religiosaStudia Religiosa Rossica: научный журнал о религииStudia Religiosa Rossica: Russian Journal of Religion2658-4158РГГУ10.28995/2658-4158-2024-1-33-66religiosa-290Research ArticleСтатьиArticlesК вопросу о жанре Passio Perpetuae et FelicitatisOn the genre of Passio Perpetuae et FelicitatisБрагинскаяНина В.BraginskayaNina V.

Нина В. Брагинская, доктор исторических наук, профессор,

105066, Москва, Старая Басманная ул., д. 21/4, стр. 1

Nina V. Braginskaya, Dr. of Sci. (History), professor,

bldg. 1, bld. 21/4, Staraya Basmannaya St., Moscow, 105066.

1satissuperque@gmail.comДавидоглуСергей Н.DavidogluSergei N.

Сергей Н. Давидоглу,

125047, Москва, Миусская пл., д. 6;

101000, Москва, Андреевская наб., д. 2.

Sergei N. Davidoglu,

6, Miusskaya Sq., Moscow, 125047;

2, Andreyevskaya Emb., Moscow, 101000.

Национальный исследовательский университет «Высшая школа экономики»РоссияHSE UniversityRussian FederationРоссийский государственный гуманитарный университет; Институт перевода БиблииРоссияRussian State University for the Humanities; Institute for Bible TranslationRussian Federation202423022024013366Copyright © Брагинская Н.В., Давидоглу С.Н., 20242024Брагинская Н.В., Давидоглу С.Н.Braginskaya N.V., Davidoglu S.N.This work is licensed under a Creative Commons Attribution 4.0 License.https://srr.rsuh.ru/jour/article/view/290

Раннехристианские жанры, которые в древности именовали «страстями» и «мартириями», иногда «актами», не имели четких жанровых границ. Литературные рамки и верность жанровым дефинициям не были важны христианам, писавшим о мученичестве. Они часто писали Послания, потому что хотели рассказать собратьям по вере о подвигах мучеников, часто опирались на подлинные протоколы судов и рассказы очевидцев, нередко восхваляли страстотерпцев, использовали мартирии как богослужебные тексты. Мартирология постепенно перетекала в агиографию с ее поджанрами. Но и на этом фоне «Страсти Свв. Перпетуи, Фелицитаты и с ними пострадавших» имеют особенно ускользающую жанровую природу. Традиционное название “Passio” подходит к его основной теме, однако произведение состоит из множества частей, написанных разными авторами. В подготовке этого свода документов принимали участие по меньшей мере пять лиц (общее мнение, что три). Причем не одновременно. Эти пятеро имели разный статус и разные задачи. Богослов и автор Пролога и Эпилога говорил проповедь и прославлял мучеников, Перпетуя создавала для своей общины внежанровые записки о событиях в тюрьме, главным образом о своих посылаемых ей Святым Духом сновидениях: небесное путешествие, два путешествия в загробный мир, символическое сновидение о грядущем мученичестве как победе над дьяволом. Сновидение о собственном и Перпетуи посмертии, несколько напоминающем апокалиптику, но как события уже за гранью земной жизни, записал Сатур; анонимный Очевидец создал рассказ о том, что происходило в тюрьме и на арене, очень яркий, но не выполняющий минимальных условий актов и мартириев: допрос, приговор, казнь, погребение, культ. Пятый автор свел все тексты воедино и снабдил поясняющими вставками, превращая тем самым целое функционально в Послание, которое может быть отправлено из Карфагена в большой мир и читаться в церкви.

В результате возникла такая книга, для которой нет никаких аналогий в античной литературе, и попытки определить ее через жанры античной литературы как в целом, так и по частям оказываются безуспешны. Однако жанр документальной книги, написанной разными авторами не одновременно, в разных жанрах, включающих апокалиптику, деяния и страсти, проповеди, послания, видения, сложился ко времени написания нашего Пассио как целое Нового Завета, причем все разнородные тексты, хотя и самостоятельны, посвящены одному большому событию: жизни, смерти, воскресению Христа и созданию его Церкви. Новый Завет как целое и послужил жанровой моделью для «Страстей свв. Перпетуи, Фелицитаты и с ними пострадавших».

Early Christian genres called in antiquity “passions” and “martyrias” or “acts” had no clear genre boundaries. Neither literary frameworks were established, nor fidelity to generic canon was much important to Christians who wrote about martyrdom. They often wrote epistles because they wanted to tell their fellow believers about the deeds of the martyrs, often relied on authentic records of trials and eyewitness accounts, often praised the passion-bearers, and used martyrologies as liturgical texts. Martyrology gradually developed into hagiography with its subgenres. But even against this background, the “Passion of Perpetua and Felicitas” demonstrates exclusively elusive generic nature. The traditional title “Passio” corresponds to the content of the text under discussion. However, the work is made up of many parts written by different authors, not simultaneously, and combined into a single book. At least five persons were involved in the compilation of this set of documents (the communis opinio – three persons). These five had different statuses and different tasks. Theologue and author of the Prologue and Epilogue preached and glorified the martyrs, Perpetua created extra-genre commentaria or hypomnemata for her congregation about the events of the prison, mainly about her dreamy visions given to her by the Holy Spirit: a heavenly journey, two journeys to the underworld, and a symbolic dream of the coming martyrdom as a victory over the devil. The Vision of Saturus has apocalyptic features, but what he saw he saw as if already beyond his earthly life; the Eyewitness created an account of what happened in the prison and in the arena, very vivid, but not fulfilling the minimum conditions of acts and martyrdoms: interrogation, sentence, burial, cult. The fifth author brought all the texts together and provided explanatory inserts, thus turning the whole functionally into an epistle that could be sent from Carthage to the larger world to be read in the Church.

The result is a genre to which there are no analogues in ancient literature, and attempts to define this book through the genres of ancient literature both as a whole and in parts are unsuccessful. However, the genre of the documentary book, written by different authors at different times, in different genres, including apocalyptic, acts and passions, sermons, epistles, and visions, had emerged by the time of our Passio as the whole collection of the New Testament, with all the disparate texts, though independent, all dealing with one great event: the life, death, and resurrection of Christ and the establishment of his church. It served as a model for the compilation of the “Passion of Perpetua and Felicitas”.

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The authors declare that there are no conflicts of interest present.