- In the scene you read “Night. Cell in the Chudov Monastery "depicts the chronicler-monk Pimen. Describe him as a human and summer scribe. How does he relate to the historical events that he describes and the responsibilities of the chronicler? Give examples from the text.
- How does Gregory perceive his mentor, his spiritual image and chronicle work? Is he right that Pimen Calmly looks at the right and the guilty, heeding good and evil indifferently, Knowing neither pity nor anger?
- What does Pimen see as the dignity of power and ruler? What, from his point of view, does the well-known historical fact that “Tsar John sought reassurance in the likeness of monastic labors”, from his point of view?
- How does Pimen tell about the murder of Tsarevich Dimitri? Compare this story, its stylistic features, with the monologue "One more, the last saying ..." with the story of the kings. What characteristics does the chronicler give to the characters in this scene? How does this characterize Pi-Men himself as a historian-chronicler who is going to conclude his le-topis "with this lamentable tale"?
- In the dialogue between Pimen and Gregory, the vain, mundane (feasts, battles, loving plans, etc.) and the divine, spiritual are opposed. What is the meaning of this opposition? Why does Pimen give preference to monastic life over glory, luxury, and "a woman's bow-howling love"?
- Reread the final remark of Grigoriy. What is the meaning of his prophecy? To whom do you think it belongs to a greater extent - Grigory or the author of the tragedy?
- What problems - historical and moral - are considered by Pushkin in the scene you read from the tragedy "Boris Godunov"? What significance do they have for our time?
Pushkin wrote that in the character of the summer scribe Pimen he collected the features that the ancient chronicles breathe: innocence, touching meekness, something infantile and at the same time wise, diligence, lack of vanity, addiction.
The chronicler Pimen deliberately limited his life to a cell: turning off from the bustle of the world, he sees what is unknown to the majority, for he judges, in accordance with conscience, with moral laws. His goal as a chronicler is to tell in volumes the truth about the events that took place on his native land.
Someday a hardworking monk Will find my diligent, nameless work ... He will rewrite the truthful sayings, - May the descendants of the Orthodox of the Earth know their past fate, They remember their great kings For their labors, for glory, for good ...
Grigory respects Pimen for hard work, calmness, humility and dignity. He says that not a single thought is reflected on his brow, and makes an erroneous conclusion that the elder is indifferent to what he describes in his writings. After all, Pimen will be the first to speak about the grave sin of the Russian people, who contributed to the ascension of Boris. His image shows conscientiousness, a heightened sense of personal responsibility for what is happening.
The rulers should be remembered for their labors, for their glory, for the good, says Pimen. The desire of Tsar John (Ivan IV the Terrible) to seek reassurance in faith, monastic labors, his appeal to the Lord testifies to his repentance, to the awareness of his sins, to the fact that the burden of power was becoming an ingot heavy for him.
Pimen leaves impassiveness as he talks about a bloody crime, his story is emotional, full of evaluative comments: an evil deed, in despair, unconsciousness, fierce, pale with anger, villain; with figurative eyes - they drag, fluttered, wondered. His storytelling style becomes conversational.
The "evil deed" he saw shocked the le-topist so much that since then he little delves into worldly affairs and wants to get away from work, giving others the right to describe human sins. Pimen's attitude to what was told characterizes him as a citizen.
Worldly life contains many temptations for man. They stir up the blood and make one commit sinful acts. Monastic life humbles spirit and flesh, bestows inner harmony and tranquility. A person who is firm in faith comprehends the eternal, does not hold on to the momentary. Having experienced a lot in his life, Pimen retired from the bustle of the world to the monastery, where he found bliss and spends his days in labor and piety.
Gregory says:
And you will not get away from the judgment of the world, Just as you won’t get away from God's judgment.
Power, given at the cost of a crime, will lead the ruler to death - such is the thought of Pushkin, expressed in the words of Gregory. Material from the site
When creating "Boris Godunov" Pushkin relied on the book "History of the Russian State" by N. M. Karamzin. The poet highly appreciated the work of the historian, but he was protesting against the convinced monarchism of the author of "History ...", who proclaimed that "the history of the people belongs to the sovereign." This formulation reflected the historical and philosophical concept
Karamzin: power, stability - in a strong state; statehood is the driving force of history. "The history of the people belongs to the people," asserted the Decembrist Nikita Muravyov. The dispute that arose was a historical-philosophical one, not just a political one, and Pushkin entered into it. The tragedy "Boris Godunov" about the role of the people in history and the nature of tyrannical power. The power given at the cost of crime cannot be used for good; it will not bring happiness to either the ruler or the people, and such a ruler will inevitably become a tyrant. Revealing the historical doom of the anti-popular government, Pushkin simultaneously showed the deep contradictions in the position of the people, combining strength and weakness. The people who chose the child killer are also doomed.
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On this page material on topics:
- the image of grigory in boris godunov
- What, waking up, asks Pimen Grigory in an excerpt from the tragedy of A.S. Pushkin "Boris Godunov"?
- the chronicler pimen from the tragedy of pushkin
- pimen and Grigory's relationship in Boris Godunov
- novel by boris godnova tragedy composition
Pimen is a monk of the Chudov Monastery in Moscow, a meek and humble old man. It must be assumed that only his noble origin gave him the opportunity in his youth to see "the court and luxury of John", and "feast at the royal meal." His past life in the tragedy is barely outlined, but it can be assumed that this is one of those companions of the first half of the reign of Ivan the Terrible, when the best sons of Russia with their sword helped the tsar to expand the borders of his homeland. Gregory, obviously familiar with Pimen's biography, envies him:
You fought under the towers of Kazan,
You saw the courtyard and the luxury of John!
You reflected the army of Lithuania under Shuisky!
But Pimen was not an ordinary soldier, of whom the army of the governor was composed; with his education, he is strongly promoted even from among the boyars. So, the Abbot notes that he is very literate, he read the monastic chronicles, wrote canons for the saints, and this proves his education, a certain intelligence and even a certain poetic gift. Pimen looks at the writing of his chronicle as a feat, which God has appointed him to fulfill:
No wonder many years
The Lord made me a witness
And he taught the art of books.
He ends his chronicle with the story of the death of Tsarevich Dimitri; further, his conscience does not allow him to narrate, since since then he has little "delved into the affairs of the world," and he does not dare to describe only by dark rumors. In his opinion, the chronicler should describe, “without philosophizing slyly,” only what he witnessed in life:
War and peace, rule of sovereigns,
Holy miracles,
Prophecies and signs are heavenly ...
Pimen writes his chronicle, but outwardly it is impossible to know what he is talking about. Passions in him have long subsided, and he can write about the dark rule of the Tatars or about the fierce executions of John, or about the stormy Novgorod veche, or about the glory of the fatherland calmly, like a stranger: the chronicler must talk about outstanding events so that descendants can know the truth about the political the lives of their ancestors, so that they can remember with affection their great kings for their good, and pray for their sins and failures.
Pimen loves his job, because thanks to it he lives in old age, as it were, “all over again”. He is worried about the further fate of the chronicle: I would like to transfer it to skillful, capable hands that could continue his work:
Brother Gregory,
You enlightened your mind with a letter,
I transfer my work to you ...
He instructs Gregory on how to continue the work, believing that he will spend his entire life in the monastery. When Gregory complains to Pimen about his unhappy lot, which from an early age brought him to the monastery, Pimen calms the novice, assuring that people can only be captivated by "glory, luxury and female sly love" only from afar. Peace cannot be found in the "world":
I lived for a long time and enjoyed a lot,
But since then I only know bliss
How the Lord brought me to the monastery.
Pimen tells Gregory that even the kings, for whom, it would seem, life is developing in the best way, only in the schema hoped to find peace for themselves. Tsar John, falling at the feet of the "holy father", told the hegumen "and all the brothers" that he would accept an honest schema. Tsar Theodore on the throne dreamed of a quiet life of a silent man. He was not seduced by either power or wealth; even the royal chambers he turned into a cell, where the difficult time of the government did not anger his holy soul; the ascetic life of the tsar, according to Pimen, was the reason that at the hour of his death "the axis performed an unprecedented miracle." Ordinary mortals should not feel sorry for the sinful light, where there are so many all kinds of temptations. Nowhere can one pray with such zeal and humble the flesh with fasting, as in a monastery, but only in this way can one get rid of crafty thoughts and heavy dreams.
Pimen is imbued with a religious feeling that is so consistent with his natural meekness. He does not condemn anyone, does not resent anything, sees the finger of God in everything. In his gentle soul, Pimen does not condemn the kings for sins, for dark deeds, but rather is ready to plead with the Savior: "May the Lord send love and peace to his suffering and stormy soul." In the calamities that happened during the reign of Boris Godunov, Pimen sees God's punishment for the fact that the Council chose a regicide as tsar: We angered God, we sinned: O terrible, unprecedented grief! We have named the regicide our master. Meanwhile, the king, in Pimen's view, is the anointed of God, above whom there is no one except God; and if so, the king has the right to do whatever he pleases. We find the same idea in the correspondence between Ivan the Terrible and Prince Kurbsky. The injustices that come from the ruler should be endured with humility and seen in them only as a test; that is why Pimen remarks: “Who dares against them? Nobody". He recalls John with true reverence, although, of course, as a contemporary, he knew all the atrocities of the tsar, which remained forever in the memory of the people. Pushkin gave little space to the image of Pimen in the tragedy, but the image of the chronicler stands before the reader as if it were alive. They say that when the historian Pogodin heard the scene in the Chudov Monastery from the author himself, he, amazed by its vitality and historical reliability, exclaimed: “It seemed to me that my dear and dear Nestor rose from the grave and spoke through Pimen's lips. I heard the living voice of an ancient Russian chronicler. "
PIMEN - monk-chronicler of the Chudov Monastery, the character of the tragedy of A.S. Pushkin "Boris Godunov" (1825), "the meek and humble old man", under whose leadership is the young monk Grigory Otrepiev, the future Pretender. The material for this image (as well as for others) Pushkin drew from the "History of the Russian State" by N.М. Karamzin, as well as from the epistolary and hagiographic literature of the 16th century. (For example, Pimen's story about the death of Fyodor Ioannovich is based on the work of Patriarch Job.) Pushkin wrote that Pimen's character is not his invention: "In him I collected the features that captivated me in our old chronicles." To these features the poet attributed touching meekness, innocence, something childish and at the same time wise, diligence, piety in relation to the power of the king, given from God. Pimen is the hero of one scene, the fifth scene of the tragedy. His role is relatively small, but the function of this character in the development of the plot, in the cohesion of ideas, images is important and significant. The collision of the tragedy in the scene with Pimen gets significant clarifications. From the story of Shuisky in the first picture, it is known about the regicide committed in Uglich, its culprit is named, Boris Godunov. But Shuisky is an indirect witness who found “fresh traces” at the scene. Pimen is the only eyewitness among the characters who saw with his own eyes the stabbed prince, heard with his own ears how "the villains repented under the ax and named Boris." For Shuisky, the death of Demetrius is trivial, like any political murder, of which there is no number. Vorotynsky also thinks in the same terms, although his reaction is more emotional: "Awful villainy!" A completely different (in tonality, in meaning) assessment of Pimen: "Oh terrible, unprecedented grief!" This grief is terrible and unprecedented because Boris's sin falls on everyone, everyone is involved in it, for “we have named the regicide our ruler”. Pimen's words are not just a moral assessment, which cannot be denied to Godunov himself (the pangs of conscience torment him too). Pimen judges existentially: one person committed the crime, and everyone must answer. There is an unprecedented grief coming to Russia, "a real misfortune for the Moscow state." (One of the rough titles of Pushkin's tragedy is "A Comedy about the Real Trouble of the Moscow State ...") Pimen does not yet know how this grief will manifest itself, but his foreboding makes the monk merciful. Therefore, he punishes the descendants to be humble: let them, remembering their kings, "for sins, for dark deeds, humbly beg the Savior." This reveals a significant difference from the "court" of the Holy Fool, who refused to pray to Boris. The symmetry of these images, Pimen and the Holy Fool, has long been noticed and studied, in particular by V.M. Nepomniachtchi. However, the closeness of the characters does not mean that they equally express the "voice of the people", "the voice of God." Pushkin's realism lies in the fact that each of his heroes has his own "voice". The dramaturgy of the scene in the cell of the Chudov Monastery is based on the contrast between Pimen's calmness and the confusion of Gregory, whose "peace was disturbed by demonic dreams." Throughout the entire scene, Pimen tries to convince Otrepiev of the futility of worldly pleasures and of the bliss of monastic service. However, his memories of a joyfully spent youth, of noisy feasts and combat battles only inflame Gregory's imagination. The story about Demetrius, especially the careless mention of “he would have been your age”, provokes a “wonderful thought” that will determine the further course of events. Pimen, as it were, makes Gregory into Pretenders, and quite unintentionally. In the theory of drama, such an action is called peripetia (according to Aristotle, "change of what is done in the opposite"). As a result of the twists and turns, the outset of the tragedy is pulled into a dramatic knot. In the opera by M.P. Mussorgsky "Boris Godunov" (1868-1872), the role of Pimen was expanded. The composer (and the author of the libretto) conveyed to him the story of the Patriarch (the fifteenth scene of the tragedy - "The Tsar's Duma") about the miraculous insight of a blind shepherd in front of the tomb of Tsarevich Dimitri. In the opera, this story follows the scene with the Holy Fool (in the tragedy - in front of her) and becomes the final blow of fate punishing the infanticide. The most famous performers of the role of Pimen are I.V. Samarin (Maly Theater, 1880), V.I. Kachalov (Moscow Art Theater, 1907); in the opera - V.R. Petrov (1905) and M.D. Mikhailov (1936).
PIMEN - a monk-chronicler, a character who, in his monologue, sets the point of view of eternity, without which a high tragedy is impossible; the bearer of a position independent of either the authorities or the crowd. It is connected with the image of the “ideal” chronicler Avraamy Palitsyn from volumes 10-11 of the “History of the Russian State” by N. M. Karamzin; to some extent - and with the "cultural mask" of Karamzin himself.
Pimen appears in the only scene - “Night. Cell in the Chudov Monastery ". 1603 year. The chronicler completes the "work bequeathed from God"; next to him sleeps Pimen's cell attendant, the monk Gregory, the future False Dmitry. Once Pimen took part in history - he fought "under the towers of Kazan", "the army of Lithuania under Shuisky reflected", saw the luxury of the court of Ivan the Terrible. Now he is detached from the fast flowing modernity. The first to understand the cause of the Troubles was regicide, a nationwide violation of the laws of God and humanity (“The regicide is our Lord / We have named<…>"), He reveals the meaning of what is happening not to his contemporaries, but to descendants:
<…> No wonder many years
The Lord made me a witness
Someday a hardworking monk
Will find my hard work, nameless,
He will shine, like me, his lamp -
And shaking off the dust of centuries from the charters,
He will rewrite the truthful sayings.
The time in which, as in some physiological solution, Pimen's thought lives, is not the present, is not the past, is not even the future proper - although about each of these dimensions is temporal. about this stream in his monologue said enough, especially about the past. His "inner time" is outside of the search, outside of History, cleared of the passive voice; it is "silent and calm." This time has not passed, but is constantly flowing, "the encompassing is alive"; it is a time taking place here and now, but dedicated to memories; it is always possible and will never be given. That is why Pimen goes into his work at night, when the result of one day with its storms is summed up, and the beginning of another day is not laid; when History does not stop, but seems to freeze; and it is not for nothing that the “last sayings” must be completed before morning: “... day is near, the lamp is burning out<…>».
But - and here Pushkin, as it were, is testing his wise hero - next to Pimen the one who will be the reckoning is asleep; the one with whom the course of the nearest Russian history will be connected is Otrepiev. And the chronicler, having penetrated with his thought into the secret course of things, not only does not foresee a historical face in Gregory; he not only unwittingly points out to the novice monk the opened "royal vacancy", but also entrusts him with his work:
Brother Gregory,
You enlightened your mind with a letter,
I transfer my work to you<…>
Obviously, it is no coincidence that Pushkin introduces into Pimen's monologue a mention of the "long-suffering Cyril", who once lived in the same cell and spoke the truth in the face of Ivan the Terrible; No wonder he puts a remark into the mouth of Gregory:
I wanted to guess what he was writing about?
So exactly the clerk, gray in the orders,
Calmly gazes at the right and the guilty,
Listening to good and evil indifferently,
Knowing neither pity nor anger.
And in the mouth of Boris - the words:
In the old years
When trouble threatened the fatherland,
The hermits went to battle themselves.
(This is how the image of Abraham Palitsyn in MN Zagoskin's novel "Yuri Miloslavsky" will be solved; in general, the presence of a monk-chronicler in the set of characters in the historical novel about the Troubles will become almost mandatory.)
Not only does Pimen not go to battle; he does not go into the crowd of the people; his knowledge of good and evil is different, monastic. In the semantic structure of the drama, his image is contrasted with the image of the Holy Fool Nikolka.
