Список условных сокращений
БАН — Библиотека Академии наук СССР (с 1992 г. — Российской Академии наук), Санкт-Петербург
ГБЛ — Государственная библиотека СССР им. В.И.Ленина (с 1992 г. — Российская государственная библиотека), Москва
ГИМ — Государственный исторический музей, Москва
ГПБ — Государственная Публичная библиотека им. М.Е.Салтыкова-Щедрина (с 1992 г. — Российская национальная библиотека), Санкт-Петербург
ЛОИИ — Ленинградское отделение Института истории АН СССР (с 1992 г. — С.-Петербургское отделение Института истории), СанктПетербург
Син.— Синодальное собрание
ТОДРЛ — Труды Отдела древнерусской литературы
ЦГАДА — Центральный государственный архив древних актов, Москва
Anthony Hippisley, Note on Sources
The poems of Vertograd mnogocvětnyj display such an astonishing variety of subject matter that the question has inevitably arisen from time to time, where did Simeon Polockij get his ideas from? As early as the beginning of this century I.M. Tarabrin suggested that Simeon had for some of his poems drawn upon the Speculum historiale of Vincent of Beauvais and the Concionum opus tripartitum of the Jesuit writer Matthias Faber[90]. In 1912 P.P. Filippovič added to the list of Simeon's sources the Magnum speculum exemplorum[91], and numerous further suggestions were made in two important articles by A.I. Beleckij, «Stichotvorenija Simeona Polockogo na temy iz vseobščej istorii» (1914) and «Povestvovatel'nyj élément v Vertograde Simeona Polockogo» (1933)[92]. Although students of Simeon have continued to try to identify sources underlying the poems of the Vertograd[93] only a tiny selection of poems from the total number have been more or less convincingly traced back to their source. No attempt has ever been made to calculate to what extent Simeon drew upon other material, nor to indicate whether he had a methodology or system of borrowing.
It can now be seen that the main stumbling-block in the way of productive research into the possible sources of the Vertograd poems has been the fact that the alphabetised copies[94] have been used as the starting-point for such investigations. The autograph manuscript[95], despite its initial appearence of a random collection of materials, in fact reveals the order in which Simeon composed his poems, and this alone makes it the only possible manuscript with which to work if any system of borrowing is to be uncovered. The first scholar to notice an ideological shape in the composition of the autograph manuscript was Lidija Sazonova, who pointed out in 1982 that «Simeon realises his religious, philosophical and ethical ideas in large-scale ideological, thematic and structural units within the manuscript, each of which contains a number of interconnected poems.