The mystical and mysterious Patriarch's Ponds have become the subject of our new article. On the one hand, this is a legendary place, thanks to the efforts of Mikhail Afanasyevich Bulgakov. On the other hand, it is the habitat of the most expensive living space in Moscow. On the third, there is the only road sign in Russia, installed by the residents of the area themselves, and warning that it is dangerous to talk with strangers here. But that's not the point. Patriarch's Ponds, or rather one pond, is Moscow inside out, not noisy, surprised, promenade. Let's talk about her.

History of the Patriarch's Ponds in Moscow

Of course, there were several Patriarch's Ponds. More specifically, three. Their history is interesting, although there is nothing unusual in it. First there were swamps. Unpleasant, impassable wilds, considered the distant outskirts. Almost no one wandered here, although an important agricultural facility was located very close - the Goat Yard, so noble that the wool from it did not go anywhere, but directly to the yard. Today it is hard to believe, but the Goat swamp, which later became ponds, existed here until the 17th century.

In the dashing years of the Time of Troubles, this land was chosen by Patriarch Hermogenes, an amazing personality in his own way. Today, he is known to the Orthodox majority only as one of the great host of Russian saints, and few people know that Hermogenes was also a well-known public figure who seriously influenced the life of simple and not quite simple people. He became Patriarch of Moscow in 1606, then he was already over 70. This historical character, perhaps, will appeal to both patriots and liberals. The first - because he called for fighting the Poles by all means, expelling them from the Kremlin, the second - because, it seems, almost for the first time in the history of the kingdom, he proposed to hold elections and put on the throne the one for whom the people will vote! There was also a moment in his life when he almost agreed to recognize the Pole as king, however, only on the condition of his baptism and the withdrawal of troops from Moscow, but Vladislav Sigismundovich refused such an offer. As a result, shortly before the expulsion of the Poles from the Kremlin, Hermogenes died of starvation in prison. It is believed that even from the dungeons the Patriarch sent messengers throughout the country to incite the Russian people to revolt. Here is such a story.

So, when he was the Patriarch of Moscow, Hermogenes looked after himself these not-too-beautiful places and founded the Patriarchal Sloboda here. It constantly expanded and grew rich, and one day the rulers of thoughts came up with the idea to breed fish for the table of spiritual persons. So three ponds were made from the Goat swamp. Perhaps you know that Tryokhprudny Lane is now located nearby, which was named after these three commercial reservoirs. There are famous objects of cultural heritage on Tryokhprudny - the Building of the Levenson Rapid Printing Association, the Profitable Houses of A. A. Volotskaya (the Praktika and Theatre.doc theaters found shelter here), as well as several other historical buildings, among which is the house, the architect of which was D. D Bulgakov.

Patriarch's ponds are in many ways the center of the entire architectural picture of the region, although only one pond remained from them - the rest were filled up. After the Patriarchate was abolished, Sloboda also disappeared, the area once again became swampy and it was the former fish ponds that became the cause of all the troubles. Today, buildings of different times of construction are already rising in their place. Most of the houses were built at the beginning of the twentieth century. For example, in 1912, one house here was designed and built by the brilliant neoclassicist Ivan Vladislavovich Zholtovsky. By the way, being a well-known modernist, he became one of the first architects who began work on panel houses. By the time the Tarasov mansion was built, the maestro was already an academician and a respected theorist and practitioner of architecture.

Were the Patriarch's Ponds in Moscow the main place of recreation? In truth, no. They were originally on the outskirts, at first they were private properties, and then - a place for walking members of high society and party workers. It is worth noting that in 1924 they were renamed Pioneer Ponds, but the new name was not popular. In general, innovations in these places are rarely met with joy. In 1976, a monument to Krylov was erected. But the locals did not want to see the ensemble in honor of the heroes of the Master and Margarita. Their protests were heard, the only thing that reminds of Bulgakov here is a sign warning not to talk to strangers. Well, protest is a good thing. But the Patriarch could not save any protest from the construction of a huge and, in my opinion, ugly residential complex. The pseudo-classical giant now towers over the pond, it can be seen from anywhere, and apart from the status of the most expensive living space in Moscow, it has no other advantages.

Monuments of the Patriarch's Ponds

Today, several monuments can be found on the banks of the pond. The most ambitious is “Krylov’s Fables”: twelve panels, worn out in places for good luck, and the fabulist himself, quite looking back at his legacy. Foolish lovers stuck locks for luck wherever they could, so that the authenticity of the monument suffered greatly. But still, this place is very fond of both foreigners and locals. In general, Krylov lived in St. Petersburg, and left it extremely rarely, so such a huge monument can only be surprised, given the absence of any monument to the main popularizer of the Patriarch's Ponds among the people - Mikhail Bulgakov. There really is no memorial.

Back in 1999, a competition was held for the best design of the monument, but it was rejected by local residents. Looking at the mountains of garbage that appear even despite the efforts of the janitors, and the marginal audience that fills a small park, one can only regret that the citizens refused to build a monument. You see, it would be cleaner. But the expensive and pretentious Pavilion, a restaurant in the building of the same name with stucco and the remains of the first pavilion of the 38th year, looks completely out of place here. And the ugliness that sometimes happens around him perfectly emphasizes this alienness.

The last exhibit at the Patriarch's Ponds in Moscow is a sign. A small, funny mock-car sign that says "No Talking to Strangers". The only hint of the Master and Margarita. And how many great people were not mentioned at all? The patriarchs are connected with Tsvetaeva, who was born nearby, Dmitriev, Mayakovsky. This area has been a haven for writers and poets. Mayakovsky lived nearby, Blok stopped ... If each famous inhabitant of the area is given a monument, the park will have to be expanded due to the already narrow roadway.

In general, if you are interested in the spirit of old Moscow, come here. Here he still remained.

?They buried him behind the Moskva River / In an open field between three roads.
And a mound of damp earth was poured here / And good people pass by:
An old man will pass - he will cross himself.
A good fellow will pass - he will sit up.
A girl will pass - she will grieve.
And the harpists will pass - will they sing a song?
?A song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov?.
M.Yu. Lermontov.

4

But Gaidar's? The Tale of the Military Secret, of Malchish-Kibalchish and his firm word?:
?And Malchish-Kibalchish was buried on a green mound near the Blue River.
And they put a big red flag over the grave.
Steamboats are sailing - hello to the Malchish!
Pilots are flying by - hello to Malchish!
Steam locomotives will run - hello to Malchish!
And the pioneers will pass - salute to the Malchish !?
Many commentators leaned on the term "plagiarism", which is fundamentally wrong, because this is how many epics and legends end, and Lermontov and Gaidar simply used this familiar construction.
Gaidar composed not even a fairy tale, but an epic - a folk epic song about the unparalleled exploits of a particular hero. The only thing is that the author writes in a different manner, only occasionally using the tonic verse characteristic of epics. The rest of the features of the genre are preserved intact. For example, for the epic (? what was in the old days?) It is typical to attribute the plot to the so-called? absolute epic time?. We read from Gaidar: "In those distant, distant years, when the war had just died down throughout the country, did Malchish-Kibalchish live and exist?" The book was written in the 1930s, so the war died down not so long ago. Fairy tales also often begin with just such words, but in them the action is always invented, epics tell about what supposedly happened (the very name of the genre speaks of this). Epics are also characterized by repetitions, like these: - Hey, get up! shouted the rider. - It was half the trouble, and now the trouble is all around. Many bourgeois, but few of ours?. As you remember, the scene with the rider is repeated three times.
“A damned bourgeois attacked us from behind the Black Mountains. Bullets are already whistling again, shells are already exploding again. Are our detachments fighting with the bourgeois, and messengers are rushing to call for help from the distant Red Army? Interesting - the action takes place in a fairy-tale country, but it is customary to call for help from the real Red Army, located outside this fairy-tale country. In Russian epics, along with explicit fantasies, there is a reflection of the life of Ancient Russia. So in the epic about Kibalchish, fiction and reality are intertwined.
The word bourgeois - in design resembles the traditional? Tugarin-Serpent? and other dirty tricks ending in -in. Tellingly, the bourgeois is damned. This epithet occurs several times in the work. The stability of epithets is also a sign of an epic.
Here are interesting moments from Gaidar's epic: “They chained Malchish in heavy chains. Did they put Malchish in a stone tower? Why, Malchish, did Forty Kings and Forty Kings fight with the Red Army, fought, fought, but only crashed themselves??.
In epics, comparisons with the forces of nature are often used - with? violent winds?, with? red sun? etc.
?Have you seen torrential thunderstorms in a dry and hot summer? Just as the streams, running down from the dusty mountains, merged into turbulent, foamy streams, just at the first rumble of war, uprisings began to boil in the Mountain bourgeoisie, and thousands of angry voices responded from the Plain Kingdom, and from the Snow Kingdom, and from the Sultry State ?. By the way, illustrators, drawing the image of the Chief Bourgeois, did not always use the image of Chamberlain. Often he performed in the mask of a kind of Pogany Idol, not a man, but Quasi modo. Or bourgeois soldiers, who often have horns on their helmets. Perhaps the illustrators meant the horned helmets of the ancient Gauls and in such a cunning way hinted at the French origin of the gentlemen-interventionists. Just devils and other evil spirits we always associate with horns.
...By the way, what is it? Kibalchish?? Most likely, this is the dissected surname Kibalchich. By the way, it was a whole family of revolutionary nobles. Nikolay Kibalchich was a Narodnaya Volya member, his relative Viktor Kibalchich (a contemporary of Gaidar) worked in the Commintern. By the way, Victor's father was also no stranger to revolutionary activity. In general, as in a fairy tale - a whole family of fighters. Why Gaidar took this surname as a basis is unclear. This is how Kibalchishevich turned out (by analogy with the already mentioned Lermontov guardsman Kiribeevich).
At one time, this epic tale was analyzed, proving that this is a typical religious text about the life of the holy martyr. There is even an analog of Plokhish = Judas. After all, both of them betrayed not for an idea, but for a barrel of jam and a basket of cookies, which cost exactly 30 pieces of silver.
Why did Gaidar write this? If we consider this a “religious text”, then obviously in order to fill the “holy place”, which was neglected after the start of anti-religious obscurantism in the USSR. As soon as a society begins to reject some gods, it immediately needs new gods. Atheism is the most ridiculous thing you can think of. A person cannot be an atheist, and the Soviet Power understood this. New saints, new legends were needed. Tellingly, the Tale of the Malchish is still popular, while the "Military Secret", the work in which this tale is compositionally included, was quickly forgotten. In contrast to "Kibalchish", which literally brought up entire generations.

The interpretation of the bourgeoisie is also interesting. It resembles a caricature of the Entente plus? White Army, Black Baron?. It is interesting that they carry some kind of stylized Prussian banners - with an eagle, and in general, sometimes the soldiers of Burzhuin look like the Kaiser's. All this is reminiscent of the movie? If there is war tomorrow?. Tellingly, the bourgeoisie is drawn with very beautiful strokes. If we do not take into account the unattractive physiognomies of the characters, then the same admiration of the form arises, which will subsequently happen with "17 Moments of Spring". Beautiful, graphic combination of black and white, alluring aesthetics of evil and so on. And Plokhish, who taxis to the palace stairs in a beautiful suit, received in exchange for a village mantle with always falling pants. Typical for Soviet cinema about the war - tattered, barefoot people against beautifully marching columns.

Mikhail Yurjevich Lermontov

(1814–1841)

Poem "Song about Tsar Ivan Vasilyevich,

young oprichnik and daring merchant Kalashnikov" (1837)

Composition and plot

Heroes

Paramonovich Kalashnikov	"stately fellow" who lives according to the law of God: “And I was born from an honest father, / And I lived according to the law of the Lord ... ". Like a Russian hero, he is ready to fight in an open, equal battle. For him, honor and "holy truth-mother" are dearer than life. Kalashnikov does not want to save his life with a lie. Ivan Vasilyevich appreciates this. To the question of the tsar, “by free will or reluctantly” he killed the guardsman, the merchant fearlessly answers: "I killed him at will." He does not explain the reasons, not wanting to dishonor his wife. Saying goodbye to his brothers, Kalashnikov thinks about his family: “Bow from me to Alena Dmitrevna, Tell her to be less sad Don't tell my kids about me." And after death, good people do not forget his grave: "The old man will pass- cross yourself, Well done- pose; The girl will pass- get upset And the goons will pass- sing a song."
Oprichnik Kiribeevich	« A daring fighter, a violent fellow". He is able to love, but he does not live according to moral and spiritual laws. Kiribeevich belongs to the Skuratov family. The name of Malyuta Skuratov, henchman of Ivan the Terrible, went down in history, it terrified the people. Oprichniki - close associates of the king, subordinate only to him. They were ruthless and carried on with impunity.
Tsar Ivan Vasilevich	Dual image. The king is both a cruel, self-willed tyrant and a caring ruler-father. Ivan the Terrible gives his oprichnik a "ring yakhontovy” and “pearl necklace”, promises to take care of the Kalashnikov family: "Young wife and your orphans from my treasury I will please I command your brothers from this very day throughout the Russian kingdom wide Trade without knowing, duty-free. But the king lives according to his own laws, does not keep his word (“ Whoever beats whom, the king will reward him; / And whoever is beaten, God will forgive him"). He allows his oprichniks to act outrageously, and orders the winner in a fair fight to be publicly executed.

Conflict in the poem

Folklore elements in the poem

Permanent	good fellow, the earth is damp, the field is clean
Permanent comparisons	“Walks smoothly - like a swan; Looks sweet - like a dove; He says a word - the nightingale sings ... "
Negative parallelism	"The red sun does not shine in the sky, Blue clouds do not admire them: Then at the meal he sits in a golden crown, The formidable Tsar Ivan Vasilyevich is sitting.
Hyperbolas	“Here the king hit the ground with a stick, And an oak floor half a quarter He struck with an iron tip ... "
Avatars	“The scarlet dawn rises; She swept her golden curls, Washed by crumbly snows, Like a beauty looking in the mirror Looks at the clear sky, smiles
colloquial	vovo, kiss, honest father
on the - teach, -yuchi	playful, singing, feasting
Double titles	sharpen, sharpen, dress, dress up, buzzes-howls
Traditional appeals	"You are our sovereign, Ivan Vasilyevich!", "You are my lord, Stepan Paramonovich..."
	“The horses have grown cold to me, Brocade outfits are disgusted ... "
Beginning of lines with "I", "Ay", "Yes", "Gay"	"Hey you, our faithful servant, Kiribeevich ...", “Ay, guys, sing - just build a harp!”
Syntactic parallelism	“The kite will peck out my tearful eyes, The rain will wash my orphan bones ... "
Inversions	“In the family she was born a merchant ...”
Tiebacks	"In the church of God remarried, Married to a young merchant"
magical	“Three times a loud cry was called ...”

Silently, they both part,

The heroic battle begins.

Then Kiribeevich swung

And hit the first merchant Kalashnikov,

And hit him in the middle of the chest -

Chest of youth cracked,

A copper cross hung on his broad chest.

With holy relics from Kyiv, -

And the cross bent and pressed into the chest;

Like dew, blood dripped from under him;

And Stepan Paramonovich thought:

"What is destined to be, it will come true;

I will stand for the truth until the last day!"

He contrived, prepared,

Gathered with all my strength

And hit your hater

Directly to the left temple from the entire shoulder.

And the young oprichnik groaned lightly,

Rocked, dropped dead;

He fell on the cold snow

On the cold snow, like a pine,

Like a pine in a damp forest

Hemmed under the resinous root,

And, seeing that, Tsar Ivan Vasilyevich

Angry with anger, stomped on the ground

And he frowned his black brows;

He commanded to seize the daring merchant

And bring him before your face.

As the Orthodox Tsar said:

"Answer me truthfully, honestly,

Wave of will or reluctance

You killed my faithful servant,

Movo of the best fighter Kiribeevich?

"I'll tell you, Orthodox Tsar:

I killed him at will,

And for what, about what - I will not tell you,

I will only tell God.

Order me to be executed - and carry on the chopping block

I blame the little head;

Do not leave only small children,

Don't leave the young widow

Yes, my two brothers by your grace ... "

IN 1. The duel between Kiribeevich and Kalashnikov is decisive in the plot of the poem. What is the term for the moment of highest tension?

IN 2. With the traditions of what folklore genre is the depiction of a duel as a battle of heroes associated?

IN 3. What is the name of the form of communication between characters based on the exchange of remarks and used in this fragment?

AT 4. What figurative and expressive means, which is an assimilation of one phenomenon to another (for example, “like dew ... dripped blood”, “fell down on cold snow ... like a pine tree”) did the author use?

AT 5. What is the name of the repetition of cognate words justified by expressive purposes in a phrase or in the same sentence (for example, “angry with anger”, “free will”)?

AT 6. What is the name of the stylistic device, which consists in repeating the initial elements of adjacent lines (for example, “and hit the merchant Kalashnikov for the first time, / And hit him in the middle of the chest”)?

C1. Why does Kalashnikov, recognizing that the murder of Kiribeevich was completely deliberate by him, refuses to the tsar his reason?

C2. In what works of Russian literature of the 19th century is the theme of the defense of honor one of the main ones, and what are the similarities and differences in its interpretation with the poem?

OPTIONS OF TASKS С1.

A) What caused the duel between Kiribeevich and Kalashnikov?

B) Why is the death of Kiribeevich, who was initially guilty before Kalashnikov, described in the poem with sympathy and even pity. To the oprichnik?

C) What was the expression of the royal “mercy”, which Ivan Vasilyevich Kalashnikov asked for?

OPTIONS OF TASKS С2.

A) In what works of Russian literature do the authors turn to folklore images, motifs, artistic techniques, and what are the similarities and differences in their use with?

B) In what works of Russian literature do real historical figures enter into the system of characters and how is their participation in the fate of the fictional heroes of the work manifested?

IN 1. climax

IN 2. Bylina

IN 3. Dialog

AT 4. Comparison

AT 5. Tautology

AT 6. Anaphora

Over the great Moscow, golden-domed,
Above the wall of the Kremlin white stone
Because of the distant forests, because of the blue mountains,
Effortlessly on boarded roofs,
Gray clouds are dispersing,
The scarlet dawn rises;
She swept her golden curls,
Washed by crumbly snows,
Like a beauty looking in the mirror
The sky looks clean, smiles.

How did they get together
Removed Moscow fighters
To the Moscow River, to a fistfight,
Take a walk for the holiday, have fun.
And the king came with his retinue,
With boyars and guardsmen,
And ordered to stretch the silver chain,
Soldered with pure gold in rings.
They cordoned off a place of twenty-five sazhens,
For hunting combat, single.
And then Tsar Ivan Vasilyevich ordered
Call to click in a ringing voice:
"Oh, where are you, good fellows?
You amuse the king of our father!
Come out into a wide circle;
Whoever beats whom, the king will reward him;
And whoever is beaten, God will forgive him!"

And the daring Kiribeevich comes out,
The king bows silently from the waist,
Throws off a velvet coat from mighty shoulders,
Leaning to the side with your right hand,
Adjusts another scarlet hat,
He is waiting for his opponent...
Three times a loud cry was called -
Not a single fighter moved,
They just stand and push each other.

In the open, the oprichnik paces,
He makes fun of bad fighters:
"Calm down, I suppose, thoughtful!
So be it, I promise, for the holiday,
I will release the living with repentance,
I will only amuse our tsar father."

Suddenly the crowd dispersed in both directions -
And Stepan Paramonovich comes out,
A young merchant, a daring fighter,
Nicknamed Kalashnikov.
He bowed first to the terrible king,
After the white Kremlin and the holy churches,
And then to all the Russian people,
His falcon eyes are burning,
He looks at the oprichnik intently.
Opposite him, he becomes
Pulls on combat gloves
Mighty shoulders straightens

Yes, he strokes his curly head.

(“A song about Tsar Ivan Vasilievich, a young guardsman and a daring merchant Kalashnikov”)

IN 1. What Russian tsar, famous for the introduction of the oprichnina, was portrayed by the poet in the “Song about ... the merchant Kalashnikov”?

IN 2. Define the genre "Songs about ... the merchant Kalashnikov"?

IN 3. What artistic technique, based on the humanization of natural phenomena, does the author use when describing the “scarlet dawn”?

AT 4. What term denotes a means of artistic expression, which is a stable figurative definition characteristic of works of oral folk art (“golden curls”, “clear skies”, “good fellows”, “mighty shoulders”, “daring fighter”)?

AT 5. What are the names of the words that the characters use in their speech: “come out”, “I suppose”, “I promise”, etc.?

Why did you, scarlet dawn, wake up?
What joy did you play?

AT 7. The song about ... the merchant Kalashnikov "is written in unrhymed verse. What is this type of verse called?

C1. Do you agree with the opinion that the fist fight between Kiribeevich and Kalashnikov is the personification of the struggle between the permissiveness of the "state" law and the moral "private" person?

C2. In what works of Russian poets and writers of the XIX century. do the heroes resolve the conflict situation with a duel?

IN 1. Ivan the Terrible

IN 3. personification

AT 4. Permanent epithet

AT 5. vernacular

AT 6. Rhetorical question