The textbook was created in accordance with the Federal State Educational Standard in the field of training 050100 Pedagogical Education (profile “Russian language”, qualification “Bachelor”).
The textbook is a course of lectures for the initial acquaintance of students with the basics of the Old Church Slavonic language, which are presented in comparison with the phenomena of the modern Russian language. Its main advantage is the accessible level of presentation of the material. Each lecture ends with test questions to consolidate the acquired knowledge.
For students of higher education institutions. It may be useful for graduate students and young teachers who want to quickly restore their knowledge of the subject.

WHAT IS OLD SLAVIC LANGUAGE? SUBJECT AND OBJECTIVES OF THE COURSE. ITS SCIENTIFIC AND PRACTICAL SIGNIFICANCE.
In Rus', people have long treated their past with respect and interest. Another ancient chronicler posed the question: “Where did the Russian land come from?” - and tried to answer it. Nowadays, interest in history, in particular in the history of culture, is especially great. How did our great literature and that beautiful literary language come into being, which we are now so shamelessly deforming? What did our ancestors say? When and in what language did they start writing? Scientists provide answers to these questions, and in particular, it can be considered proven that the first written language of all Slavs was Old Church Slavonic. What is the Old Church Slavonic language?

Old Church Slavonic is the language of the oldest Slavic liturgical books.
Let's analyze this definition. So, Old Church Slavonic language:
- this is a Slavic language, i.e. belonging to the Slavic branch of the Indo-European family of languages ​​(we will consider this in more detail later);
- this is a bookish, written, literary language, and it should immediately be noted that it was not spoken, but only books were created, initially for the needs of the Christian Church;
- this is the oldest, very first written recording of Slavic speech.
It should be noted that the oldest Slavic liturgical books were translations from Greek, which had a certain influence on Old Church Slavonic, especially in the field of vocabulary and syntax. A unique feature of the Old Church Slavonic language is that the time of its origin (863) and existence (IX-XI centuries) is known.

CONTENT
Preface
Lecture 1. What is the Old Church Slavonic language? Subject and objectives of the course. Its scientific and practical significance
Lecture 2. The origin of the Old Church Slavonic language. The history of the emergence of Slavic writing
Lecture 3. The origin of the Old Church Slavonic language (continued) The folk basis of the Old Church Slavonic language, its place among other Slavic and peaks
Lecture 4. Phonetic system of the Old Church Slavonic language
general characteristics
Vowel phoneme system
Lecture 5. The system of consonant phonemes of the Old Church Slavonic language
General characteristics of the system of consonant phonemes of the Old Church Slavonic language
Syllable structure in Old Church Slavonic
Lecture 6. History of the Proto-Slavic phonetic system. Changes in the vowel system
General characteristics of the Proto-Slavic phonetic system
The system of vowel phonemes of the early Proto-Slavic language
Changes in the Proto-Slavic vowel system
The oldest vowel alternations
History of diphthongs in Proto-Slavic language
Lecture 7. History of diphthong combinations
Definition of diphthong combinations
History of diphthong combinations with nasal consonants. Formation of nasal vowels
History of diphthong combinations of vowels with smooth ones
History of combinations of reduced and smooth
Lecture 8. History of Slavic consonants. Origin of soft consonants. Changes in consonants in combination with j. First palatalization
general characteristics
Origin of sound x (h)
Origin of primordial soft consonants
First palatalization
Lecture 9. The origin of primordially soft consonants (continued). Second and third palatalization. Changes in consonant clusters
Second palatalization
Third palatalization
Phenomena of assimilation, dissimilation and simplification in consonant groups
Lecture 10. Morphology. Noun. Basic grammatical categories. Declension system
General characteristics of the morphological system of the Old Church Slavonic language
Noun
Lecture 11. Declension of nouns (continued)
Declension of nouns with stems *o, *i, *й, *u and consonant
Lecture 12. Interaction of types of declension of nouns in the Old Church Slavonic language
Destruction of the original declension system in the Old Church Slavonic language
The convergence of nouns that originally belonged to the declensions of the *o solid variety and the *th
The convergence of nouns that originally belonged to the declension of *jo and *i
Tendency to destroy the declensions of nouns with the consonant stem й to *й
Lecture 13. Development of the category of animation. Pronouns in Old Church Slavonic
Issues of formation of the category of animation in the Old Church Slavonic language
Pronouns in Old Church Slavonic
Lecture 14. Adjective in Old Church Slavonic
general characteristics
Nominal (short, non-membered) adjectives
Full (pronoun, clause) adjectives
Comparative forms of adjectives
Lecture 15. Counting words. Verb. Basic grammatical categories of the verb
Counting words
Verb. Basic grammatical categories of the verb
Lecture 16. Verb (continued). Verb conjugation in the present tense
Future
Unreal inclinations
Present tense
Future
Unreal inclinations
Lecture 17. Verb (continued). Past tense
Specifics of expressing the past tense in the Old Church Slavonic language
Simple forms of the past tense
Complex past tense forms
Lecture 18. Unconjugated verb forms
Specifics of non-conjugated verb forms
Infinitive
Supine
Participles
Active participles
Passive participles
Lecture 19. Basic syntactic features of the Old Church Slavonic language
Collocation
Offer
Application
Recommended reading.

Download the e-book for free in a convenient format, watch and read:
Download the book Old Church Slavonic, Ivanitskaya E.N., 2011 - fileskachat.com, fast and free download.

Irmologion

The font is based on a typeface from publications of the Synodal Printing House of the early 20th century. The name is taken from the book from which it was redrawn: “Irmology”, 1913 edition. The UCS font is based on the old 13-font collection Irmologion.

This is my first font work, unprofessional and naive. In addition to numerous technical flaws, the font also rather inaccurately reproduces the original typeface. At the time of creating Irmologion, I had neither the experience nor the technical means necessary for high-quality reproduction of the pre-revolutionary font.

Unfortunately, this rather unsuccessful work has become a classic and is used in many user projects, so I am forced to leave Irmologion on the site. If you do not need to maintain compatibility with Irmologion, I recommend using a more successful analogue of the synodal headset - .

Please note: to type text with this and all other UCS fonts, it is strongly recommended to download and install the “Irmology-4” package from the “Programs” section. Entering and editing Church Slavonic texts using only a regular keyboard layout is possible, but very difficult. The "Irmology-4" package will allow you to do this much more conveniently and correctly.

Hirmos

Unlike Irmologion, the Irmos font actually repeats the typeface from the publications of the Synodal Printing House of the early 20th century. (for example, "Irmology" of 1913). This is a remake of my first work (Irmologion), which, like any “first pancake,” is not successful. If you do not need to maintain compatibility with the Irmologion font, use Hirmos: the new font is made more professionally, efficiently and authentically.

Font set characteristics:

Triodion

This typeface is quite common in publications of the Synodal Printing House of the late 19th and early 20th centuries and, I hope, is best known to today's singers and readers. This typeface contains, for example, modern patriarchal (publishing houses of the Moscow Patriarchate) reprints of both Triodea, the Book of Hours, the Service Book, the Typikon and many other publications.

Font set characteristics:

StaroUspenskaya

The typeface was taken from the Psalter published by the Kiev Pechersk Lavra, presumably from the mid-19th century. In addition to the specific details that make any Kiev-Pechersk typeface recognizable, this font leaves the impression of severity and austerity of the design. When looking at him, frosty Solovki and Valaam come to mind, but... he was born in warm Ukraine.

The compactness of lowercase letters makes it indispensable in musical subtexts, and the beauty of capital letters makes it an excellent candidate for a set of capitalized headings. Although its main purpose, of course, is typing basic text.

Font set characteristics:

Ostrog

The typeface was taken from publications of the second half of the 16th century (printing houses of the cities of Vilna and Ostrog). The creator of the typeface is presumably Pyotr Mstislavets, an East Slavic typographer and associate of the pioneer printer Ivan Fedorov.

Capital letters, in my opinion, don’t really match the rest of the font, and they don’t fit well with each other (but that’s just my personal opinion). The lowercase letters were definitely a success.

Font set characteristics:

Akathistos

The typeface was used in synodal publications of the second half of the 19th and early 20th centuries. The size (point) of the original letters is quite large: the height of the lowercase letters is about 5 mm. This typeface was used to type altar Gospels, large-format editions of akathists, etc.

There is a well-known modern font drawn from the same typeface: Evangelie (Orthodox). My version is redrawn and closer to the original.

Font set characteristics:

Evangelie

Headset from SoftUnion ((C) 1994 SoftUnion Ltd. Created by A. Shishkin and N. Vsesvetskii). I simply recoded it, made the necessary ligatures and added kerning. However, I didn’t try very hard, because on the network there is a much more advanced modification of this typeface for UCS, called Orthodox. I strongly recommend using it, it is designed very high quality. .

The characteristics of this particular option are not particularly impressive:

Pochaevsk

The original typeface was used in liturgical books of the last century, published by the printing house of the Pochaev Lavra. Pochaevsk Ucs was based on its fairly accurate digital version of Pochaevsk. In different font versions there are indications of different designers: Orthodox Information Data Associates (year unknown); Starin, Russian Antiquities, developed by Nikita Simmons (1996); Archbishop John (1999). It can be assumed that the original typeface was produced by OIDA, and then redesigned by two other designers.

In Pochaevsk Ucs, I reworked the metrics of many characters, added letter-titles for capital letters, and carefully worked out the kerning.

Feofan

Font from Lenpoligraphmash ((C) AO Lenpoligraphmash, 1994). I just re-encoded it and added kerning here and there. I have never seen a typeface similar to this in old printed publications.

Oglavie

The main, most common heading typeface from pre-revolutionary publications. In printed originals there are many variants of this typeface, differing from each other in small details. The Oglavie font repeats one of them.

Of the modern commercial fonts, Oglavie is most similar to Slavjanic, but is drawn better and differs from it in greater compactness and contrast.

Slavjanic

Unfortunately, the author of the original computer headset is not identified (there is only the year of creation, 1992). I added the missing Church Slavonic letters and title letters there, and worked on the kerning. Several existing symbols were also redone in order to fully correspond to the pre-revolutionary originals.

The font is similar to Oglavie, but is of lower quality and has different proportions and contrast. It is posted here for compatibility purposes: for a long time, Slavjanic was the only font of this type available in the Ucs8 encoding. Slavjanic is recommended to be used if you already have text laid out in this font. Otherwise use Oglavie.

Kathisma

A fairly common heading typeface from pre-revolutionary publications of the 18th - 20th centuries.

There is a fairly well-known commercial font, Psaltyr, reproduced from the same printing samples as Kathisma. There are few differences: the letters Kathisma are slightly wider, but the distances between letters are smaller; some letters are drawn differently; The kerning has been worked out more carefully.

I will not hide that the main goal of developing a font similar to an existing one from scratch is to create a free, non-commercial version that reproduces a rather beautiful pre-revolutionary typeface.

The encoding is the same as in capital fonts.

Psaltyr

The designer of the original digital font is Nikita Vsesvetskii ((C) SoftUnion Ltd., 1994. Created by N.Vsesvetskii). The font has its own analogue in pre-revolutionary publications. True, the author of the digital version slightly changed the proportions of the letters (in relation to the original typeface, the letters in the font are elongated vertically by 20-30 percent) and, on the contrary, pushed the superscripts up and compressed them (in the original font, the superscripts feel more free). Without taking into account these two points, as well as some small simplifications in the design of letters, the digital font is a fairly accurate copy of the original pre-revolutionary one.

Strictly speaking, the original Psaltyr font is commercial. There is a free version of this font - . The Psaltyr Ucs font is posted on this site for compatibility purposes: for a long time, Psaltyr was the only font that reproduces this beautiful pre-revolutionary prototype. Psaltyr Ucs is recommended to be used if you already have text laid out in this font. Otherwise use Kathisma.

Zlatoust

The idea for the typeface was taken from the spine of a pre-revolutionary liturgical collection. The missing letters are recreated in the general style. The design of the letters is related to the handwritten script of the 15th-16th centuries, but does not have serifs or “knots” on the lines of the letters.

The font is suitable for designing various types of headings. Enabling kerning is highly desirable, since the design of the letters suggests this. The encoding is the same as in capital fonts.

Posad

Another decorative font suitable for headings. Similar to Zlatoust, but with serifs and knots. Enabling kerning is highly desirable. The encoding is the same as in capital fonts.

Indycton

Typeface for initial letters. Copied by me from pre-revolutionary publications. There are all the letters, even those that are not found in the form of drop caps. The contours are quite complex, which can strain rasterizers. I had to invent about a third of the letters myself, since I was unable to find their early printed originals due to the rare statistical frequency of using these letters as the initial beginnings of texts.

The font encoding is the same as in capital fonts, but to use it in the design of drop caps it is better to use a special add-on available in the Irmologii-4 package.

Vertograd

Another letter font. The typeface was quite common in pre-revolutionary publications. Not all letters are available yet, but the font can be used. Unlike the Indycton typeface, the letters of this font have many common elements and lines, therefore, without forgetting about the measure, the font is quite appropriate to use for typing entire words and heading phrases. There is no kerning for this yet, but it is expected.

Let me remind you that to design initial letters it is better to use a special add-on available in the Irmologii-4 package.

Bukvica

The author of the font is Konstantin Spektorov. The font reproduces the initial letters from the winter (1642) and summer (1643) parts of the Prologue. Initial letters of this type were widely used in publications of the Moscow Printing House in the 17th century.

The font is intended to be used only for drop caps. This determines some restrictions in the composition of letters and symbols. There are all the letters, except for “uka ligature”, b, ы, b. Of the superscripts, only oxia, zvatelso and iso are present. There are no punctuation marks. Kerning only takes into account the combination of some vowels with the caller and "iso".

All fonts are packaged using the WinRAR archiver. You can download the latest version of WinRAR on the manufacturer’s website: www.rarlab.com.

Old fonts

I provide my old fonts here only for compatibility. There are probably quite a few documents typed by the old Irmologion, which for some reason you don’t want to convert, bringing them to the new Irmologion Ucs (the converter is included in the “Irmologion-4” package, available in the “Programs” section). To be able to read such documents, you can download the old Irmologion here. Fonts from this section are no longer supported. If instead of letters, squares glow on the screen, if the upper parts of the letters are not visible, it is better to convert such text into a new UCS font. The converter is designed in such a way that it “pulls out” text even from most cases of “squares and questions”, while sparing the layout.

Irmologion-2

13-font collection, typesetting template and documentation. There are two options: one that works in Word 95-97 and PageMaker, and one that works in Word 97-2000. Choose one. Both sets cannot be installed at the same time. The font is obsolete and no longer supported, replaced by . I repeat:

font not supported!

We kindly ask you not to send letters with requests to correct superscripts that are cut off in new systems, complaints about “squares”, etc. The fonts are not posted for use in serious work, but in order to somehow read old texts and convert them into new fonts using converters (and similar).

Old Indycton

Old letter font. The font is obsolete and no longer supported, replaced by .

If you need to type text not in any of the Church Slavonic fonts, but in “citizen”, but in compliance with the norms of the old spelling (with the signs “yat” and “fita”), then you can use free fonts developed by Roman Pavlov: Academy Old, Academy Old Narrow, New Standard Old, New Standard Old Narrow, New Standard Old Narrow Bold, New Standard Unicode. You can also download them on our website.

How can I insert “yat” or “fita” into the text after installing the fonts?

Open the "Insert" section in Word, go to the "Insert Symbol" tab. In the window that opens, select a font containing the letters you need (for example, Academy Old, as shown in the figure below).

Select the letter you need in the list of font characters (for example, capital “yat”), click on the “Keyboard shortcut” button (see the figure above) and assign it.

So, if you have chosen simultaneous pressing of the CTR and Ё keys (CTR + Ё) as a combination for “yat”, pressing them will insert “yat” into your text.

How to install a font on the system?

Font set (2002 Andrushchenko N. A.
Spaso-Preobrazhensky Solovetsky stauropegial monastery.e-mail: [email protected]) ; This is a set of fonts designed for the layout of liturgical texts in Church Slavonic.

Fonts are developed in accordance with the requirements of the draft standard
Unified Church Slavonic encoding of 8-bit fonts UCS8
(Unified Church Slavonic Standard).

This set includes the following fonts:

Orthodox.tt Ucs8 - main font.

Orthodox.tt Ucs8 SpacedOut - font with character spacing. Implemented as an "italic style" of the original font.

Orthodox.tt Ucs8 Tight - a font with a dense arrangement of characters.

Orthodox.tt Ucs8 Caps - a font for a set of capitalized headings, i.e. headings consisting of capital letters.

Orthodox.tt Ucs8 Caps SpacedOut- capitalized font with character spacing. Implemented as "italic"
"style" of the capitalized font.

Orthodox.tt Ucs8 Caps Tight - dense capitalized font.

Orthodox.tt eRoos - a font encoded Extended ROOS, i.e. containing Church Slavonic letters arranged according to
ROOS standard, Arabic numerals and special characters
(signs of the Typikon, symbol of the Mark’s Chapter, etc.).

Orthodox.tt eRoos SpacedOut - Extended ROOS encoded font with character spacing. Implemented as an "italic style" of the eRoos font.

Orthodox.tt Ucs8 Drop Caps - a font containing patterned drop caps.

You can download the font package (exe-file 712 kb) from, you can find the latest version of the font package ().

2002 Andrushchenko N. A., Severodvinsk.

For any questions please contact:
[email protected] [email protected] , www.orthodoxy.ru/orthonord , www.arh.ru/~naa

A site for those who like to use elegant fonts in Windows (for example, those that imitate handwritten text). We present to your attention quite large collections of fonts - some of them are free, so you can download them from the site and install them in the system, and some are paid, requiring prior purchase.All of them (both paid and free) have a full set of Russian and Latin characters, are compatible with Windows 98/Me/2000/XP and have been tested for performance in popular programs - MS Word XP, Photoshop7, Illustrator10, Corel Draw11.

Help the site

Did you like the site? Did you find the lessons useful? You can support the project simply by downloading and installing the Flashlight application for Android. The application was written by the author of the site and hopes to publish his own applications in the future. The flashlight controls the phone's camera flash LED and also turns on the screen backlight at full brightness.

Advantages: flexible settings. You can set in the settings so that the flashlight turns on immediately when you start the application and the timer automatically turns on when the application starts. Settings allows you to disable screen lock and flashlight lock with the phone's power button. You can also set the timer yourself.

If the application gains popularity, this will give the author an incentive to create new applications taking into account the wishes of site visitors.

Thanks in advance, Dmitry.

QR code for installation:

If you liked the material, say “thank you” and share the links with your friends on social networks! Thank you!