Liturgical text in the sermons of St. Philaret (Drozdov)

Contents Liturgical text in church literature: historiography of the issue Liturgical text in church literature: from philology to theology Direct liturgical quotations in the sermons of St. Philareta (Drozdova) Liturgical allusions in the sermons of St. Philareta (Drozdova) Liturgical topoi in the sermons of St. Philaret (Drozdov) Sources and literature Appendices Table 1. Direct liturgical quotes in the sermons of St. Philaret (Drozdov) Table 2. Liturgical allusions in the sermons of St. Philaret (Drozdov) Table 3. Liturgical topoi in the sermons of St. Philareta (Drozdova) Annotation. The purpose of the publication is to explore the specifics of the use of liturgical text in the sermons of St. Filaret (Drozdova). The historiography devoted to the study of liturgical text in the sermons of various church authors is described. The theological functions of using liturgical hymnography in sermons are assessed, and various forms of the presence of liturgical text in a sermon are listed (direct quotation, allusion, liturgical motif). The specificity of the use of liturgical quotations, allusions and motifs in the sermons of St. Filaret (Drozdova). THE LITURGICAL TEXT IN THE SERMONS OF ST. PHILARET (DROZDOV) Abstract. The purpose of the publication is to investigate the specifics of the use of the liturgical text in the sermons of St. Philaret (Drozdov). The historiography devoted to the study of the liturgical text in the sermons of various church authors is described. The theological functions of the use of liturgical hymnography in sermons are evaluated, various forms of the presence of the liturgical text in the sermon (direct quotation, allusion, liturgical motive) are listed. The specifics of the use of liturgical quotations, allusions and motifs in the sermons of St. Philaret (Drozdov) are evaluated. Liturgical text in church literature: historiography of the issue The sermon is an integral part of the worship service. Its theme, as a rule, is outlined in the liturgical circle. The choice of sermon topic is influenced by both the feasts of the Menain and Triode cycles, as well as biblical readings: more often Gospel readings, less often Old Testament or Apostolic readings [5, p. 171–176]. It should be noted that the relationship between worship and sermon can be manifested not only in the choice of topic and content of the sermon, but also at the level of textual borrowings. Liturgical texts, along with biblical ones, are a source of quotations and allusions in the sermons of many authors [see, in particular: 29, 30, 31]. At the same time, the liturgical text became a source for intertextual borrowings somewhat later than the biblical one. This is due to the gradual formation of a corpus of liturgical books. The liturgical text as a literary source still remains virtually unexplored. In church science, it is mainly pointed out either the role of worship in organizing the thematic and semantic plan of the sermon, or its special significance in the theological disclosure of those issues raised by the preacher [5, p. 171–176]. There are practically no works devoted to theological and philological analysis of liturgical quotations and allusions found in sermons. The beginning of the attention of researchers to liturgical texts as a source for church literature can be considered the works of D.S. Likhachev, devoted to the study of the citation of the Psalter in ancient Russian literature [17, p. 154–160]. For the first time, M.F. spoke about the liturgical text as a literary source for ancient Russian texts. Antonov [4, p. 223–227]. She described borrowings from triode cycles in the sermons of St. Kirill of Turovsky and etc. Epiphany of the Wise. It should be noted that the researcher limited herself to mechanical accounting of the identified borrowings. The direction started by Antonova did not find successors in Soviet medieval studies. In modern science, noteworthy is the work of K.K. Akentyev, dedicated to the study of literary sources of the Word on Law and Grace of Metropolitan Hilarion [2, p. 116–121]. The author has identified more than ten borrowings made by the Kiev saint from various liturgical sequences. In light of the issues under consideration, the fundamental research of S.M. Noisy [30]. Her doctoral dissertation examines the influence of hymnography on the work of such authors as St. Hilarion of Kyiv, St. Kirill Turovsky, St. Epiphanius the Wise, Gregory Tsamblak and some others. Summarizing how preachers use the text of worship in their works, Svetlana Mikhailovna comes to the conclusion that “we have before us a certain artistic method, consciously used by different preachers of different periods of the Middle Ages, which does not yet have a name” [29, p. 164]. The liturgical text used in the sermon has certain functions. Among them is S.M. Shumilo distinguishes artistic and worldview. The medieval author, according to the researcher, always keeps the text of the service in his head and perceives reality through its prism [31, p. 254]. The forms of the presence of liturgical text in sermons and other genres of spiritual literature are different and can vary from direct quotes or allusions to imitation of liturgical poetics. CM. Shumilo emphasizes that in addition to the literal textual coincidence, there is the borrowing of liturgical composition, imagery and specific literary tropes, which allow us to say that this or that liturgical text is taken as a source, although it is not given literally [29, p. 160]. “The preacher masters someone else’s text, develops it, reworks it - and we are no longer just quoting, but a kind of transplantation of someone else’s text into the fabric of the original” [Ibid.]. Similar phenomena occur with a certain regularity (although not as often as in ancient Russian literature) in the sermons of St. Filaret (Drozdova). The main conclusion reached by S.M. Shumilo, is that borrowings from liturgical texts in the works of the authors she examined are a characteristic feature of the “weaving words” style. Thus, we can talk about the presence of a certain literary norm, which includes, among other things, borrowings from hymnography - at the level of direct quotes, allusions, motifs or, even more broadly, artistic techniques. The second conclusion that the researcher made is that this norm is organically connected with the worldview of a medieval scribe or speaker. This issue should be discussed in more detail, since what Shumilo writes about the features of the medieval worldview is also relevant for other historical eras. Liturgical text in church literature: from philology to theology In his thoughts S.M. Shumilo develops the view of S.S. Averintsev on the philosophical picture of the world of early medieval artists. From Averintsev’s point of view, their worldview is based on faith in God the Creator. The truth about the creation of the world from nothing logically entails the idea of ​​a good structure of the universe and the denial of evil as an essence. If being owes its existence to the good God as Creator and Provider, then being is good. Everything good is wonderful. Since God did not create evil, evil is non-existence. If evil ontologically does not exist, then ugly does not exist either. Accordingly, everything that exists is beautiful. This thesis, according to Averintsev, lay at the basis of medieval art [30, 1]. It should be noted that, speaking about the connection of ancient Russian literature with the medieval (read church) worldview, S.S. Averintsev does not go beyond aesthetics. CM. Shumilo complements his theory. It not only points to the theological basis of ancient Russian aesthetics, but also speaks about the theological functions of many techniques that were hitherto considered only literary. The researcher divides liturgical borrowings into two groups: borrowings that decorate the text, and borrowings that are used to reveal a specific theological idea [29, p. 165]. Thus, she not only derives aestheticism from theology, but also speaks about the theological significance of certain literary devices, in particular, borrowings from liturgical texts. Features of the artistic style of the authors of that era, which S.M. studies. Shumilo are associated not so much with their belonging to a particular literary school, but with their church-liturgical life, namely, with regular participation in divine services. Liturgical hymnography, in addition to being a form of prayerful appeal to God, also plays an important theological role. In brief poetic formulations set to music, church hymns express the key tenets of the Orthodox faith. Being part of the Church Tradition [8, p. 63–65], liturgical texts are one of the ways to preserve and disseminate Divine Revelation [23, p. 8]. Thanks to their brevity and imagery, and at the same time poetry and melody, as well as regular repetition and timing to a specific calendar day, liturgical texts are easily remembered [30, p. 9]. We can say that the church service is the sacred and at the same time cultural environment in which the circle of precedent texts of a linguistic personality is formed 1 . It should be noted that the community of people for whom liturgical and biblical texts are precedents could both expand and contract over the centuries. Let us recall that one of the ways to use precedent text in various literary genres is, according to Yu.N. Karaulov, semiotic. It consists in such an appeal to the primary source, in which a small fragment of it is given as a quotation (directly or in the form of an allusion). However, this fragment turns out to be enough to actualize certain theologically significant meanings that are embedded in this fragment or its context [15, p. 116–117]. Thus, liturgical (as well as biblical) quotations and allusions in a sermon are not so much its decoration, but rather perform the function of verbalizing theological meanings in the language of worship or Holy Scripture. Another important feature of the use of liturgical text in a sermon is the mixture of genre features of both the hymnographic source itself and the sermon in which it is presented in the form of quotations and allusions. This feature was noticed by S.S. Averintsev, when he spoke about the specifics of the author’s worldview of the hymnographer: he “simultaneously talks with people and with God: he tells people about the affairs of God, and calls on and glorifies God. This is a game of combining two plans, shining through each other” [1, p. 225]. Being part of the worship service, the sermon also inherits this feature. The preacher is at the same time not only a storyteller, but also a prayer book [see. about this: 30, p. 183]. He tells people about God, whom he contemplates and to whom he turns in prayer. This is largely due to the “shine through” of the liturgical text through the fabric of the sermon: its text includes a prayer, the most important textual source of which is hymnography. From the above, it should become obvious that the study of liturgical text in the work of one or another author is also relevant from the point of view of hagiography. Identification of liturgical quotations and allusions in a sermon allows not only to study the literary techniques of the author’s expression of theological ideas, but also to look into the hidden area of ​​his prayer work. Liturgical books are quoted, as a rule, from memory. What is usually remembered is that which represents some kind of value: spiritual or aesthetic. Identifying liturgical books or their fragments that are cited by the author most often can indicate what is most significant for a given author. It should be noted that for St. Philaret, the content of the service was important not only from the point of view of remembering certain events of biblical and church history. The church service served for him as a way of mystical experience of spiritual reality, in which every event of sacred history is outside the time frame. “What is happening here is not just a recollection of the past, but rather a contemplation of the present,” the saint noted in one of his sermons [22, p. 190]. Thus, the intertextual analysis of the sermons of St. Philareta becomes for us not only a method of philological and theological work, but also a path into that innermost cell of the soul where the saint stands before God. Direct liturgical quotes in the sermons of St. Philareta (Drozdova) In dividing liturgical quotations into direct and indirect, we rely on a somewhat reduced classification N.S. Valgina [6]. Liturgical text in the sermons of St. Philaret is presented in the form of direct quotes and allusions. Both can be marked or unmarked. Marked quotations or allusions indicate the source of the sermon author. However, the accuracy of this indication may vary. Marking can be in the form of a direct indication of the author of the liturgical text (“according to the word of the blessed one,” “call with Saint Basil the Great,” etc.), as well as in the form of graphic italics 2. The simplest form of using liturgical text is a direct quotation, marked as liturgical by the preacher himself. Labels indicating the source of the direct quotation are presented in examples 1–5 of Table 1 (see Appendices). In examples 6, 7, 10, the markings are in italics. Examples 8, 9 are interesting because in them St. Filaret provides a direct quote without any markings 3. The first two examples of Table 1 refer to sermons preached on the occasion of the consecration or renovation of churches. It must be assumed that the connection between such an event as the consecration of a church and the presence of liturgical quotations in the sermon on this occasion is not accidental. The above quotes contain fragments of liturgical texts that speak of the presence of God in the church, which, in fact, is the purpose of the church. Note that the use of St. Philaret's use of liturgical quotations or allusions in the Words to the consecration of churches is a characteristic feature of his sermons, which we will encounter below. Example 1 should be considered in a broader context, since it, along with a direct marked quotation, contains two liturgical allusions. “Truly, you yourself would see the vision that the church song depicts for you: you would see here the King of all angelic dorinoshima chinmi. <...> Pure Heavenly Forces are around us and between us. <...> God Almighty is here. Let all the earth stand in awe before Him! May man humble himself! Let the sinner tremble! Here is God Almighty. Let every breath praise Him!” [25, p. 80]. The expression “Heavenly Powers” ​​is not so much an allusion to any specific place, but rather a biblical-liturgical theme that goes back to the eschatological conversation of Christ 4 and a number of liturgical texts. In particular, it appears in the Sunday troparions of the first and second voices [19, p. 26, 199], as well as in following the Liturgy of the Presanctified Gifts 5. It would be impossible to determine the exact primary source of this allusion if it did not stand in a logical and semantic connection with a directly attributed quotation from the Cherubic Song of the Liturgy of St. John Chrysostom. Thus, taking into account the general context of the sermon, we can conclude that the expression “pure Heavenly Powers” ​​goes back to the Liturgy of the Presanctified Gifts and is in semiotic proximity with the direct quotation from the Liturgy of St. that precedes this allusion. John Chrysostom. The semiotic connection of these liturgical fragments is based on their belonging to similar parts of the two Liturgies in structural and symbolic terms. The fragment of the sermon under consideration ends with St. Philaret is a well-known biblical saying (Ps. 150:6), which should be assessed as liturgical, since it is part of the doxology of Matins [28, p. 160] and cannot be isolated from its liturgical existence. The abundance of liturgical quotations and allusions in this fragment brings together the speech of St. Philaret with hymnographic style. In essence, what we have before us is the praise of God, embedded in the sermon and expressed through a series of liturgical texts interspersed with the author’s exclamations. In example 2 (Appendices, table 1) it should be pointed out that St. Philaret places the Psalmist among the church hymns. Actually, the Psalter was never perceived in the Church as just a biblical book. For the creators of liturgical regulations, it was an important hymnographic source 6. Consequently, “borrowings from the psalter can be conditionally called borrowings from hymnography, since the psalter was heard abundantly during worship and was actively used as a literary source” [31, p. 253]. Thus, in the context of the considered fragment of the sermon of St. Philaret's quotation from Ps.121:1 is no longer so much biblical as it is liturgical. This example confirms that Saint Philaret did not separate the biblical text from the Church as the guardian of Holy Scripture and Tradition. Quote from St. Basil the Great from example 3 is borrowed from the following of his Liturgy, in particular from the prayer before consuming the Holy Gifts. It should be noted that St. Filaret quite often uses direct quotes and allusions from the secret Eucharistic prayers. We will talk about this in more detail in the next paragraph. The next, fourth, example is interesting because in it the saint slightly changes the lexical composition of the second antiphon of the degree of the 8th voice. To the word “heart” he adds the definition “loving”, which was not in the original quote. The preacher changes the address “To You, All-Bountiful” to a substantivized adjective. The above liturgical quotation, despite the lexical difference from the original, is more direct than indirect. This is indicated, firstly, by its large size, secondly, it is italicized by the author himself, and thirdly, it is marked. The fact that the preacher uses the quotation as a direct one, but does not quote it verbatim, with the author’s own additions, indicates, firstly, that he is quoting from memory, and secondly, that in this quotation there is the author’s reflection and creative processing of a text he has heard more than once. Examples 6 and 7 also deserve special comment. In the first case, it is noteworthy that the direct quotation in the function of address (“Oh, radiant children of the church!”) was borrowed from the Pentecost service, while this sermon was preached on Easter (1843). Such a transfer of text from the service of one holiday to a sermon dedicated to another sacred event, firstly, once again indicates a quotation from memory (it is difficult to imagine that the preacher, for the sake of vivid expression, would turn to the liturgical sequence of a completely different holiday). Secondly, if we compare the contexts of the sermon in question by St. Philaret for Easter and Irmos of the fifth song of the canon of Pentecost, it turns out that they are semantically close. While St. Philaret calls on the “light-like children of the Church” to use the light that the risen Lord sheds on them, St. John of Damascus, the author of the canon of Pentecost, calls on the same “children” to accept the “fire-inspired dew of the Spirit.” Example 7 is characteristic in that the second part of the fragment of the sermon of St. Philaret is a direct quote from the famous Sunday stichera (which is not given from the beginning). Moreover, the content of the first part of the fragment of the sermon under consideration also goes back to the beginning of the same stichera. The expression “Christ the Savior, glorified in heaven by the Angels and the blessed spirits of holy men!” it would be difficult to call it an allusion to “Thy Resurrection Christ the Savior, Angels are singing in heaven,” if not for the exact quotation of the end of the stichera that follows. This allusion also contains the author’s addition to the liturgical text: to the angels of St. praising Christ. Philaret adds “the blessed souls of holy men,” which was not mentioned in this stichera. Analysis of direct liturgical quotations in the sermons of St. Filareta testifies, firstly, that most of them were cited from memory. Secondly, the lexical variation and addition of the original text of the liturgical quotation with the author’s expressions allows us to conclude that the liturgical text has firmly entered into the speech practice of St. Philareta. Like the biblical text, the text of the service alternates with the author’s statements, forming a semantic whole with them. We can talk not only about “biblical thinking,” but also about the special “liturgical thinking” of St. Philaret, who expressed some of his thoughts in biblical and liturgical expressions. This tendency becomes even more noticeable when analyzing liturgical allusions in the sermons of St. Philareta. Liturgical allusions in the sermons of St. Philareta (Drozdova) Examples of liturgical allusions in the sermons of St. Philaret are presented in Table 2. Their sources, to which the saint most often turned, are the service book, the octoechus, the Lenten and colored triodion, and the festive menaion. A special group of liturgical allusions consists of borrowings from the rites of the Divine Liturgy (examples 1–4, 28, 30). The examples given contain both allusions to the secret Eucharistic prayers and to exclamations pronounced publicly by the priest. The expression used in the first example is borrowed from the Eucharistic Canon of the Liturgy of St. Basil the Great. In the second example, the allusion to the proskomedia prayer after the protection of the Holy Gifts contains a lexical substitution: instead of “... from the heights of the holy dwelling...” St. Philaret writes: “... from the heights of an invisible dwelling” (thus, we can conclude that St. Philaret was quoting this place as a keepsake). The fourth example is interesting because the expression “by faith and love” from the Liturgy of the Presanctified Gifts is present in the sermons of St. Filareta repeatedly 7 . This indicates that it has become firmly established in the speech practice of St. Philareta. The presence of Eucharistic allusions in his sermons suggests that the Eucharistic theme as a whole was significant for the Moscow archpastor. It is difficult to assume that he used liturgical allusions only for the purpose of decorating his own speech: fragments of secret priestly prayers could be recognized by a very limited circle of people. Rather, through such quotation of the service book one can see the deeply personal reverent attitude of the saint towards the Divine Liturgy. From the Octoechos of St. Filaret most often turns to Sunday dogmatists (examples 7, 12, 20, 26, 31 of Table 2). The saint’s quotation of dogmatists is not accidental, since the theme of the incarnation of God from the Virgin Mary, which is central to all dogmatists, is especially close to St. Philaret. He touches on it in various variations in many of his sermons. The fragment of the sermon in example 12 (see Appendices, table 2), which contains an allusion to the dogmatist of the 8th tone, is interesting because in it St. Filaret changes control. This leads to a partial change in the meaning of the quoted passage. In the original version, the circumstance “on the ground” acted as an indication of the place. St. Filaret instead introduces a compound verbal predicate in the meaning of the goal. Thus, an additional meaning is introduced into the liturgical text, which is connected with the original one and expands it. The King of Heaven not only “appeared on earth,” but appeared with the purpose of blessing His servant. It should also be noted that in the passage under consideration, the liturgical text acts as a commentary on the biblical text. The Mysterious Vision of the Ladder by Jacob in the Word of St. Philaret is connected with the equally mysterious appearance on earth of the Heavenly King - which, in fact, is the educational meaning of Jacob’s vision 8 . In addition to the service book and the octoechus, sources of liturgical allusions for St. Philaret are mainly the Lenten and colored triodion, as well as the festive menaion. Allusions to the Lenten Triodion are given in examples 14, 17, 27 (see Appendices, Table 2). Allusions to the colored triodion are presented in examples 6, 11. The most allusions we identified are from the festive menaion: these are examples 5, 8, 13, 15, 18, 19 of table 2. Example 9 (Table 2) contains an allusion to the prayer of the ninth hour. The allusion to this prayer is characterized by the fact that the call that follows the allusion to bow under the yoke of Christ is semantically close to the general content of the prayer from which the allusion is borrowed (cf.: “put to death our carnal wisdom”; “let us put aside the old man”; “To your subsequent commands”, etc.). It is advisable to group a large number of liturgical allusions related to the veneration of the Mother of God on a thematic basis. These are examples 5, 7, 8, 19–21, 23–27 (Appendices, Table 2). The fifth example is interesting from the point of view of the current controversy with the Roman Catholic Church about the immaculate conception of the Virgin Mary. The bull of Pope Pius IX with the formulation of this dogma was published in 1854 [see. about this: 18, p. 211–234]. Sermon of St. The Philaret, containing an allusion to the stichera of the Annunciation, which speaks of the pre-purification of the Virgin Mary by the Spirit, was pronounced in 1857. In this Word, the saint repeats the allusion twice, the second time in the form of a question: “When and how did the Holy Spirit pre-purify her for this, and raised her to a purity worthy of direct contact with the purity of the Divine?” - and answers: “Let us restrain the movement of testing thoughts with the word of the Wise One: do not seek higher things for yourself, and do not test those who are stronger for yourself; understand what you are commanded (Sir.3:21-22). Is it possible to exhaust the sea with a handful?..”, etc. [24, p. 250]. Saint Philaret's inaccurate quotation of liturgical texts has its own characteristics, which coincide with the peculiarities of his use of biblical allusions. Among them are partial changes in the vocabulary and semantics of the quoted passages, expansion or, conversely, narrowing of their original contexts, as well as semiotic parallelism. Let us take a closer look at some examples that most clearly reflect these features. In example 11 (appendices, table 2) one can observe a narrowing of the meaning of the original liturgical passage in the sermon of St. Philareta. In the stichera on the Lord who cried out at Pentecost, it is sung that the Lord made theologians out of fishermen (“fishermen are theologians of the show”). St. Filaret, speaking about the confession of St. Peter Jesus Christ, the Son of God, emphasizes that yesterday’s fisherman became the first and only theologian. In the context of this sermon, St. Filareta [26, p. 47] this means that he alone of all the apostles so clearly confessed his faith in the Divinity of Jesus Christ. In example 15 we see the reverse situation of expanding the original context. In the irmos of the sixth song of the canon at the morning of the feast of the Epiphany, Saint John the Baptist is called “the voice of the Word.” Saint Philaret borrows this metaphor and applies it to a wider circle of people, namely the apostles. A situation arises similar to the one we observed in example 6 from Table 1 (see: Appendices). The preacher goes beyond the context of the liturgical allusion and uses it in an expanded interpretation. Also interesting is example 14 (Appendices, table 2) with an allusion to the blessed matins of Great Heel in the sermon dedicated to this day [22, p. 189]. Using the same vocabulary as in the original quote, St. Filaret completely changes the word order and syntax. Obviously, in this case there was no purpose to specifically quote this passage. Such a spontaneous insertion of a liturgical allusion into a sermon may indicate that its author, while working on the manuscript, was under the impression of a recent service - one of his favorite ones (the cycle of Words for Great Friday is the largest among the sermons dedicated to the Lord's holidays in the collection of Words and Speeches of St. Philaret). It can be argued that the saint thought not only in biblical language, but also in the language of worship. Watching how creatively St. Filaret works with liturgical context and semantics; a parallel can be drawn with the way he uses the biblical text in his sermons. What is happening is the opposite of what the rhetorical rules of his era required. Instead of quoting a specific piece of traditional symbolic text to argue his thesis, St. Filaret changes the very semantics of the authoritative text and adapts it to the topic of his sermon. Quite often St. Filaret uses the liturgical text in a different eorthological context. An example is a fragment of a sermon on the day of the Nativity of Christ in 1834 9: “Let us purify our senses and see; let us clear our minds and understand the mystery of Christ the Lord; let us cleanse our hearts and enjoy His joy through outward forms of sorrow” [27, p. 443]. In this sentence, the first phrase is borrowed from the first troparion of the first song of the Paschal Canon. Once again we see how the saint uses the text of one service in a sermon dedicated to another event. In this case, the Easter call of St. He addresses John of Damascus to the listeners of his sermon on the day of the Nativity of Christ. At the same time, despite the difference in the liturgical context of the use of this allusion, a semiotic connection is established between the source text (Easter Matins) and the recipient text (St. Philaret’s sermon on the Nativity of Christ). The common theme that unites this troparion and the fragment of the sermon of St. Philareta, is joy. Throughout the entire Word, the saint discusses why it was the humiliating birth of Christ in a manger that became “great joy,” according to the angelic gospel. The Metropolitan lists all the circumstances of the Nativity of Christ and concludes that from the point of view of worldly logic there is no reason for joy. By the end of the sermon, he comes to the conclusion that the mystery of Christ’s self-humiliation is revealed to the purified feelings, mind and heart, and through the “outward appearances of sorrow” the joy of the Incarnation shines. The same meaning is in the troparion of the Paschal Canon: only purified feelings manage to see “Christ, shining with the impregnable light of the resurrection” and clearly hear from Him: “Rejoice!” 10. Thus, in the sermon of St. Philaret, through the Easter allusion, the holidays of Easter and the Nativity of Christ are brought together based on the common theme of Divine exhaustion. In the terminology of semiotic analysis, the theme of joy and the conditions for its acquisition through “external types of sorrow,” as St. writes about this. Filaret, forms a general sign system that allows you to transfer a fragment of the Easter service to a different content space while maintaining semantics. To what has been said, it must be added that the very fact of using the Easter allusion in a sermon dedicated to the Nativity of Christ confirms the assumption of I.A. Esaulov about the dominance of the Easter archetype in Russian literature [see. about this: 11]. Ivan Andreevich wrote mainly about Russian classical literature. Based on the example discussed above, it can be argued that this feature exists in church literature. A separate group includes such fragments of the sermons of St. Philaret, which contain contaminations from liturgical allusions 11. The phrase “Lord of Hosts” from example 29 (Appendices, table 2) goes back to the Holy Scriptures (Ps. 68:7; Ps. 83:2), but is also present in the divine service [28, p. 208]. It would be more correct to call it not so much a liturgical allusion as a biblical liturgical topos, well known to any person who is familiar with the content of the psalter and Orthodox worship. The second part of the contamination in question is an allusion to the first part of the Cherubic Song. In example 30, allusions are borrowed from two different sources - the Sunday octoechus and the akathist to Jesus the Sweetest. The phrases “Invincible Light” and “Invincible Power” in the source texts were grammatically subjects, and dogmatically they referred to Christ. St. Filaret replaces them with additions that characterize the fruits of the action of the grace of the Holy Spirit in the apostles. Thus, not only the grammatical characteristics of these allusions change at the same time, but also their semantic content. In the sermon of St. Philaret, from a means of describing the properties of the Second Person of the Holy Trinity, they became a characteristic of the action of the Holy Spirit. This shift in theological emphasis cannot be called intentional. The author of the sermon, using these allusions in a new context, did not make any hints of a dogmatic nature. Rather, the phenomenon of “biblical and liturgical thinking” of St. Philareta. Without the express purpose of quoting a particular passage in its original context, the sermon writer uses it to express his own thoughts. In example 31, allusions are paired with each other based on their semantic proximity. The call to “put aside the cares of this life” is an allusion to the Cherubic Hymn of the Liturgies of St. John Chrysostom and St. Basil the Great 12, “let everything carnal in you be silent” - an allusion to the Cherubic Hymn of Great Saturday of the Liturgy of St. Basil the Great. Both quotes in their original version have a common meaning: “Let all human flesh be silent” means precisely “putting aside the cares of life.” This is stated in the Cherubic Song of Great Saturday in the following phrase 13, which St. Filaret no longer leads. It should also be noted that in an allusion to the service of Holy Saturday, St. Filaret somewhat narrows the context of the original quote: instead of “let all flesh be silent... and let all flesh stand in fear...” - he has: “let all that is carnal in you be silent.” Attention is transferred from external to internal. Actually, the text of this Cherubic song is about the same thing, but St. Filaret further sharpens this emphasis on internal silence. In addition to liturgical direct quotes and allusions, in the sermons of St. Philaret there are other forms of the presence of liturgical text, such as liturgical topoi and poetics. Liturgical topoi in the sermons of St. Philareta (Drozdova) Topos “in a broad sense – a stereotypical, clichéd image, motive, thought” [32, stb. 1076], “any stable set of images and motives, as well as the same motives and situations themselves that have a similar verbal expression” [33, p. 242]. Synonymous with topos are concepts such as “common place”, “motive” [32, stb. 1076]. The formulation of the problem of the functioning of topoi in the literature belongs to E.R. Kurtsius [34, p. 79–80]. In his understanding, topos is anonymous, impersonal in nature [32, stb. 1076]. The use of topos is not related to the author's direct intention to quote any specific text. Topos as a general place can be traced back to a whole complex of culturally significant texts. It belongs not so much to a specific source as to the cultural tradition as a whole. In relation to liturgical topoi, we are talking about such expressions that are present in the service and contain a vivid literary image that reflects a certain theological idea. Moreover, these expressions can go back to a wide range of texts. The commonplaces that will be discussed in this paragraph are stable images that could have had different origins, but as topoi they began to function specifically in worship. This statement is based, firstly, on the frequency of their use in worship. Secondly, it is liturgical texts that have the property of being quickly memorized: due to their musicality, rhythm and cyclical repetition. In this publication, we do not resolve the issue of the original origin of liturgical topoi and call them “liturgical” not according to the original source, but according to the way they exist in the church literary tradition. In any case - whether this or that motive is strictly liturgical or partly patristic or biblical - its presence in the sermon of St. Philaret should be considered a form of intertextuality associated with his liturgical existence. The liturgical topoi that we identified in the sermons of St. Filaret (Drozdov), are presented in Table 3 (see Appendices). The expression “to bow down the heavens,” as can be seen from example 1 14, is a stable liturgical image. In a theological sense, it reflects the truth of the Incarnation. St. Filaret uses it repeatedly in the same context. Example 2 is a motif for the Feast of the Transfiguration. The theme of Christ's fulfillment of the law and the prophets goes back to His own statement in Matthew 5:17. There is a patristic interpretation of the Transfiguration of the Lord, according to which the law and prophets from Matthew 5:17 are personified in Moses and Elijah, talking with Christ on Taphora 15. This exegetical tradition is firmly reflected in the service of the Transfiguration of the Lord, which is clearly reflected in table 3 (example 2). Saint Philaret turns to this metatextual image, which is of biblical origin, formed thanks to patristic exegesis and is present in the liturgy of the holiday. The expression “bowing the head” from example 3 is present several times in the Epiphany services, the clarification “under the arm” is present once, but in a well-remembered part of the service (the chorus of the 9th song of the canon at Matins). Example 4, like example 2, goes back to the patristic comparison of the tree of the knowledge of good and evil and the Tree of the Cross on which the Savior was crucified 16 . The first, through disobedience to the forefathers, became the source of death, the second, thanks to the obedience of the Son of God to the Father, the source of life. This comparison is actively used by the creators of liturgical hymnography, as can be seen in Table 3. In the fragment of the sermon of St. Philaret, it is present as a common place, having a mixed – patristic and liturgical – origin and being a form of intertextuality. Example 5 features the image of hell as a prison, which is destroyed by the power of the resurrection of Christ. This motif, similar to some previous ones, goes back to the biblical and patristic texts, from which it later moved into the liturgy. The Apostle Paul was the first to compare hell to prison 17. This image was then reproduced and supplemented in a number of patristic works 18 . The frequency of its use in worship does not allow us to provide a complete list of hymnographic quotations in which it is present. In example 5 we limit ourselves to only some of the most striking of them. A common feature in all the above quotes from this example is the image of hell as a prison, souls as captives and Christ as their Deliverer. In the example there are 6 lights. Filaret proves the truth of the resurrection of Christ from the inconsistent actions of the Jews who are trying to distort this truth. Indeed, how could Roman soldiers sleep, who were threatened with the death penalty for sleeping on duty? How could they not wake up from the falling stone and how, finally, did they (if they were really asleep) then testify that the body of the Savior was stolen? Saint Philaret borrowed this argument from the Sunday stichera on praises, which in almost every voice contain similar reasoning from the hymn-maker. This liturgical motif is not an image, but a certain idea, a logical chain present in the service. This motif also goes back to the patristic interpretation of the corresponding parts of Holy Scripture [see, for example: 13, p. 874–889] 19. As a result of the analysis, we can state the presence in the sermons of St. Philaret (Drozdov) of such a form of intertextuality, which is associated with the use of liturgical motifs. A special form of intertextuality is the imitation of liturgical poetics. In this case, the “common place” is not an image or an idea, but the use of such means of literary expressiveness that are inherent in liturgical texts and are designed to express the same meanings as those of the author of the sermon. Thus, example 7 (see Appendices, table 3) contains the antithesis that St. Filaret uses to present Orthodox Christological teaching. In example 8, the saint, when describing the Cross of the Lord, uses the same poetic means as in a number of stichera of the service of the Exaltation of the Cross. However, in the latter case, it should be pointed out that if in liturgical texts the epithets of the cross characterize it from the social side (the cross as an instrument of salvation for various social groups), then St. Filaret uses a number of homogeneous terms to describe the cross from the point of view of its mystical-ascetic meaning. As noted by S.M. Noisily, the ancient hymnographers especially resorted to antithesis precisely in this case: if necessary, to describe the hypostatic union of two natures in Christ. “One of the varieties of antithesis is called artistic paradox. In the literature, this term is understood as the combination in one statement of phenomena of reality that contradict each other” [30, p. 60]. “Most often, antitheses are found in those hymnographic texts where the Divine and human principles in the God-Man are contrasted, as well as His temporary death and immortality, His suffering on the Cross and the salvific nature of these sufferings for humanity. Christ, thus, unites the incompatible. The paradoxical nature of this connection, which obviously had a strong impact on the perception of ancient Christians, is reflected in most stichera of Christmas, Sunday and Passion services with the help of various antitheses, reinforced by synonymous or root repetitions, alliteration or assonance, morphological rhyme and parallelism of syntactic constructions" [Ibid. P. 61]. CM. Shumilo gives a fairly large list of examples from services with such antitheses. Quote from the sermon of St. Filaret on Great Friday 1813 can be placed in their row. The same literary trope is used here in expressing the same Christological ideas as in hymnography. This coincidence does not indicate a deliberate borrowing of this trope from the service, but may indicate the influence of the latter on the artistic design of the sermon by St. Philaret. CM. Shumilo emphasizes that the antithesis as a means of expressiveness should not be separated from the general semantic content of the sermon: “The antithesis is one of the main stylistic figures of the hymnographic text, plays a decisive role in the expression of the main idea and, therefore, should be considered in direct connection with the general analysis of the work” [Ibid. P. 62]. Based on this conclusion, we consider the antithesis as a “common place” borrowed by St. Philaret from the divine service and plays an important meaning-forming function in his sermons. 1. Averintsev S.S. Poetics of early Byzantine literature. St. Petersburg, 2004. pp. 44–45. 2. Akentyev K.K. “The Sermon on Law and Grace” by Metropolitan Hilarion of Kyiv. The oldest version according to the list of the State Historical Museum Sin. 591 // Bugap Ipogozzka. St. Petersburg, 2005. T. 3. pp. 116–121. 3. Alypiy (Kastalsky-Borozin), Smirnova I. Yu. Scientific publishing project of the Holy Trinity Sergius Lavra “Creations of St. Philaret, Metropolitan of Moscow” // Filaretovsky almanac, 2014. P. 13. 4. Antonova M. F. Kiril Turovsky and Epiphanius the Wise // Proceedings of the Department of Old Russian Literature. L., 1981. T. 36. pp. 223–227. 5. Burega V.V., Simeon (Tomachinsky), archimandrite. Homiletics. Textbook of Bachelor of Theology. M., 2018. pp. 171–176. 6. Valgina N. S. Text in text. Text theory: textbook. M.: Logos, 2003. 280 p. [Electronic resource]. URL: http://evartiSt.narod.ru/text14/01.htm (access date: 02/24/2023). 7. Glubokovsky N. N. Transfiguration of the Lord (critical exegetical essay). M., 1888. 91 p. 8. Davydenkov O., prot. Dogmatic theology. M., 2017. pp. 63–65. 9 . Dyachina M.V. (Mstislav, Bishop of Tikhvin and Lodeynopolsky), Maslennikov D.V. Liturgical theology of the psalter. – St. Petersburg: RKhGA, 2022. – 154 p.; 10. Dyachina M.V. (Mstislav, Bishop of Tikhvin and Lodeynopol). Liturgical use of the psalter in the Orthodox Church // Bulletin of the Oryol State University. 2014. No. 1 (36). pp. 180–181. 11. Esaulov I. A. Easter of Russian literature. M., 2004. 560 p. 12. Hilarion (Alfeev), Metropolitan. Christ is the Conqueror of Hell. The theme of the descent into hell in the Eastern Christian tradition, St. Petersburg, 2009, pp. 32–101. 13. John Chrysostom, St. Conversations on the Gospel of Matthew // Creations. T. 7, book. 1. St. Petersburg, 1901, pp. 874–889. 14. The Canon of Easter: origins and interpretation. The word of St. Gregory the Theologian and the canon of St. John of Damascus, interpreted by St. Nicodemus the Holy Mountain. M., 2018. P. 62. 15. Karaulov Yu. N. Russian language and linguistic personality. M., 2010. P. 216. 16. Cross // Orthodox Encyclopedia. T. 38. M., 2019. 17. Likhachev D.S. Stylistic symmetry // Poetics of Old Russian literature. St. Petersburg, 2011, pp. 154–160. 18. Maxim Kozlov, prot. Western Christianity. View from the East. M., 2009. pp. 211–234. 19.Octoechos. Part 1. M., 1981. S. 26, 199. 20. Poetics of early Byzantine literature. St. Petersburg, 2004. P. 225. 21. Missal. M., 2003. P. 255. 22. Philaret (Drozdov), St. Conversation on Great Friday (1815) // Words and Speeches. T. 1. P. 190. 23. Philaret (Drozdov), St. Long Catechism. M., 2013. P. 8. 24. Philaret (Drozdov), St. Homily on the Day of the Annunciation of the Blessed Virgin Mary (1857) // Words and Speeches. T. 4. P. 250. 25. Philaret (Drozdov), St. Homily on the day of the renovation of the Jerusalem Temple and on the occasion of the renovation of the Church of the Great Martyr Nikita in Basmannaya // Words and Speeches. T. 2. P. 80. 26. Philaret (Drozdov), St. Homily on the day of the supreme apostles Peter and Paul (1825) // Words and Speeches. T. 2. P. 47. 27. Philaret (Drozdov), St. Word on the Day of the Nativity of Christ (1834) // Words and Speeches. T. 2. P. 443. 28. Book of Hours. M., 2002. P. 60. 29. Shumilo S. M. Liturgical texts as a literary source of medieval sermons: the teachings of Gregory Tsamblak // Russian literature. 2017. No. 3. P. 165. 30. Shumilo S. M. The influence of liturgical hymnography on ancient Russian ornamental prose of the 11th-15th centuries. (commonality of poetics and worldview): dis. d. philol. Sci. St. Petersburg, 2022. 31. Shumilo S. M. The influence of liturgical hymnography on the work of Kirill of Turov // Proceedings of the Department of Old Russian Literature. 2017. T. 65. P. 254. 32. Topos // Literary encyclopedia of terms and concepts. Institute of Scientific Information for Social Sciences of the Russian Academy of Sciences: Intelvac, 2001. Stb. 1076. 33. Neklyudov S. Yu. Motive and text // Language of culture: semantics and grammar. To the 80th anniversary of the birth of academician Nikita Ilyich Tolstoy (1923–1996). M., 2004. P. 242. 34. Curtius E.R. Europäische Literatur und lateinische Mittelalter. Bern; Miinchen, 1984. S. 79–80. Table 1. Direct liturgical quotes in the sermons of St. Philareta (Drozdova) Table 2. Liturgical allusions in the sermons of St. Philareta (Drozdova) Table 3. Liturgical topoi in the sermons of St. Philareta (Drozdova) According to the definition of Yu.N. Karaulov, a precedent text is a text that is significant for a particular person in a cognitive or emotional sense, familiar to the wide environment of this person, including her predecessors and contemporaries, and also regularly referred to in the discourse of a given linguistic personality [29, p. 216]. Part of a handwritten collection of sermons by St. Philaret, stored in the Fund 416 of the Russian State Library, is available in electronic format on the website of the Trinity-Sergius Lavra. In all the texts available there, the following pattern is observed: the publishers convey all the handwritten underlining of the saint in italics. There were no cases of the presence of italics in the publication STSL, 2009 and the absence of underlining in the manuscript, with the exception of a few occasional and unimportant typos. There are no reverse examples of the presence of underlining in the manuscript and the absence of italics in the publication. The publishers of the Words and Speeches of Metropolitan Philaret write that they have preserved “the linguistic and stylistic features of St. Philaret” [3, p. 13]. Based on the identified pattern, as well as on the mentioned remark of the publisher, in the analysis of all published sermons we will consider the italics of the printed edition to correspond to the graphic markings of the author, just as the absence of italics is equivalent to the absence of underlining by the author. See Appendices, Table 1. Wed: Matthew 24:29; Mark 13:25; Luke 21:26. Compare: “Now the Heavenly Powers serve with us invisibly...” [21, p. 155]. Many authors have written about the psalter as an integral part of worship [see, in particular: 9, 10]. Links to all discovered locations are provided in the appropriate place in Table 2 (see Appendices). On the Theotokos interpretation of Gen. 28:16–17 indicates, in particular, the reading of this passage as a proverb at the Great Vespers of the Feasts of the Theotokos. See Table 2, example 6. It should be noted that he used this citing method more than once. For example, in the Homily of 1812 for the consecration of the Church of the Holy Life-Giving Trinity, he uses the metaphor “the voice of the Word” from the service of Epiphany in relation to the apostles (whereas in the original liturgical text it referred to St. John the Baptist) (Table 2, example 15), and in the Homily for Easter 1842 he addresses the flock with the words of the service Pentecost: “O children of light of the church” (table 1, example 6). For a commented translation of this troparion, see the publication: [14, p. 62]. See examples 29–31 of table 2. With the exception of Holy Thursday and Saturday services. “Let all human flesh be silent, and let it stand with fear and trembling, and let it think of nothing earthly within itself...” [21, p. 196]. See Appendices, Table 3. For the exegesis of the event of the Transfiguration of the Lord, see also. [7]. “Fathers of the Church sschmch. Irenaeus of Lyons, St. Gregory the Theologian, St. John Chrysostom and others drew a parallel between the tree of the knowledge of good and evil, which brought death to humanity, and the Tree of the Cross, which brought life” [16, p. 542]. See 1 Pet. 3:18–19: “Christ suffered once for our sins, the righteous for the unjust, to bring us to God, being put to death in the flesh, but made alive in the Spirit, by which He went and preached to the spirits in prison.” For many patristic quotations on this topic with their detailed analysis, see the work of Metropolitan Hilarion (Alfeev) “Christ – Conqueror of Hell”: [12, p. 32–101]. The question of the specific sources from which this motif was borrowed by St. Filaret, cannot be resolved within the framework of this publication due to the inconsistency of its purpose. See the “Conventions” section following the list of sources and references.