Essay on “the image of Yaroslavna in the Tale of Igor’s Campaign.” “Yaroslavna’s Lament” from “The Tale of Igor’s Campaign”: analysis Other tropes and stylistic figures present in the text

1.1.1. Who is Yaroslavna? Who does she personify in “The Tale of Igor’s Campaign”?

The image of Yaroslavna is the first female image in ancient Russian literature. He united in himself the grief and courage of all Russian wives, mothers, daughters of the Russian land.

Yaroslavna is the patronymic of Prince Igor's wife Efrosinya Yaroslavna, daughter of Yaroslav of Galicia, one of the most powerful Russian princes.

In “The Tale of Igor’s Campaign,” she personifies all Russian wives grieving for their husbands. Her “crying” speaks eloquently about this.

1.1.2. What role does the word “cuckoo” play in the text of “The Tale of Igor’s Campaign”: “..., the unknown cuckoo crows early. “I’ll fly,” he says, “like a cuckoo along the Danube...”

In oral folk poetry, the word cuckoo meant a lonely woman without a family. The cuckoo's cuckooing was popularly associated with the prophecy of long life. Calling herself a cuckoo, Yaroslavna expresses her bitterness at separation from her beloved husband. Yaroslavny calls himself an “unknown cuckoo,” emphasizing his loneliness.

1.1.3. What means of artistic expression does the author use in “Yaroslavna’s Lament”?

Yaroslavna's lament is very close to folklore. It uses constant epithets “the bright, bright sun”, metaphors “it dried up their torment”, “it secured their quivers in grief”. Yaroslavna turns to the forces of nature: to the sun, wind, to water (Dnieper). Rhetorical appeals are accompanied by interjections and exclamations: “Oh wind, sail!”, “Bright and bright sun!”, “Oh Dnieper Slovutich!”.

Yaroslavna’s lament uses threefold repetition (“Yaroslavna has been crying on the wall of Putivl since the morning, wailing...”), which makes it similar to works of oral folk art.

In Yaroslavna’s speech, high-style words are used: “lord”, “lord”, “cherished”. She calls her husband the word “lada,” which in folk poetry meant “beloved.”

1.1.4. What role does Yaroslavna’s crying play in the text of “The Tale of Igor’s Campaign”?

Yaroslavna personifies in “The Tale of Igor’s Campaign” all Russian wives whose share was the bitter fate of mourning their husbands who found untimely death on the battlefield. however, in this work she hopes to return her beloved. That’s why he turns with hope to all the forces of nature. In addition, Yaroslavna begs the forces of nature to protect not only her husband, but also his warriors:“Why do you throw Khin’s arrows on your light wings at the warriors of my fret?”

The strength of her love, the strength of her civic feeling wins - and a miracle happens: Prince Igor returns from captivity.

Yaroslavna's cry can be seen as a protest against war, destruction and sacrifice.

1.1.5. Compare the translation of “The Tale of Igor’s Campaign” by N. Zabolotsky and the literal translation given above. What do these translations have in common? How does poetic translation differ from literal translation?

Both the literal translation of Yaroslavna’s lament and the poetic translation of N. Zabolotsky are based on folk poetry. These works use the same images of the wind, the sun and the Dnieper; the appeals to these forces of nature are very close:

“Oh wind, sail! Why, sir, do you blow so hard? Why do you throw Khin’s arrows on your light wings at the warriors of my fret?” (literal translation)

Why are you, wind, whining viciously?

Why are the fogs swirling by the river,

You raise Polovtsian arrows,

Are you throwing them into Russian regiments? (N. Zabolotsky)

Rhetorical questions also bring these passages together.

In a literal translation, the arrows are called “Khinovsky”, and in a poetic translation - “Polovtsian”. This is the same name, only in a literal translation it is written in Old Russian, and in Zabolotsky it is in Russian.

However, there are also differences between these works. In N. Zabolotsky’s text the picture is much broader than that presented by the literal translation.

In a literal translation, we learn that Yaroslavna “has been crying since the morning. And N. Zabolotsky expands this picture: “Only the dawn will break in the morning.”

The literal translation does not give characteristics of Yaroslavna, and N. Zabolotsky uses the epithets: “Yaroslavna, full of sadness...” and “Yaroslavna young.” So you can see. that the poetic translation is more lyrical, it openly expresses the author’s attitude towards the heroine.

1. Read the transcriptions of Yaroslavna’s lament by V. I. Stelletsky and I. I. Kozlov. How are these texts different and what do they have in common?

Both are poetic translations of “The Tale of Igor’s Campaign.” The authors treat the text of the work with respect, strive to convey the character of Yaroslavna, her love for her husband, to see in her crying an expression of the generalized grief of Russian women in difficult times of trials for the country.

At the same time, it should be noted that the transcription of the scientist V. I. Stelletsky is closer than the poetic translation of I. I. Kozlov to the test of the ancient Russian monument while preserving its inherent rhythm. It is interesting to know that it was Stelletsky who defended his doctoral dissertation on the problems of rhythm in “The Tale of Igor’s Campaign” in 1978. I. I. Kozlov’s translation can be considered free, and it most reflected the poet’s emotional and personal perception of Yaroslavna’s crying. He introduces the Old Russian text into his poetic system. So, for example, Stelletsky, following the monument, turns Yaroslavna’s words to the Dnieper Slovutich, the master: “Follow me well, my master, so as not to send me tears to him at sea early!” In Kozlov’s text she addresses herself simply as “My glorious Dnieper”; the address to him becomes more detailed:

“Oh river! give me a friend - Cherish him on the waves, So that the sad friend will hug him quickly; So that I no longer see Prophetic horrors in my dreams, So that I don’t send tears to him By the Blue Sea at dawn.”

The arrangement was made in accordance with the rules of versification adopted in the first half of the 19th century. Kozlov’s arrangement deepens the love-personality principle. It is noteworthy that it is dedicated to Princess Z. Volkonskaya, poetess, hostess of the musical and literary salon of the times of A. Pushkin.

2. What image did the poets strive to create?

Both sought to create the image of a faithful, loving wife, which collectively reflected the best features of the appearance of a Russian woman. The image of Yaroslavna is close to the beautiful female images of Russian folklore.

3. Find in Yaroslavna’s lament features characteristic of folk poetry. Compare the text of “The Lay…” and its literary adaptations. Explain the meaning of folklore symbols that appear in Yaroslavna’s words.

First of all, this is an appeal to the forces of nature for help. The main forces, as in folk art, are the river (sea), the sun, and the wind. These are traditional folklore symbols. A person, turning to them, gives, as a rule, praise. Yaroslavna does the same. The very type of crying (lamentation) comes from folk art. Since the lament was performed in connection with tragic events in life, it has a very strong lyrical element. Both in “The Lay...” and in both appendices, Yaroslavna’s cry is deeply lyrical. As in the entire text of “The Tale of Igor’s Campaign,” the heroine’s speech widely uses oral and poetic epithets, metaphors, comparisons, and personifications. Both poets convey folklore vocabulary in their adaptations. However, there are certain differences in how we address it. Thus, Stelletsky, strictly following the words of the Old Russian text, uses a direct comparison of Yaroslavna with a cuckoo, and Kozlov uses a negative comparison.

It’s not a cuckoo in a dark grove Cuckooing early at dawn - Yaroslavna is crying in Putivl Alone on the city wall...

Yaroslavna herself also does not associate herself specifically with the cuckoo; her cry includes elements of romantic style (Kozlov was a romantic poet): Material from the site

“I will leave the pine forest, I will fly along the Danube, and in the beaver river Kayal I will wet my sleeve; I will rush to my native camp, Where the bloody battle was in full swing, I will wash the prince’s wound On his young chest.”
4. Why does Yaroslavna turn to different forces of nature three times?

This is a traditional technique of Russian folklore, often found in folk tales, songs, lamentations, and spells. In works of oral folk art, a positive hero, after turning to natural or magical forces three times, received help in the most difficult life situations. Yaro-Slavna receives the same help, speaking here on behalf of all the women of the Russian land - the forces of nature help Prince Igor to free himself from captivity.

Over the wide bank of the Danube,
Above the great Galician land
Crying, flying from Putivl,
Young Yaroslavna's voice:

“I, poor thing, will turn into a cuckoo,
I'll fly along the Danube River
And a sleeve with a beaver trim
I bend down and soak in Kayal.
The fogs will fly away,
Prince Igor will open his eyes slightly,
And I will morning the bloody wounds,
Leaning over the mighty body.”

Only the dawn will break in the morning,
Yaroslavna, full of sadness,
Like a cuckoo, it calls to Yura:

“What are you, Wind, telling viciously,
Why are the fogs swirling by the river,
You raise the Polovtsian arrows,
Are you throwing them into Russian regiments?
What don't you like in the open air?
Fly high under the cloud,
Ships to cherish in the blue sea,
Will the waves sway behind the stern?
You, sowing enemy arrows,
Only death blows from above.
Oh, why, why my fun
Are you scattered in the feather grass forever?”

At dawn in Putivl, wailing,
Like a cuckoo in early spring,
The young Yaroslavna calls,
On the wall is a sobbing city:

“My glorious Dnieper! Stone Mountains
You broke through in the Polovtsian lands,
Svyatoslav to distant expanses
I wore Kobyakovs to the regiments.
Cherish the prince, sir,
Save it on the far side
So that I can forget my tears from now on,
May he return to me alive!”

Far away in Putivl, on the visor,
Only the dawn will break in the morning,
Yaroslavna, full of sadness,
Like a cuckoo calling to the Yura:

“The sun is three times bright! With you
Everyone is welcome and warm.
Why are you a daring army of the prince?
Did you burn with hot rays?
And why are you waterless in the desert?
Under the attack of the formidable Polovtsians
Thirst has drawn down the marching bow,
Has your quiver overflowed with grief?

And the sea leapt up. Through the fog
The whirlwind rushed to the native north -
The Lord Himself from the Polovtsian countries
The prince points the way to the house.

Cry Yaroslavny - the most poetic part text. This work within a work. He has semantic completeness and artistic perfection. Yaroslavna mourns her husband who is in trouble. She is ready to fly around the expanses of the Russian and Polovtsian lands like a cuckoo in search of him, but, realizing the futility of her thoughts, refers not to deities, but to the most powerful forces of nature, close and understandable to her: wind, water, sun. She not only mourns her husband, but hopes to return him from captivity with the help of powerful natural forces: Winds of Vetril, Dnieper Slavutych, bright sun. These natural forces personalized (Personification- representation of natural phenomena and forces, objects, abstract concepts in the image of characters). Therefore, Yaroslavna’s cry - this is both a conspiracy and a spell. She speaks with praise, conjures them. This complex triune genre formation: crying, conspiracy, prayer. In Yaroslavna's addresses there is gradation, increase, intensification of action, effect. First, she intends to fly “zegsitz” to her “lada” without anyone’s help. Then she turns with a reproach and request to the wind, then to the Dnieper and, finally, to the most powerful force - the sun. Their capabilities are presented in increasing order. Her prayer reinforced by unity of command (anaphora) phrases:

Why, sir, are you blowing towards me?

Why are you throwing aspen arrows?

Why, sir, did you scatter my joy through the feather grass?

She turns to the sun even more emotionally. For him she finds the brightest epithets : "bright and bright sun." And now she asks not only for her husband, but also for the entire squad, so that it “does not extend its hot rays to the warriors” of her dear one. A capacious metaphorical question the crying ends. With a convincing request, she expresses her sad attitude towards the events and at the same time humbly and demandingly calls for help. Yaroslavna begged for help and with a word influenced fate - Igor escaped from captivity.

The image of Yaroslavna is perceived as symbol female fidelity, warrior's wife. IN monologue Yaroslavna's wealth and strength of her inner world are revealed, her fearlessness and courage: she stands on equal terms with the powerful forces of nature; she is ready to courageously share with her husband all the hardships and hardships of a military campaign. Limitless and her mercy: With her presence, Yaroslavna wants to ease the suffering of the wounded and captive Igor. Every word is filled with tenderness and love. monologue.

Svyatoslav's dream.

Svyatoslav dreams dream. He perceives it as omen. The Grand Duke of Kiev gathers the boyars to interpret this dream. The boyars answer him that the main meaning of the dream is that the two sons of Svyatoslav with a small army, going to the Polovtsians, failed.

Thanks to this interpretation, Svyatoslav comes to the idea that the Polovtsians can only be defeated by common forces. He expresses this thought in the “golden word”. It contains an appeal to all princes in Rus' to unite their forces.

“This night they dress me in the evening,” he says.

black blanket

on a yew bed;

draw me blue wine,

mixed with grief;

they pour filthy foreigners from empty quivers at me

large pearls on the chest

and caress me..."

... And then the great Svyatoslav
Dropped his own golden word,
Mixed with tears, saying:
“O sons, I did not expect such evil!
You have wasted your youth,
The enemy was attacked at the wrong time,
Not with great honor in battle
The enemy's blood was shed on the ground.
Your heart is in forged armor
Tempered in self-inflicted violence.
What have you children done to me?
And my silver gray hairs?

…. Stand up, sirs, in the golden stirrup
For offense on this black day,
For the Russian land,
For Igor's wounds -
The daring son of Svyatoslavich!

He calls on the princes to stand up for the “Russian land,” to avenge “Igor’s wounds,” and to stop civil strife. Svyatoslav’s “Golden Word” occupies a central place in the work. By this, the author emphasizes his commitment to the unifying idea.

Prince Igor.

Courage and a sense of duty collided in Igor’s character with his short-sightedness, love for his homeland with the lack of a clear idea of ​​the need for unity and joint struggle. Igor acted with exceptional courage during the campaign, but he could not give up the desire for personal glory, and this led him to a defeat that the Russians had not yet known. For the first time in the history of the fight against the Polovtsians, the Russian princes - Igor and his brother Vsevolod - were captured. For the first time, the Russian army suffered such a terrible defeat.

The image of Igor in “The Tale of Igor’s Campaign” is completely devoid of any idealization.

On the one hand, the author creates an image epic hero, for whom the main thing is military honor and knightly dignity; he glorifies his bravery and courage and makes readers feel love and compassion for his hero. On the other hand, the prince is a man of his time. The attractive qualities of his personality conflict with his recklessness and selfishness, since the prince cares about his honor more than the honor of his homeland. That is why, despite the apparent personal sympathy for Prince Igor, the author still emphasizes not the individual, but the general in the hero, which makes him similar to other princes like him, whose pride and short-sightedness led to internecine struggle, discord and, ultimately, the loss of unity Russia as a state.

Relevance.

The work “The Tale of Igor’s Campaign” is not just a story or an epic, it is our history, our roots.
Rus' is spacious, long-suffering, contradictory and rebellious... Young princes who thoughtlessly put Russian soldiers on the battlefield. Civil strife, the heroism of ordinary people, understanding their mistakes are relevant for our days. Other events are happening, but the mistakes of our people are the same.

But no matter how difficult our road is, no matter what obstacles arise on the path of our people, the Russian people will still win. “The Tale of Igor’s Campaign” breathes with this hope; Rus' always lives with this hope. And as history shows, hopes always come true.

It is very important that the work “The Lay of Igor’s Campaign” has reached our time, not even from the point of view of covering the events that took place, but from the point of view of art, poetry, because only in song, poetry, music can one understand and feel the human soul. And the Russian soul itself is like a work of art, and there is nothing more mysterious and beautiful.

It predicted the further historical development of Russia in the subsequent era. The unity of the Russian lands is the core on which the entire history of Russia rests. We know many bloody wars, the purpose of which was the unification of Russian lands, first under the leadership of Kyiv, and then Moscow.

Now the state, which has been taking shape for centuries, has been split, as a result of which past joint victories are forgotten and the possibility of fraternal cooperation is lost.

Heroes of "The Word"

Poetic features

Mini-essays.

Yaroslavna's lament is considered one of the most poetic motifs of the Lay. On the city visor, on the wall, in Putivl (not far from Kursk) Yaroslavna cries early: she turns to the wind, to the Dnieper-Slovutich, to the bright, triple sun. The wind has scattered her joy along the feather grass, the Dnieper can only carry her tears to the sea, and the sun in the waterless field has drawn the Russians' bows with thirst (they are powerless to draw a bow), and with grief has plugged their guns with arrows.

Igor's escape from captivity

In response to Yaroslavna’s cry, the forces of nature seem to help Igor escape from captivity. Igor waits for the conditional whistle of a faithful man who is waiting for him with a horse across the river, and then leaves across the steppe, hiding and hunting for food, crossing the streams of the Donets.

The author of “The Lay” recalls a song about the untimely death of the young man Prince Rostislav, brother of Vladimir Monomakh (an event that happened 100 years before Igor’s campaign). The young man drowned in the cursed river. And the Donets River helped Igor. The Polovtsian khans Gzak and Konchak follow Igor’s trail and reconcile with Igor’s flight. The author of “The Tale of Igor’s Campaign” quickly transfers his hero from the steppes to Kyiv, to the delight of the city-countries. “Igor travels along Borichev to the Holy Mother of God Pirogoshchaya (a temple located in Kyiv on Podil).” The Tale of Igor's Campaign ends with a final word to the princes, perhaps still prisoners, and to the fallen squad. Composition “words...”

Having determined the chronological range of his narration (“from old Vladimer to present-day Igor”), the author talks about Igor’s daring plan to “send” his regiments to the Polovtsian land, “to drink the helmet of the Don.” He seems to be “trying on” Boyan’s poetic manner to his theme (“It wasn’t the storm that carried the falcons across the wide fields - the Galician herds ran to the Don the Great” or: “Komoni neighs beyond Sula - glory rings in Kiev”).

The author depicts the meeting of Igor and Bui Tur Vsevolod in joyful tones, and enthusiastically characterizes the daring “kmetey” (warriors) of Kursk. The contrast is all the more sharp with the subsequent story about the formidable signs that marked the beginning of Igor’s campaign and which foreshadowed his tragic outcome: this is a solar eclipse, and unusual ominous sounds in the silence of the night (“the night will wake up the birds moaning like a thunderstorm to him”), and the alarming behavior of animals, and “click” Diva. And although the first victory is further described, which brought rich trophies to the Russian princes, the author again returns to the theme of menacing omens of the coming defeat (“bloody dawns will tell the light, black clouds are coming from the sea...”).

The story about the second battle, fatal for Igor, is interrupted by the author's digression - a memory of the times of Oleg Svyatoslavich. This historical excursion raises a topic to which the author of “The Lay” will return more than once - the topic of disastrous civil strife, because of which the prosperity of all Russians is perishing (“Dazhdbozh’s grandson”). But those bloody battles of past times cannot be compared with Igor’s battle against the Polovtsian regiments that surrounded him: “from early until the evening, from evening until light, red-hot arrows fly, sabers grit on helmets...”. And although the battle takes place in the distant Polovtsian steppe - “in an unknown field”, the consequences of Igor’s defeat will affect Rus' - “a heavy (grief) sigh across the Russian land.” Nature itself mourns Igor’s defeat: “the grass was stricken with pity, and the tree bowed down to the ground.”

And again, leaving the story about Igor for a while, the author of the Lay talks about the troubles of the entire Russian land, says that the Russian princes themselves are to blame for them, who began to commit sedition on themselves. Only in the unification of all Russian forces against the nomads is the guarantee of victory, and an example of this is the defeat that Svyatoslav of Kiev inflicted on the Polovtsians, when the Polovtsian Khan Kobyak was captured and “fell” “in the grid of Svyatoslavli.”

Further in the “Word” the prophetic dream of Svyatoslav is narrated, predicting grief and death for him. The boyars interpret the dream: bad omens have already come true, “two suns of darkness” - Igor and Vsevolod were defeated and captured. Svyatoslav addresses his “sons” with a “golden word mixed with tears”; he reproaches them for their ill-advised search for glory, for their untimely campaign, and complains about the prince’s “lack of help.”

The author of the Lay, as if continuing the thought of Svyatoslav, addresses the most influential of the Russian princes, glorifies their valor and power, calls for intercession “for the insult of this time,” “for Igor’s wounds.” But the time of glorious victories for many of them is already in the past, and the reason for this is internecine wars and “sedition.” “Bow your banners (or in other words: do not raise your banners when preparing to go on a campaign), hide your dull swords, since you have already lost the glory of your grandfathers,” - this appeal ends with this appeal to the Russian princes. And just as the author previously recalled the times of Oleg Svyatoslavich, now he turns to the time of another equally warlike prince - Vseslav of Polotsk. He also did not achieve victory, despite temporary successes (“combing” the gold of the Kyiv table, “opening the gates of Novugrad”, “destroying the glory of Yaroslav”) and even some supernatural qualities (he is capable of rapid movement, he has “a thing of soul ").

Then the Slovo again turns to the fate of Igor. In Putivl, Yaroslavna prays to the forces of nature to help her husband and rescue him from captivity. It is characteristic that in this lyrical lament, modeled on folk lamentation, the social motives characteristic of the entire monument are heard: Yaroslavna cares not only about her husband, but also about his “howls”; she remembers the glorious campaigns of Svyatoslav of Kyiv against Khan Kobyak. Yaroslavna's cry is closely connected with the subsequent story about Igor's escape from captivity. Nature helps Igor: the Donets River talks with the prince in a friendly manner, crows, jackdaws and magpies fall silent so as not to reveal to their pursuers the whereabouts of the fugitives, woodpeckers show them the way, and nightingales delight them with songs.

The dispute between the khans Konchak and Gza about what to do with Igor’s captive son Vladimir is continued by this story, rich in symbols taken from the world of living nature, about the flight of the prince: Igor flies as a “falcon” to his homeland, and the khans decide the fate of the “falcon”. It is noteworthy that here, as in other places of the monument, two types of metaphors are combined - military symbols (“falcon” is a daring warrior) and folklore symbols, in this case going back to the symbolism of wedding songs, where the groom is a “falcon” and the bride - “red girl”, “swan”.

The author of the Lay constantly “weaves together the glory of both sexes of this time,” that is, when speaking about the present, he recalls the past, looks for instructive examples there, and looks for analogies. He remembers either Vladimir Monomakh, then Oleg Svyatoslavich, or Vseslav of Polotsk. In this same row, apparently, there is a phrase, the meaning of which still causes controversy: “The rivers of Boyan and Khodyna of Svyatoslavl, the songwriter of the old days of Yaroslavl: “Olgova Koganya want! It’s hard on your head except your shoulder, it’s hard on your body except on your head,” “Russian land without Igor.” Researchers changed the spelling of the first edition, which read: “The river Boyan and the passages to Svyatoslavl, the pestmaker of the old time of Yaroslavl...”, believing that two singers were named here - Boyan and Khodyna. Then this phrase can be translated as follows: “Said Boyan and Khodyna Svyatoslavov, the song creators of Yaroslav’s old time: “Oleg Kogan’s wife!..” The grammatical justification for this conjecture (first proposed back in the 19th century by I. Zabelin) has recently received indirect confirmation from the historical cultural nature. There is every reason to believe that Boyan was a singer of the skaldic type (we are not talking about his nationality, but about his artistic style; the presence of Norwegian skalds (singer-poets) at Yaroslav’s court is a historical fact). And for singers of the skaldic type, it was typical to perform songs or sagas together: one singer finishes the phrase begun by the other. If the above interpretation of the phrase is correct and here we have two singers - Boyan and Khodyna, then this is another example when the author of “The Lay” is looking for analogies in the past, recalling some kind of “chorus” of Boyan and Khodyna, addressed (as V. N. Peretz and A.V. Solovyov) to the wife of Prince Oleg Svyatoslavich.

The epilogue of the Lay is festive and solemn: Igor, who has returned to Rus', comes to Kyiv, to the great Svyatoslav; “Countries are happy, the city is happy.” The Lay ends with a toast in honor of the prince.

Option 1

"The Tale of Igor's Campaign"

Yaroslavna's lament

1.1.1. Who is Yaroslavna? Who does she personify in “The Tale of Igor’s Campaign”?

The image of Yaroslavna is the first female image in ancient Russian literature. He united in himself the grief and courage of all Russian wives, mothers, daughters of the Russian land.

Yaroslavna is the patronymic of Prince Igor's wife Efrosinya Yaroslavna, daughter of Yaroslav of Galicia, one of the most powerful Russian princes.

In “The Tale of Igor’s Campaign,” she personifies all Russian wives grieving for their husbands. Her “crying” speaks eloquently about this.

1.1.2. What role does the word “cuckoo” play in the text of “The Tale of Igor’s Campaign”: “..., the unknown cuckoo crows early. “I’ll fly,” he says, “like a cuckoo along the Danube...”

In oral folk poetry, the word cuckoo meant a lonely woman without a family. The cuckoo's cuckooing was popularly associated with the prophecy of long life. Calling herself a cuckoo, Yaroslavna expresses her bitterness at separation from her beloved husband. Yaroslavny calls himself an “unknown cuckoo,” emphasizing his loneliness.

1.1.3. What means of artistic expression does the author use in “Yaroslavna’s Lament”?

Yaroslavna's lament is very close to folklore. It uses constant epithets “the bright, bright sun”, metaphors “it dried up their torment”, “it secured their quivers in grief”. Yaroslavna turns to the forces of nature: to the sun, wind, to water (Dnieper). Rhetorical appeals are accompanied by interjections and exclamations: “Oh wind, sail!”, “Bright and bright sun!”, “Oh Dnieper Slovutich!”.

Yaroslavna’s lament uses threefold repetition (“Yaroslavna has been crying on the wall of Putivl since the morning, wailing...”), which makes it similar to works of oral folk art.

In Yaroslavna’s speech, high-style words are used: “lord”, “lord”, “cherished”. She calls her husband the word “lada,” which in folk poetry meant “beloved.”

1.1.4. What role does Yaroslavna’s crying play in the text of “The Tale of Igor’s Campaign”?

Yaroslavna personifies in “The Tale of Igor’s Campaign” all Russian wives whose share was the bitter fate of mourning their husbands who found untimely death on the battlefield. however, in this work she hopes to return her beloved. That’s why he turns with hope to all the forces of nature. In addition, Yaroslavna begs the forces of nature to protect not only her husband, but also his warriors:“Why do you throw Khin’s arrows on your light wings at the warriors of my fret?”

The strength of her love, the strength of her civic feeling wins - and a miracle happens: Prince Igor returns from captivity.

Yaroslavna's cry can be seen as a protest against war, destruction and sacrifice.

1.1.5. Compare the translation of “The Tale of Igor’s Campaign” by N. Zabolotsky and the literal translation given above. What do these translations have in common? How does poetic translation differ from literal translation?

Both the literal translation of Yaroslavna’s lament and the poetic translation of N. Zabolotsky are based on folk poetry. These works use the same images of the wind, the sun and the Dnieper; the appeals to these forces of nature are very close:

“Oh wind, sail! Why, sir, do you blow so hard? Why do you throw Khin’s arrows on your light wings at the warriors of my fret?” (literal translation)

Why are you, wind, whining viciously?

Why are the fogs swirling by the river,

You raise Polovtsian arrows,

Are you throwing them into Russian regiments? (N. Zabolotsky)

Rhetorical questions also bring these passages together.

In a literal translation, the arrows are called “Khinovsky”, and in a poetic translation - “Polovtsian”. This is the same name, only in a literal translation it is written in Old Russian, and in Zabolotsky - in Russian.

However, there are also differences between these works. In N. Zabolotsky’s text the picture is much broader than that presented by the literal translation.

In a literal translation, we learn that Yaroslavna “has been crying since the morning. And N. Zabolotsky expands this picture: “Only the dawn will break in the morning.”

The literal translation does not give characteristics of Yaroslavna, and N. Zabolotsky uses the epithets: “Yaroslavna, full of sadness ...” and “Young Yaroslavna.” So you can see. that the poetic translation is more lyrical, it openly expresses the author’s attitude towards the heroine.

Option 2

“Ode on the day of Elizabeth Petrovna’s accession to the All-Russian throne, 1747”

1.2.1. What are the characteristic features of ode as a genre using this fragment as an example?

Ode is an enthusiastic poem in honor of a significant event or historical person. “Ode on the Day of the Accession...1847” belongs to the high style. It uses words from book vocabulary, Old Slavonicisms: joy, dare, gold, enjoy. Old Church Slavonicisms help to feel the solemn style of the poem, a sense of pride in one’s homeland.

1.2.2. What dignity does the empress emphasize?

admires the beauty of Elizaveta Petrovna:

Her Zephyr's soul is quieter

And the vision is more pleasant than Paradise.

Lomonosov shows not only the beauty, but also the generosity of Elizaveta Petrovna: “... your generosity encourages Our spirit and directs us to run...” Lomonosov notes her desire for peace. She “put an end to the war.”

And yet, the author calls the main advantage of the Empress the desire to see the Russian people happy:

I Rossov enjoy happiness,

I don’t change their calmness,

The whole west and east."

1.2.3. What themes are reflected in this ode?

The ode reflected various themes. First of all, this is the theme of the Motherland. The poet speaks about the glorious past of Russia, about the merits of PeterI, who “I trampled upon Russia with rudeness, raised myself to the skies.”

The theme of science is also reflected in the ode. Lomonosov writes:

…Here in the world to expand science

Elizabeth did so.

At the end of the ode we find a Hymn to Science and parting words to the younger generation:

O blessed are your days!

Be encouraged now...

1.2.4. What means of artistic expression does the author use in the lines:

Kings and kingdoms of the earth are a delight,

Beloved silence...

For what purpose does Lomonosov use this remedy?

At the very beginning of the ode, he uses a periphrasis - a trope, which consists of replacing the name of a person, object or phenomenon with a description of their essential features or an indication of their characteristic features:

Kings and kingdoms of the earth are a delight,

Beloved silence...

What could be more desirable than peace? Lomonosov calls the world “earthly joy”, “beloved silence”, “bliss”. The theme of peace is directly related to the image of the empress, who “restored peace” and put an end to the war with Sweden.

1.2.5. Compare Lomonosov’s ode “On the Day of Ascension...” with the ode “Felitsa”.

Find the common features of these works.

In literatureIn the 18th century, strict adherence to the requirements of classicism was adopted. Works of high “calm”, to which the ode belongs, are characterized by appeal to high themes or historical figures and the use of words of a high, solemn style. Her civic pathos, solemn language, full of oratorical exclamations and appeals, lush, Metaphors and comparisons often expanded into an entire stanza, abundantly scattered Slavicisms and biblical images, her, in the words of Lomonosov himself, “sublimity and splendor” served as a model for almost all Russian poets of the 18th century.

Odes by Lomonosov and Derzhavin are dedicated to women who played a significant role in the history of Russia: Elizaveta Petrovna and EkaterinaII. “Felitsa” is a hymn to the enlightened monarch, addressed directly to Catherine II, while the ode is addressed not only to Elizaveta Petrovna, but also to Russia, to its past and future.

Both Lomonosov and Derzhavin use words of a solemn style, Old Slavonicisms: virtue, transmits, bliss. However, in Derzhavin’s ode there is a deviation from the norms of classicism. Derzhavin introduces colloquial words into the ode:

Keeping customs, rituals,

Don't be so quixotic with yourself...

Thus, Derzhavin emphasized the difference between the empress and her entourage, whom he calls “Murzas” in the text.

Both odes are characterized by the inclusion of compliments - flattering comments about the empresses. I. Lomonosov and Derzhavin showed the meekness of the empresses. Lomonosov writes:

Befitting the divine lips,

Monarch, this gentle voice...

Derzhavin also focuses on Catherine’s virtuesII. For both Lomonosov and Derzhavin, it is important that our state prospers thanks to the empress’s merits:

May the sounds of your deeds be heard in posterity,

Like the stars in the sky, they will shine.

Option 1

Ballad "Svetlana"

1.2.1. Prove that the work “Svetlana” belongs to the ballad genre.

A ballad is a work of the romantic genre. In it, the life of the heroes is presented in opposition to fate, as a duel between a person and circumstances that prevail over him. The basis of the ballad plot lies in a person overcoming the barrier between the real and the other world.

The ballad creates a romantic setting: night, fog, “the moon glows dimly,” and the heroine is alone with her fears and experiences.

The ballad reflects romantic images and paintings. In the “dead silence” of the night, alarming sounds were heard: the plaintive cry of the “messenger of midnight” cricket, the ominous croak of a raven.

The ballad uses the image of a “snow-white dove”, which protects Svetlana with its wings, as if answering her fervent prayer. This shows the romantic idea of ​​the ballad - love triumphs over death.

1.2.2. What role does the intro play in a ballad?

In the ballad "Svetlana" Zhukovsky attempted to create an independent work, based in its plot on the national customs of the people - in contrast to the ballad "Lyudmila", which was a free translation of the ballad of the German poet Burger "Lenora". In "Svetlana" the poet used an ancient belief about fortune-telling of peasant girls on the night before Epiphany.

In describing fortune telling, the poet uses colloquial words: “once on Epiphany evening...”, “slipper,” “ardent wax.” This gives a national flavor to the picture of fortune telling. In its melodiousness and simplicity, this part of the ballad resembles folk songs in which ritual poetry is reflected:

...They spread out a white board

And over the bowl they sang in harmony

The songs are amazing.

1.2.3. Can the image of Svetlana in this ballad be called a romantic image? Why do you think so?

Svetlana in the ballad can be called a romantic heroine. She is silent and sad. She is surrounded by a romantic setting - night, fog, moon. The main content of her life is love. This feeling has captured her so much that she can’t think of anything other than her sweetheart:

How can I, girlfriends, sing?

Dear friend is far away;

I'm destined to die

Lonely in sadness.

Loneliness, thoughts of death, the desire to know “your lot” - all this corresponds to a romantic character.

Full of “secret timidity” and fear from which she “can barely... breathe,” Svetlana nevertheless decides to resort to fortune telling.

1.2.4. What means of artistic expression does the author use to convey his attitude towards the heroine?

Zhukovsky with special love and tenderness. Introducing the heroine, he writes: Silent and sad

Darling Svetlana.

The epithets “silent and sad” convey the poet’s sympathy, and the epithet “sweetheart” helps not only to see the girl’s pleasant appearance, but also to feel the author’s sympathy.

The ballad ends with an optimistic conclusion:

ABOUT! don't know these terrible words

You, my Svetlana...

The address “my Svetlana” conveys the author’s love for the heroine.

To complete task 1.5, give a detailed, coherent answer (5-8 sentences).

Argue your point of view based on this fragment or other episodes of the work.

1.2.5. Read the beginning of the ballad “Lyudmila” and compare it with the ballad “Svetlana”. What unites the ballads “Svetlana” and “Lyudmila”?

The ballads “Lyudmila” and “Svetlana” are united by similar plots: both Lyudmila and Svetlana feel their loneliness, they are sad about their lovers, they cannot think about anything else. The action in both ballads takes place against the backdrop of a romantic landscape: at night the groom comes for each of them and takes them away with him. At the beginning of the ballads, both heroines mentally address their lovers.

Or won't you remember me?

Where, which side are you on?

Where is your abode? ("Svetlana")

"Where are you, honey? What's wrong with you?

With foreign beauty,

Know, in a faraway place

Cheated, unfaithful, on me;

Or an untimely grave

Your bright gaze has been extinguished." ("Lyudmila")

Svetlana and Lyudmila’s questions remain unanswered. Uncertainty of fate gives rise to despondency and thoughts of death. Svetlana tells her friends:

Dear friend is far away;

I'm destined to die

Lonely in sadness.

And Lyudmila, assuming that her dear friend died in the war, says:

“Make way, my grave;

Coffin, open; live fully;

The heart cannot love twice."

ABOUT! don't know these terrible words

You, my Svetlana...("Svetlana")

Where, Lyudmila, is your hero?

Where is your joy, Lyudmila?

Oh! Sorry, hope is sweetness! ("Lyudmila")

The ballads differ in their endings: Lyudmila dies, sharing the fate of her fiancé, and her fiancé comes to Svetlana in the morning.

Option 2

"THE RIVER OF TIMES IN ITS FLOW..."

1.2.1. What kind of lyricism does the poem belong to? Why do you think so?

The poem “The River of Times in its Aspiration...” refers to philosophical lyrics. In it, the poet focuses on the problem of life and death. The poet reflects that there is nothing eternal in life. He sadly asserts that even creativity (lyres and trumpets) are subject to oblivion.

1.2.2. What images are presented in the poem?

, reflecting on human life, uses the image of time in the poem. He calls it “the river of times” and “the vent of eternity.” The river, which you cannot step in twice, is traditionally associated with human life, fast flowing and sometimes unpredictable. Time moves inexorably forward, one generation is replaced by another. This is the meaning of life.

1.2.3. How do you understand the expression: everything “will be devoured by the mouth of eternity”?

Reflecting on time, the poet comes to the idea that everything a person lives by will sooner or later end, “devoured” by “the mouth of eternity.” The word "vent" means a narrow and deep hole. The colloquial word “will be devoured” gives rise to the image of a millstone grinding grains. It can be assumed that the poet means that over time nothing remains of real life, that everything will “sink into oblivion.”

It is known that this poem was used as an epigraph to the ode “God,” which states that only God is “eternal in the flow of time.”

1.2.4. What means of artistic expression does the author use in the poem?

In the poem “The River of Times in its Aspiration...” metaphors are used: “the river of times”, “the abyss of oblivion”, “it will be devoured by the mouth of eternity”, “the common fate will not escape!” All these metaphors encourage the reader to think that everything a person lives with is temporary, that before death everyone is equal: both ordinary people and kings.

Sound design plays a big role in the poem. It alternates hard and soft tense sounds [р] and [р′]:

[R'] eka in [R'] emen in his art [R'] emlenyi

……………………………………………..

On [ R] odes, tsa [ R] stva and ca [R'] to her.

Alliteration on [р] and [р′] makes it possible to understand the author’s idea that everything in our lives is changeable.

1.2.5. Compare the poem “The River of Times in its Aspiration...” with the poem “Waterfall”. What do these poems have in common?

The poem “The River of Times in its Aspiration...” with the poem “Waterfall” combines a high, solemn syllable. In the poem “The River of Times in its Aspiration...” Old Slavonicisms are used: aspiration, oblivion. And in the poem “Waterfall” there are also Old Slavonic words: “silver”, “through the stream”, “by the milky river”. The high syllable makes it possible to feel the significance of the paintings presented by the poet.

In these poems we can see the same image of the river. However, in the poem “The River of Times in its Aspiration...” the river personifies the flow of time, and in the poem “Waterfall” the river has the direct meaning of moving water: “... the waves flow quietly, / Are drawn by the milky river.”

One more image unites these poems - “the vent”. In both poems it denotes the extreme point. In the poem “The River of Times in its Aspiration...” this is the “mouth of eternity”, and in the poem “Waterfall” it is an all-consuming abyss:

In Chatsky, Famusov sees a younger generation of people who live not according to established traditions, but in their own way. Famusov dismissively calls the younger generation “proud” and considers it necessary to instill in them the need to live the way “their fathers” lived.

Throughout the monologue, Famusov uses plural forms, speaking not only about young people (“all of you are proud,” “what do you think,” “you, the current ones”), but also about his generation (“we, for example,” “according to -ours"). This emphasizes the idea that conflict between generations is not a personal, but a social problem.

1.1.4. Find rhetorical questions and rhetorical exclamations in Famusov’s monologue. State their role.

In the above monologue, Famusov considers it necessary to give instructions to young people like Chatsky, who do not know how to live the way the “elders” lived.

For this purpose, rhetorical questions are used in the monologue: “Would you ask what the fathers did?”, “You deigned to laugh; How is he?”, “Huh? What do you think?”

In his monologue, Famusov expresses admiration for people who have achieved public recognition and respect, therefore his speech uses rhetorical exclamations: “Maxim Petrovich! Joke!”, “Maxim Petrovich! Yes!"

At the same time, both for moralizing and to express his attitude towards Maxim Petrovich, Famusov uses both rhetorical questions and rhetorical exclamations:

Who hears a friendly word at court?

Maxim Petrovich! Who knew honor before everyone?

Maxim Petrovich! Joke!

Such examples show Famusov’s confidence in the correctness of his life position.

1.1.5. Read Chatsky’s monologue “And as if the world began to grow stupid...” and compare it with Famusov’s monologue “That’s it, you are all proud! What do these monologues have in common?

Famusov and Chatsky are representatives of different generations, they have different attitudes to life. They are both smart and understand that they represent different ideologies. Famusov is conservatively opposed to any changes in society, and Chatsky represents the interests of young nobles who cannot put up with the remnants of the past. Both of them touch on the same topic: “the present century and the past century.”

For Famusov, there is no other way than to continue the traditions of the “fathers,” which is why he cites the example of the life of his uncle Maxim Petrovich.

Chatsky hates the old way of life. He calls the past century a “straightforward” century of “submission and fear.”

If Famusov admires the way Maxim Petrovich lived and believes that servility towards high-ranking officials is not a negative trait, then Chatsky condemns this servility, calling people like Maxim Maksimych “hunters of indecency everywhere.” And Famusov, in turn, calls his uncle a smart man who “fell ... painfully, got up well” and therefore “knew honor at court.” Calling the new generation “current”, Famusov condemns its inability to live.

Chatsky ridicules such a path to a prosperous life:

And a peer, and an old man

Another, looking at that leap,

And crumbling into old skin,

Tea kept saying: “Ah! If only I could do it too!”

Of course, Chatsky expresses the advanced ideas of the beginningXIX century, but he does not know life, unlike Famusov. Chatsky is mistaken when he says: “Yes, nowadays laughter frightens and keeps shame in check...” Chatsky underestimates the strength of the “past century”, which is why he experiences “a million torments” after he was declared crazy.

Option 2

. Elegy "Sea"

1.2.1. What are the features of elegy as a genre of lyric poem? Explain them using the example of the poem “Sea”.

Elegy is a poem - a philosophical reflection on life, love, nature, the passage of time. An elegy is usually imbued with a romantic mood and romantic images. Behind real objects and phenomena, romantics still hide something unspoken, unspoken. The poem “The Sea” presents the main image of the sea in a calm state, during a storm and after it. For the lyrical hero it is imbued with some kind of mystery: “Tell me your deep secret.”

1.2.2. How are the images of sea and sky related in the poem?

The images of sea and sky complement each other. The calm surface of the sea reflects the clear azure of the sky, the “golden clouds”, and the shine of the stars. You can feel the harmony in nature. Zhukovsky writes about the sea:

You burn with evening and morning light,

You caress his golden clouds

During a storm, the sea is restless, it breaks, howls, torments the hostile darkness, and the clouds go away.

The unity of sea and sky is shown in the final lines:

And the sweet shine of the returned skies

It doesn’t give you back silence at all;

1.2.3. How does the lyrical hero of the poem “Sea” appear before us?

The lyrical hero of the poem “Sea” is close to nature. He is attracted by the power and mystery of the sea. For the lyrical hero, the sea is like a living creature. This is indicated by personifications:

I stand enchanted over your abyss.

You lively; You breathe; confused love,

Alarming Duma filled You.

1.2.4. What lexical means of expression help the author convey the state of the lyrical hero in this poem?

The poet conveys the state of the lyrical hero through a description of the seascape. The poem is an elegy. The tetrameter amphibrachium in the white (unrhymed) verses of the elegy conveys both the silence of the sea and the movement of the waves. The refrain (lines repeated like a chorus in a song) “silent sea, azure sea” helps create the image of a beautiful, calm sea. In describing the storm, the poet uses alliteration, that is, he skillfully groups the same or similar consonant sounds [з], [р] and [р"], [ш]: “be h word of mouth", "la h at R noe", "You beat w oh, you're welcome w oh, you waves are rising w uh, you R ve w b and those rz ae w"a hostile darkness..."

When reading, the illusion of hissing boiling, bubbling waves is created.

The sea appears to be a living, sensitive and thinking creature that conceals a “deep secret.” Hence - metaphors, metaphorical comparisons, personifications: the sea “breathes”, it is filled with “confused love, anxious thoughts.” The poet uses rhetorical questions, addresses the sea with a question, as if to a person: “What moves your vast bosom? What is your tense chest breathing?”

The poet gives the answer to this question as an assumption. Unraveling the “mystery” of the sea reveals the views on the life of Zhukovsky the romantic. The sea is in captivity, like everything on earth. Everything on earth is changeable, impermanent, life is full of losses, disappointments and sadness. The image of the sea is accompanied by the image of the sky. Only there, in heaven, is everything eternal and beautiful. That is why the sea reaches out “from earthly captivity” to the “distant, bright” sky, admires it and “trembles for it.”

1.2.5. What does the poem “Sea” have in common with the poem below “How good are you, O night sea...”?

In the poem “How good are you, O night sea...”, as well as in the elegy “The Sea,” the central image is the image of the sea. But Tyutchev focuses attention on the night landscape, and, like Zhukovsky, Tyutchev’s sea is changeable:

How good you are, O night sea, -

It's radiant here, dark gray there...

In both poems, the poets express admiration for the sea:

Silent sea, azure sea,

The sea is bathed in a dim glow,

How good you are in the solitude of the night! (Tyutchev)

Both poets use a high style, a solemn style in describing the colors of the sea: in Zhukovsky the sea is “azure”, it flows with “luminous azure”, in Tyutchev the sea is “radiant”, it “glitters” under the radiance of the moon.

The lyrical hero of Zhukovsky and Tyutchev animates the sea element, as indicated by the personifications: “you breathe; “You are filled with confused love, Anxious thoughts” (in Zhukovsky), “like a living thing, Walking and breathing” (in Tyutchev).

Both poets make extensive use of sound in describing the sea. In Tyutchev, like in Zhukovsky, alliteration is observed on [z], [p]

Z you are great h be you R sky,

Whose is this? R A h day so n R A h are you blowing?

The waves rush, thundering and light R kaya,

Sensitive h everywhere looks from above.

Like Zhukovsky, Tyutchev uses rhetorical questions: “Whose holiday are you celebrating like this?” and exclamations of “How good you are in the solitude of the night!”

Both poets convey admiration for the unbridled element and experience timidity and confusion in front of it:

I stand enchanted over your abyss. (Zhukovsky)

All as if in a dream, I stand lost

Oh, how willingly I would be in their charm

I would drown my entire soul... (Tyutchev)

Option 1

Famusov’s monologue “Taste, father, excellent manner...”

1.1.1. In Famusov’s presented monologue, the unwritten “laws” of secular society are revealed. Formulate these laws.

The comedy “Woe from Wit” reveals typical features of the life of the highest noble society. Famusov is a representative of this society. In his monologue "Taste, father, excellent manner..." he illuminates the basic principles of life of the nobles, who "have all their own laws."

First of all, they were proud of the nobility and valued the fact that they could pass on their title by inheritance, because “honor comes from father and son.” In noble society, a person was assessed by the degree of his wealth:

... Be bad, but if you get enough

Two thousand ancestral souls, -

He's the groom.

Famusov talks about that. that in their society they accept all “invited and uninvited, especially those from abroad...”. A person is judged by wealth and nobility, and not by high moral qualities:

Whether an honest person or not,

It’s the same for us, dinner is ready for everyone.

A defender of the autocratic-serf system, Famusov admires the old order, the loyalty of well-born Muscovites to noble traditions, and the old principles of life.

1.1.2. How does Famusov relate to young people? Why do you think so?

Since this monologue is addressed to Colonel Skalozub, Famusov is in a complacent mood.Famusov shows that he is not always happy with the younger generation. This is indicated by the metaphor “we chide.” However, he speaks with tenderness about his children and grandchildren, admiring their intelligence:

We scold them, and if you figure it out,

At the age of fifteen, teachers will be taught!

1.1.3. How does Famusov characterize his attitude towards the female half of secular society?

Famusov, in the presence of Skalozub, maintains small talk. We will not see his sincere attitude towards women.Famusov speaks disapprovingly of the fact that they can rebel in a general rebellion,” but at the same time admits that the role of women in secular society is significant:

However, these are just beautiful words! And yet Famusov respectfully names the most famous names

Tatyana Yuryevna! Pulcheria Andrevna!

And whoever saw the daughters, hang your head...

He wants to marry Sophia to Skalozub, who “has a golden bag and aspires to be a general,” and therefore calls his daughters patriots for their interest in the military.

1.1.4. What means of artistic expression does Griboyedov use in the lines:

...we have been doing this since ancient times,

What honor is there between father and son;

Be bad, but if you get enough

Two thousand ancestral souls, -

He's the groom.

The other one, at least be quicker, puffed up with all sorts of arrogance,

Let yourself be known as a wise man,

But they won’t include you in the family. Don't look at us.

After all, only here they also value the nobility.

This passage uses the metaphors “it has been going on since ancient times”, “there will be two thousand tribal souls”, “inflated with all sorts of arrogance” to show why a person is valued in a noble society.

Famusov uses the colloquial words “reasonable”, “at least be quicker”, “don’t look at us” to show that the nobles do not tolerate smart people who do not have wealth.

“But they won’t include you in the family.” What kind of family are we talking about? Of course, about a noble society, where they are proud of their origin and wealth. This means that the words nobility and “family” with emphasis on the first syllable can be considered as contextual synonyms.

1.1.5. Read the dialogue between Chatsky and Molchalin. What in Molchalin’s remarks is consonant with the thoughts expressed by Famusov in the monologue “Taste, father, excellent manner...

In Molchalin’s remarks we see confirmation of Famusov’s thought that women play an important role in the life of noble society. Famusov told Skalozub:

Order the command in front of the front!

Be present, send them to the Senate!

Irina Vlasevna! Lukerya Aleksevna!

Tatyana Yuryevna! Pulcheria Andrevna

Molchalin, teaching Chatsky, also names the name of Tatyana Yuryevna, a very influential woman in high society, because

Officials and officials -

All her friends and all her relatives...

Famusov’s monologue speaks of admiration for Moscow:

I will say emphatically: barely

Another capital will be found, like Moscow.

And Molchalin’s remark reveals admiration for the life that nobles lead in Moscow:

Well, really, why would you serve with us in Moscow?

And take awards and have fun?

The whole point of life for nobles comes down to moving up the career ladder with the help of the “right people.”