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The Ways of the Mother of God: A Paschal Story with an Epilogue* | ![]() | ![]() | ![]() |
Ce citim |
Scris de Dostoievski et al. |
Joi, 20 Aprilie 2023 21:02 |
In France, clerks, as well as the monks in the monasteries, used to give regular performances in which the Madonna, the saints, the angels, Christ, and God himself were brought on the stage. In those days it was done in all simplicity. In Victor Hugo’s Notre Dame de Paris an edifying and gratuitous spectacle was provided for the people in the Hôtel de Ville of Paris in the reign of Louis XI. in honor of the birth of the dauphin. It was called Le bon jugement de la très sainte et gracieuse Vierge Marie, and she appears herself on the stage and pronounces her bon jugement. Similar plays, chiefly from the Old Testament, were occasionally performed in Moscow too, up to the times of Peter the Great. But besides plays there were all sorts of legends and ballads scattered about the world, in which the saints and angels and all the powers of Heaven took part when required. In our monasteries the monks busied themselves in translating, copying, and even composing such poems—and even under the Tatars. There is, for instance, one such poem (of course, from the Greek), The Wanderings of Our Lady through Hell, with descriptions as bold as Dante’s. Our Lady visits hell, and the Archangel Michael leads her through the torments. She sees the sinners and their punishment. There she sees among others one noteworthy set of sinners in a burning lake; some of them sink to the bottom of the lake so that they can’t swim out, and ‘these God forgets’—an expression of extraordinary depth and force. And so Our Lady, shocked and weeping, falls before the throne of God and begs for mercy for all in hell—for all she has seen there, indiscriminately. Her conversation with God is immensely interesting. She beseeches Him, she will not desist, and when God points to the hands and feet of her Son, nailed to the Cross, and asks, ‘How can I forgive His tormentors?’ she bids all the saints, all the martyrs, all the angels and archangels to fall down with her and pray for mercy on all without distinction. It ends by her winning from God a respite of suffering every year from Good Friday till Trinity Day, and the sinners at once raise a cry of thankfulness from hell, chanting, ‘Thou art just, O Lord, in this judgment.’ Well, my poem would have been of that kind if it had appeared at that time... (Constance Garnett, tr.)
*****
The Lord called Peter the apostle to a reckoning
***
Then very suddenly…. A tiny rustling noise
(*) The first story is Ivan's introduction to his "Legend of the Grand Inquisitor", from Dostoevsky's The Brothers Karamazov, Constance Garnett, tr. It is, among other things, a dostoevskian Paschal story, and a possible key, or framework, for the whole novel, if not for the author's complete works. The second reads almost like its continuation in verse. Could it be Ivan's dream, or vision, from a sequel to the Brothers Karamazov, where he becomes a hermit, a kind of Arsenius the Great, or Isaac the Syrian, capable of raising the likes of Smerdyakov from spiritual death? A small poem, somehow written and shared by Dostoevsky from beyond the grave? Or just something eligible by Anna Dostoevskaya as the definitive preface to the heavenly edition of Dostoevsky for Children (cf. Dr. Raffaella Vassena on the historical editions; and our online sampling of stories, plus a few more, here)? Also see here.
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