Natasha's Dance полностью

because they let themselves be slaughtered without resistance). The second consequence of this mystical approach was the burden that it placed on ritual and art, on the emotional experience of the liturgy, as a spiritual entry to the divine realm. The beauty of the church - the most striking outward feature of the Orthodox religion - was its fundamental argument as well. According to a story in the Primary Chronicle, the first recorded history of Kievan Rus', compiled by monks in the eleventh century, the Russians were converted to Byzantine Christianity by the appearance of the churches in Constantinople. Vladimir, the pagan prince of Kievan Rus' in the tenth century, sent his emissaries to visit various countries in search of the True Faith. They went first to the Muslim Bulgars of the Volga, but found no joy or virtue in their religion. They went to Rome and Germany, but thought their churches plain. But in Constantinople, the emissaries reported, 'we knew not whether we were in heaven or on earth, for surely there is no such splendour or beauty anywhere on earth'.⁵

The Russian Church is contained entirely in its liturgy, and to understand it there is no point reading books: one has to go and see the Church at prayer. The Russian Orthodox service is an emotional experience. The entire spirit of the Russian people, and much of their best art and music, has been poured into the Church, and at times of national crisis, under the Mongols or the Communists, they have always turned to it for support and hope. The liturgy has never become the preserve of scholars or the clergy, as happened in the medieval West. This is a people's liturgy. There are no pews, no social hierarchies, in a Russian church. Worshippers are free to move around - as they do constantly to prostrate and cross themselves before the various icons - and this makes for an atmosphere that is not unlike a busy market square. Chekhov describes it in his story 'Easter Night' (1886):

Nowhere could the excitement and commotion be felt as keenly as in the church. At the door there was a relentless wrestle going on between the ebb and flow. Some people were coming in, and others were going out, but then they were soon coming back again, just to stand for a while before leaving again. There were people scuttling from one place to another, and then hanging about as it they were looking for something. Waves started at the door and rippled through the church, disturbing even the front rows where

there were serious worthy people standing. There could be no question of any concentrated praying. There was no praying at all in fact, just a kind of sheer, irrepressible childlike joy looking for a pretext to burst forth and be expressed in some kind of movement, even if it was only the shameless moving about and the crowding together.

You are struck by the same same kind of extraordinary sense of motion in the Easter service itself. The heavenly gates stand wide open in all the side-altars, dense clouds of smoky incense hang in the air around the candelabra; wherever you look there are lights, brightness and candles spluttering everywhere. There are no readings planned; the energetic, joyful singing does not stop until the end; after each song in the canon the clergy change their vestments and walk around with the censor, and this is repeated every ten minutes almost.⁶