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The general drunkenness of Russians is a myth. However, a certain percentage of people who abuse intoxicating drinks has always existed in Rus'. And it is precisely the way Russians behaved with drunk people that confirms that drunkenness was a shame.

History of drunkenness in Rus'

It is believed that in the pre-Christian and early Christian periods in Rus' they drank moderately, since most people did not have access to strong drinks. Wine was brought from overseas; it was too expensive and only affordable by the nobility and high clergy. And even they did not drink themselves to death, since, according to Greek custom, it was customary to dilute wine with water.

Ordinary people consumed kvass, honey, beer, mash and only on special occasions. The Austrian ambassador Sigismund Herberstein testifies: “Eminent or rich men honor holidays by having feasts and drunkenness at the end of the service, and the common people for the most part work, saying that celebrating is the master’s business.”

Meanwhile, Pryzhkov, giving in the book “History of Taverns in Russia” a description of the feasts organized in 1148 by the Novgorod prince Izyaslav and in 1152 by the Kiev prince Vyacheslav, mentions: “Every worldly business certainly began with a feast or drinking party, and therefore in the social life of the people drinks had enormous cultural significance."

What did this lead to? Back in 1377, near the river with the “speaking” name Piana, the army of Prince Ivan of Suzdal, who was a relative of Dmitry Donskoy, fell in a battle with the Tatars. The warriors turned into easy prey for enemies, because instead of preparing for battle they indulged in “fun and revelry.” The same thing happened during the Battle of Suzdal. The squad of Moscow Prince Vasily II, who lost vigilance after drinking, was defeated, and the prince himself was captured.

By the way, even then there was a remedy called “hangover”. It was a fatty and spicy stew with a lot of pickles and tasted like pickle soup.

However, drunkenness was not common. People suffering from this vice were subject to public condemnation.

Pre-Petrine era

In 1474, under Ivan III, an attempt was made for the first time to establish at least some order in the alcohol sphere. The Tsar forbade the free brewing of honey and beer, as well as the consumption of intoxicating drinks on days other than holidays.

Vasily III, in turn, built a settlement in Moscow called Naleiki. There you could indulge in intoxicating drinks whenever and as much as you wanted, but this only applied to foreigners. Russians were not allowed there.

In 1552, by order of Ivan the Terrible, the first “tsar’s tavern” was opened in the capital, where “green wine” was served. Ordinary people could only buy it in taverns so that the funds would go to the treasury, while the aristocracy and the king's associates were allowed to produce and consume alcohol at home. By the way, the tsar’s guardsmen were served vodka in taverns, while everyone else had to be content with wine.

At the same time, for appearing drunk in public places, drunkards (in Rus' they were called “pitukhs”) were imprisoned in the so-called “brazhnaya” prison. They were kept there until they sobered up. If a person was detained for drunkenness a second time, he was beaten with batogs. The third time they beat me with a whip and sentenced me to prison.

If the violator was detained for drunkenness more than once, he could be put in a barrel of alcohol. Its contents consisted of fermentation and distillation products and were so strong that the unfortunate man was literally marinated alive. Sometimes the flesh was separated from the bones and the person died a terrible death.

Patriarch Nikon introduced a ban on alcohol in monasteries; if someone violated this taboo, he could be deprived of clergy and exiled somewhere to a remote monastery, and sermons against drunkenness began to be read in churches.

If a person died from drunkenness, he was buried outside the cemetery, usually at crossroads, as a warning to others.

During the reign of Tsar Alexei Mikhailovich Quiet, drinking establishments were moved outside the city boundaries, and their number decreased. At the same time, alcohol began to cost three times more, and one person was forbidden to drink more than one glass (about 150 grams). If someone was caught in the clandestine production and sale of alcoholic beverages, he faced imprisonment along with confiscation of property. It was also prohibited to sell alcohol on fasting days, religious holidays and certain days of the week.

Under Peter I, the policy towards drunkenness was twofold. On the one hand, the king regularly organized “assemblies” where alcohol was served in fairly decent quantities. On the other hand, subjects who abused alcoholic beverages were subjected to quite severe punishment under him: a medal “For drunkenness” weighing up to 12 kilograms was hung on their chest.

How drunkards were “treated”

In medieval herbalists there are many recipes for drunkenness. For example, recommendations to add powder from crushed bugs, mucus of toads and frogs, horse manure and even corpse worms to alcohol.

If representatives of the upper strata of society were still treated leniently (for example, during feasts, special people were assigned to those who had too much alcohol, taking them out to “ventilate” and ease their stomachs), then for ordinary peasants or artisans, libations could end in tears - at best, violent “treatment” , and in the worst case - whips, prison, or even death.

February 18, 2013

Perov’s work of art, which conveys a complete sense of the inner drama of reality, is “The Last Tavern at the Outpost” (1868). The painting depicts a deserted snow-covered street on the outskirts of a Russian provincial town. A drift of snow is drifting past the gates of the outpost. Near the horizon, foreshadowing bad weather, the lemon-yellow glow of sunset glows, giving rise to a feeling of anxiety, aggravating the mood of melancholy diffused throughout everything around us.

On the left side of the street is a tavern. In the cold winter twilight, its frozen and snow-covered windows glow crimson. Here peasants returning from the city spend their last money on drink. At the door of the tavern are two village sleighs. A restless wind ruffles the horses' manes and tails and ruffles the fur of a frozen dog. In the sleigh you can see the figure of a frozen girl wrapped in a scarf - the living embodiment of a long, submissive, hopeless wait. Under the apparent stillness and gray melancholy of Russian reality, Perov felt inner turmoil and anxiety. It is embodied in the picture in the gusts of wind blowing towards the outpost, in the running of the road, cut with traces of runners, leading the eye back there, beyond the gates of the outskirts, to the flaming horizon. The gold of the evening dawn and the red glow of the tavern windows create a feeling of internal tension in the image. The content of the picture is revealed here not so much through the plot, but through the emotional coloring of what is depicted.

“The Last Tavern at the Outpost” seems to complete the first period of Perov’s work. Its further evolution shows that at the end of the 60s a deep change occurred in the artist’s worldview. Post-reform reality began to dispel Perov's enlightenment illusions. He saw that the abolition of serfdom left the people in the same, if not more difficult, situation.

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The illegitimate son of a retired official who served as estate manager, he spent his childhood in the village. He received his surname for his ability to write cleanly and beautifully with a pen. In 1860 he graduated from the Moscow School of Painting, Sculpture and Architecture. He was its most outstanding graduate, and subsequently a professor at this school. For his success at school he received a Big Gold Medal.

Perov was one of the first artists who boldly destroyed all the barriers that separated Russian painting from the real life of the common man, truthfully depicting the impoverished post-reform village in Russia, the miserable existence of the urban poor. Perov took all the subjects for his works from life, observing it from all sides. After graduating from college, with their friend, the artist Pryanishnikov, they wandered around the outskirts of Moscow, observed and thought about themes for their paintings. Perov's works are sharply satirical and accusatory in nature.

Somehow they (Perov and Pryanishnikov) wandered into Mytishchi. And they saw, under the shade of the trees, a well-fed, red-faced hieromonk sitting at the table, puffing away, drinking tea from a saucer; at his feet is a suitcase, from which the neck of a bottle sticks out. Behind him, the monk servant, standing, drinks empty tea; he does not dare sit in the presence of the “holy father.” “The Holy Father has already drunk the whole samovar, and the young girl is adding more. Thus the painting “Tea Party in Mytishchi” was born.

Next to the blissful priest stands a crippled beggar soldier, stretching out his hand for alms. We see a medal pinned to his overcoat - perhaps the unfortunate soldier left his leg near Sevastopol? The maid pushes his hand away, the priest glances sideways with hostility, and the little guide boy stands, not daring to extend his father’s cap for alms. What a bitter note of sympathy for children sounds in the film! There is no bitterer insult than that of a child, and it is unbearable to see this timid figure of a boy - hungry and barefoot - next to indifferent gluttony!

Probably the most remarkable work of Perov, very consonant with Nekrasov’s poem “Frost, Red Nose”.

For the last time, Savraska takes his master to the graveyard, heavily, slowly carries the sledge with the master’s coffin up the hill. The coffin is covered with matting. Two children clung to him, stunned by the terrible loss. Having lowered the reins, hunched over, a widow, a mother, sits on the front of the sleigh. How much sorrow there is in her bowed head, in her hands, in her bent back! Her soul is bitter, gloomy thoughts weigh on her. Her breadwinner and husband died - how can she live now, how can she raise her children!? The fate of children is bleak, just as in Nekrasov’s work:

"...Savraska got stuck in half a snowdrift -
Two pairs of frozen bast shoes
Yes, the corner of the covered coffin
They stick out from the wretched woods.
...The guys and the dead man are both
We sat there, not daring to cry..."

Savraska trudges along with her head down. She stopped, raised her head, and the dog howled. Not only animals, but, it seems, nature itself experiences their grief with people. The cold felt in nature, the sad colors of winter twilight, the restrained range of gray-yellow-brown tones emphasize the loneliness and harsh tragedy of the peasant family.

Having not yet finished painting “Seeing Off a Dead Man,” Perov conceived another one - to show only children, children of artisans, children of the Moscow street.

Perov imagined a winter, blizzard street, as if fenced off from people, from the bustle of the street by a gloomy monastery wall. Along the wall, up the street, three children are carrying a huge icy barrel of water on a sled. Two boys and a girl are exhausted, the wind is tearing their holey clothes, and they are still pulling and pulling their sled, the barrel is about to slide off the icy sled, but some random passer-by held the barrel from behind and is helping to carry it. It is impossible to look at these emaciated faces of children without compassion, to see these eyes filled with bitterness, suffering, and torment. The harsh colors of the winter landscape enhance the bleak impression of the picture.

Perov quickly wrote two extreme children, but for a long time he could not find the “root boy”, the boy in the center of the “Troika”. One day, at the Tverskaya Zastava, he saw tired pedestrians - an old woman and a boy. The artist was amazed at how well the boy suited his type for his painting. Perov had difficulty persuading the old mother to allow him to paint his son; she was still afraid that this was a great sin. After much persuasion, she agreed. The boy sat quietly; Perov wrote passionately and quickly, and the old woman, who on closer examination turned out to be much younger, quietly talked about how she buried her husband and children and was left with only her only son Vasenka, her only joy. The picture was painted.

"Troika" was subsequently bought by P.M. Tretyakov. One day an old woman came to the artist’s apartment. He did not recognize her, she reminded him of herself and could not calm down for a long time - she kept crying. Then she said that her son had died, she, having buried him, sold everything, collected some money and then came to buy a painting where “her son was written off.” Perov explained that the painting no longer belonged to him and took her to the Tretyakov Gallery. She looked around the room with her meek gaze and quickly approached the picture where her dear Vasya is depicted. “You’re my father! You’re my dear, that’s your missing tooth!” - and with these words, as if cut short, she fell to the floor. The mother spent a lot of time near Perov’s painting, no one disturbed her, and only the attendant looked at her with eyes filled with tears. “A sea of ​​words, but a river of grief, a bottomless river of grief!”

Perov was always and everywhere able to see this bottomless human grief and saw it with his big and generous heart.

In this painting, the artist raises one of the most pressing issues in the social life of Russia in the 60s - the powerless plight of women.

The painting depicts the first acquaintance of a merchant family with a governess who came to work. A young girl, with downcast eyes, stands in the middle of the room and pulls out a letter of recommendation from her bag. The merchant family is looking at her point blank. The owner of the house stands in front with a dumb expression and brazenly examines the “product.” The household members crowded behind him each look at and evaluate the newcomer in their own way. Curious servants also look at the governess, but their attitude towards her is different, not that of a master. The young girl herself stands alone in the center of the room. Her strict, modest suit contrasts with the gaudy furnishings of the room. It will be hard for the poor girl in this well-fed but soulless family.

A few years after the painting “Seeing Off a Dead Man,” Perov wrote “The Last Tavern at the Outpost.” All as if immersed in the dreary foggy darkness of the approaching winter evening, it makes an irresistible impression: in the distance there is a yellowish-red strip of fog, reddish lights glow faintly in the windows, and at the outpost there are pillars with double-headed eagles and a snow-covered, rugged, runners road goes somewhere into the distance. sleigh road. At the entrance to the "Parting" tavern, two horses harnessed to peasant logs stand dejectedly. Here, at the last outpost near the tavern, a lonely Russian woman sits in a sleigh, wrapped in a scarf, and thinks her bitter thought. She must have been sitting and waiting for her husband for many hours, waiting resignedly, patiently, maybe even feeling sorry for him. Then, drunk, he will take him home and just as resignedly endure his beatings, remain silent and work, without straightening his back, until his death.

"...You're a share! -Russian woman's share!
Hardly any harder to find!
No wonder you wither before your time,
All-bearing Russian tribe
Long-suffering mother!"

Quite a small picture. It is written superbly, with stern simplicity, without any unnecessary details. A man is sitting at a wooden table, covered with some kind of faded pink rag instead of a tablecloth. On the table is an unfinished glass of wine, a bottle, and a cap. There is a guitar in the hands of a man; he plucks the strings. Who is he, this ugly, hunched man with such sad, sad eyes?

Among the portraits painted by Perov, the portrait of the writer A.N. Ostrovsky especially stands out. Perov loved Ostrovsky's plays, often watched them at the Maly Theater, and visited Ostrovsky himself, whom he knew well. And he painted it the way he was used to seeing it at home - in an old squirrel sheepskin coat. He sits on a chair, leaning slightly forward, and looks at the audience with smart and kind eyes.

Hunters settled down to rest at the edge of the forest. There are three of them. One of them, apparently an old landowner, talks about his fantastic hunting adventures; the younger hunter eagerly listens to his story, he even forgot to light the prepared cigarette; in the center, a peasant coachman scratches his ear in disbelief - he knows very well what these hunting stories are! Nearby on the ground there is a gun, a hunting net, dead game.

Description of Perov’s painting “The Last Tavern at the Outpost”

This work is considered one of Perov's best, written in 1868.
According to many critics, this picture has a simple plot.
Looking at the picture, I saw the outskirts of the town.
The artist depicted the winter season, the painting depicts evening.
In the distance I saw the sunset, and the rays of the sun practically no longer illuminate the street, and the city residents had already turned on the light in their houses, which we see through the windows.

The artist painted a road covered with snow and two sleighs drawn by horses; a girl is sitting in one of the sleighs depicted.
It seemed to me that the girl was cold and dressed poorly.
In the background of the picture, the artist painted an outpost, or rather its obelisks.
In my opinion, the author paid a lot of attention to sunset in his work.
Perov tried very carefully to draw and convey to us the sunset, using paints of different colors, ranging from light blue to light yellow.
If you look at the picture, you can generally note that it is made in dark colors.

Looking at this picture you involuntarily feel a feeling of melancholy.
In my opinion, the artist tried to attract our attention with the figure of a poorly dressed, frozen girl in a sleigh; she is the personification of the peasantry.
According to historians, the road that goes into the distance symbolizes nothing more than an unknown future, with hope for a brighter future.

I like the paintings of this artist.
In my opinion, he is trying to bring his works closer to the real vision, but looking at this picture it becomes sad.
This picture makes a lasting impression and makes you think about a lot.
For example, that we have stopped appreciating what we have, and are increasingly chasing status and fake things.
Phones and computers have become more important to us than the people who surround us.
We began to neglect what we have and do not pay attention to the people whom we accidentally offended.

The last tavern at the outpost. 1868 Oil on canvas 51.1 x 65.8 cm. State Tretyakov Gallery,

V. G. Perov with great skill creates works that touch on deeply dramatic, even tragic themes. The painting "" is the most perfect work in terms of artistic images and pictorial merits in Perov's creative heritage. A winter road, dotted with sleigh runners, goes towards the horizon. Along the road there are small wooden houses on the outskirts. In the distance you can see the pillars of the city gates with double-headed eagles. At the door of the last one, at the outpost of the tavern, two teams stand waiting for their owners. Apparently, they have been here for a long time. In the sleighs sits, wrapped in a scarf against the cold wind, a lonely female figure, she is in patient, submissive expectation. In “The Last Tavern at the Outpost” there is a feeling of aching melancholy and sorrow from the joyless fate of the peasants, leading to the tavern in search of the only oblivion. Outwardly, a simple picture has great dramatic tension. Bluish-gray snow, unsightly dark houses with reddish-yellow lights of blind windows, on the horizon, behind them, the black silhouettes of the buildings of the city outpost evoke a feeling of anxiety. The whole picture, painted in a single tonality, conveys a feeling of loneliness and cold If in the foreground among cold colors there are warm tones, then towards the horizon they become colder and colder. This also conveys the feeling of twilight falling on the city. A frosty wind sweeping along the wide street covers the standing sleighs and house windows with snow and pierces the peasant woman waiting in the sleigh to the bones. The emotionality of the landscape reveals the content of the painting - the tragic doom of the Russian peasantry. The strengthening of the emotional role of landscape in general becomes characteristic of Russian literature and painting during this period. For Perov, the emotional landscape became a means of revealing the psychological characteristics of characters and events.
N. F. LYAPUNOVA V. G. Perov (M., Art, 1968)