The Christmas Holidays in Ivan Shmelev's Description: Mythopoeics of Childhood and the Ontology of Festivity

Ivan Sergeyevich Shmelev's (1873–1950) approach to the theme of the Christmas Holidays in his late, émigré works ("The Lord's Summer", 1927–1948; individual stories) is not just a nostalgic depiction of pre-revolutionary life but a complex artistic-theological reconstruction of a holistic world order. The Christmas Holidays in Shmelev are not just a stage in the calendar but a time that has become a sacred space, where through a child's perception, the profound connection between everyday life, faith, nature, and the national soul is revealed.

1. The Chronotope of the Christmas Holidays: Time as a Festival and Eternity.

Shmelev creates a sense of stretched, meaningful time. The Christmas Holidays for the boy Vanya are not just the days between Christmas and Epiphany but "festival-festivals," a special state of the world:

Cyclicity and rhythm: Time moves not linearly but in a circle of sacred events — from the silence and anticipation of the Eve of the Nativity to the wild "frightful evenings" and the purifying Baptism. Each day has its liturgical and everyday code.

Sacralization of everyday life: During the Christmas Holidays, all life becomes a ritual. Even the most ordinary actions — feeding livestock, cleaning the house, preparing food — are filled with symbolic meaning. "The world stood still in anticipation of the Miracle, and everything in it became a sign of this Miracle."

Blurring of boundaries: As in folk tradition, in Shmelev's depiction, the Christmas Holidays are a time when boundaries are blurred: between the living and the dead (memories, prayers), between social classes (the poor and carolers come to the house), and between the earthly and the heavenly (the sky "opens up," the stars "speak").

2. The Semantics of Festivals: From Christmas to Epiphany.

Shmelev meticulously describes the internal logic of each stage of the Christmas Holidays, showing them as a unified liturgical year in miniature:

Christmas: The apogee of family, warm, "domestic" holiness. The smell of the Christmas tree, wax, tangerines; the feeling of the "Christmas miracle" as an intimate family event. The main thing here is the Incarnation of God in the world, and therefore the world becomes cozy and inhabited.

"Frightful" evenings (before the Day of Vasiliy and Epiphany): A time of playful, carnival inversion. Divinations, masked figures, "frightful" stories. Shmelev does not condemn this "sinful" side from the perspective of strict churchliness but shows it as a folk "relief," a natural reaction to the tension of the sacred period. Through a child's fear and curiosity, the irrational depth of the world is understood.

Epiphany (Baptism): The climax and completion. Purification and order. Frost, the sanctification of water, the solemn cross procession to the Jordan. If Christmas is God entering the house, then Epiphany is God appearing to the whole world, sanctifying the elements. A symbol of the victory of light and structure over the festive chaos.

3. Gastronomy as Liturgy: The "Feast of Being".

Food in Shmelev's Christmas Holidays is one of the main ways of experiencing the festival and a sign of God's abundant world.

Eve of the Nativity: A fasting, but exquisite meal ("sokolnik", fish, stew) — an ascetic joy of anticipation.

Christmas: An explosion of festive abundance: pork with porridge, "pork" delicacies, goose with apples, mountains of pies. This is not gluttony but an eucharistic feast, gratitude for the Incarnation. Food becomes a material expression of joy.

St. Vasiliy's Eve: The mandatory pork head — a tribute to folk tradition and St. Vasiliy the "pork-slayer," a symbol of prosperity. Through tastes and smells, Shmelev conveys the corporality, the fleshly joy of the Orthodox festival, alien to the asceticism of spiritualism.

Interesting fact: In the chapter "The Christmas Holidays," Shmelev masterfully describes the ritual of "glorification" (similar to carol singing). It is important that Christ is glorified not by professional singers but by "sweater boys" — simple workers from the factory. Their singing is "unharmonious, thick, rough," but it has "such power that it takes your breath away." For Shmelev, this is a key moment: true faith and festival live not in ideal aesthetics but in spontaneous, powerful, folk fervor, which is the true "beauty of God's world."

4. The Child's Perspective: The World as a Miracle.

Perceiving the Christmas Holidays through a child's eyes is not just a literary device but a theological stance. "If you do not turn and become like children, you will not enter the Kingdom of Heaven" (Matt. 18:3).

Irreducibility of "sacred" and "frightful": The child experiences both awe at the Christmas service and fear from the Christmas divinations with equal intensity. For him, the world is whole and animate.

Trust and acceptance: Adults may be skeptical about omens or masked figures, but the child unconditionally believes in the reality of the miracle, in the conversations of animals on the night of Christmas, in the prophetic power of dreams. This faith is the foundation of Shmelev's depiction of the world.

The tangibility of mystery: The mystery of the Incarnation for Vanya is not abstract — it is in the smell of the pine tree, in the taste of the "sokolnik," in the prickly frosty air of the Baptism. The spiritual is understood through the material.

5. The Émigré Context: The Christmas Holidays as a Lost Paradise and Spiritual Homeland.

Shmelev began writing "The Lord's Summer" in émigré, far from Russia. Therefore, his Christmas Holidays are not only a memory but also an act of creative "resurrection" and affirmation.

Nostalgia as creativity: The detailed, almost ethnographic description of rituals and everyday life is an attempt to preserve the lost world in words, to make it indestructible.

"Russia, which we have lost" appears not in political but in an ontological key — as a space of harmony between God, nature, and man. The Christmas Holidays become a symbol of this lost harmony, its quintessence.

Spiritual alternative: Against the backdrop of chaos and atheism in the modern world depicted by the author, Shmelev's Christmas Holidays offer a model of an organized, meaningful, bountiful existence.

Conclusion.

The Christmas Holidays in Ivan Shmelev are a total artistic-religious cosmos constructed according to the laws of childhood memory and Orthodox world perception. This is a world where:

Life and being are inseparable (liturgy continues over the meal, prayer in everyday work).

Folk culture and churchliness form a living synthesis (the glorification of Christ by sweater boys, festive games next to prayer).

Time becomes not linear but sacred-cyclical, which contrasts with the historical catastrophism of the 20th century.

The main witness is the child, whose perception becomes a tuning fork of authenticity and a metaphor of saving faith.

Thus, Shmelev creates not just a description of festivals but a mythopoeic utopia of "Holy Russia," where the Christmas Holidays serve as its ideal temporal model. This is an attempt to return the lost time — the time when God was "at home" in the human world, and the world was in God. In this context, Shmelev's Christmas Holidays become a powerful act of resistance to spiritual decay and an affirmation of eternal, rooted in faith and tradition, fundamental principles of human existence.

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