Peter's reforms led to a decline in the role of the church in the state, but the development of the spiritual style in the XVIII century was still successful, since the church was inextricably linked with the progressive enlightenment. Gradually, the secular element gained the upper hand in society, and this tendency was reinforced by the spreading ideology of nihilism - the Russian version of liberalism. Spiritual and theological life left the secular halls for the private silence of individual monasteries, among which in the XIX century Optina Pustyn, Trinity-Sergius Lavra, Sergius Pustyn, Nikolo-Babaevsky Monastery were noticeably distinguished. Here, in solitude, a few church writers performed spiritual feats. On the basis of their works, church-preaching literature and preaching itself as an art of oral speech improvisation existed and developed.
This period of the history of the church-preaching style was forgotten by researchers. In the XIX century of historical stylistics in general
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it did not exist, and in its traditions of the XX century it was the norm not to include the church-preaching style in the system of literary language styles. Meanwhile, without taking into account its functioning and without assessing its role, many phenomena of the Russian verbal culture of the XIX century are incomprehensible and inexplicable, and a number of topical questions remain unanswered: what is the basis of the oratory of the era? What are the roots of the Russian epic of the nineteenth century? What is the arsenal of poetic means and techniques of written culture and speech etiquette of the era?
An attempt to recreate the stylistic landscape of the XIX century immediately leads to the need to turn to the spiritual style and its creators. Among them, in the middle of the century, the most prominent place belongs to Bishop Ignatius, both in terms of the volume and quality of his literary work, as well as in terms of favorable opportunities to influence the literary practice of the era (his works were published almost in full in 1881).
Saint Ignatius (in the world Dmitry Alexandrovich Bryanchaninov-named after Dimitri Prilutsky) lived on earth for 60 years (1807-1867). As his closest students noted, "in the life of such people, one distinctive, characteristic feature is sharply expressed." For Saint Ignatius, such a special feature was the monastic spiritual feat. It is no coincidence that 20 years after his death, Nikolai Leskov will dedicate the story "Silverless Engineers"to his righteous life. In the spiritual writings created by Vladyka Ignatius, an ascetic and theological teaching is established - the teaching about the inner perfection of a person in monastic life and about the relationship of a person to other spiritual beings. Spiritual and moral writings predominate in the saint's literary heritage.
Immediately after graduating from engineering school at the age of nineteen, he resigns and, despite the condemnation of his parents, prepares to take the veil. As a novice in the Alexander Svir monastery, and then in the Ploshchansky desert of the Oryol diocese, he begins to engage in literary creativity: he writes something between fiction and religious philosophy ("A Garden in winter"," A Tree in winter before the windows of cells"), but the first composition even by name quite clearly expressed the intentions of a novice preacher"Some tips for keeping the Lord's Commandments." It should be noted that Dmitry spent several months of 1829 in Optina Pustyn in his youth, and then all his life maintained contacts with the monks of this famous monastery. And here is how a contemporary characterizes the theological training of the young monk: "despite still young summers, it was clear that Bryanchaninov read a lot of fatherly books, knew very well John of the Ladder, Ephraim the Syrian, Philokalia and the writings of other ascetics."
During his stay in the Sergiev Desert (near St. Petersburg) as its leader (24 years), the spiritual need of the Ig-
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Such outstanding theological texts as "Blessed is the Man", "Song under the Shadow of the Cross", "Prayer of the Persecuted man", "Lamentation of the Monk"were written here. Ignatius dreamed of settling in Optina Pustyn after Sergiev Pustyn, but in 1857 he was appointed Bishop of the Caucasus and the Black Sea. In Stavropol, Ignatius writes "An Offering to modern monasticism" - as he himself defined it, "A spiritual testament for spiritual goods": "I call monasticism a spiritual good. The book contains rules for the external behavior of monks and advises them about spiritual feats or deeds. I can call this work my mysterious confession" (quotations from the works of St. Ignatius are given according to the publication: St. Ignatius Bryanchaninov. Moscow, 1993. Vol. I-VII).
Due to his illness, Bishop Ignatius asked to be dismissed from the episcopal ministry and sent to the Nikolo-Babaevsky Monastery of the Kostroma province, where he stayed from October 13, 1861 until the end of his days. Here he wrote the original "Word on Death", compiled a large volume of" Otechnik " - a collection of teachings of the Church fathers. In 1864, he published two volumes of "Ascetic Experiments", and in 1867, the following two volumes were published:" Ascetic Sermon "and"Offering to Modern Monasticism". Here, in the Babaevsky Monastery, on the morning of April 30, 1867, the righteous man's earthly life ended. In this monastery he is buried.
Being by nature a very capable man, Saint Ignatius nevertheless persevered throughout his life in improving his natural gifts. Thus, the interest in literary creativity is marked by a persistent study of the works of Christian and secular enlighteners. The Vologda Regional Library has a copy of M. V. Lomonosov's book "A Short Guide to Rhetoric" with the owner's record of Dmitry Bryanchaninov-perhaps this work accompanied him from childhood. And he was indeed a brilliant rhetorician-preacher, although his role in the development of the church-preaching style of the Russian literary language has not yet been evaluated.
Let us emphasize the difference between the Church Slavonic language, which has been known and widely used in Russia since the end of the tenth century (see such canonical liturgical texts as the Gospel, the Apostle, the Psalter, etc.) and the church - preaching or spiritual style of the Russian literary language. The most striking genre of this style is the homily. The main purpose of the sermon is to bring the word of God to the world, and therefore the text should be publicly available. Preaching as a genre has three features: pure Russian, the use of high rhetorical means, and the improvisational nature of speech. But there are a lot of Bible quotations in the sermon, Church Slavonic can also be used in its pure form as lingva sacra (the language of worship), and then transferred to Russian with elements of interpretation-
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research institute. Thus, the text of a sermon has three functions: impact, popularization, and communion. For these purposes, preaching texts are characterized by appealing to the audience, methods of dialogization of speech (imperative forms: look, get up, let everyone ask themselves; introductory constructions: as you know; rhetorical questions; repetitions and syntactic parallelism; conditional constructions; expanded metaphors based on biblicisms). Our preacher uses these techniques in a surprisingly harmonious way.
One of the best examples of the church-preaching style of the XIX century is the two - volume work of St. Ignatius "Ascetic Experiments". Each text here is a stylistic masterpiece, and the content impresses with its sincerity, depth of religious feeling, and brilliant knowledge of the Holy Scriptures and patristic literature. The saint worked on the book for almost twenty years. Here is how he saw the structure and content of each of the four sections of this book (from letters dated December 1, 1846 and January 11, 1865):: "1. Preparation for the communion of the Holy Mysteries of Christ. About the Jesus prayer, about humility, about monasticism. 2. Elegies. Poetic compositions: Lamentation, Blessed is the man, the Cup, the Sight of his sin. 3. Internal actions of the Christian religion. Theological articles (about the Gospel commandments). 4. Moral advice. On Christian Morality and Philosophy". But in the book, he did not group the articles into sections, which gave the text of "Experiments" the character of free improvisation. In a letter to I. I. Glazunov dated March 3, 1864, the author of "Experiments" wrote:: "Ascetic Experiments is a practical book. It is unique because since the introduction of education in Russia, no one has written in this way. It is a collection of the teachings of the holy Fathers of the Orthodox Church on the main Christian virtues and spiritual feats." As for the peculiarities of the syllable, the saint reported: "Each part has its own tone"; " I find the variety of the syllable inevitable." In reference to the" Ascetic Sermon, " he later remarked:: "The ascetic sermon has its own separate syllable." Thus, the individualization of the " tone (syllable)" of each individual text was a conscious intention of the author.
The author's idea of" Ascetic Experiments " was formed immediately and did not change, although he "cleaned" (this is a favorite word of the writer Bryanchaninov) this work many times. Already in 1846, evaluating one of the articles, he admitted: "The Chalice of Christ" - I have written 15 such articles, they are appointed to compose the book "My Gift to my Friends". The image of the presentation, the external form, the very syllable-maybe news in the spiritual Russian literature. I want the book to be easily accessible to everyone as a friend, and to humble the proud mind with the height of truths and the depth of feelings: a friend must have character." All these qualities are present in the two-volume book. The first volume included 53 articles, the second - 21. Part
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one of them is clearly biographical in nature, like "My Lament" - about the sadness of the soul striving for God and overcoming obstacles for this. Most of the texts are moral advice from a caring friend.
However, let's return to the rhetorical aspect of "Experiments", namely, to the variety of syllables. First of all, this is achieved by a variety of genres: the author himself named ten genres, but in fact there are more of them. Some of them reflect the general literary practice of the era, others are the results of the influence of the traditions of spiritual literature, but it is important that they all correspond to the Russian rhetorical ideal, as it was interpreted in the XVIII and XIX centuries.
Two works are designated as duma. In "Duma on the Seashore", the real image of the Baltic Sea, observed by the abbot of the Sergius Desert, becomes the basis for the metaphor of the sea of life, the storm of passions, from which the author retreats to the fence of the holy monastery. The article "A Voice from Eternity" is subtitled "A Thought at the Grave", it was written in 1848 in the Sergiev Desert in connection with the death of a person close to Ignatius from his youth and represents the first experience of presenting the Christian teaching about death. He later devoted an entire volume to this topic, entitled "The Word of Death."
Several times in his articles, the saint uses the genre of reflection, which is especially popular in the philosophical and religious literature of the XVIII-XIX centuries ("Reflection on death", "Reflection at sunset", "Reflection borrowed from the First Epistle of St. Paul the Apostle to Timothy, referring mainly to monastic life").
It uses an ancient, biblical genre of song - "Song under the shadow of the Cross". This work was created, according to the author, under the influence of the fifteenth chapter of Exodus.
Just as ancient is the genre of lament, which presupposes a purely personal experience of the author. Saint Ignatius also has a special attitude to this genre. He tried to understand the spiritual essence of weeping as an ecstatic state and for this purpose placed in the " Experiments "the only example of" teaching "as a rhetorical genre, dedicated specifically to weeping-this is the"Teaching on the Lamentation of St. Pimen the Great". According to Ignatius, weeping is the path of repentance of a sinner, the spiritual feat of a monk: "Have mercy on me is an expression of weeping that has taken root in the soul." Conceived in 1830 in Semigorodnaya Pustyn by novice Dmitry Bryanchaninov, the "Lamentation of the Monk" was significantly corrected and supplemented by Bishop Ignatius in 1866 in the Nikolo-Babaevsky Monastery of the Kostroma diocese. By the way, another composition - "My Lament" was also written in this monastery, but in 1847 during the vacation period received by the abbot of Sergiev Pustyn to improve his health. Obra-
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pay attention to the rhythmic organization of the text, to the harmony of repetitions, to the gradation of amplification: "I cry with my mind, I cry with my heart, I cry with my body, I cry with my whole being; I feel crying not only in my chest, but in all the members of my body... My soul! Before the decisive, inescapable time of moving into the future arrives, take care of yourself. Come, cling to the Lord by sincere and constant repentance , by living a godly life according to His all-holy commandments."
Saint Ignatius was particularly inspired by the genre of the word, especially when creating the theological section "Ascetic Experiments". In confirmation, one can follow at least the titles of individual works: "A Word of Consolation to the Grieving Monks", "A Word about the Fear of God and the Love of God", "A Word about the cell prayer rule", "A Word about church Prayer", "A Word about oral and Vowel Prayer", " A Word about Teaching or Memory God's Prayer", "A Word about the prayer of the mind, heart and soul", "A Word about the Prayer of Jesus", "A Word about salvation and Christian Perfection", "A Word about the various states of human nature in relation to good and evil".
The epistle is close in content and edifying tone to this type of article - this is how one, also biographical, text of 1847 is designed under the title "Epistle to the brethren of the Sergius Desert from the Babaevsky Monastery".
This is also the nature of the conversation - also a single experience: "About the Jesus prayer. Conversation between an elder and a disciple".
Two other genres used by the saint are more closely related to liturgical practice: rite and prayer, but this is only an external form. In fact, "The Order of Attention to oneself for one who lives in the midst of the world" is devoted to the theme of in-depth attention to thoughts about God, the obligatory distraction from the worldly during prayer.
The name of the prayer has one text - "The prayer of the persecuted by men". It is designed as a prayer and expresses the Christian idea of a grateful attitude towards people who cause insults, because God chooses them as instruments of punishment for some sinners. The text consists of four parts and has all the rhetorical properties of the prayer canon: 1) giving thanks to the Lord for his trials, 2) asking for blessings and rewards for those whom he has chosen as instruments of punishment for the sinner, 3) asking for forgiveness and granting mercy, 4) praising the Lord and hoping for mercy for the sinner. It should be noted that writing prayer texts for oneself was not uncommon in the 19th and even 20th centuries (see, for example, the prayer of the elders of Optina Pustyn, etc.).
In other cases, the author does not name the genre of the text, but, judging by external signs, his work was dominated by conversations and words, i.e. common genres of "teaching" literature, because the whole book for the author is "moral advice".
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Noteworthy is the text "Visiting the Valaam Monastery", which also follows the traditions of Orthodox literature, in particular, the genre of going to holy places.
Let us also compare the ratio of genres in the Ascetic Sermon. The sermon itself is a genre of strict edification, but the book called "Ascetic Sermon" contains articles of various genres. Teachings predominate - there are 39 of them, and in the "Ascetic Experiments"they were not at all. Seven texts are assigned to the word genre, four to the conversation genre, the author defines two texts as speech, and one presentation of the teaching is placed.
In ancient Russian Orthodox practice, two genres prevailed: teaching (didactic, instructive speech) and word (solemn, panegyric, praiseworthy speech). These are the genres that our author loved. Thus, following the traditions of the Russian rhetorical ideal as an Orthodox ideal is a distinctive feature of the writings of St. Ignatius and the church-preaching style of the XIX century in general.
Vologda
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