYLFPCHBOB MPZYLPK RPMENYLY.

84 * rP DTHZYN RTBCHYMBN, RPUME FPZP, LBL PDYO YH HYUBUFOILPCH DHMY CHSCHUFTEMIM, CHFPTPK NPZ RTPDPMTSBFSH DCHYTSEOYE, B FBLTSE RPFBSHTEPBL ьФЙН РПМШЪПЧБМЙУШ VTEFETSCH.

86 * yt. CH "ZETPE OBYEZP CHTENEOY": "nSCh DBCHOP HC CHBU PTSYDBEN", - ULBBM DTBZHOULIK LBRIFBO U YTPOYUEULPK KHMSCHVLPK.

UNSCHUM URYSPDB - CH UMEDKHAEN: DTBZHOULIK LBRIFBO, HVETSDEOOSCHK, UFP RUPTYO "RETCHSCHK FTHU", LPUCHOOP PVCHYOSEF EZP CH TSEMBOYCHBCH, URPYD

87 * H hYuBUFYE DHMY, DBTSE B LBYUEUFCHE UELHODBOFB, CHMELMP B UPVPK OEYVETSOSCHE OERTYSFOSCHE RPUMEDUFCHYS: LCA PZHYGETB FP, LBL RTBCHYMP, VSCHMP TBTSBMPCHBOYE J UUSCHMLB ON lBChLB (RTBCHDB, TBTSBMPCHBOOSCHN B DHMSH OBYUBMSHUFCHP PVSCHLOPCHEOOP RPLTPCHYFEMSHUFCHPCHBMP). ьFP UPUDBCHBMP YCHEUFOSCHE FTHDOPUFY RTY CHSCVPTE UELHODBOFFCH: LBL MYGP, CH TXLY LPFPTPZP RETEDBAFUS TSYYOSH YYUEFSH, WELHODBOSCHM, PRFEIN OP FPNKH RTPFYCHPTEEYUMP OETSEMBOYE CHPCHMELBFSH DTHZB CH OERTYSFOHA YUFPTYA, MPNBS ENKH LBTSHETKH. UP UCHPEK UVPTPOSCH, UELHODBOF FBLCE PLBSCHBMUS CH FTHDOPN RPMPTSEOYY. yOFETEUSch DTHTSVSCH J YUEUFY FTEVPCHBMY RTYOSFSH RTYZMBYEOYE HYUBUFCHPCHBFSH B DHMY LBL MEUFOSCHK OBL DPCHETYS, B UMHTSVSCH J LBTSHETSCH - CHYDEFSH B FPN PRBUOHA HZTPH YURPTFYFSH RTPDCHYTSEOYE YMY DBTSE CHSCHCHBFSH MYYUOHA OERTYSOSH MPRBNSFOPZP ZPUHDBTS.

88 * OPRPNOIN RTBCHYMP DHMY: “uFTEMSFSH CH CPUDKHI YNEEF RTBCHP FPMSHLP RTPFYCHOIL, UVTEMSAEYK CHFPTSCHN. rTPFYCHOIL, CHSCHUFTEMYCHYK RETCHSCHN CH CHP'DKHI, EUMY EZP RTPFYCHOIL OE PFCHOIL OE CHSCHUFT YMY FBLCE CHSCHUFTEMIM CH CPUDKHI, UYUYFBUFBUCHY. rTBCHYMP LFP UCHSBOP U FEN, UFP CHSCHUFTEM CH CPUDKHI RETCHPZP Y RTPFYCHOYLPCH NPTBMSHOP PVSUCHCHBEF CHFPTPPZP L CHEMYLPDKHYYA, UFCHEPSHTREBP

VEUFHTSECH (NBTMJOULIK) b. b. OPYUSH ABOUT LPTBVME. rPCEUFY Y TBUULBSCH. n., 1988, U. 20. rPMSHYHENUS DBOOSCHN YDBOYEN LBL FELUFFPMPZYUEEULY OBYVPMEE DPUFPCHETOSCHN.

RTPVMENB BCHFPNBFY'NB CHEUSHNB ChPMOPCHBMB rHYLYOB; UN .: sLPVUPO t. - h LO .: sLPVUPO t. TBVPFSH RP RPFYLE. n., 1987, U. 145-180.

UN .: mPFNBO a. n. FENB LBTF J LBTFPPYUOPK YZTSCH CH THUULPK MYFETBFHTE OBYUBMB XIX CHELB. - hueo. ЪBR. fBTFHULPZP ZPU. HO-FB, 1975. 365. фТХДЩ RP ЬОБЛПЧЩН UYUFENBN, F. VII.

90 * VSCHBMY Y VPMEE CEUFLE HUMPCHYS. fBL, yUETOPCH (UN. U. 167), NUFS ЪB YUEUFSH UEUFSCH, FTEVPCHBM RPEDYOLB ABOUT TBUFPSOY CH FTY (!) YBZB. h RTEDUNETFOPK ABBYULE (DPYMB CH LPRYY THLPK b. veUFKHTSECHB) ON RYUBM: “uFTEMSAUSH ABOUT FTY YBZB, LBL AB DUMP UENEKUFCHEOOPE; YVP, OBS VTBFSHECH NPYI, IPYUH LPOYUYFSH UPVPA Oen ON, ON FPN PULPTVYFEME NPEZP UENEKUFCHB, LPFPTSCHK LCA RHUFSCHI FPMLPCH of the ECE RHUFEKYYI MADEK RTEUFHRYM Chui BLPOSCH YUEUFY, J PVEEUFCHB YUEMPCHEYUEUFCHB "(dEChSFOBDGBFSchK ChEL. Lo. 1 n. 1872, 334 W. ). rP OBUFFPSOYA UELHODBOFFCH DHMSH RTPYUIPDYMB ABOUT TBUFFPSOY CHPUENSH YBZPCH, Y CHUE TBCHOP PVB HUBUFOILB ITS RPZYVMY.

92 * PSCHYUOSCHK NEIBOYEN DKHMSHOPZP RYUFPMEFB FTEVHEF DCHPKOPZP OBTSYNB ABOUT URHULPCHPK LTAYUPL, UFP RTEDPITBOSEF PF UMKHYUBKOPZP CHSCHUFTEMB. yOEMMETPN OBSCHBMPUSH KHUFTKUFCHP, PFNEOSAEE RTEDCHBTYFEMSHOSCHK OBTSYN. h TEHMSHFBFE HUYMYCHBMBUSH ULPTPUFTEMSHOPUFSH, OP BFP TELP RPCHSCHYBMBUSH ChP'NPTSOPUFSH UMKHYUBKOSHI CHSCHUFTEMPCH.

94 * rPDPVOSCHK LPOFTBUF YURPMSH'PCHBO n. vKhMZBLPCHSCHN CH "NBUFETE Y NBTZBTYFE". about VBMH, UTUDI RSCHYOP OBTSTSEOOSHI ZPUFEK, RPDYUETLOHFBS OEVTETSOPUFSH PDETSDSCH chPMBODB CHSCHDEMSEF EZP TPMSH iPYSYOB. rTPUFFPFB NHODYTB oBRPMEPOB UTEDY RSCHYOPZP DChPTB YNEMB FPF TSE UNSCHUM. rSCHYOPUFSH PDETSDSCH UCHYDEFEMSHUFCHHEF PV PTYEOFBGY ABOUT FPULH VTEOIS CHOOEYOESP OBVMADBFEMS. dMS chPMBODB OEF FBLPZP "CHOEYOEZP" OBVMADBFEMS. oBRPMEO LHMSHFYCHYTKHEF FKH TSE RP'YGYA, PDOBLP CH VPME UMPTSOPN CHBTYBOFE: chPMBODH CH UBNPN DEME VETBMYYUOP, LBL PO CHZMSDYF, FBRPBMEBPO

ZHEPZHBOB rTPLPRPCHYUB, BTIYERYULPRB CHEMYLPZP OPCHZPTPDB Y CHEMILYI MHL, UCHSFEKYEZP RTBCHYFEMSHUFCHHAEZP UYOPDTE YU.

96 * fBL, DPUKHZY CHEMILYI LOSEK, VTBFSHECH bMELUBODTB Y OILPMBS rBCHMPCHEYUEK - lPOUFBOFYOB Y NYIBYMB TALP LPOFTBUFYTPCHDEUZHIPUZHIPUZHIPUZHIPUZHIPUZHUPUZHIPUZHIPUZH lPOUFBOFYO Ch LPNRboy Rshsoshi UPVKhFShMSHOYLPCH DPYEM DP FPZP, UFP YOBUYMPCHBM CH LPNRBOYY (TSETFCHB ULPOYUBMBUSH) DBNKH, UMKHYUSCHTEBCHUP YBUGBV yNRETBFPT BMELUBODT CHSCHOCHTSDEO VSCHM PVYASCHYFSH, UFP RTEUFKHROIL, EUMY EZP OBKDKHF, VHDEF OBLBOB RP CHUEK UFTPZPUFY VBLPOB. TBKHNEEFUS, RTEUFHROIL OBKDEO OE VSCHM.

n FShch, UFP Ch ZPTEUFY OBRTBUOP

aboutB VPZB TPREESH, YUEMPCHEL,

CHOINBK, LPMSH CH TECHOPUFY HCBUOP

PO L yPCHH Y FHYUY TEL!

ULCHPSH DPCDSH, ULCHPSH CHYITSH, ULCHPSH ZTBD VMYUFBS

j ZMBUPN ZTPNSCH RTETSCHBS,

UMPCHBNY OEVP LPMEVBM

nd FBL EZP ABOUT TBURTA JCHBM. yFYVMEFSCH LBL ZhPTNB CHPEOOPK PDETSDSCH VSCHMY CHCHDEOSCH rBCHMPN RP RTKHUULPNKH PVTBGH. YURBOFFO - LPTPFLBS RILB, CHCHDEOOBS RTY rBCME CH PZHYGETULHA ZhPTNKH.

99 * CHUE OYFY ЪBZPCHPTB VSCHMY OBUFPMSHLP UPUTEDPFPYUEOSCH CH THLBI YNRETBFPTB, UFP DBTSE OBYVPME BLFYCHOSHE HUBUFOILY BZPCHPCHTB RTPBOUK DE UBOZMEO Y ZEOETBM-BDYAAFBOF b. . D vBMBYPCh, RTYOBDMETSBCHYYK A OBYVPMEE VMYLYN A YNRETBFPTH MYGBN - RPUMBOOSCHE DPNPK A uRETBOULPNH have DRYER, YUFPVSCH BVTBFSH EZP, LPZDB IN CHETOEFUS dv DCHPTGB RPUME BHDYEOGYY X GBTS, I ZTHUFOSCHN OEDPHNEOYEN RTYOBMYUSH DTHZ DTHZH B FPN, YUFP OE HCHETEOSCH, RTYDEFUS MJ dH BTEUFPCHCHCHBFSH uRETBOULPZP YMY PO RPMHYUIF X YNRETBFPTB TBURPTSTSEOYE BTEUFPCHBFSH YI. h FYI HUMPCHYSI PYUECHYDOP, YUFP bMELUBODT OE HUFHRBM OYYUSHENH DBCHMEOYA, B DEMBM CHYD, YUFP HUFHRBEF, ON UBNPN DEME FCHETDP RTPCHPDS YVTBOOSCHK dH LHTU, OP, LBL CHUEZDB, MHLBCHS, NEOSS NBULY J RPDZPFBCHMYCHBS PYUETEDOSCHI LPMPCH PFRHEEOYS.

GIF. RP: iTEUFPNBFYS RP YUFPTYY ЪBRBDOPECHTPREKULPZP FEBFTB. V., 1 955, FA 2, 1029. U. h NENHBTBI BLFETB zOBUFB-NMBDYEZP UPDETTSYFUS HRPNYOBOYE P FPN, YUFP, LPZDB ON TEREFYGYY NBYYOYUF CHSCHUFBCHYM ZPMPCHH dv-B LHMYU "CE FPFYUBU zЈFE RTPZTENEM" zPURPDYO h "OBUF, HVETYFE ЬФХ ОЕРПДПДСЭХА ЗПМПЧХ Y'-ЪБ RETCHPK LHMYUSCH URTBCHB: POB CHFPTZBEFUS CH TBNLKH NPEK LBTFYOSCH "" (FBN TSE, U. 1037).

BTBRPCh r. MEFPRYUSH THUULPZP FEBFTB. EurV., 1861, U. 310. yBIPCHULPK YURPMSH'PCHBM FEBFTBMSHOSCHK YZHZHELF Y'CHEUFOPZP CH FKH RPTH BOELDPFB, UT. CH UFYIPFCHPTEOYY h. M. RKHYLYOB "l LOS'A r. b. chSENULPNKH "(1815):

OB FTHD IHDPTSOYLB UCHPY VTPUBAF CHUPTSCH,

"RPTFTEF, - TEYIMY CHUE, - OE UVPIF OYUEZP:

rTSNPK KhTPD, bPR, OPU DMYOSCHK, MPV U TPZBNY!

th DPMZ IPSYOB RTEDBFSH PZOA EZP! " -

"NPK DPMZ OE HCHBTSBFSH FBLYNY JOBFPPLBNY

(p UHDP! ZPCHPTYF LBTFYOB YN CH PFCHF):

rTED CHBNY, ZPURPDB, S UBN, B OE RPTFTEF! "

(rПЬФЩ 1790-1810-И ЗПДПЧ, У. 680.)

101 * On ZHZHELFE OEPTSYDBOOPZP UFPMLOPCHEOYS OERPDCHYTSOPUFY J DCHYTSEOYS RPUFTPEOSCH UATSEFSCH have PTSYCHBAEYNY UFBFHSNY PF TSDB CHBTYBGYK ON fenchene P zBMBFEE - UFBFHE, PTSYCHMEOOPK CHDPIOPCHEOYEN IHDPTSOYLB (UATSEF FPF, LPFPTPNH RPUCHSEEO "uLHMShRFPT" vBTBFSchOULPZP, VSCHM YYTPLP RTEDUFBCHMEO PE ZHTBOGHULPN VBMEFE XVIII CHELB), DP "LBNEOOPZP ZPUFS" rKHYLYOB Y TBTVBVBFSHCHBCHYI NFKH TCE FENKH RTPYCHEDEOIK nPMSHETB Y nPGBTFB.

ITEUFPNBFYS RP YUFPTYY BRBDOPECHTPREKULPZP FEBFTB, F. 2, W. 1026. tBURPMPTsEOYE RTBCHPZP J MECHPZP FBLTSE TPDOYF UGEOH have LBTFYOPK: RTBCHSCHN UYUYFBEFUS RTBCHPE RP PFOPYEOYA A BLFETH, RPCHETOHFPNH MYGPN RHVMYLE L, J OBPVPTPF.

102 * oz. CH "rKHFEYEUFCHY Y REFETVKHTZB CH nPULCHH" ZMBCHH "EDTPCHP": "s UYA RPYUFEOOKHA NBFSH U BUHEOSCHNY TKHLBCHBNY ЪB LCHBYOEPDCHP YMYUET

104 * "hSCHKDEN ... DBDYN DSDE HNETEFSH YUFPTYYUEULY" (ZhTBOG.). nPULCHYFSOYO, 1854, 6, PFD. IV, W. II. R. vBTFEOECh UPPVEBEF DTHZHA CHETUYA "OPL RETEDBCHBMY UPCHTENEOOYLY, YUFP, HUMSCHYBCH FY UMPCHB PF HNYTBAEEZP chBUYMYS mShChPChYYuB, rHYLYO OBRTBCHYMUS ON GSCHRPYULBI A DCHETY J YEROHM UPVTBCHYYNUS TPDOSCHN J DTHSHSN EZP:" zPURPDB, CHSCHKDENFE, RHFSH FP VHDHF EZP RPUMEDOYE UMPCHB "" (tHUULYK BTIYCH , 1870, U. 1369).

107 * yt. CH "bMShVPNE" POEZYOB: "h lPTBOE NOPZP NSCHUMEK ADTBCHCHI, // chPF OBRTYNET: RTED LBIEDSCHN UOPN // nPMYUSH - VEZY RHFEK MHLBCHCHI // YUFY" URZBT UEP h "rbnsfoyle": "iCHBMH Y LMECHEFKH RTYENMY TBCHOPDKHYOP // y OE PURPTYCHBK ZMHRGB". dETTsBChYO, OBRPNYOBS YUYFBFEMA UCHPA LSF "VBF" UNSZYUYM CHSCHUPLPE TH OE UPCHUEN VEHRTEYUOPE, I FPYULY TEOYS GETLPCHOPK PTFPDPLUBMSHOPUFY, UPDETTSBOYE FPZP UFYIPFCHPTEOYS ZHPTNHMPK: "... With RETCHSCHK DETOHM ... // h UETDEYUOPK RTPUFPFE VEUEDPCHBFSH P vPZE". h LFPN LPOFELUFE PVTBEEOYE L nKHE (IPFS UMPChP Y OBRYUBOP U RTPRYUOPK VHLCHSCH) NPZMP CHPUTYOINBFSHUS LBL RPFYUEEULBS HUMPCHOPUFSH. YOBYUFESHOP VPME DETLINE VSCHMP TEEEOE rKHYLYOB: "CHEMEOSHA VPTSYA, P nKHB, VHDSH RPUMKHYOB". vPZ Y nKhb DENPOUFTBFYCHOP UPUEDUFCHHAF, RTYUEN PVB UMPCHB OBRYUBOSCH U VPMSHYPK VHLCHSCH. ьФП UVBCHYMP YI CH YEYOSCHK UNSCHUMPCHPK Y WEINCHPMYUEEULYK TSD TBCHOP CHCHUPLYI, OP OEUPCHNEUFYNSHI GEOPUFEK. fBLPE EDYOUFCHP UP'DBCHBMP PUPVHA RPYGYA BCHFPTB, DPUFHROPZP CHUEN CHETYOBN YUEMPCHEEUULPZP DHIB.

108 * RETED rPMFBCHULPK VIFCHPK REFT I, RP RTEDBOYA, ULBBM: “chPYOSCH! chPF RTYYEM YUBU, LPFPTSCHK TEYBEF UHDSHVKH PFEYUEUFCHB. yFBL, OE DPMTSOP CHBN RPNSCHYMSFSH, UFP UTBTSBEFEUSH ЪB rEFTB, OP ЪB ZPUKHDBTUFCHP, rEFTH RPTHYUEOOOPE, ЪB TPD UCHPK, ЪB pFEEUEFUF. nd DBMEE: "b P REFTE CHEDBKFE, UFP ENKH TSY'OSH OE DPTPPZB, FPMSHLP VSCH TSIMB TPUYS". ьFPF FELUF PVTBEEOIS rEFTB L UPMDBFBN OEMSHUS UYUIFBFSH BKHFEOFYUOSCHN. fELUF VSCHM H RETCHPN EZP CHBTYBOFE UPUFBCHMEO zhEPZhBOPN rTPLPRPChYYuEN (CHPNPTSOP, ON PUOPCHE LBLYI HUFOSCHI MEZEOD-OP) Q RPFPN RPDCHETZBMUS PVTBVPFLBN (VH .: fTHDSch YNR THUUL CHPEOOP-YUFPTYYUEULPZP PVEEUFCHB, F. III, W. 274-276;.. J rYUShNB VKHNBZY REFTB CHEMYLPZP, F. IX, CHCHR. 1, 3251, RTYNEU. 1, U. 217-219; CHCHR. 2, U. 980-983). AF YUFP B TEHMSHFBFE TSDB RETEDEMPL YUFPTYYUEULBS DPUFPCHETOPUFSH FELUFB UFBMB VPMEE Yuen UPNOYFEMSHOPK, I OBYEK FPYULY TEOYS RBTBDPLUBMSHOP RPCHSCHYBEF EZP YOFETEU, FBL LBL RTEDEMSHOP PVOBTSBEF RTEDUFBCHMEOYE P FPN, YUFP DPMTSEO VSCHM ULBBFSH reft I B FBLPK UYFHBGYY, B FP LCA YUFPTYLB OE NEOEE YOFETEUOP, YUEN EZP RPDMYOSCHE UMPCHB. fBLPK IDEBMSHOSCHK PVTB ZPUHDBTS-RBFTYPFB ZHEPZHBO CH TBOSCHI CHBTYBOFBI UP'DBCHBM Y CH DTHZYI FELUFFBI.

110 * h. b. zKHLPCHULIK, B ЪB OYN Y DTHZYE LPNNEOFBFPTSCH RPMBZBAF, SFP "UMPCHP HNYTBAEEZP lBFPOB" - PFUSCHMLB L rMHFBTIH (UN .: TBDYEU5 rMHFBTIH. VPMEE CHETPSFOP RTEDRPMPTSEOYE, UFP TBDYEECH YNEEF CHYDKH NPPMPZ lBFPOB Y'PDOPINEOOPK FTBZEDY dDDYUPPOB, RTPGYFYTPCHBOOSCHEPOKDEY RCH FPYB.

111 * FY UMPCHB UCHYDEFEMSHUFCHHAF, YUFP IPMF pRPYuYOYO YNEM VTBFSHECH, TSYM HEDYOEOOP IN TH VSCHM EDYOUFCHEOOSCHN, EUMY OE UYUYFBFSH LTERPUFOSCHI UMHZ, PVYFBFEMEN UCHPEZP PDYOPLPZP DETECHEOULPZP TSYMYEB, BRPMOEOOPZP LOYZBNY.

116 * h DBOOPN UMHYUBE NShch YNEEN RTBCHP ZPCHPTYFSH YNEOOP P FCHPTYUEUFCHE: BOBMY RPLBSCHCHBEF, YUFP lBTBNYO REYUBFBM FPMSHLP FH RETECHPDOHA MYFETBFHTH, LPFPTBS UPPFCHEFUFCHPCHBMB EZP UPVUFCHEOOPK RTPZTBNNE, TH OE UFEUOSMUS RETEDEMSCHCHBFSH J DBTSE HUFTBOSFSH AF YUFP OE UPCHRBDBMP have EZP CHZMSDBNY.

118 * yNEEFUS CHYDKH YCHUFOSCHK CH 1812 Z. BRPLTYJYUEULIK TBUULB P LTEUFSHSOOYOE, LPFPTSCHK PFTHWIM UEVE TXLKH, YUFPVSH OE YDFY CH OBRPMEPOPCH.

119 * yUFPTYS LPOGERGYK UNETFY CH THUULPK LHMSHFKHTE OE YNEEF GEMPUFOPZP PUCHEEEOS. dMS UTBCHOOEYS U ЪBRBDOP-ECHTPREKULPK LPOGERGYEK NPTSOP RPTELPNEODPCHBFSH YUIFBFEMA LOISKH: Vovel Michel. La mort et l "Occident de 1300 à nos jours.< Paris >, Gallimard, 1983

120 * PO RTYIPDIMUS TPDUFCHOOOILPN FPNKH NPULPCHULPNKH ZMBCHOPLPNBODHAENKH, LOS'A b. b. rTP'PTPCHULPNKH, LPFPTSCHK RP'CE U CEUFPLPUFSHA RTEUMEDPCHBM o. oPChYLPChB NPULPCHULYI NBTFYOYUFPCH Q Q P LPFPTPN rPFENLYO ULBBM eLBFETYOE, YUFP PHB CHSCHDCHYOHMB dv UCHPEZP BTUEOBMB "UBNHA UFBTHA RHYLH" LPFPTBS OERTENEOOP VHDEF UFTEMSFSH H GEMSH YNRETBFTYGSCH, RPFPNH YUFP UCHPEK YNEEF OE. pDOBLP ON CHCHULBBM PRBUEOYE, YUFPVSCH rTP'PTPCHULYK OE ЪBRSFOBM CH ZMBBBI RPFPNUFCHB YNS ELBFETYOSCH LTPCHSHA. rPFENLYO PLBBMUS RTPCHYDGEN.

121 * zBMETB - CHEOOSCHK LPTBVMSH ABOUT CHEUMBI. lPNBODB ZBMETSCH UPUFFPYF YY YFBFB NPTULYI PZHYGETPCH, HOFET-PZHYGETPCH Y UPMDBF-BTFYMMETYUFPCH, NPTSLPCH Y RTYLPCHBOOSHI GERSNOE LBFPCHT. ZBMETSCH HRPFTEVMSMYUSH CH NPTULYI UTBCEOISI LBL OE ABCHYUSEEE PF OBRTBCHMEOYS CHEFTB Y PVMBDBAEE VPMSHYPK RPDCHYTSOPUFSHA UTEDUFCHP. REFT I RTYDBCHBM VPMSHYPE YOBYUEOYE TBCHYFYA ZBMETOPZP ZhMPFB. uMHTSVB ABOUT ZBMETBI UYUIFBMBUSH PUPVEOOOP FSTSEMPK.

124 * h LFPN NEUFE CH RHVMYLBGY zPMYLPCHB TEYUSH rEFTB DBOB CH VPMEE RTPUFTBOOPN CHYDE; WOOYUIPDYFEMSHOPUFSH rEFTB EEE VPMEE RPDYUETLOHFB: “fSC CHYUETB VSCHM CH ZPUFSI; B NEOS UEZPDOS JCHBMY ABOUT TPDYOSCH; RPEDEN UP NOPA ".

126 * h NENHBTBI oERMAECh TYUHEF LTBUPYUOSCHE LBTFYOSCH FPK DTBNBFYYUEULPK UYFHBGYY: "... TSBMES TSEOH PPA J the defects, FBLTSE UMHTSYFEMEK Q, W RTEDNEUFYK X gBTShZTBDB, YNEOHENPN vHALDETE, BRETUS B PUPVHA LPNOBFH J RPMHYUBM RTPRYFBOYE Plop B, L OYLPZP UEVE OE DPRHULBS; TSEOB NPS ETSEYUBUOP X DCHETEK P FPN UP UMEBNY RTPUIMB NEOS "(U. 124). MEUIMUS PO "RTYOINBOYEN IYOSCH U CHPDPK" (FBN TSE).

128 * UMPCHP "IKHDPTSEUFCHP" POBUBUBMP CH FH RPTH RPOSFYE, RETEDBCHBENPE OBNY FERETSH UMPCHPN "TENEUMP". n. bCHTBNPCH, LBL YUEMPCHEL UCHPEK RPII, CH TSYCHPRYUY RPDYUETLYCHBEF TENEUMP - UPYUEFBOYE FTHDB Y HNEOYS. dMS MADEK rEFTPCHULPK RRPIY UMPCHB "TENEUMP", "HNEEOYE" YCHHYUBMY FPTTSEUFCHOOEE Y DBCE RP'FYUOEEE, YUEN UMPCHP "FBMBOF". b. f. NETMSLPCHB "UCHSFBS TBVPFB" P RP'YY; CH UMPCHBI (RPChFPTSAEYI l rBCHMPCHH) GCHEFBECHPK "TENEUMEOOIL, S ЪOBA TENEUMP" Y BOSCH BINBFPCHPK "UCHSFPE TENEUMP".

UN .: PRYUBOYE YDBOYK ZTBTSDBOULPK REUBFY. 1708 - SOCHBTSH 1725. n .; m., 1955, U. 125-126; UN. FBLCE: PRYUBOYE YDBOYK, OBREYUBFBOOSHI RTY REFTE I. UCHPDOSCHK LBFBMPZ. m., 1972.

130 * UNSCHUM UFYI UMCH PVYASUOSEFUS RTPFYCHPRPUFBCHMEOYEN YYTPLPZP RHFY, CHEDKHEEZP CH BD, Y HALPZP, FEUOPZP, CHEDKHEEZP CH TBK. NS. UMPCHB RTPFPRPRB BCHCHBLKHNB P "FEUOPN" RHFY CH TBK. tebmykhs nefbzhpth, bchchblhn zpchptym, ufp fpmufsche, "vtaibfsche"

131 * rP LBRTYOOPNKH RETERMFEOYA UATSEFPCH Y UKHDEV, JNEOOP PE CHTENS UMEDUFCHYS RP DEMKH GBTECHYUB BMELUES ​​DPUFYZMB BRPZES LBTSHETB z. h. ULPTOSLPCHB-RYUBTECHB, UHDSHVB LPFPTPZP RPTSE OEPTSIDBOOOP RETEUEUEFUS U UHDSHVPK bCHTBNPCHB.

133 * NPCOP UPNOE CHBFSHUS Y CH FPN, UFP TPNBOFYUEULYK VTBL oEEUCHPMPDPCHB U YUETLEYEOLPK RPMHYUIM GETLPCHOPE VMBZPUMPCHEOYE. RETECHPD UATSEFB "lBCHLB'ULPZP RMEOOYLB" ABOUT SENSHL VSCHFPCHPK TEBMSHOPUFY UCHSBO VSCHM U OELPFPTSCHNY FTHDOPUFSNY.

134 * fBL, OBRTYNET, CH YDBOY EZP ATYDYUEEULYI UPYOOOOOIK y. dKHYEYULYOPK VSCHMY PVOBTKHTSEOSCH UPFOY FELUFFMPZYUEEULYI PYIVPL ABOUT OEULPMSHLYI DEUSFLBI UVTBOYG; RPULPMSHLH OELPFPTSCHE UFTBOYGSCH YDBOYS DBAF ZHPFPFYRYYUEULPE CHPURTPYCHEDEOYE THLPRYUEK, MAVPRSCHFOSCHK YUYFBFEMSH, UPRPUFBCHMSS YEE have FHF CE RTYCHEDEOOSCHNY REYUBFOSCHNY UFTBOYGBNY, NPTSEF PVOBTHTSYFSH RTPRHULY GEMSCHI UFTPL J DTHZYE RMPDSCH VEPFCHEFUFCHEOOPUFY J OECHETSEUFCHB.

UN. ZMBCHH "TPMSH TBDYEECHB CH URMPYUEOY RTPZTEUUYCHOSCHI UYM". - h LO: vBVLYO d. b. O. TBDYEECH. MYFETBFHTOP-PVEEUFCHEOOBS DESFEMSHOPUFSH. n .; m., 1966.

135 * dMS RTPUCHEFYFEMS OBTPD - RPOSFIE VPMEE YYTPLPE, YUEN FB YMY YOBS UPGYBMSHOBS ZTHRRB. TBDYEECH, LPOEYUOP, J CH KHNE OE RTEDUFBCHYFSH OERPUTEDUFCHEOOPK TEBLGY LTEUFSHSOYOB ABOUT EZP LOISKH. h OBTPD CHIPDIMB DMS OEZP CHUS NBUUB MADEK, LTPNE TBVPCH ABOUT PDOPN RPMAUE Y TBVPCHMBDEMSHGECH - ABOUT DTHZPN.

FBN TSE, F. 2, U. 292-293, 295. yNEEFUS CHYDKH NPOPMPZ lBFPOB CH PDOPYNEOPK FTBZEDY bDDYUPOB, ZDE LBFPO IBTBLFETYJHEF UBNPKHVUCHLUCHTBCHP LBNPKHVYKUFFBCHP LBP

136 * lBTBNYO, LBL NPTSOP UHDYFSH, VSCHM CHCHPMOPCHBO UBNPKHVYKUFCHPN TBDYEECHB Y PRBUBMUS ChPEDKUFCHYS LFPZP RPUFKHRLB ABOUT UPCHTENEOOYLPCH. FYN, CHYDYNP, PVYASUOSEFUS AF YUFP BCHFPT, DP FPZP have UPYUHCHUFCHYEN PRYUBCHYYK GEMHA Gershom UBNPHVYKUFCH PF OEUYUBUFMYCHPK MAVCHY YMY RTEUMEDPCHBOYK RTEDTBUUHDLPCH, W FP CHTENS B TSDE UFBFEK J RPCHEUFEK CHSCHUFHRYM have PUHTSDEOYEN RTBCHB YUEMPCHELB UBNPCHPMSHOP LPOYUBFSH UCHPA TSYOSH.

138 * oEYCHUFOP, U RPNPESHA LBLYI UTEDUFCH, - NPTSEF VSCHFSH, RPFPNKH, UFP CH DBMELPK UYVYT DEOSHZY CHZMSDEMY HVEDYFEMSHEEE, YUEN UVPMYUFFYUCHET YBHT RP LTBKOEK NETE, TPDYCHYYKUS CHUVITY USCHO RBCHEM UYUIFBMUS ABLPOSCHN, Y OILBLYI FTHDOPUFEK, UCHSBOOSHI U FYN, CH DBMSHOEKYEN OE PROO.

139 * yOFETEUKHAEEE OBU UEKYUBU RYUSHNP CH PTYZYOBME OBRYUBOP RP-JTBOGKHULY. h DBOOPN NEUFE CH RETECHPDE DPRHEEOB YULMAYUIFEMSHOP CHBTSOBS OEFPYUOPUFSH. jTBOGHUULPE "une irréligion" (FBN CE, U. 118) RETECHEDEOP LBL "VECHETYE". oB UBNPN DEME TEYUSH YDEF OE P VECHETYY, HRTELBFSH CH LPFPTPN tKhUUP VSCHMP VSCh LMENEOFBTOPK PYYVLPK, B P DEYUFYUEULPN UVTENMEOY RPUFBCHYSCHYFSHYCHETCHYM

140 * rPUMEDOYE UMPCHB PE ZhTBOGKH'ULPN RYUSHNE uKHPTPCHB RTEDUFBCHMSAF UPVPK "THUULIK" FELUF, OBRYUBOSCHK MBFYOYGEK, DTEBTYFEMSHOCHTEKHTEDEMSRUBAL

141 * uHCHPTPCH HRPFTEVMSEF CHCHTBTSEOYE "loi naturelle". h GYFEYTKHENPN YDBOY POP RETECHEDEOP LBL "ABLPO RTYTPDSH", SFP RPMOPUFSHA YULBTSBEF EZP UNSCHUM. uHCHPTPCH YURPMSH'HEF MELUILKH Y FETNYOPMPZYY ULPFPCHPDUFCHB, ZDE "OBFKHTB" RETECHPD UMCHPN "EUFEUFCHOOSCHK" CH DBOOPN YDBOYY PYIVPYUEO.

UN .: rBOYEOLP b. n. UNEY LBL ATEMYEE. - h LO .: UNEY CH dtechek tkhui. m., 1984, U. 72-153. ZhKhLU E. BOBELDPFSH LOSTS yFBMYKULPZP, ZTBZHB UHCHPTPCHB TSCHNOYLULPZP. eq., 1900, U. 20-21.

142 * yZTB UHDSHVSCH RTYCHEMB CH DBMSHOOEKYEN E. ZhKHLUB ABOUT UIPDOPK DPMTSOPUFY CH RPIPDOHA LBOGEMSTYA lKHFKHPCHB PE CHTENS pFEYUEUFCHEOOPK CHPKOSCH 1812 ZPDB. ьFPF OEBNEFOSCHK YUEMPCHEL RPOAIBM CH UCHPEK TSIYOI RPTPIB, Y EUMI PO OE VSCHM LTIFYUEUELINE YUFPTYLPN, FP JBFP RYUBM P FPN CHEYFEM YBTEU.

CHPEOOPZP LTBUOPTEUYS YUBUFSH RETCHBS, UPDETTSBEBS PVEYE OBYUBMB UMPCHEUOPUFY. UPYOYOOOYE PTDYOBTOPZP RTPZHEUUPTB uBOLFREFETVKHTZULPZP HOOYCHETUIFEFB sLPCHB fPMNBYUECHB. LvV., 1825, U. 47. pTYZYOBMSHOBS UFIMYUFILB YFPZP RYUSHNB, CHYDYNP, YPLYTPCHBMB CHEOSHI YUFPTYLPCH PF e. ZhKHLUB DP TEDBLF19FPTEPCH YUFFYP. Y h. At. MPRBFYOB (1987). OH CH PODOP Y'FYI YDBOYK RYUSHNP OE VSCHMP CHLMAYUEOP. NETSDKH FEN POP RTEDUFBCHMSEF UPVPK YULMAYUYFEMSHOP STLYK DPLKHNEOF MYUOPUFY Y UFIMS RPMLPCHPDGB.

144 * x UHCHPTPCHB YNEMUS FBLCE USCHO bTLBDYK, OP ZHEMSHDNBTYBM VSCHM ZPTBDP VPMEE RTYCHSBO L DPYuETY. bTLBDYK DPTSIM MYYSH DP DCHBDGBFY UENY MEF Y RPZIV, HFPOHCH CH FPN UBNPN tshnoile, ЪB RPVEDKH OB LPFPTPN PFEG EZP RPMHYUIM FIFPHM tshchnoy.

147 * nHODYT J PTDEO CH FPN LHMSHFKHTOPN LPOFELUFE CHSCHUFKHRBAF LBL UYOPOYNSCH: OBZTBDB NPZMB CHCHTBTSBFSHUS LBL CH ZhPTNE PTDEOB, FBLP NZ CHHOPYUDE OPCHPUT

149 * rP LFPNKH TSE DEMKH VSCHM BTEUFPCHBO Y BLMAYUEO CH REFTPRBCHMPCHULKHA LTERPUFSH eTNPMPCH. rUME HVYKUFCHB YNRETBFPTB PO VSCHM PUCHPVPTSDEO Y U OEPRTBCHDBCHYNUS PRFINYNNPN OBRYUBM ABOUT DCHETSI UCHPEK LBNETSCH: "OBCHUEZDB UCHPVPUPDOB PF." rTPYMP 25 MEF, J TBCHEMYO, LBL J CHUS LTERPUFSH, VSCHM ЪBRPMOEO BTEUFPCHBOOSHNY DELBVTYUFBNY

152 * hVPTOBS - LPNOBFB DMS RETEPDECHBOYS Y HFTEOOOYI FKHBMEFPCH CH DOECHOPE RMBFSHE, B FBLTS DMS RTYUEUSCHCHBOYS Y UPCHETYEOYS NBLYSTSB. fyrpchbs nevemsh hvptok UPUFPSMB YY ETLBMB, FKHBMEFOPZP UVPMILB Y LTEUEM DMS IPSKLY Y ZPUFEK.

ABRYULY DALB MYTYKULPZP ... RPUMB LPTPMS yURBOULPZP, 1727-1730 ZPDHR. RV., 1847, U. 192-193. h RTYMPTSEOY L LFPK LOISE PRHVMYLPCHBOSCH UPYUOYOEYS zHEPZHBOB rTPLPRPCHYUB, GYFEYTKHENSHE OBNY.

154 * rHYLYO have PVSCHYUOPK LCA OEZP ZMHVYOPK RPDYUETLYCHBEF, YUFP ZYVEMSH B Dempo, LPFPTPE YUEMPCHEL UYUYFBM URTBCHEDMYCHSCHN, PRTBCHDSCHCHBEFUS FYLPK YUEUFY, DBTSE EUMY B ZMBBI RPFPNUFCHB POP CHSCHZMSDYF, OBRTYNET, LBL RTEDTBUUHDPL.

YOFETEUOSCHK PYUETL MYFETBFKHTOPZP PVTBBB VPSSCHOY nPTPP'PCHPK UN .: rBOYEOLP b. n. vPSSCHOS nPTPhPCHB - UYNCHPM Y NYZH. - h LO .: rPCHEUFSH P VPSTSHOE nPTP'PCHPK. n., 1979.

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Author: Lotman Yuri
Title: Conversations about Russian culture
Artist: Ternovsky Evgeniy
Genre: historical. Life and traditions of the Russian nobility of the 18th and early 19th centuries
Publisher: Can't Buy Nowhere
Year of publication: 2015
Read from the publication: St. Petersburg: Art - St. Petersburg, 1994
Cleaned: knigofil
Processed: knigofil
Cover: Vasya from Mars
Quality: mp3, 96 kbps, 44 kHz, Mono
Duration: 24:39:15

Description:
The author is an outstanding theorist and cultural historian, the founder of the Tartu-Moscow semiotic school. Its readership is huge - from specialists to whom works on the typology of culture are addressed to schoolchildren who have picked up the "Commentary" to "Eugene Onegin". The book is based on a series of television lectures about the culture of the Russian nobility. The past era is presented through the realities of everyday life, brilliantly recreated in the chapters Duel, Card Game, Ball, etc. The book is inhabited by heroes of Russian literature and historical figures - among them Peter I, Suvorov, Alexander I, the Decembrists. The factual novelty and a wide range of literary associations, the fundamental nature and liveliness of its presentation make it a most valuable publication, in which any reader will find something interesting and useful for himself.
For students, the book will become a necessary addition to the course of Russian history and literature.

The publication was published with the assistance of the Federal Target Program of Book Publishing of Russia and the International Fund "Cultural Initiative".
"Conversations on Russian Culture" belongs to the pen of the brilliant researcher of Russian culture Yu. M. Lotman. At one time, the author enthusiastically responded to the proposal of "Art - St. Petersburg" to prepare a publication based on a series of lectures with which he spoke on television. The work was carried out by him with great responsibility - the composition was specified, the chapters expanded, new versions appeared. The author signed the book into the set, but did not see it published - on October 28, 1993 Yu. M. Lotman died. His living word addressed to a multimillion audience was preserved in this book. It immerses the reader in the world of everyday life of the Russian nobility of the 18th - early 19th centuries. We see people of a distant era in the nursery and in the ballroom, on the battlefield and at the card table, we can examine in detail the hairstyle, cut of the dress, gesture, and demeanor. At the same time, everyday life for the author is a historical-psychological category, a sign system, that is, a kind of text. He teaches to read and understand this text, where everyday and everyday are inseparable.
The collection of colorful chapters, the heroes of which are outstanding historical figures, reigning persons, ordinary people of the era, poets, literary characters, are linked together by the thought of the continuity of the cultural and historical process, the intellectual and spiritual connection of generations.
In a special issue of the Tartu "Russian newspaper" dedicated to the death of Yu. M. Lotman, among his statements recorded and saved by colleagues and students, we find words that contain the essence of his last book: “History passes through the House of man, through his private life. Not titles, orders or royal favors, but the 'self-permanence of a person' turns him into a historical person. "
The publishing house would like to thank the State Hermitage and the State Russian Museum for donating gratis prints stored in their funds for reproduction in this publication.

INTRODUCTION: Life and culture
PART ONE
People and ranks
Women's World
Women's education in the 18th - early 19th centuries
PART TWO
Ball
Matchmaking. Marriage. Divorce
Russian dandyism
Card game
Duel
Art of living
The result of the path
PART THREE
"Chicks of Petrov's nest"
Ivan Ivanovich Neplyuev - an apologist for reform
Mikhail Petrovich Avramov - critic of the reform
Age of heroes
A. N. Radishchev
A. V. Suvorov
Two women
People of 1812
Decembrist in everyday life
INSTEAD OF CONCLUSION: "Between the double abyss ..."

We associate the ball only with the holiday. In fact, he had a complex structure - dances, conversations, customs.

The ball was contrasted with everyday life, service and, on the other hand, a military parade. And the ball itself was opposed to other ways of spending time - for example, drinking and masquerades. All this is in the book of a famous cultural scientist.
Editing the text of the well-known monograph, of course, was not in our hands. But we allowed ourselves to make subheadings (from Lotman's text) for the convenience of reading from the screen. And the editor's remarks have been added.

Part two

We now have something wrong with the subject:

We'd better hurry to the ball

Where headlong in the pit carriage

Already my Onegin galloped.

Before the faded houses

Along the sleepy street in rows

Double carriage lights

Merry light is pouring out ...

Here our hero drove up to the entrance;

The doorman is past him with an arrow

Soared up the marble steps

Spread my hair with my hand

Has entered. The hall is full of people;

The music is tired of thundering;

The crowd is busy with the mazurka;

All around and noise and cramped;

Spur cavalry chant *;

Legs of lovely ladies fly;

In their captivating footsteps

Fiery gazes fly.

And the roar of the violins is drowned out

Jealous whispers of fashionable wives.

("Eugene Onegin", chapter 1, XXVII-XXVIII)

Note. Pushkin: “Inaccuracy. - At the balls, the officers of the cavalry guard appear, like the other guests, in a vice uniform, in shoes. This is a solid remark, but there is something poetic about the spurs. I refer to the opinion of A. I. V. " (VI, 528).

Dancing was important structural element noble life. Their role was significantly different both from the function of dancing in the folk life of that time, and from the modern one.

In the life of a Russian metropolitan nobleman of the 18th - early 19th centuries, time was divided into two halves: the stay at home was devoted to family and household concerns, here the nobleman acted as a private person; the other half was occupied by service - military or state, in which the nobleman acted as a loyal subject, serving the sovereign and the state, as a representative of the nobility in the face of other estates.

The opposition of these two forms of behavior was filmed in the crowning meeting of the day - at a ball or a party. Here was implemented public life a nobleman: he was neither a private person in private life, nor a servant in public service, he was a nobleman in a noble assembly, a man of his class among his own.

Thus, the ball turned out to be, on the one hand, a sphere opposite to service - an area of ​​easy communication, secular rest, a place where the boundaries of the service hierarchy were weakened.

The presence of ladies, dances, the norms of secular communication introduced off-duty value criteria, and the young lieutenant, skillfully dancing and able to make ladies laugh, could feel superior to an aging colonel who had been in battles.

(Editor's note: Now, nothing has changed in dancing since then).

On the other hand, the ball was an area of ​​public representation, a form of social organization, one of the few forms of collective life allowed in Russia at that time. In this sense, secular life acquired the value of a social cause.

The answer of Catherine II to Fonvizin's question is characteristic: "Why is it not a shame for us not to do anything?" - "... living in a society is not doing anything."

Assembly. The author greatly flattered the event. At first, the interiors were simpler, and ladies with gentlemen, taken out of caftans and sundresses in uniforms (okay, a German caftan is almost a uniform) and corsets with a neckline (and this is horror) behaved more stiffly. Peter's documents on ballroom etiquette are written very intelligibly - it's just a pleasure to read.

Since the time of the Peter's assemblies, the question of the organizational forms of secular life has arisen.

The forms of recreation, communication of young people, calendar ritual, which were generally common for both the folk and the boyar-noble environment, had to give way to a specifically noble structure of life.

The internal organization of the ball was made a task of exceptional cultural importance, since it was called upon to give forms of communication between "gentlemen" and "ladies", to determine the type of social behavior within the noble culture. This entailed the ritualization of the ball, the creation of a strict sequence of parts, the allocation of stable and obligatory elements.

The grammar of the ball arose, and it itself developed into a kind of integral theatrical performance, in which each element (from the entrance to the hall to the departure) corresponded to typical emotions, fixed meanings, and styles of behavior.

However, the strict ritual, which brought the ball closer to the parade, made the possible retreats, “ballroom liberties”, which compositionally increased towards its finale, building the ball as a struggle between “order” and “freedom” all the more significant.

The main element of the ball as a social aesthetic action was dancing.

They served as the organizing core of the evening, setting the type and style of conversation. "Mazury chatter" required superficial, shallow topics, but also entertaining and sharp conversation, the ability to quickly respond epigrammatically.

The ballroom conversation was far from that play of intellectual forces, "a fascinating conversation of higher education" (Pushkin, VIII (1), 151), which was cultivated in the literary salons of Paris in the 18th century and whose absence in Russia Pushkin complained about. Nevertheless, he had his own charm - liveliness, freedom and ease of conversation between a man and a woman, who found themselves at the same time in the center of a noisy celebration, and in otherwise impossible intimacy (“There’s no room for confessions ...” - 1, XXIX).

Dance training began early - at the age of five or six.

So, for example, Pushkin began to study dance as early as 1808. Until the summer of 1811, he and his sister attended dance evenings at the Trubetskoys, Buturlins and Sushkovs, and on Thursdays - children's balls at the Moscow dance master Yogel.

Jogel's balls are described in the memoirs of the choreographer A.P. Glushkovsky. Early dance training was excruciating and akin to tough training for an athlete or training a recruit by a diligent sergeant major.

The compiler of the "Rules", published in 1825, L. Petrovsky, himself an experienced dance master, describes some of the methods of initial training in this way, condemning not the method itself, but only its too harsh application:

“The teacher should pay attention to the fact that the students do not suffer from strong stress in health. Someone told me that the teacher considered him an indispensable rule that the student, despite his natural inability, keep his legs sideways, like him, in a parallel line.

As a student, he was 22 years old, quite decent growth and considerable legs, moreover, faulty; then the teacher, unable to do anything himself, considered it a duty to employ four people, of whom two twisted their legs, and two held their knees. No matter how much this one shouted, they only laughed and did not want to hear about the pain - until finally it cracked in his leg, and then the tormentors left him.

I felt it my duty to tell this incident as a warning to others. It is not known who invented the leg racks; and screw machines for legs, knees and back: a very good invention! However, it can also become harmless from unnecessary stress. "

Long-term training gave the young man not only dexterity during dancing, but also confidence in movements, freedom and ease in setting the figure, which in a certain way. influenced the mental structure of a person: in the conventional world of secular communication, he felt confident and free, like an experienced actor on stage. Grace, in the precision of movement, was a sign of good upbringing.

L. N. Tolstoy, describing in the novel "The Decembrists" (Editor's note: unfinished novel by Tolstoy, on which he worked in 1860-1861 and from which he moved on to writing the novel "War and Peace"), the Decembrist's wife who returned from Siberia, emphasizes that, despite long years carried out by her in the most difficult conditions of voluntary exile,

“It was impossible to imagine her otherwise than surrounded by respect and all the comforts of life. So that she is ever hungry and eats greedily, or so that she has dirty laundry, or so that she stumbled, or forgot to blow her nose - this could not happen to her. It was physically impossible.

Why it was so - I do not know, but her every movement was majesty, grace, mercy for all those who could use her appearance ... ".

It is characteristic that the ability to stumble here is associated not with external conditions, but with the character and upbringing of a person. Mental and physical grace are linked and exclude the possibility of inaccurate or ugly movements and gestures.

The aristocratic simplicity of the movements of the people of "good society" both in life and in literature is opposed by the constraint or excessive swagger (the result of the struggle with one's own shyness) of the common man's gestures. Herzen's memoirs have preserved a striking example of this.

According to Herzen's recollections, "Belinsky was very shy and generally lost in an unfamiliar society."

Herzen describes a typical case in one of literary evenings at the book. VF Odoevsky: “Belinsky was completely lost at these evenings between some Saxon envoy who did not understand a word of Russian and some official of the III department, who understood even those words that were silent. He usually fell ill then for two or three days and cursed the one who persuaded him to go.

Once on a Saturday, on New Year's Eve, the host decided to cook a burnt en petit comite when the main guests had departed. Belinsky would certainly have left, but the barricade of furniture interfered with him, he somehow huddled in a corner, and a small table with wine and glasses was placed in front of him. Zhukovsky, in white uniform trousers with gold braid, sat down obliquely opposite him.

Belinsky endured for a long time, but not seeing an improvement in his fate, he began to move the table somewhat; at first the table yielded, then swayed and slammed to the ground, a bottle of burgundy began to water Zhukovsky in a serious manner. He jumped up, red wine streaming down his trousers; there was a clamor, the servant rushed with a napkin to finish the rest of his trousers with wine, another was picking up broken glasses ... During this commotion Belinsky disappeared and, close to his death, ran home on foot. "

The ball at the beginning of the 19th century began with a Polish (polonaise), which replaced the minuet in the solemn function of the first dance.

The minuet is a thing of the past along with royal France. “Since the changes that followed among the Europeans, both in dress and in the way of thinking, there has been news in dances; and then the Polish, who has more freedom and is danced by an indefinite number of couples, and therefore frees from the excessive and strict restraint inherent in the minuet, took the place of the original dance. "

The polonaise can probably be associated with the stanza of the eighth chapter, not included in the final text of Eugene Onegin, which introduces the Grand Duchess Alexandra Feodorovna (the future empress) into the scene of the St. Petersburg ball; Pushkin calls her Lalla-Rook after the fancy dress of the heroine of T. Moore's poem, which she wore during a masquerade in Berlin. After Zhukovsky's poem "Lalla-Ruk" this name became the poetic nickname of Alexandra Feodorovna:

And in the hall bright and rich

When in a silent, close circle,

Like a winged lily,

Hesitation enters Lalla Rook

And over the drooping crowd

Shines with a royal head,

And quietly winds and slides

Star-Harita between Harit,

And the gaze of mixed generations

Strives, jealousy of grief,

Now on her, then on the king, -

For them, without eyes, there is only one Evgenia.

Tatiana alone amazed

He sees one Tatiana.

(Pushkin, VI, 637).

The ball does not appear in Pushkin as an official ceremonial celebration, and therefore the polonaise is not mentioned. In War and Peace, Tolstoy, describing Natasha's first ball, will oppose a polonaise, which is opened by “the sovereign, smiling and not in time leading the mistress of the house by the hand” (“the owner followed him with M. A. Naryshkina *, then the ministers, various generals "), the second dance - the waltz, which becomes the moment of Natasha's triumph.

L. Petrovsky believes that “it would be superfluous to describe how M. A. Naryshkina is the mistress and not the wife of the emperor, therefore she cannot open the ball in the first pair, while Pushkin's Lalla-Ruk is in the first pair with Alexander I.

The second ballroom dance is a waltz.

Pushkin characterized him as follows:

Monotonous and insane

Like a whirlwind of young life,

A noisy whirlwind is spinning a waltz;

The couple flickers after the couple.

The epithets "monotonous and insane" have more than emotional connotations.

"Monotonous" - because, unlike the mazurka, in which at that time solo dances and the invention of new figures played a huge role, and even more so from the dance-playing of the cotillion, the waltz consisted of the same constantly repeating movements. The feeling of monotony was also intensified by the fact that "at that time the waltz was danced in two steps, not three steps, as now."

The definition of a waltz as "insane" has a different meaning: the waltz, in spite of its general distribution, because there is almost not a single person who does not dance it himself or does not see how he dances "), the waltz enjoyed a reputation as obscene in the 1820s, or, at least an unnecessarily free dance.

"This dance, in which, as is known, persons of both sexes turn and approach each other, requires proper care so that they do not dance too close to each other, which would offend decency."

(Editor's note: In-in, we heard it about a dream).

Zhanlis wrote even more definitely in the "Critical and Systematic Dictionary of Court Etiquette": "A young lady, lightly dressed, throws herself into the arms of a young man who presses her to his chest, who captivates her with such impetuosity that her heart involuntarily begins to pound, and her head goes around! This is what this waltz is! .. Modern youth is so natural that, putting sophistication into nothing, it dances waltzes with glorified simplicity and passion. "

Not only the boring moralist Janlis, but also the fiery Werther Goethe considered the waltz a dance so intimate that he swore that he would not allow his future wife to dance it with anyone but himself.

The waltz created a particularly comfortable environment for gentle explanations: the closeness of the dancers promoted intimacy, and the touch of the hands made it possible to convey notes. The waltz was danced for a long time, it was possible to interrupt it, sit down and then join the next round again. Thus, the dance created the ideal conditions for gentle explanations:

During the days of joy and desire

I was crazy about balls:

Rather, there is no room for confessions

And for the delivery of the letter.

O you, honorable spouses!

I will offer you my services;

Please note my speech:

I want to warn you.

You too, mamas, are stricter

Follow your daughters:

Keep your lorgnette straight!

However, Zhanlis's words are also interesting in another respect: the waltz is contrasted with classical dances as romantic; passionate, insane, dangerous and close to nature, he opposes the etiquette dances of the old days.

The “common people” of the waltz was acutely felt: “Wiener Walz, consisting of two steps, which consists in treading on the right and on the left foot and, moreover, as soon as crazy, they danced; after which I leave it to the reader's judgment whether it corresponds to a noble assembly or some other. "

The waltz was admitted to the balls of Europe as a tribute to the new era. It was a trendy and youthful dance.

The sequence of dances during the ball formed a dynamic composition. Each dance, which has its own intonation and tempo, set a certain style of not only movements, but also conversation.

In order to understand the essence of the ball, one must bear in mind that dances were only an organizing core in it. The chain of dances also organized the sequence of moods. Each dance entailed decent conversation topics for him.

It should be borne in mind that conversation, conversation was no less a part of the dance than movement and music. The expression "mazuric chatter" was not disparaging. Involuntary jokes, tender confessions and decisive explanations were distributed over the composition of the following dances.

We find an interesting example of changing the topic of conversation in a sequence of dances in Anna Karenina.

"Vronsky went through several waltz rounds with Kitty."

Tolstoy introduces us to a decisive moment in the life of Kitty, who is in love with Vronsky. She expects words of recognition from him, which should decide her fate, but for an important conversation, an appropriate moment in the dynamics of the ball is needed. It is possible to lead it not at any moment and not during any dance.

"During the square dance, nothing significant was said, there was an intermittent conversation." “But Kitty did not expect more from the square dance. She waited with bated breath for the mazurka. It seemed to her that everything should be decided in the mazurka. "

The Mazurka formed the center of the ball and marked its culmination. Mazurka danced with numerous bizarre figures and a masculine solo, forming the climax of the dance. Both the soloist and the manager of the mazurka had to be resourceful and improvised.

“The chic of the mazurka is that the gentleman takes a lady on his chest, immediately striking himself with the heel in the center de gravit (not to say the butt), flies to the other end of the hall and says:“ Mazurechka, pan, ”and the lady to him:“ Mazurechka, pan. " Then they rushed in pairs, and did not dance calmly, as now. "

Several distinct styles existed within the mazurka. The difference between the capital and the province was expressed in the opposition of the "exquisite" and "bravura" performance of the mazurka:

The mazurka was heard. Used to

When the thunder of the mazurkas thundered,

Everything in the huge hall trembled

The parquet cracked under the heel

The frames shook, rattled;

Now it’s not that: we, as ladies,

We slide on the lacquered boards.

"When horseshoes and high heels of boots appeared, making steps, they began to knock mercilessly, so that when there were not too two hundred young males in one public meeting, the music began to play.

But there was also another opposition. The old "French" manner of performing the mazurka demanded from the gentleman the lightness of jumping, the so-called antrash (Onegin, as the reader remembers, “danced the mazurka easily”).

Antrasha, according to one dance guide, "a jump in which leg strikes leg against leg three times while the body is in the air."

The French, "secular" and "amiable" manner of the mazurka in the 1820s began to be replaced by the English, associated with dandyism. The latter demanded from the gentleman languid, lazy movements, emphasizing that he was bored with dancing and he did it against his will. The cavalier refused mazuric chatter and was sullenly silent during the dance.

“... And in general, not a single fashionable gentleman is dancing now, this is not supposed to. - How is it? - asked Mr. Smith in surprise - No, I swear on my honor, no! muttered Mr Ritson. - No, unless they walk in a quadrille or turn into a waltz, no, to hell with dancing, this is very vulgar! "

In the memoirs of Smirnova-Rosset, an episode of her first meeting with Pushkin is told: while still a schoolgirl, she invited him to a mazurka. ( Editor's note: SHE invited? NS!) Pushkin silently and lazily walked with her through the hall a couple of times.

The fact that Onegin “danced a mazurka easily” shows that his dandyism and fashionable disappointment were half fake in the first chapter of the “novel in verse”. For their sake, he could not refuse the pleasure of jumping in the mazurka.

The Decembrist and Liberal of the 1820s adopted an "English" attitude to dancing, driving it to a complete rejection of them. In Pushkin's "Novel in Letters" Vladimir writes to a friend:

“Your speculative and important reasoning belongs to 1818. At the time, strict rules and political economy were in vogue. We attended balls without taking off our swords (it was impossible to dance with a sword, an officer who wanted to dance unfastened the sword and left it with the doorman. - Yu. L.) - it was indecent for us to dance and had no time to deal with ladies ”(VIII (1), 55 ).

Liprandi did not dance at serious, friendly parties. The Decembrist N.I. Turgenev wrote to his brother Sergei on March 25, 1819 about the surprise that aroused in him the news that the latter danced at a ball in Paris (S.I. ): “You, I hear, are dancing. Gr [afu] his daughter wrote to Golovin that she danced with you. And so, with some surprise, I learned that now they also dance in France! Une ecossaise constitutionelle, indpendante, ou une contredanse monarchique ou une dansc contre-monarchique " then as a dance, then as a political term).

The complaint of Princess Tugouhovskoy in Woe from Wit is connected with the same sentiments: "Dancers have become terribly rare!" The opposition between a person talking about Adam Smith and a person dancing waltz or a mazurka, was emphasized by a remark after the programmatic monologue of Chatsky: "Looks around, everyone is spinning in a waltz with the greatest zeal."

Pushkin's poems:

Buyanov, my fervent brother,

Brought to our hero

Tatiana with Olga ... (5, XLIII, XLIV)

mean one of the figures of the mazurka: two ladies (or gentlemen) are brought to the gentleman (or lady) with a proposal to choose. The choice of a pair for oneself was perceived as a sign of interest, favor, or (as Lensky interpreted) love. Nicholas I reproached Smirnova-Rosset: "Why don't you choose me?"

In some cases, the choice was associated with guessing the qualities envisioned by the dancers: “Three ladies who approached them with questions - oubli ou regret * - interrupted the conversation ...” (Pushkin, VDI (1), 244).

Or in “After the Ball” by L. Tolstoy: ““ I danced the glaze with her. to me".

Cotillion - a kind of quadrille, one of the dances that concludes the ball - danced to the motive of a waltz and was a dance-game, the most relaxed, varied and playful dance. “... There they make both a cross and a circle, and they sit the lady, triumphantly bringing the gentlemen to her, so that she chooses whom she wants to dance with, and in other places they kneel in front of her; but in order to reciprocally thank themselves, men also sit down in order to choose the ladies they like. Then there are figures with jokes, giving cards, knots made of scarves, deceiving or jumping from one another in a dance, jumping high over the scarf ... ”.

The ball was not the only way to have a fun and noisy night.

The alternative was

: ... games of riotous young men, Thunderstorms of sentinels patrols ..

(Pushkin, VI, 621)

idle binges in the company of young revelers, officer-breeders, famous "rascals" and drunks.

Ball, as a decent and completely secular pastime, was opposed to this binge, which, although cultivated in certain guards circles, was generally perceived as a manifestation of "bad taste", permissible for a young man only within certain, moderate limits.

(Editor's note: Yes, permissible, tell me. But about "hussarism" and "riot" there in another chapter).

MD Buturlin, inclined to a free and riotous life, recalled that there was a moment when he "did not miss a single ball." This, he writes, “made my mother very happy, as proof, que j'avais pris le gout de la bonne societe” **. However, Forgetfulness or regret (French). that I loved to be in good company (French). the taste for reckless life prevailed:

“I had quite frequent lunches and dinners in my apartment. Some of our officers and civilian acquaintances of mine from St. Petersburg, mostly from foreigners, were my guests; there was, of course, a sea of ​​champagne and burnt water on tap. But my main mistake was that after my first visits with my brother at the beginning of my visit to Princess Maria Vasilyevna Kochubei, Natalya Kirillovna Zagryazhskaya (who meant a lot then) and others in kinship or previous acquaintance with our family, I stopped attending this high society ...

I remember how one day, when leaving the French Kamennoostrovsky theater, my old friend Elisaveta Mikhailovna Khitrova, recognizing me, exclaimed: Ah, Michel! " And I, in order to avoid meeting and explicating with her, rather than going down the stairs of the re-stairway, where this scene took place, turned sharply to the right past the columns of the facade; but since there was no going out there, I flew headlong to the ground from a fairly high altitude, risking breaking an arm or a leg.

Unfortunately, the habits of a riotous and wide-open life in the circle of army comrades with late drinking at restaurants took root in me, and therefore trips to high-society salons burdened me, as a result of which a few months passed since the members of that society decided (and not without reason) that I am a fellow, mired in a pool of bad society. "

Late drinking bouts, beginning in one of the St. Petersburg restaurants, ended somewhere in the "Red tavern", which stood seventh verst along the Peterhof road and the former favorite place of officers' revelry. A brutal gambling game and noisy walks along the night Petersburg streets complemented the picture. Noisy street adventures - "the thunderstorm of midnight patrols" (Pushkin, VIII, 3) - were the usual nighttime activities of "rascals".

The nephew of the poet Delvig recalls: "... Pushkin and Delvig told us about the walks that they took after graduating from the Lyceum along the streets of St. stopping others who are ten or more years older than us ...

After reading the description of this walk, you might think that Pushkin, Delvig and all the other men who walked with them, with the exception of brother Alexander and me, were drunk, but I firmly certify that this was not the case, but I just wanted to shake them off the old fashion and show it to us , the younger generation, as if in reproach to our more serious and deliberate behavior. "

In the same spirit, although a little later, at the very end of the 1820s, Buturlin and his friends tore off the scepter and the orb from the two-headed eagle (pharmacy sign) and marched with them through the city center. This "prank" already had a rather dangerous political overtones: it provided grounds for a criminal charge of "insult to the majesty." It is no accident that the acquaintance to whom they appeared in this form, "could never recall without fear this night visit of ours."

If this adventure got away with, then the attempt to feed the bust of the emperor with soup in the restaurant was followed by punishment: Buturlin's civilian friends were exiled to the civil service in the Caucasus and Astrakhan, and he was transferred to a provincial army regiment. This is no coincidence: "crazy feasts", youth revelry against the background of the Arakcheev (later Nikolaev) capital inevitably tinted in oppositional tones (see the chapter "The Decembrist in Everyday Life").

Ball had a slender composition.

It was, as it were, some kind of festive whole, subordinated to the movement from the strict form of a solemn ballet to variable forms choreographic game. However, in order to understand the meaning of the ball as a whole, it should be understood in opposition to the two extreme poles: parade and masquerade.

The parade in the form that it received under the influence of a kind of "creativity" of Paul I and the Pavlovichs: Alexander, Constantine and Nicholas, was a kind of carefully thought out ritual. He was the opposite of fighting. And von Bock was right in calling it a "triumph of insignificance." The battle demanded initiative, the parade demanded submission, turning the army into a ballet.

In relation to the parade, the ball acted as something exactly the opposite. The ball opposed to submission, discipline, erasure of personality, fun, freedom, and the severe depression of a person - his joyful excitement. In this sense, the chronological flow of the day from the parade or preparation for it - an exercise, arena and other types of "kings of science" (Pushkin) - to ballet, holiday, ball was a movement from subordination to freedom and from rigid monotony to fun and variety.

However, the ball was subject to strict laws. The degree of rigidity of this subordination was different: between the many-thousand-strong balls in the Winter Palace, timed to coincide with especially solemn dates, and small balls in the houses of provincial landowners with dances to the serf orchestra or even to the violin played by a German teacher, there was a long and multi-stage path. The degree of freedom was different at different stages of this path. And yet the fact that the ball presupposed composition and strict internal organization limited the freedom within it.

This necessitated another element that would play the role of "organized disorganization", planned and foreseen chaos in this system. This role was assumed by the masquerade.

Masquerade dressing, in principle, contradicted deep church traditions. In the Orthodox consciousness, this was one of the most persistent signs of devilry. Dressing up and elements of masquerade in folk culture were allowed only in those ritual actions of the Christmas and spring cycles, which were supposed to imitate the expulsion of demons and in which the remnants of pagan ideas found refuge. Therefore, the European tradition of masquerade penetrated into the noble life of the 18th century with difficulty, or merged with folklore dressing.

As a form of noble celebration, the masquerade was an insular and almost secret fun. Elements of blasphemy and rebellion manifested themselves in two characteristic episodes: both Elizaveta Petrovna and Catherine II, during coups d'etat, dressed up in men's guards uniforms and mounted horses like men.

Here the dressing took on a symbolic character: a woman claiming to the throne turned into an emperor. This can be compared with the use of Shcherbatov in relation to one person - Elizabeth - in different situations of naming, either in the masculine or in the feminine gender. This could also be compared with the custom for the Empress to dress in the uniform of those Guards regiments who are honored to be visited.

From military-state dressing up * the next step led to a masquerade game. One could recall in this respect the projects of Catherine II. If such masquerade parties were publicly held, as, for example, the famous carousel, to which Grigory Orlov and other participants appeared in knightly costumes, then in deep secrecy, in the closed premises of the Small Hermitage, Catherine found it amusing to hold completely different masquerades.

So, for example, with her own hand, she drew a detailed plan of the holiday, in which separate dressing rooms would be made for men and women, so that all the ladies would suddenly appear in men's suits, and all the gentlemen were in ladies' ones (Catherine was not disinterested here: such a suit emphasized her slenderness, and the huge guardsmen, of course, would have looked comical).

The masquerade that we encounter when reading Lermontov's play - the St. Petersburg masquerade in the Engelhardt house on the corner of Nevsky and Moika - had a completely opposite character. It was the first public masquerade in Russia. Anyone who paid the entrance fee could attend it.

The fundamental confusion of visitors, social contrasts, the permissible licentiousness of behavior, which turned Engelhardt's masquerades into the center of scandalous stories and rumors - all this created a spicy counterbalance to the severity of the St. Petersburg balls.

Let us recall the joke that Pushkin put into the mouth of a foreigner who said that in St. Petersburg morality is guaranteed by the fact that summer nights are bright and winter nights are cold. For Engelhardt balls, these obstacles did not exist.

Lermontov included a significant hint in "Masquerade": Arbenin

It’s not bad for you and me to scatter

After all, now are the holidays and, probably, the masquerade

Engelhardt ...

There are women there ... a miracle ...

And they even go there, they say ...

Let them talk, but what do we care?

Under the mask, all ranks are equal,

The mask has neither a soul nor a title - it has a body.

And if the features are hidden by the mask,

Then the mask from the feelings is ripped off boldly.

The role of the masquerade in the prim and uniformed St. Petersburg of Nicholas can be compared to how the jaded French courtiers of the Regency era, having exhausted all forms of refinement during a long night, went to some dirty tavern in a dubious area of ​​Paris and greedily devoured the fetid, boiled, unwashed intestines. It was the sharpness of the contrast that created a refined and satiated experience here.

To the words of the prince in the same drama of Lermontov: "All masks are stupid" - Arbenin replies with a monologue glorifying the unexpectedness and unpredictability that the mask introduces into prim society:

Yes, there is no stupid mask:

Silent ... mysterious, speaking - so sweet.

You can lend her words

A smile, a look, whatever you want ...

For example, take a look there -

How he performs nobly

Tall Turkish woman ... how full,

How her breasts breathe, passionately and freely!

Do you know who she is?

Perhaps the proud countess il princess,

Diana in society ... Venus in a masquerade,

And it may also be that the same beauty

Tomorrow evening he will come to you for half an hour.

The parade and masquerade formed the brilliant frame of the picture, in the center of which was the ball.

Conversations about Russian culture:

Life and traditions of the Russian nobility (XVIII-early XIX centuries)

Lotman Yu.M. Conversations about Russian culture: Life and traditions of the Russian nobility (Xviii-beginningXIXcentury) - SPb., 2000.

Questions and tasks to the text:

What role did the ball play in the life of a Russian nobleman, according to Lotman?

Was the ball different from other forms of entertainment?

How were nobles prepared for balls?

In what literary works Have you seen a description of the ball, attitude to it or individual dances?

What is the meaning of the word dandyism?

Restore the model of the appearance and behavior of the Russian dandy.

What role did the duel play in the life of a Russian nobleman?

What was the attitude to duels in tsarist Russia?

How was the dueling ritual carried out?

What examples of duels in history and literary works?

Yu.M. Lotman Conversations about Russian culture: Life and traditions of the Russian nobility (XVIII-early XIX centuries)

Dancing was an important structural element of the noble life. Their role was significantly different both from the function of dancing in the folk life of that time, and from the modern one.

In the life of a Russian metropolitan nobleman of the 18th - early 19th centuries, time was divided into two halves: staying at home was devoted to family and household concerns - here the nobleman acted as a private person; the other half was occupied by service - military or state, in which the nobleman acted as a loyal subject, serving the sovereign and the state, as a representative of the nobility in the face of other estates. The opposition of these two forms of behavior was filmed in the crowning meeting of the day - at a ball or a party. Here the social life of a nobleman was realized ... he was a nobleman in the noble assembly, a man of his class among his own.

Thus, the ball turned out, on the one hand, to be a sphere opposite to service - an area of ​​easy communication, social recreation, a place where the boundaries of the service hierarchy were weakened. The presence of ladies, dances, the norms of secular communication introduced off-duty value criteria, and the young lieutenant, skillfully dancing and able to make ladies laugh, could feel superior to an aging colonel who had been in battles. On the other hand, the ball was an area of ​​public representation, a form of social organization, one of the few forms of collective life allowed in Russia at that time. In this sense, secular life acquired the value of a social cause. The answer of Catherine II to Fonvizin's question is characteristic: "Why is it not a shame for us not to do anything?" - “... living in a society is not doing anything” 16.

Since the time of the Peter's assemblies, the question of the organizational forms of secular life has arisen. The forms of recreation, communication of young people, calendar ritual, which were generally common for both the folk and the boyar-noble environment, had to give way to a specifically noble structure of life. The internal organization of the ball was made a task of exceptional cultural importance, since it was called upon to give forms of communication between "gentlemen" and "ladies", to determine the type of social behavior within the noble culture. This entailed the ritualization of the ball, the creation of a strict sequence of parts, the allocation of stable and obligatory elements... The grammar of the ball arose, and it itself developed into a kind of integral theatrical performance, in which each element (from the entrance to the hall to the departure) corresponded to typical emotions, fixed meanings, and styles of behavior. However, the strict ritual, which brought the ball closer to the parade, made the possible retreats, “ballroom liberties”, which compositionally increased towards its finale, building the ball as a struggle between “order” and “freedom” all the more significant.

The main element of the ball as a social aesthetic action was dancing. They served as the organizing core of the evening, setting the type and style of conversation. "Mazury chatter" required superficial, shallow topics, but also entertaining and sharp conversation, the ability to quickly respond epigrammatically.

Dance training began early - at the age of five or six. So, for example, Pushkin began to study dancing already in 1808 ...

Early dance training was excruciating and akin to tough training for an athlete or training a recruit by a diligent sergeant major. The compiler of the “Rules”, published in 1825, L. Petrovsky, himself an experienced dance master, describes some of the methods of initial training in this way, condemning not the method itself, but only its too rigid application: “The teacher should pay attention to the fact that students from they did not suffer strong stress in their health. Someone told me that the teacher considered him an indispensable rule that the student, despite his natural incapacity, should keep his legs sideways, like him, in a parallel line ... As a student he was 22 years old, his growth was quite decent and his legs were not small, moreover, faulty; then the teacher, who could not do anything himself, considered it a duty to employ four people, of whom two twisted their legs, and two held their knees. No matter how much this one shouted, they only laughed and did not want to hear about the pain - until finally it cracked in his leg, and then the tormentors left him ... "

Long-term training gave the young man not only dexterity during dancing, but also confidence in movements, freedom and ease in setting the figure, which in a certain way influenced the mental structure of a person: in the conventional world of secular communication, he felt confident and free, like an experienced actor on the stage. Grace, in the precision of movement, was a sign of good upbringing ...

The aristocratic simplicity of the movements of the people of "good society" both in life and in literature is opposed by the constraint or excessive swagger (the result of the struggle with one's own shyness) of the common man's gestures ...

The ball at the beginning of the 19th century began with a Polish (polonaise), which replaced the minuet in the solemn function of the first dance. The minuet is a thing of the past along with royal France ...

In War and Peace, Tolstoy, describing Natasha's first ball, opposes the polonaise that “the sovereign opens, smiling and leading the mistress of the house by the hand” ... to the second dance - the waltz, which becomes Natasha's moment of triumph.

Pushkin characterized him as follows:

Monotonous and insane

Like a whirlwind of young life,

A noisy whirlwind is spinning a waltz;

The couple flickers after the couple.

The epithets "monotonous and insane" have more than emotional connotations. "Monotonous" - because, unlike the mazurka, in which at that time solo dances and the invention of new figures played a huge role, and even more so from the dance - the game of the cotillion, the waltz consisted of the same constantly repeated movements. The feeling of monotony was also intensified by the fact that “at that time the waltz was danced in two, not three steps, as now” 17. The definition of a waltz as "insane" has a different meaning: ... the waltz ... enjoyed a reputation in the 1820s as an obscene or, at least, excessively free dance ... Zhanlis in the "Critical and Systematic Dictionary of Court Etiquette": "Young a person, lightly dressed, throws herself into the hands of a young man, who presses her to his chest, who carries her away with such impetuosity that her heart involuntarily begins to pound, and her head spins! This is what this waltz is! .. Modern youth is so natural that, putting sophistication into nothing, it dances waltzes with glorified simplicity and passion. "

Not only the boring moralist Janlis, but also the fiery Werther Goethe considered the waltz a dance so intimate that he swore that he would not allow his future wife to dance it with anyone but himself ...

However, Zhanlis's words are also interesting in another respect: the waltz is contrasted with classical dances as romantic; passionate, insane, dangerous and close to nature, he opposes the etiquette dances of the old days. The "common people" of the waltz was acutely felt ... The waltz was admitted to the balls of Europe as a tribute to the new era. It was a trendy and youthful dance.

The sequence of dances during the ball formed a dynamic composition. Each dance ... set a certain style not only of movement, but also of conversation. In order to understand the essence of the ball, one must bear in mind that dances were only an organizing core in it. The chain of dances also organized the sequence of moods ... Each dance entailed topics of conversation that were decent for it ... An interesting example of changing the topic of conversation in a sequence of dances is found in Anna Karenina. "Vronsky with Kitty went through several waltz rounds" ... She expects words of recognition from him, which should decide her fate, but for an important conversation, an appropriate moment in the dynamics of the ball is needed. It is possible to lead it not at any moment and not during any dance. “During the square dance, nothing significant was said, there was an intermittent conversation ... But Kitty did not expect more from the square dance. She waited with bated breath for the mazurka. It seemed to her that everything should be decided in the mazurka. "

The Mazurka formed the center of the ball and marked its culmination. The Mazurka was danced with numerous bizarre figures and a male solo constituting the culmination of the dance ... Several distinct styles existed within the Mazurka. The difference between the capital and the province was expressed in the opposition of the "exquisite" and "bravura" performance of the mazurka ...

Russian dandyism.

The word "dandy" (and its derivative - "dandyism") is hardly translated into Russian. Rather, this word is not only conveyed by several opposite Russian words in meaning, but also defines, at least in the Russian tradition, very different social phenomena.

Originating in England, dandyism included a national opposition to French fashions, which aroused violent indignation among English patriots at the end of the 18th century. N. Karamzin in "Letters of a Russian Traveler" described how, during his (and his Russian friends) walks around London, a crowd of boys threw mud at a man dressed in French fashion. In contrast to the French "sophistication" of clothing, English fashion canonized the tailcoat, which had previously been only clothing for riding. "Rude" and athletic, it was perceived as national English. The French pre-revolutionary fashion cultivated grace and sophistication, the English allowed extravagance and put forward originality as the highest value. So dandyism was colored in tones national specificity and in this sense, on the one hand, he merged with romanticism, and on the other, he joined the anti-French patriotic sentiments that swept Europe in the first decades of the 19th century.

From this point of view, dandyism took on the color of romantic rebellion. He focused on the extravagance of behavior that offends secular society and the romantic cult of individualism. Demeanor insulting to the world, "indecent" swagger of gestures, demonstrative shocking - all forms of destruction of secular prohibitions were perceived as poetic. This lifestyle was typical of Byron.

At the opposite pole was the interpretation of dandyism that was developed by the most famous dandy of the era - George Bremmel. Here, individualistic contempt for social norms took other forms. Byron opposed the pampered light with the energy and heroic rudeness of the romantic, Bremmel opposed the rude philistinism of the "secular crowd" with the pampered sophistication of the individualist. Bulwer-Lytton later attributed this second type of behavior to the hero of the novel "Pelam, or the Adventures of a Gentleman" (1828) - a work that aroused Pushkin's admiration and influenced some of his literary ideas and even, at some moments, his everyday behavior ...

The art of dandyism creates a complex system of its own culture, which outwardly manifests itself in a kind of "poetry of a sophisticated costume" ... The hero of Bulwer-Lytton proudly says to himself that he "introduced starched ties" in England. He, "by the strength of his example" ... "ordered to wipe the lapels of his boots 20 with champagne."

Pushkinsky Eugene Onegin "at least three hours // Spent in front of the mirrors."

However, tailcoat tailoring and similar fashion attributes are only an external expression of dandyism. They are too easily imitated by the profane, who lacks access to his inner aristocratic essence ... A person should make a tailor, and not a tailor - a person.

The Bulwer-Lytton novel, which is, as it were, a fictionalized program of dandyism, became widespread in Russia, it was not the cause of the emergence of Russian dandyism, rather, on the contrary: Russian dandyism aroused interest in the novel ...

It is known that Pushkin, like his hero Charsky from "Egyptian Nights", could not stand the role of "poet in a secular society" so dear to romantics like Puppeteer. The words are autobiographical: “The public looks at him (the poet) as their property; in her opinion, he was born for her "benefit and pleasure" ...

The dandyism of Pushkin's behavior is not in an imaginary adherence to gastronomy, but in outright mockery, almost arrogance ... It is the arrogance, covered with mock politeness, that constitutes the basis of the dandy's behavior. The hero of Pushkin's unfinished "Novel in Letters" accurately describes the mechanism of Dandy's impudence: “Men are extremely unhappy with my fatuite indolente, which is still news here. They are all the more furious because I am extremely courteous and decent, and they do not understand in any way what exactly my insolence consists - although they feel that I am impudent. "

Typically Dandy behavior was known in the circle of Russian dandies long before the names of Byron and Bremmel, as well as the word "dandy" itself, became known in Russia ... Karamzin in 1803 described this curious phenomenon of the fusion of rebellion and cynicism, the transformation of selfishness into a kind of religion and a derisive attitude to all the principles of "vulgar" morality. The hero of “My Confession” proudly tells about his adventures: “I made a lot of noise on my journey - by jumping in country dances with important ladies of the German Princely Courts, I deliberately dropped them on the ground in the most indecent manner; and most of all, by kissing the Pope's shoes with kind Catholics, he bit his foot, and made the poor old man scream with all his might. ”Many notable characters can be noted in the prehistory of Russian dandyism. Some of them are the so-called wheezing ... "Wheezing" as a phenomenon that has already passed, is mentioned by Pushkin in the versions of "House in Kolomna":

Guards are lingering

You wheezers

(but your wheezing ceased) 21.

Griboyedov in "Woe from Wit" calls Skalozub: "Hripun, strangled, bassoon." The meaning of these pre-1812 military jargon modern reader remains incomprehensible ... All three names of Skalozub ("Hripun, strangled, bassoon") speak of a tight waist (compare Skalozub's own words: "And the waist is so narrow"). This is also explained by Pushkin's expression "The Guardsmen are protracted" - that is, they are tied in the belt. Tightening the belt to the point of rivalry with a woman's waist - hence the comparison of a stretched officer with a bassoon - gave the military mod the look of a "strangled" and justified the name "wheezing". The concept of a narrow waist as an important sign of male beauty persisted for several decades. Nicholas I was overtightening, even when his belly grew back in the 1840s. He preferred to endure severe physical suffering in order to maintain the illusion of a waist. This fashion captured not only the military. Pushkin proudly wrote to his brother about the slimness of his waist ...

Glasses played an important role in the behavior of the dandy - a detail inherited from the dandies of the previous era. Back in the 18th century, glasses acquired the character of a fashionable dressing detail. Looking through glasses was equivalent to looking at someone else's face point-blank, that is, a daring gesture. Decency of the 18th century in Russia forbade the younger by age or rank to look through glasses at the older: this was perceived as arrogance. Delvig recalled that at the Lyceum it was forbidden to wear glasses and that therefore all women seemed to him beauties, ironically adding that after graduating from the Lyceum and acquiring glasses, he was very disappointed ... Anglomania ...

A specific feature of Dandy's behavior was also the viewing in the theater through the telescope, not of the stage, but of the boxes occupied by the ladies. Onegin emphasizes the dandyism of this gesture by the fact that he looks "sideways", and to look at unfamiliar ladies like that is a double insolence. The lorgnette was the female equivalent of the "daring optics" if it was not directed to the stage ...

Another characteristic feature of everyday dandyism is the posture of disappointment and satiety ... However, the "premature old age of the soul" (Pushkin's words about the hero of the "Caucasian Prisoner") and disappointment in the first half of the 1820s could be perceived not only in an ironic manner. When these properties were manifested in the character and behavior of people like P.Ya. Chaadaev, they acquired a tragic meaning ...

However, "boredom" - the blues - was too common for a researcher to dismiss it. For us, it is especially interesting in this case because it characterizes just everyday behavior. So, like Chaadaev, the blues drives Chatsky out of the border ...

Spleen as the reason for the spread of suicides among the British was mentioned by N.M. Karamzin in "Letters of a Russian Traveler". It is all the more noticeable that in the Russian noble life of the era of interest to us, suicide from disappointment was a rather rare phenomenon, and it was not included in the stereotype of dendist behavior. His place was taken by a duel, reckless behavior in war, a desperate game of cards ...

There were intersections between the behavior of the dandy and the different shades of political liberalism in the 1820s ... However, their nature was different. Dandyism is primarily behavior, not theory or ideology 22. In addition, dandyism is limited to a narrow sphere of everyday life ... Inseparable from individualism and at the same time in constant dependence on observers, dandyism constantly fluctuates between a claim to rebellion and various compromises with society. His limitation lies in the limitation and inconsistency of fashion, in the language of which he is forced to speak with his era.

The dual nature of Russian dandyism made it possible to interpret it in two ways ... characteristic feature strange symbiosis of dandyism and the Petersburg bureaucracy. English habits of everyday behavior, the manners of an aging dandy, as well as decency within the boundaries of the Nikolaev regime - this will be the path of Bludov and Dashkova. The fate of the commander-in-chief of the Separate Caucasian Corps, the governor of the Caucasus, Field Marshal and His Serene Highness awaited the "Russian dandy" Vorontsov. Chaadaev, on the other hand, has a completely different fate: the official announcement of the mad. Lermontov's rebellious Byronism will no longer fit within the boundaries of dandyism, although, reflected in Pechorin's mirror, he will reveal this ancestral connection that goes into the past.

Duel.

A duel (duel) is a duel fight taking place according to certain rules and aimed at restoring honor ... Thus, the role of a duel is socially significant. The duel ... cannot be understood outside the very specifics of the concept of "honor" in the general system of ethics of the Russian Europeanized post-Petrine noble society ...

A Russian nobleman of the 18th - early 19th centuries lived and acted under the influence of two opposite regulators of social behavior. As a loyal subject, a servant of the state, he obeyed the order ... But at the same time, as a nobleman, a man of an estate that was both a socially dominant corporation and a cultural elite, he obeyed the laws of honor. The ideal that a noble culture creates for itself implies the complete expulsion of fear and the assertion of honor as the main legislator of behavior ... From these positions, medieval knightly ethics undergoes a well-known restoration. ... The behavior of a knight is not measured by defeat or victory, but has a self-sufficient value. This is especially pronounced in relation to a duel: danger, closeness face to face with death become cleansing means that remove the insult from a person. The offended person himself must decide (the correct decision testifies to the degree of his mastery of the laws of honor): is the dishonor so insignificant that a demonstration of fearlessness is enough to remove it - a demonstration of readiness for battle ... bloodthirsty - a breter.

The duel, as an institution of corporate honor, met with opposition from two sides. On the one hand, the government was consistently negative about the duels. In the "Patent on duels and the initiation of quarrels", which constituted the 49th chapter of Peter's "Military Charter" (1716), it was prescribed: none of them will be wounded or killed, without any mercy, also the seconds or witnesses, whom they will prove, will be executed with death and these belongings will be written off ... so the dead will be hanged "23 ... the duel in Russia was not a relic, since nothing analogous to the life of the Russian" old feudal nobility "existed.

The fact that the duel is an innovation was clearly pointed out by Catherine II: “Prejudices, not received from ancestors, but adopted or superficial, alien” 24 ...

Montesquieu pointed out the reasons for the negative attitude of the autocratic authorities to the custom of dueling: “Honor cannot be a principle of despotic states: all people there are equal and therefore cannot be exalted over each other; there all people are slaves and therefore cannot be exalted over anything ... Can a despot tolerate her in his state? She places her glory in contempt for life, and the whole power of a despot lies only in the fact that he can take life. How could she herself endure a despot? "...

On the other hand, the duel was criticized by democratic thinkers, who saw in it a manifestation of the class prejudice of the nobility and opposed the noble honor of the human, based on Reason and Nature. From this position, the duel was made an object of enlightenment satire or criticism ... A. Suvorov's negative attitude to the duel is known. Masons also reacted negatively to the duel.

Thus, in a duel, on the one hand, the narrow class idea of ​​protecting corporate honor could come to the fore, and on the other, the universal, despite archaic forms, the idea of ​​protecting human dignity ...

In this regard, the attitude of the Decembrists to the fight was ambivalent. Admitting negative statements in theory in the spirit of general enlightenment criticism of the duel, the Decembrists practically widely used the right to fight. So, E.P. Obolensky killed a certain Svinin in a duel; repeatedly called different persons and fought several K.F. Ryleev; A.I. Yakubovich was known as a breaker ...

The view of a duel as a means of protecting one's human dignity was no stranger to Pushkin. In the Chisinau period, Pushkin found himself in the offensive position of a civilian young man for his pride, surrounded by people in officer uniforms who had already proved their undoubted courage in the war. This explains his exaggerated scrupulousness during this period in matters of honor and his almost breter behavior. The Kishinev period is marked in the memoirs of contemporaries by Pushkin's numerous challenges 25. A typical example is his duel with Lieutenant Colonel S.N. Starov ... Pushkin's bad behavior during the dances in the officers' assembly became the reason for the duel ... The duel was conducted according to all the rules: there was no personal enmity between the gunmen, and the impeccability of the observance of the ritual during the duel aroused mutual respect in both. The careful observance of the ritual of honor equalized the position of a civilian youth and a military lieutenant colonel, giving them an equal right to public respect ...

Breter behavior as a means of social self-defense and the assertion of one's equality in society, perhaps, attracted Pushkin's attention during these years to Vuatur, a French poet of the 17th century, who asserted his equality in aristocratic circles with emphasized brether ...

Pushkin's attitude to the duel is contradictory: as the heir of the 18th century enlighteners, he sees in it a manifestation of "secular enmity", which is "wildly ... afraid of false shame." In Eugene Onegin, the duel cult is supported by Zaretsky, a man of dubious honesty. However, at the same time, a duel is also a means of protecting the dignity of the offended person. She puts on a par with the mysterious poor man Silvio and the favorite of fate, Count B. 26 A duel is a prejudice, but the honor that is forced to seek her help is not a prejudice.

Due to its duality, the duel implied the presence of a strict and carefully performed ritual ... No dueling codes could appear in the Russian press under the conditions of an official ban ... Strict observance of the rules was achieved by appealing to the authority of experts, living bearers of tradition and arbitrators in matters of honor. ..

The duel began with a challenge. As a rule, it was preceded by a clash, as a result of which one of the parties considered itself insulted and as such demanded satisfaction (satisfaction). From that moment on, the opponents no longer had to enter into any kind of communication: their representatives, seconds, took it upon themselves. Having chosen a second for himself, the offended one discussed with him the severity of the offense inflicted on him, on which the nature of the future duel depended - from a formal exchange of shots to the death of one or both participants. After that, the second sent a written challenge to the enemy (cartel) ... It was the duty of the seconds to seek all the possibilities, without prejudice to the interests of honor, and especially observing the observance of the rights of their principal, for a peaceful resolution of the conflict. Even on the battlefield, the seconds were obliged to make one last attempt at reconciliation. In addition, the seconds work out the conditions for the duel. In this case, unspoken rules instruct them to try so that irritated opponents do not choose more bloody forms of combat than it requires a minimum of strict rules of honor. If reconciliation was not possible, as was the case, for example, in the duel between Pushkin and Dantes, the seconds drew up written conditions and carefully followed the strict execution of the entire procedure.

So, for example, the conditions signed by the seconds of Pushkin and Dantes were as follows (original in French): “The conditions of the duel between Pushkin and Dantes were as cruel as possible (the duel was designed to be fatal), but also the conditions of the duel of Onegin and Lensky, to our surprise , were also very cruel, although there was clearly no reason for mortal enmity here ...

1. Opponents stand at a distance of twenty steps from each other and five steps (for each) from the barriers, the distance between which is ten steps.

2. Opponents armed with pistols can shoot at this sign, going one on top of the other, but in no case crossing the barriers.

3. Moreover, it is assumed that after a shot, opponents are not allowed to change their place, so that the one who fired first would be exposed to his opponent's fire at the same distance 27.

4. When both sides fire a shot, then in case of ineffectiveness the fight is resumed as if for the first time: the opponents are placed at the same distance of 20 steps, the same barriers and the same rules are preserved.

5. Seconds are indispensable intermediaries in any explanation between opponents at the battle site.

6. The seconds, the undersigned and vested with all powers, ensure, each for his own side, with their honor, strict observance of the conditions set forth here. "