« Beyond Taganka the city ended. Between the Krutitsky barracks and the Simonov Monastery lay vast cabbage fields. There were also powder magazines here. The monastery itself rose beautifully... on the banks of the Moscow River. Now only half of the original building remains of it, although Moscow could be proud of the architecture of this monastery no less than the French and Germans are proud of their castles."
Historian M.N. Tikhomirov
Vostochnaya Street, 4... official address in directories oldest monastery Moscow - Simonovsky. It is located near the Avtozavodskaya metro station.
Simonov monastery It was founded in 1379 by the nephew and disciple of St. Sergius of Radonezh - Abbot Theodore. Its construction was blessed by Metropolitan Alexy of Moscow and All Rus' and St. Sergius of Radonezh. New monastery located a few kilometers from the Kremlin on the high bank of the Moscow River on land donated to the monastery by the boyar Stepan Vasilyevich Khovra (Khovrin), who later became a monk in this monastery under the name of the monk Simonon. Nearby was the busy Kolomenskaya road. From the west, the site was limited by the steep left bank above the bend of the Moscow River. The area was the most beautiful.
For a quarter of a century, the monastery's buildings were made of wood. Vladimir Grigorievich Khovrin builds in Simonov Monastery Church of the Assumption of the Virgin Mary. This temple, one of the largest in Moscow at that time, still stands on a massive white-stone basement and is very decorated in Italian style (Fioravanti, a student of Aristotle himself, took part in its reconstruction at the end of the 15th century). Its construction was completed in 1405. Seeing this majestic structure, contemporaries said: “Such a blunder has never happened in Moscow.” It is known that in the 19th century an icon of the Lord Pantocrator, which belonged to Sergius of Radonezh, was kept in the temple. According to legend, Sergius blessed Dmitry Donskoy with this icon for the Battle of Kulikovo. After perestroika at the end of the 15th century, the Assumption Cathedral became five-domed.
Assumption Cathedral of the Simonov Monastery 1379-1404.
(reconstruction by P.N. Maksimov based on the results of field studies in 1930)
In addition to the monastery’s Assumption Cathedral, Vladimir Grigorievich “made a brick fence near the monastery.” This was the first stone monastery fence in Moscow architecture, erected from a material that was then new in Moscow - brick. Its production has just been established by the same Aristotle Fioravanti not far from Simonov, in the village of Kalitnikov. In the 16th century, unknown architects erected new fortress walls with powerful towers around the Simonov Monastery (some historians suggest the authorship of the famous Russian architect Fyodor Kon, builder of the walls of the White City of Moscow, the Smolensk Kremlin and the walls of the Borovsko-Pafnutev Monastery). Each of the fortress towers had its own name - Dulo, Kuznechnaya, Salt, Watchtower and Taininskaya, which faced the water.
Dulo Tower. 1640s
View from the bell tower to the Moscow River. In the foreground are the Dulo and Sushilo towers. Photography from the beginning of the 20th century.
From the moment of its creation, the Simonov Monastery was located on the most dangerous southern borders of Moscow. Therefore, its walls were made not just monastery, but fortress walls. In 1571, Khan Davlet-Girey looked at the burning Moscow from the tower of the monastery. The capital then burned out in three hours, and about two hundred thousand Muscovites died in the fire. In 1591, during the invasion of the Tatar Khan Kazy-Girey, the monastery, together with the Novospassky and Danilov monasteries, successfully resisted the Crimean army. In 1606, Tsar Vasily Shuisky sent archers to the monastery, who, together with the monks, repelled the troops of Ivan Bolotnikov. Finally, in 1611, during a severe fire in Moscow, caused by the Poles, many residents of the capital took refuge behind the monastery walls.
The Royal Doors from the Simonov Monastery.
Detail. Tree. Moscow. End of the 17th century
Throughout history, the monastery was the most visited in Moscow; members came here to pray royal family. Everyone considered it their duty to take part in the construction and decoration of the monastery, once one of the richest in Russia. The monastery bell tower was also famous throughout Moscow. Thus, in the Nikon Chronicle there is a special article “About bells”, which talks about the strong and wonderful bell ringing, which, according to some, came from the cathedral bells of the Kremlin, and according to others, from the bells of the Simonov Monastery. There is also famous legend that on the eve of the assault on Kazan, young Ivan the Terrible clearly heard the ringing of Simon's bells, foreshadowing victory.
Therefore, Muscovites felt respect for the Simonov bell tower itself. And when to 19th century It fell into disrepair, then the famous architect Konstantin Ton (the creator of the Russian-Byzantine style in Moscow architecture) erected a new one over the northern gate of the monastery in 1839. Its cross became the highest point in Moscow (99.6 meters). On the second tier of the bell tower there were the churches of John, Patriarch of Constantinople, and St. Alexander Nevsky, on the third - a belfry with bells (the largest of them weighed 16 tons), on the fourth - a clock, on the fifth - an exit to the head of the bell tower. This majestic structure was built at the expense of the Moscow merchant Ivan Ignatiev.
Simonov Monastery in the 17th century. Reconstruction by R.A. Katsnelson
There was a time when Simonovo was known as a favorite place for country walks among Muscovites. Not far from it there was a marvelous pond, according to the chronicles, dug by the brethren with the participation of Sergius of Radonezh himself. It was called that way - Sergiev Pond. During Soviet times, it was filled up, and today the administrative building of the Dynamo plant is located on this site. A little more about the pond below.
The plague epidemic that began in 1771 led to the closure of the monastery and its transformation into a “plague quarantine.” In 1788, by decree of Catherine II, a hospital was organized in the monastery - there was a Russian-Turkish war.
Refectory of the Simonov Monastery. 1685
Photo from the History of Russian Art by I. Grabar
A major role in the restoration of the Simonov Monastery was played by the Chief Prosecutor of Moscow A. I. Musin-Pushkin. At his request, the empress canceled her decree and restored the monastery's rights. The Musin-Pushkin family is buried in the family crypt of the necropolis of the Church of the Tikhvin Icon Mother of God monastery
The first, in the Cathedral of the Assumption of the Mother of God, was buried the contributor and builder of this church, Grigory Stepanovich Khovru. Subsequently, the cathedral became the tomb of the metropolitans Varlaam, the son of the Moscow prince Dmitry Ioannovich (Donskoy) - Prince Konstantin of Pskov, the princes Mstislavsky, Suleshev, Tyomkin, the boyars Golovin and Butyrlin.
Until now, in the ground, under the local Children's Park, rest: the first holder of the Order of St. Andrew the First-Called, comrade-in-arms of Peter I, Fyodor Golovin; the head of the Seven Boyars, who refused the Russian throne three times, Fyodor Mikhailovich Mstislavsky; princes Urusov, Buturlin, Tatishchev, Naryshkin, Meshchersky, Muravyov, Bakhrushin.
Until 1924, there were tombstones here on the graves of the Russian writer S.T. Aksakov and his early deceased friend A.S. Pushkin poet D.V. Venevitinov (on his tombstone there was a black epitaph: “How he knew life, how little he lived”).
Tombstone over the graves of the Venevitinovs
The monastery was closed for the second time already in 1923. Its last abbot Antonin (in the world Alexander Petrovich Chubarov) was exiled to Solovki, where he died in 1925. Now Abbot Anthony has been canonized among the Russian new martyrs...
A. M. Vasnetsov. Clouds and golden domes. View of the Simonov Monastery in Moscow. 1920
Only a few buildings have survived from the once powerful fortress:
- Fortress walls (three spindles);
- Salt tower (corner, southeast);
- Blacksmith tower (pentahedral, on the southern wall);
- "Dulo" (corner, southwestern tower);
- “Water” gate (1/2 of the 17th century);
- “Kelarsky building” (or “Old” refectory, 1485, XVII century, XVIII century);
- “New” refectory (1677-1683, architects P. Potapov, O. Startsev);
- “Sushilo” (malt room, 16th century, 2/2 17th century);
- Treasury cells (1/3 of the 17th century).
- One closed temple with 5 thrones was preserved, but five other temples with 6 thrones were destroyed.
Modern photographs of the state of the monastery
Well, now some lyrics. This monastery is also famous for its romantic stories...
Nikolai Mikhailovich Karamzin immortalized the Simonov Monastery:
“... the most pleasant place for me is the place where the gloomy, Gothic towers of the Simonov Monastery rise. Standing on this mountain, you see right side almost all of Moscow, this terrible mass of houses and churches, which appears to the eye in the form of a majestic amphitheater: a magnificent picture, especially when the sun shines on it, when its evening rays glow on countless golden domes, on countless crosses ascending to the sky! Below are lush, densely green flowering meadows, and behind them, along the yellow sands, flows a bright river, agitated by the light oars of fishing boats or rustling under the helm of heavy plows that sail from the most fruitful countries Russian Empire and provide greedy Moscow with bread.
On the other side of the river one can see an oak grove, near which numerous herds graze; there young shepherds, sitting under the shade of trees, sing simple, sad songs and reduce the summer days, so uniform for them. Further away, in the dense greenery of ancient elms, the golden-domed Danilov Monastery shines; even further, almost at the edge of the horizon, the Sparrow Hills are blue. On the left side you can see vast fields covered with grain, forests, three or four villages and in the distance the village of Kolomenskoye with its high palace.”
"Lizin Pond"
In his story " Poor Lisa"Karamzin very reliably described the surroundings of the Tyufel Grove. He settled Liza and her elderly mother near the walls of the nearby Simonov Monastery. The pond near the monastery walls in the southern suburbs of Moscow suddenly became the most famous pond, a place of mass pilgrimage for readers for many years. It was called the Holy Pond, or Sergiev, because, according to monastic legend, it was dug by Sergius of Radonezh himself, the founder and first abbot of the Trinity Monastery on the Yaroslavl Road, which became the famous Trinity-Sergius Lavra.
The Simonov monks bred some special fish in the pond - size and taste - and treated it to Tsar Alexei Mikhailovich when he, on his way to Kolomenskoye, stopped to rest in the chambers of the local abbot... A story was published about an unfortunate girl, a simple peasant woman, who ended her life not at all in a Christian way - with an ungodly suicide, and the Muscovites - with all their piety - immediately renamed the Holy Pond to Lizin Pond, and soon only the old inhabitants of the Simonov Monastery remembered the former name.
Numerous trees surrounding him were covered and cut with inscriptions of compassion for the unfortunate beauty. For example, like this:
In these streams, poor Liza passed away her days,
If you are sensitive, passer-by, sigh!
However, according to contemporaries, more ironic messages appeared here from time to time:
Erast’s bride died here in the pond,
Get warm, girls, there's plenty of room for you here.
In the twenties of the last century, the pond became very shallow, overgrown, and became like a swamp. In the early thirties, during the construction of a stadium for workers of the Dynamo plant, the pond was filled in and trees were planted in this place. Now the administrative building of the Dynamo plant rises above the former Liza Pond. At the beginning of the 20th century, a pond named after her, and even the Lizino railway station, appeared on maps.
View of Tyufelev Grove and Simonov Monastery
Along with the pond, Tyufeleva Grove has become an equally popular place of pilgrimage. Every spring, society ladies specially went here to collect lilies of the valley, just as the heroine of their favorite story did.
Tyufeleva Grove disappeared at the beginning of the twentieth century. However, contrary to existing opinion, it was not the Bolsheviks who exterminated it, but representatives of the progressive Russian bourgeoisie. On August 2, 1916, the groundbreaking ceremony for the first automobile plant in Russia took place here. An enterprise called the Automobile Moscow Society (AMO) belonged to the trading house Kuznetsov, Ryabushinsky and K. However, the October Revolution did not allow the plans of entrepreneurs to come true. In August 1918, the still unfinished plant was nationalized, and on November 1, 1924, the first Soviet truck, the AMO-F-15, was assembled here from Italian parts.
Romantic walks around the Simonov Monastery brought two people closer together - Dmitry Venevitinov and Zinaida Volkonskaya.
V. Odoevsky introduced Dmitry to Zinaida Volkonskaya in 1825. The princess's Moscow house was well known to all connoisseurs of beauty. Its charming owner turned it into a kind of art academy. Pushkin called her “The Queen of Muses and Beauty.”
P.F. Sokolov Portrait of D.V. Venevitinov. 1827
The meeting with Volkonskaya turned Venevitinov’s life upside down - he fell in love with all the passion of a twenty-year-old poet. Alas, it was hopeless: Zinaida was 16 years older than him, and besides, she had been married for a long time to the brother of the future Decembrist.
Z. Volkonskaya
The time has come, and Zinaida asked to break off relations, giving Dmitry a ring as a sign of eternal friendship. A simple metal ring, brought to light from the ashes during the excavations of Herculaneum... Friends said that Venevitinov never parted with the princess’s gift and promised to wear it either when walking down the aisle, or when standing on the verge of death.
To my ring
You were dug up in a dusty grave,
Herald of age-old love,
And again you are dust from the grave
You will be bequeathed, my ring.
But not love now by you
Blessed the eternal flame
And above you, in heartache,
She made a holy vow...
No! friendship in the bitter hour of farewell
Gave to weeping love
You are the key to compassion.
Oh, be my faithful talisman!
Protect me from serious wounds,
And the light and the insignificant crowd,
From the caustic thirst for false glory,
From a seductive dream
And from spiritual emptiness.
In hours of cold doubt
Revive your heart with hope,
And if you are imprisoned in sorrows,
Far from the angel of love,
It will plan a crime -
With your wondrous power you tame
Gusts of hopeless passion
And from my rebellious breast
Turn away the lead of madness.
When will I be at the hour of death
Saying goodbye to what I love here,
I won't forget you when I say goodbye:
Then I will beg my friend,
So that he is cold from my hand
I didn’t take you off, my ring,
So that the coffin does not separate us.
And the request will not be fruitless:
He will confirm his vow to me
With the words of the fatal oath.
Centuries will fly by, and perhaps
That someone will disturb my ashes
And in it he will discover you again;
And again timid love
He will whisper to you superstitiously
Words of tormenting passions,
And again you will be her friend,
Just as it was for me, my ring is faithful.
When these poems were written, Venevitinov had only a few days left to live. At the beginning of March 1827, he danced at a ball, and then, heated, he ran across the yard to his outbuilding in a barely thrown overcoat. The cold turned out to be fatal. On March 15, Venevitinov passed away. In a moment of agony, his friend, Fyodor Khomyakov, brother of the poet Alexei Khomyakov, put the ring on the finger of the dying man.
In January 1930, the Simonov Monastery, in which Venevitinov was buried, was blown up in order to build a Palace of Culture on the vacant site. The exhumation of the poet’s remains was scheduled for July 22. “Venevitinov’s skull,” wrote M.Yu. Baranovskaya, an employee of the Historical Museum, “surprised anthropologists with its strong development. I was amazed by the musicality of the fingers. From the ring finger right hand a bronze ring that belonged to the poet was removed." Venevitinov's ring was transferred to the Literary Museum.
House of Culture ZIL
Simonov Monastery will soon turn 630 years old. The first restoration work began here only in the 50s of the 20th century. In the 80s, restoration of the Salt Tower and the southern wall was underway, and at the same time part of the eastern wall was restored.
On May 29, 1991, Patriarch of Moscow and All Rus' Alexy II blessed the creation of a parish in Simonovo for believers with hearing impairments. On December 31 of the same year, the deaf community of the temple in honor of the Tikhvin Icon of the Mother of God of the former Simonov Monastery was registered here. The monastery, which in those years lay in ruins in the very heart of the capital.
Temple of the Tikhvin Icon of the Mother of God
The year 1994 became a turning point for Simonov in the history of the holy monastery - the Moscow government allocated the entire complex of surviving buildings of the Simonov Monastery for free use by the Moscow Patriarchate.
In the community of the deaf and hard of hearing, it is planned to create a step-by-step system of education and training for the deaf: kindergarten- school - college. It is planned to organize a home for the elderly and infirm. For all this, personnel are now being trained at the St. Dimitrovsky School of Sisters of Mercy.
Shchukin Vasily Georgievich
Doctor of Philological Sciences, literary and cultural critic, professor at the Jagiellonian University (Krakow, Poland), head. Department of History of Russian Literature, the Middle Ages and Modern Times
The concept of a literary tract (locus poesiae) was put forward by V. N. Toporov in a number of works in the second half of the 1980s - early 1990s (6, 61–68; 7, 68–73; 8, 73–78; 9, 200 –279). If we simplify its interpretation to the utmost and forget about all the nuances associated with it, then it could be defined as a certain poetically significant place in the city, in other words, a relatively small and perceived as a limited whole section of the urban territory, which, due to its natural data (relief) , hydrography, flora, etc.) and the cultural landscape superimposed on them is overgrown with legends, oral and literary reputation, due to which it becomes a favorite place of certain writers, the subject of their poetic descriptions and the setting of their works. The authors settle their heroes there, designate the tracts for certain events depicted or for lyrical experiences. It can be a very specific, easily and accurately localized topographic “corner” - a locus (see Note 1). The locus has not only topographical, but in many cases also genre specificity, which is determined by social and cultural purpose: people pray in a temple, shave in a hairdresser, and in a cafe they drink coffee and cake and gossip. On the other hand, an urban area can represent a topos (see Note 2), that is, a fairly extensive territory that includes a number of loci.
The tract is not an intratextual phenomenon, but a completely objective phenomenon. Apothecary Island, which V.N. wrote about. Toporov, or the Sennaya Square area in St. Petersburg, about which the author of these words happened to write (13, 155–167), actually exists. Urban “matter” in this case is primary, and figurative and plot space, as an element of “deliberate”, intentional reality, is secondary. This is not just a district or block, but a particularly noteworthy place, an outstanding fragment of urban space (see Note 3). Character traits landscape there, at least minimally different from the surrounding “average level”, create the preconditions for special treatment city residents. Finding himself in this place, a person begins to fantasize more than usual, composing simple mythical tales, and then more intricate legends about the special, seemingly magical properties of the tract. Very often this was facilitated historical events, which, over time, becoming covered with the patina of oblivion, turned into fabulous stories in the memory of descendants.
The myth-creating potential of urban loci and topoi as places distinguished by their special semantic richness is also indicated by the etymology of the word tract. According to
V.N. Toporov, "<...>tract, - a place of “lessons”, or, according to Dahl, “a living tract, every natural sign, measure, natural boundary sign.” Two features characterize the tract - first of all, it becomes such from that neutral, unidentifiable and, as it were, hidden from the perceiving consciousness, in the mystery of the place through a breakthrough into the sign sphere, revealing oneself in it as the revelation of one’s secret; in addition, it is precisely because of this that the “place of lessons” becomes dangerous, easily subject to damage, the evil eye, lessons (cf. “spoil”, “harm”, etc., but also “bewitch”): an evil word - lesson, ur.k, u-rekat (cf. speech) - becomes an evil deed - lesson, urochishche, etc. Consequently, a tract is the secret revealed by the place, its main meaning, perceived by the “external” consciousness and assimilated by it, which, in particular, is revealed in the relationships in which a person puts himself in connection with this tract, defining himself in relation to it and using it for lessons (in a different, positive sense, cf. a lesson as a conclusion made on the basis of previous knowledge and orienting a person in new situations), cf. to reprimand, to determine, to assign in advance, to predict (9, 244. Italics and discharge by V.N. Toporov, boldface is mine. - V. Shch .) – See Note 4.
I note, however, that the natural and topographical properties of a tract are primary in relation to its fabulous or written literary legend only in the very first act of myth-making - when a person, comprehending the meaning and beauty of its “lesson”, creates the first legend about it. “Having broken through” into the symbolic sphere and acquired meaning, it begins to influence the poetic imagination of contemporaries and descendants of the first myth-maker not so much with its natural properties, but with its associated semantic fullness and emotional coloring. It is worth listening to the difficult to understand and not at all trivial words of the creator of the concept in order to understand what phenomenal depth and capacity the concept of a tract has: “We can say that in a certain respect, intuition comes closest to understanding what is behind this concept, because, firstly, it is based on a certain unified, although syncretic in origin and character, body of impressions obtained as a result of “summation” different experiences and corresponding images, and, secondly, she is free<...>from logical-discursive schemes and, therefore, it comprehends not what “really is,” but first of all what is perceived and imprinted due to the internal affinity between the external world and the structure of perception of this world. In other words, in both cases the subject and subjective aspect of generating the image of a tract turns out to be extremely significant and, therefore, the fact that the description of a tract is related not only to the tract itself (in the first place), but also to the subject of the description, which is reflected in this description , as in a mirror, in connection with its relationship to a given tract and through it<...>. We are talking primarily about distinguishing and taking into account two plans - natural (in two forms - geophysical and natural-ecological, more specifically - “landscape-landscape”) and cultural - and the ability to see them in combination, which is the result of a parallel or, more precisely, “parallelizing” work of nature and culture, generating both the tract itself and its “descriptor” as the recipient of the image of the tract<...>. If human thought and imagination are the “geological force” that leads to the formation of the noosphere, then fiction also finds its role in this process. And not only in general, in general, in principle, but also quite specifically and clearly. The latter occurs when we are talking about a specific (regular) place and time in their unity, which, in particular, characterizes the tract. Connected in various ways to the chronotopic situation, fiction forms numerous, sometimes very complex combinations of a “spatial-poetic” nature. It is necessary to take into account the fact that literature can be not only national (Russian or French), but also regional (Novgorod, Tver or Ryazan), “urban” (Moscow or St. Petersburg) and - even more spatially limited - the literature of individual urban areas (“tract”). In this latter case, we can talk about a “literary tract” as a complex combination of literary and spatial, “cultural” and “natural”, suggesting fundamental multifunctionality. A literary tract is also a description of a real space for “acting out” poetic (as opposed to “real”) images, motifs, plots, themes, ideas; this is the place of the poet’s inspiration, his joys, thoughts, doubts, sufferings; a place of creativity and revelation; the place where he lives, creates and finds eternal peace; a place where poetry and reality (“truth”) enter into heterogeneous, sometimes fantastic syntheses, when the distinction between “poetic” and “real” becomes almost impossible; a place that itself begins to be largely determined by these, for the time being, seemingly incredible connections, which become as they are realized, explicated and transmitted “outside”, to “others”. more and more real and forming that “poetosphere”, which in the end, together with “scientific thought”, is sublimated to the level of a “planetary” phenomenon and the corresponding force of the “natural-cultural”, truly cosmological
a creation that requires its Hesiod. Poetry “playing out” space, and space “playing out” poetry, poesia loci and locus poesiae, that whole where the boundary between cause and effect, generating and generated, tends to be erased - this is the “new” unity that is to be meaningful and understood both in macro and micro perspectives (9, 200–201. Discharge and italics by V.N. Toporov, bold font mine. - V. Shch.) - See Note 6.
May the reader forgive such an extensive extract, but in this case, it seems to me, it is absolutely necessary. In my opinion, at present there is no more methodologically perfect and more successful explanation of the organic connection between real – both materially and spiritually (humanitarian) life, on the one hand, the oral and “book” layer of cultural tradition, on the other, and poetic image, from the third. The close gaze of the outstanding scientist did not neglect anything: neither natural, nor physiological, nor social determinants, nor semantic and, moreover, ideal, symbolic, mythopoetic parameters, which often send us very far, to metaphysical or even transcendental ideas. Such is the nature around us, such is man and such is his creativity.
This article contains an overview of some Moscow literary tracts in chronological order. At the same time, I will try to answer the question why exactly these, and not any other areas, quarters or corners of the city, were chosen by word of mouth and the creative imagination of word artists as loci poesiae, what was the reason for their myth-creating and poetic potency.
Simonovo
The history of Moscow literary tracts begins with the emergence of full-fledged subjective prose, that is, with “Poor Liza” by N.M. Karamzin (1792). The act of creating this kind of narrative is based on a detailed description of subjective experience, including the experience of favorite places and “dear to the heart” time fragments - times of day and seasons. The sentimental heroine had to be settled in a place that would excite the author’s imagination and be remembered for a long time by the future reader - something similar to the village of Clarens on the shores of Lake Geneva, where, by the will of Jean-Jacques Rousseau, the tender Julia and the passionate Saint-Prix were destined to live.
Karamzin chose the vicinity of the Simonov Monastery not by chance: it was covered in legends. From a young age, the writer was interested in ancient Moscow and read the anonymous “Tales of the Beginning of Moscow,” written in the second half of the 17th century, in which Simonovo was named among various options for the location of the villages of the boyar Kuchka. Thus, this place was indirectly associated with the construction sacrifice that preceded the founding of the future capital. Legends connected Simonovo with other important events Russian history. For example, it was believed that St. Sergius of Radonezh, who founded the Simonov Monastery in 1370, personally dug a small pond near the monastery walls, which for a long time was called Lisin. The heroes of the Battle of Kulikovo – Peresvet and Oslyabya, monks of the Holy Trinity Monastery – were buried right there, very nearby. Whether it was true or not, in fact, no one knew, but that is precisely why this place was enveloped in an atmosphere of increased importance, emotionality and mystery; it exuded a lesson - the influence of the powerful forces of historical fate.
However, the historical memory and associated legends that the tract “keeps” are insufficient in themselves. The work of the imagination must come to the aid of nature - the properties of the local landscape. And that didn’t stop there: it was beautiful in Simonovo. The monastery stands on the high bank of the Moscow River, from where a majestic panorama of the southern part of the city, from the Donskoy Monastery and the Sparrow Hills to the Kremlin, opens even now; During the time of Karamzin, the wooden palace of Tsar Alexei Mikhailovich in Kolomenskoye was also visible. For the reader who sympathized with the “sentimental” narrator and deeply experienced the legendary-historical associations, it was extremely important for the narrator to admit that he loves to walk there and communicate with nature: “I often come to this place and almost always meet spring there; I come there and grieve with nature on the dark days of autumn” (4, 591).
At the end of the 18th century, Simonovo was located at a considerable distance from the city, among water meadows, fields and groves. Moscow could be seen very well from there, but it showed off in the distance -
living history framed by eternal nature. Karamzin’s description that precedes the action of the story is first a “majestic amphitheater” of the city, surrounding villages and monasteries in the slanting rays of the setting sun (See Note 6), and then a smooth transition from the panorama of the city and nature to the panorama of history. The role of a connecting link between cosmic and cultural-historical elements is played by the image of autumn winds blowing within the walls of the monastery between the “gloomy Gothic towers” and tombstones. The fragment below perfectly demonstrates the art of the writer, who, masterfully manipulating the reader’s feelings, intensifies the mood associated with experiencing a place of extraordinary, sad and majestic - and only then moves on to depict the fate of the poor girl. Let us not forget that, according to the beliefs of humanists and educators of the 18th century, it is the specific human personality that is the crown of nature and final goal stories. “I often come to this place and almost always meet spring there; I come there and grieve with nature on the dark days of autumn. The winds howl terribly within the walls of the deserted monastery, between the coffins overgrown with tall grass, and in the dark passages of the cells. There, leaning on the ruins of the tombstones, I listen to the dull groan of times, swallowed up by the abyss of the past - a groan from which my heart shudders and trembles. Sometimes I enter cells and imagine those who lived in them - sad pictures!<...>Sometimes on the gates of the temple I look at the image of the miracles that happened in this monastery - there fish fall from the sky to feed the inhabitants of the monastery, besieged by numerous enemies; here the image of the Mother of God puts the enemies to flight. Sun. this renews in my memory the history of our fatherland - sad story those times when the ferocious Tatars and Lithuanians devastated the outskirts of the Russian capital with fire and sword and when unfortunate Moscow, like a defenseless widow, expected help from God alone in its cruel disasters. But most often what attracts me to the walls of the Si*nova Monastery is the memory of the deplorable fate of Lisa, poor Lisa. Oh! I love those objects that touch my heart and make me shed tears of tender sorrow!” (4, 591–592).
Karamzin used the above-mentioned moods of “tender sorrow” with his characteristic talent. He “drowned” the heroine in Fox Pond. After the story was published, this pond immediately became a place of pilgrimage for Muscovites who came here to cry over the bitter fate of poor Liza. In ancient engravings of those years, the texts of “sensitive” inscriptions on different languages, which Muscovites carved on the trees growing around the pond, which oral rumor renamed from Lisinoy to Lizin, for example: “In these streams, poor Liza passed away her days; / Since you are sensitive, passer-by! breathe"; or: “Lisa drowned here, Erast’s bride. / Drown yourself, girls, there will be a place for all of you” (quoted from: 10, 362–363). Simonovsky locus acquired a reputation as a place of unhappy love. But few of the “pilgrims” realized the deep poetic connection of this image with a much more complex image of Russian history, or more precisely, the history of Moscow. St. Sergius, who stood at the origins of the great future of Moscow, and “poor” Liza were connected by the Simonovo tract as a special source and catalyst of poetry, locus poesiae (10, 107–113). However, the lesson of this place even affected those in power: at the time of writing “Poor Liza,” Simonov’s monastery was closed by the will of Catherine II, who was trying to pursue a policy of secularization (therefore, in “Poor Liza” the monastery is “empty” and the cells are empty), but in 1795 year, at the height of Simonov’s popularity, it had to be reopened.
The Simonovsky tract actively influenced minds and hearts for a relatively short time - while the Karamzin generation lived. Already in Pushkin's times, a semantic de-actualization of this place sets in, and the memory of it gradually fades away. It is curious that Lizin Pond as the place of death of the Karamzin heroine was mentioned in the guidebook of 1938 (5, 122–123), when Simonova Sloboda was called Leninskaya (and in the middle of Leninskaya Sloboda there was still Lizin Square!), but by the mid-1970s literary tracker Alexander Shamaro had to work hard to find out where and when exactly the pond “disappeared”, on the site of which the administrative building of the Dynamo plant grew (12, 11–13).
Maiden's field
The romantic cult of friendship and lofty ideals of youth is usually associated with Pushkin and the Tsarskoye Selo Lyceum, but these motifs appear somewhat earlier in the poems of the young Zhukovsky and the Turgenev brothers and are associated by them with the “dilapidated house” and the “wild garden” where they gathered during their student years. The “dilapidated house” belonged to the parents of Alexander Voeikov, a future minor writer, a mediocre professor of Russian literature in Dorpat and the worthless husband of Alexandra Protasova, who became the prototype of Svetlana from Zhukovsky’s famous ballad (see Note 7). This house, as V.N. established with great accuracy.
Toporov, was located between the Devichye Pole proper and Luzhniki, somewhere in the area of modern Usachevka. It stood “in the far corner of the Khamovnicheskaya part, at the very edge of the built-up space, where rare houses were lost in a sea of gardens, groves, and copses” (11, 290–292). The area was swampy and unprepossessing; the Voeikovs’ garden was truly “wild,” completely dead. But this was the special charm. In the dilapidated and old, a new and young tribe settled, still full of strength and hope, and the “dilapidation” itself and the surrounding “wild” nature seemed to emphasize the poetry and youthful spontaneity of the heartfelt affection of all members of the Friendly Literary Society, as they began to call themselves in 1801 the young men who gathered with Voeikov, who studied at the Noble boarding school at Moscow University - Zhukovsky, brothers Andrei and Alexander Turgenev, Andrei Kaisarov, Alexey Merzlyakov and Semyon Rodzianko. By the way, in the surrounding “wild” landscape there was a lot of beautiful and even majestic: from the garden or from the windows of the house there was a view of Neskuchny Garden, St. Andrew’s Monastery, the Golitsyn estate, and on the right this magnificent panorama was closed by the Sparrow Hills. Parks, forests, church crowns and manor towers – there are few such beautiful views in all of Moscow.
Already in the late autumn and early winter of 1801, the friends had to part: some of them went to St. Petersburg for service, others remained in Moscow. They recalled Voeikov’s childhood home in letters to each other and in poetry. The new, “adult” life turned out to be no longer as romantically carefree as the hours spent in that “dilapidated” house, and therefore the memory of it soon turned into a poetic image of lost happiness:
This dilapidated house, this deaf garden, is a refuge of friends united by Phoebus, Where in the joy of their hearts they swore before heaven, They swore with their souls, Sealing the vow with tears, To love the fatherland and be friends forever (see Note 8).
The memory of this haven of friendship and poetry was preserved for a long time. Zhukovsky kept it, Alexander Turgenev kept it - younger brother Andrei, who died early, a friend of Pushkin and Chaadaev. Thanks to Kaisarov, the literary myth of lost happiness became popular among Moscow Freemasons, and from them it passed to Stankevich’s circle and then to the Westerners of the forties. And when the historian Mikhail Pogodin settled on Devichye Pole, in a large wooden house stylized as a peasant hut, and “all of Moscow” gathered at his dinner, old Muscovites began to remember that happy young poets gathered here nearby at the beginning of the century. So, for example, on May 9, 1840, when a dinner party was held in Pogodin’s garden on the occasion of Gogol’s name day and his departure abroad, to which M.Yu. Lermontov, P.A. Vyazemsky, M. Zagoskin, poet M.A. Dmitriev, lawyer P.G. Redkin, A.P. Elagina (mother of the Kireevsky brothers), E.A. Sverbeeva, E.M. Khomyakova (the wife of a famous Slavophile), then Alexander Turgenev, who was also there, wrote in his diary that this cheerful gathering reminded him of “our sub-Devichensky Arzamas under Paul I” (See Note 9). Turgenev absent-mindedly called the Friendly Literary Society "Arzamas".
Literature
1. Gershtein E. Duel between Lermontov and Barant // Literary Heritage. 1948. No. 45–46 (M.Yu. Lermontov, II). pp. 389–432. 2. Dal V. Dictionary living Great Russian language. T. IV. M.: Russian language, 1980. 3. Dushechkina E.V. Svetlana. Cultural history of the name. St. Petersburg: Publishing house of the European University in St. Petersburg, 2007. 4. Karamzin N.M. Poor Liza // Russian prose of the 18th century. M.: Fiction, 1971. pp. 589–605. 5. Inspection of Moscow: Guide. M.: Moscow worker, 1938. 6. Toporov V.N. On the concept of “literary tract” (Locus poesiae). I. Life and poetry (Maiden Field) // Literary process and problems of literary culture: Materials for discussion. Tallinn, 1988. pp. 61–68. 7. Toporov V.N. Towards the concept of a “literary tract”. II. Apothecary Island // Literary process and problems of literary culture: Materials for discussion. Tallinn, 1988. C . 68–73. 8. Toporov V.N. Everyday context of Russian poetic Schellingism (origins) // Literary
process and problems of literary culture: Materials for discussion. Tallinn, 1988. C . 73 –78. 9. Toporov V.N. Apothecary Island as an urban tract (general view) // Noosphere and artistic creativity / Ed. board: N.V. Zlydneva, Vyach. Sun. Ivanov, V.N. Toporov, T.V. Tsivyan. M.: Nauka, 1991. pp. 200–279. 10. Toporov V.N. “Poor Liza” by Karamzin. Reading experience: To the bicentenary of its publication. M.: Publishing Center of the Russian State. hum. un-ta. 11. Toporov V.N. (1997). A dilapidated house and a wild garden: the image of lost happiness (A page from the history of Russian poetry) // The Shape of the Word: Sat. articles / Comp. and resp. ed. L.P. Krysin. M.: Russian dictionaries, 1997. pp. 290–318. 12. Shamaro A. The action takes place in Moscow: Literary topography. 2nd ed., revised. and additional M.: Moscow Worker, 1988. 13. Shchukin V. Petersburg Sennaya Square (to the characteristics of one “profanologeme”) // Studia Litteraria Polono-Slavica 4: Utopia czystosci i gory smieci – Utopia of cleanliness and mountains of garbage / Redakcja naukowa tomu Roman Bobryk , Jerzy Faryno. Warszawa: Slawistyczny Osrodek Wydawniczy, 1999. S. 155–167. 14. Shchukin V. The myth of the noble nest. Geocultural research on Russian classical literature // Shchukin V. Russian genius of enlightenment: Research in the field of mythopoetics and history of ideas. M.: Russian Political Encyclopedia (ROSSPEN). pp. 155–458. 15. Glowinski M., Kostkiewiczowa T., Okopien-Slawinska A., Slawinski J. Slownik terminow literackich / Pod redakcja Janusza Slowinskiego. 2nd wydanie, poszerzone i poprawione. Wroclaw: Ossolineum, 1988.
Notes
1. I will give as an example the corner of Gorokhovaya and Sadovaya, where Ilya Ilyich Oblomov and Parfen Semyonovich Rogozhin lived, or the corner of the Alexander Garden, where Azazello gave Margarita a box with magic cream - a bench near the Kremlin wall, from where the arena is clearly visible.
2. For more information on sociocultural loci, see 14, 175–192.
3. The term “topos” can also be used in its traditional meaning - stereotypical methods of argumentation and disclosure of well-known topics, generally accepted in ancient rhetoric, as well as examples of figurative, thematic and stylistic execution of famous passages in oratory speeches and literary texts (see 15, 261–262 ).
4. However, a tract is not necessarily connected with a city: it can be a complete fragment of a natural landscape, covered in legend or associated with various kinds of beliefs.
5. Wed. also: 2, 509.
6. “An image that anticipates Dostoevsky” (10, 96).
7. About Alexandra Andreevna Protasova and her marriage to A.F. Voeikov, see 3, 38–49.
8. A fragment from a poem by Andrei Turgenev, whose autograph is kept in the Manuscript Department of the Institute of Russian Literature of the Russian Academy of Sciences (Pushkin House). Quote from: 11, 294. Emphasized by A.I. Turgenev - V. Shch.
9. Quote. by: 1, 419.
My interlocutor is the scientific director of the State Museum A.S. Pushkina Natalya Ivanovna Mikhailova.
What do you like most about Karamzin?
Natalya Mikhailova: This may seem strange, but I really love “Poor Liza.” This is wonderful prose. I remember well my first, back in school, impression of this story.
It was “Poor Liza”, and not Karamzin’s “History of the Russian State”, that you dedicated the exhibition that opened not so long ago...
Natalya Mikhailova: We are not at all contrasting these two masterpieces. It’s just that “Poor Lisa” is 225 years old this year. Its publication brought 25-year-old Karamzin his first great success. And what is also important: “Poor Liza” is also a story, also an awareness of oneself, one’s soul, only not through the history of the state, but through a personal tragedy. It is no coincidence that “Poor Liza” remains in our reading circle in the 21st century.
Do you really hope that "Poor Lisa" will touch a modern girl?
Natalya Mikhailova: I think that if I explain something to her, she will certainly touch her. This is what researchers are for...
And what would you tell a girl who is wondering whether to read Poor Lisa or hang out on social networks?
Natalya Mikhailova: Dear child! - I would say. - This story happened more than two centuries ago. It happened in Moscow, near the Simonov Monastery. You will definitely notice its towers if you come to the capital and get off at the Avtozavodskaya metro station...
And on the tower you will see a memorial plaque “Near these walls lived poor Liza, the heroine of Karamzin’s story”...
Natalya Mikhailova: We will not find such a tablet at the Simonov Monastery. And I don’t know if it’s needed. But I would put up a sculptural group. So that again at the Simonov Monastery you can see Lisa and Erast. Lovers would come to them. I remember the cartoon “Poor Liza,” filmed back in 1978, with music by Alexei Rybnikov and incredibly expressive dolls by Nina Vinogradova. And the film was directed by Idea Nikolaevna Garanina. There is not a single word, but, in my opinion, this is one of the most outstanding adaptations of a literary work.
Let's return to the towers of the Simonov Monastery and the girl who is thinking whether or not to read “Poor Liza”...
Natalya Mikhailova: Well, I’ll continue the conversation with my imaginary interlocutor... Meanwhile, dear child, near these towers of the Simonov Monastery at the end of the eighteenth century one could often see the writer Nikolai Mikhailovich Karamzin. He wrote poems and stories, and then became a historiographer and wrote “The History of the Russian State.” And he and his friends sailed to the Simonov Monastery by boat across the Moscow River. They spent whole days here. There was also a pond nearby, next to which the girl Lisa lived. It’s a pity, this pond has been gone for a long time, and we don’t even know exactly where it was. To understand the full drama of the plot of "Poor Lisa", it is important to know that at that time there were serfs and nobles. There was an abyss between them, and two people who were separated by this huge abyss - a peasant girl and a nobleman - they fell in love with each other. And what happened next - please read for yourself. After all, it is impossible to retell a work of genius. "Poor Lisa" will help you look at the people around you differently. I would also invite you to the exhibition “Lisa and the Lilies of the Valley”, which is taking place in our museum. There you will see both the animated film that I talked about and the first edition of “Poor Lisa”...
Was it something special?
Natalya Mikhailova: Yes, it is somewhat of a mysterious edition and has never been reproduced. By studying it, you can make interesting discoveries. One such find is associated with the poet Vasily Lvovich Pushkin, Alexander Sergeevich’s uncle.
In 1818, Vasily Lvovich wrote to Vyazemsky: “We went to the Simonov Monastery, were at the all-night vigil, walked along the banks of the Moscow River, saw the pond where Poor Liza ended her life, and I found an inscription in my own hand that I drew about twenty years ago, and maybe even more ago: Non la conobbe il mondo mentre l ebbe; Conobbil io, cha pianger qui rimasi.”
“Twenty years, or maybe more ago” - this is exactly the time when, after the publication of Karamzin’s story in the Moscow Journal, many Muscovites went to the scene of Poor Liza. Then Vasily Lvovich left two lines on the birch tree, carving lines from Petrarch, from the 338th sonnet “On the Death of Madonna Laura” on the bark. Translated, they sound like this: “The world did not know her while he had her; I knew her, and now all I have to do is mourn.”
In 1796, when the first separate edition of “Poor Liza” was published, it was accompanied by an engraving depicting both the Simonov Monastery and the pond, and some inscriptions on birch trees were also reproduced there. One of them, the same line from Petrarch, became the epigraph to the story!
I wonder if Karamzin knew that it was Vasily Lvovich who carved this inscription on the tree?
Natalya Mikhailova: I can't confirm this yet. It is unknown whether Vasily Lvovich knew that the quotation from Petrarch migrated from the birch tree to “Poor Liza” with his light hand. And yet, the main thing has already been revealed to us: with his inscription from Petrarch, carved on a birch tree, Vasily Lvovich Pushkin included “Poor Liza” in the context of world culture, because two lines from Petrarch are also the epigraph to Jean-Jacques Rousseau’s novel “Julia, or the New Heloise” ". And now they stand in one row: Petrarch, Rousseau and Karamzin. I think this is very interesting...
And I’m wondering, but how can we make all this interesting for those kids who are studying “Poor Lisa” in ninth grade?
Natalya Mikhailova: The role of literary historians is great here. They must write not only for their fellow scientists, but also for the modern reader. And a lot depends on the teacher.
Talking about feelings in class seems to have remained in the 1970s. The teacher is so overloaded with reporting that he simply does not have time to listen to the children, argue with them, or go together in search of Liza’s Pond...
Natalya Mikhailova: This system of predetermined frameworks is absolutely destructive specifically for the teaching of literature. If there is no joy, then only pragmatism remains: “Why would we go to a museum if it doesn’t help us pass the Unified State Exam? Why would I read a book?..” As a result, we get generations that cannot express their thoughts either in writing or orally.
Sensitivity today is understood as weakness.
Natalya Mikhailova: Sensitivity in the era of Karamzin and Pushkin is the ability to have high feelings, tenderness in love, loyalty in friendship, responsiveness to the grief of others, sensitivity to shades of feelings, to the complexity of human relationships...
Read the continuation of Karamzin's conversations in one of the upcoming issues of RG-Week.
From the RG dossier
Natalya Ivanovna Mikhailova - scientific director of the State Museum of A.S. Pushkin, Doctor of Philology, Academician of the Russian Academy of Education, laureate of the State Prize, head of the publishing project "Onegin Encyclopedia", laureate of the magazine "Our Heritage" named after. A. Blok. Author of many books, as well as Pushkin expositions and exhibitions.
State Museum of A.S. Pushkin is located in Moscow at the address: Prechistenka, 12/2. Directions to the Kropotkinskaya station. The museum is open from 11.00 to 19.00, on Thursdays from 12.00 to 21.00. Every third Sunday of the month the museum is open free of charge. Day off: Monday. The exhibition "Lisa and the Lilies of the Valley" will be open until the end of September.
Chusova M.A.
A lot has been written about Karamzin’s Lizin Pond. However, the early history of this reservoir was usually not considered, and many inaccuracies were allowed in its description.
The pond was located behind the Kamer-Kollezhsky shaft, on the road leading to the village of Kozhukhovo, on a flat, elevated and sandy place, it was surrounded by a rampart and lined with birch trees, and it never dried out. It was about 300 meters in circumference, and the depth in the middle reached 4 meters. According to church tradition, which we have no reason not to trust, the pond was excavated by the hands of the first monks of the Simonov Monastery. The latter was originally founded in 1370 on the site of the Church of the Nativity of the Virgin Mary in Stary Simonovo by the nephew of Sergius of Rado-Nezh, Theodore. According to legend, the Holy Elder, during his stay in Moscow, stayed in Simonovo. On one of his visits, together with Theodore (who is mentioned as the creator of the reservoir along with the Reverend) and the monks of the monastery, he dug a pond not far from the monastery (200 meters south of Old Simonov). In memory of this, the pond was called Sergievsky, sometimes - Saint. In the 19th century, the legend about the healing power of its waters was still fresh. Since ancient times, on the day of Midsummer, the abbot of the monastery came here every year with a procession of the cross, in front of a gathering of people, to bless the water according to the general charter.
Probably, as a monastery pond since ancient times, the pond was left behind by Simonov after the secularization of the monastery lands in 1764. Archimandrite Gabriel reported to the Ecclesiastical Consistory in 1770 that near the pond in which fish are bred, there is a monastery compound, fenced with a fence, with buildings and a cell for a watchman. People have been going to Sergius Pond for healing for a hundred years before this time and more.
In 1797, Sergiev Pond was designated as unsuitable for fishing.
In 1792, having arrived from abroad and gained “free-thinking” there, N.M. Karamzin wrote the story "Poor Liza". He was the first to point out the beauty of these places and open them to the public: “Go on Sunday... to the Simonov Monastery... there are many people walking everywhere... Not so long ago I wandered alone through the picturesque outskirts of Moscow and thought with regret : "What places! and no one enjoys us with them!”, and now I find companies everywhere.”
From Karamzin’s story it turned out that Lisa lived in Simonova Sloboda (70 fathoms from the monastery, near a birch grove, in the middle of a green meadow) and drowned herself in a pond 80 fathoms from her hut. This pond was deep, clean, “fossilized in ancient times,” it was located on the road, it was surrounded by oak trees.
The birch forest is mentioned in the notes to the General Land Survey plans in the Simonova Sloboda dacha; birch trees also grew around the pond. Perhaps Karamzin meant Tyufelev Grove, which along the edge could consist of birches; it was located half a kilometer from the settlement. The green meadow near Simonova Sloboda is shown on plans throughout the 19th century.
N.D. Ivanchin-Pisarev wrote about the reception of Karamzin’s story: “not a single Writer, if we exclude Rousseau, has produced such a strong effect in the Public. Having written a fairy tale in his leisure hours, he turned the entire Capital to the environs of the Simonov Monastery. All the secular people of that time went to look for Lizina graves." They recognized the description as a pond near the road. So Sergius Pond became Lizin’s, and only monks, pilgrims and residents of the surrounding villages began to remember its holiness.
Sergiev Pond. Drawing by K.I. Rabusa
Whether the quiet Elder was offended by Karamzin, great fame came to the writer, which, sometimes, he was not happy about. Someone even managed to get close to her: everywhere, when mentioning “Poor Lisa” and her perception by the public, they cite an inscription on one of the trees near the pond by an unknown author (in all sorts of variations):
Here Lisa drowned, Erast’s bride!
Drown yourself girls in the pond, there will be room for everyone!
To justify the fact that Karamzin “did not present the history of the monastery with enough respect,” Ivanchin-Pisarev said that at that time the historiographer was still young and dreamy and knew nothing about the sanctity of the pond. Ivanchin-Pisarev also cited another name for the reservoir - Li-siy (one history buff told him about this).
Over time, they began to forget about “Poor Lisa”. In 1830, the monk told one old admirer of Karamzin, already on the secluded shore of the pond, that once all of Moscow came here, looked for a collapsed hut and asked where Liza lived.
In 1833, in the Telescope, the anonymous author [N.S. Selivanovsky, it turned out later when writing the article] told legends told to him by a hundred-year-old old woman (there is a lot of truth in them), probably dating back to the end of the 17th - 18th centuries. In her memory, the old people said that near the pond there was a monastery hotel for wanderers, with a cross above the door, pilgrims stayed there for free, there were tall oak trees near the pond (matches Karamzin’s description), and there was a garden near the monastery wall cherry (the garden is shown on the General Survey plan). “Planted, tagged” fish were allowed into the pond (fish were actually bred there in the 18th century). The banks of the pond were fenced with rails; there was a passage across the pond on stilts, all covered with glass frames. The author argued that even today the surrounding villagers point to healing power waters of the pond and you can often meet a sick woman on the shore who has come to swim. “I must not forget the old woman’s superstitious story,” he wrote, “about the purity of its waters and the woeful horror of it, that the shrine was desecrated by villainous comedians with a fable about a murderer. This is how the poet’s inventions are reflected dramatically among the people!” The author found a pond still full of water, a dried oak tree and several birch trees, mutilated with inscriptions. Behind the pond are the remains of a “hotel”, which many took for Lisa’s hut. Here he found Peter's money. “The nest of greenery, nurtured by the quiet labor of the monks, was abandoned to the plunder of both people and time,” he summed up.
The remains of Lisa's supposed hut are also mentioned in other memoirs. They were obviously the remains of a destroyed outbuilding for the guards at the pond.
As for the luxurious passage, it could have existed during the time of Tsar Alexei Mikhailovich. The latter repeatedly stayed at the monastery and lived there during fasting periods. There is also a legend that fish were specially bred for him in Sergievsky Pond.
M.N. Zagoskin in 1848 wrote about Lizin’s pond, which still had birch trees with barely noticeable inscriptions that it looked more like a rainy puddle.
In 1871, Archimandrite Eustathius claimed that the Simonov Monastery sacredly honors traditions and every year on the day of Midsummer the abbot marches with a procession to Sergius Pond, and on last years with a large icon of Sergius of Radonezh. The pond is always clean, and local residents do not dump garbage there, but take water from it; crucian carp are found in the pond.
In the 19th century, the land near Sergius Pond (130 fathoms) was leased to surrounding peasants for vegetable gardens, with the condition that the owners would not interfere with the religious procession taking place on the day of the Midsummer. At the beginning of the 20th century, this land became the object of housing construction for the expanding Simonova Sloboda (the resulting settlement was called Malaya Simonova Slobodka). The surrounding residents polluted the pond so much that it was no longer suitable for swimming.
“The temple itself and the pond excavated by St. Sergius are lost behind awkward houses, the builders of which had one goal, to get as much benefit as possible from the poor factory workers...” wrote the priest of the church on Stary Simonovo.
Sergiev Pond. Early 20th century
Time has changed, and history has changed. According to the recollections of Simonovka workers, on the pond, which shone like a mirror in winter, and where children skated, the famous “walls” began: residents of Simonova Sloboda met with residents of Lizina Sloboda (Koshachya) for a fist fight, after which the ice was stained with blood.
Lizin Pond, from a place of pilgrimage for Karamzin’s fans, became a place of workers’ gatherings (and the underground workers lived right next to it), which took place here in 1895 and 1905.
After the revolution, Lizin Pond, apparently, was a pitiful sight. S.D. Krzhizhanovsky wrote: “I took tram No. 28 and soon stood by a black, fetid puddle, pressed into its slanting banks like a round spot. This is Lizin’s pond. Five, six wooden houses, turning their backs to the pond, are fouling directly into it , filling him with sewage. I turned my back abruptly and went: no, no, quickly back to the land of the Nets."
The pond, according to an old-timer, was filled up in the early 30s of the 20th century; at the end of the 1970s, the administrative building of the Dynamo plant began to be erected in its place. We managed to find new facts. It turns out that the reservoir existed back in 1932, when the FZU building already stood on its shore. At this time, the water in it was clean, the springs fed it, and it was difficult to fall asleep. So the worker S. Bondarev put forward a proposal to preserve Lizin Pond. “All residents of Leninskaya Sloboda know Lizin Pond well,” he wrote in the Motor newspaper, “which recently was still a good source. The kids swam in it and came to it to breathe fresh air. In 1930, the Proletarsky District Council ordered the final filling of Lizin Pond. But since this pond is flowing, they have been filling it up for three years, but they can’t fill it up. Now the pond is completely filled with clean, clear water, even overflowing its banks. The pond has water-bearing springs, from which cold, completely drinkable water flows continuously, so it is impossible to fill it up. If you save it, you can breed fish and swim in it. I propose to preserve the Lizin pond, turning it into a place for swimming. To do this, the following measures should be taken: clean the dirt and strengthen the banks. The initiators of this work should be the students of our FZU, because the FZU building is located on the shore of the pond, and it will be primarily used by factory students.” What kind of reaction there was to the article is unknown. The pond was finally filled in.
FZU plan. 1930
Vocational school "Dynamo" (FZU). This building still remembered Lizin Pond. But he’s gone now too.
In addition to Lizino pond there were: Lizin dead end leading to the pond, Lizin settlement nearby, Lizinskaya railway line with the Lizino goods station, Lizin square (to the south of Lizin pond, between the pond and the railway line).
And here everything would seem clear. But in the second half of the 19th century, when memory began to weaken, a desire arose to change history. I wanted Sergiev Pond to not be Lizin’s. Arch-mandrite Eustathius, who published several brochures about the Simonov Monastery, wrote that the monastery was founded near a tract called by the chronicler (it is unknown which one) Bear Lake, or Fox Pond. This lake, according to him, was later renamed by the villagers to Postyloye as it was already swampy. Eustathius asked not to confuse Sergius Pond with Bear Lake. Based on the consonance, it turned out that the Fox Pond is Lizin.
So, some began to believe that there are Sergius Pond and Bear Lake, or Fox Pond, which became Lizin. This misconception migrated into the 20th century, and some researchers of Karamzin’s work began to repeat it.
What kind of pond was described by Karamzin, where was Sergius Pond located and what pond was called Lizin?
Lake Postyloye was located 2 km from the monastery, behind Tyufelovaya Grove; there were other lakes there. They clearly do not fit the description of Karamzin’s pond: his pond was located 80 fathoms from Liza’s hut, and was excavated in ancient times (lakes were natural reservoirs). The name Bear Lake could not be found among local toponyms. It is not clear where Eustathius got it from. Passek and Ivanchin-Pisarev, for example, say nothing about this, and the latter definitely indicated that Lisiy is the second name of Sergius Pond. Was the archimandrite mistaken? The fact is that at the end of the 14th century, the Simonov Monastery founded a small monastery of the Transfiguration of the Savior near the Bear Lakes (now located in the Shchelkovsky district). Eustathius could take its name for the name of the Simonov Monastery.
In the vicinity of Simonov there was another pond, located under the mountain of the monastery (not shown on the General Land Survey plan), “dug like a round pool”; it is mentioned in the monastery documents as an object for rent. It can be seen in 19th century engravings. But this pond also does not fit under Karamzin’s pond: it was not located near the road and was not surrounded by hundred-year-old oaks, or trees in general.
All that remains is Sergius Pond, which is clearly defined: it is mentioned in monastic documents of the 18th-20th centuries, indicated on the General Land Survey plan (without name), and illustrated in the historical description of Passek.
Lizin Pond (or rather, the one that the public called Lizin) is indicated on the plans in the same place where Sergius Pond was located. In addition, such a renaming of the monastery pond was mentioned more than once by contemporaries. Yes and procession, according to the workers’ recollections, it was to Liza’s Pond.
And the writer himself admitted: “Near Simonov there is a pond, shaded by trees and overgrown. Twenty-five years before this I wrote Poor Liza there - a very simple fairy tale, but so happy for the young author that a thousand curious people went and went there look for traces of the Lisins."
ILLUSTRATIONS
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As in previous years, with a small knapsack on his back, Karamzin went off for whole days to wander without a goal or plan through the lovely forests and fields of the Moscow region, which came close to the white-stone outposts. He was especially attracted by the surroundings of the old monastery, which towered above the Moscow River. Karamzin came here to read his favorite books. Here he had the idea to write “Poor Liza” - a story about the sad fate of a peasant girl who fell in love with a nobleman and was abandoned by him. The story "Poor Liza" excited Russian readers. From the pages of the story they saw an image well known to every Muscovite. They recognized the Simonov Monastery with its gloomy towers, the birch grove where the hut stood, and the monastery pond surrounded by old willows - the place of the death of poor Lisa... Accurate descriptions gave some special authenticity to the whole story. The surroundings of the Simonov Monastery became a favorite walking place for melancholic readers. The name “Lizin Pond” became established behind the pond. "Poor Lisa" brought Ka
Ramzin, who was then 25 years old, gained real fame. A young and previously unknown writer suddenly became a celebrity. "Poor Liza" was the first and most talented Russian sentimental story. During Karamzin’s time there were many serf-owning landowners who did not consider peasants to be people; for them, serfs were working animals, incapable of feelings and experiences. And Karamzin loudly said his famous phrase to all of Russia: “And peasant women know how to love!” Reactionaries accused Karamzin of undermining the power of the landowners, but the younger generation, touched by the democratic and humanistic trends of the century, greeted the story with delight. The humanism of "Poor Liza" and its high artistic merits made the story a success among its contemporaries and placed it in a place of honor in the history of Russian literature. Lisa and her mother have little in common with real peasants: their life, activities, and interests are fictitious and embellished. Karamzin is looking for the reason for the tragic ending of the story in the personal properties of the characters of Lisa and Eras
ta. Meanwhile, the reason must be sought in the social inequality that existed in Russia at that time, in the fact that Erast was a nobleman, and Liza was a peasant woman. Karamzin truthfully and vitally described the development of the love of the heroes of the story, he accurately and expressively created landscapes that reveal to the reader the beauty of the Moscow region, captivates the reader in “Poor Liza” and the generous outpouring of feelings and experiences - Karamzin seemed to return to the Russian reader the right to feel, taken away by the literature of classicism. In the works of classicism, the characters were sharply divided into positive heroes, possessing only virtues, and negative ones, endowed with all possible vices. And for the sentimentalist Karamzin, Erast is a living person, endowed with positive features and negative, as it happens in life. Karamzin strove to write and achieved this great success. The language of his story is a simple and clear literary language.
Karamzin's contemporaries, reading "Poor Liza", written in the spirit of a new literary trend for Russian readers - sentimentalism, shed streams of tears over its pages.
Cancer
