Why is Boldino autumn so named. Boldin autumn in the work of a. With. Pushkin (1830). (at the end there is a brief). Holidays in Bolshoi Boldin
Composition
In 1830 Pushkin came to Boldino to take possession of the estate. But here the poet had to stay not for a month, as he planned, but for three whole, because the cholera epidemic began. And this forced stay in Boldin was marked by an unprecedented rise in creativity. Here Pushkin finished "Eugene Onegin", wrote "Belkin's Tale", "The History of the Village of Goryukhin", "Little Tragedies", the folk lyrical drama "Mermaid", the poem "The House in Kolomna", "The Tale of the Priest and His Worker Balda" and some wonderful lyric poems.
During this period, the nationality, historicism and realism inherent in the poet were revealed to the fullest extent of his creative possibilities.
Pushkin, asserting the human personality, defending its rights and dignity, shows his heroes in the fight against the environment they hate, in their protest. He extols love as a precious feeling that surpasses material wealth and overcomes the most difficult obstacles in its path.
At this time, Pushkin thinks about the future, he wants personal independence and simple human joys, but he is also tormented by gloomy forebodings. Pushkin comes to despair from the cruelty of Russian reality, the absence of revolutionary ideas in society, the ferocious suppression of freedom and mockery of human dignity.
The government did not miss a chance to remind the poet of his distrust. Journals write about the decline of the poet's talent: a feuilleton is published, which states that Pushkin "did not find in his writings a single lofty thought, not a single elevated feeling, not a single useful truth ..." The poet is even accused of imitation, they call him "great a man for small things."
Pushkin could not remain silent, he is trying to answer impudent slanderers, but the struggle is too unequal. The poet's experiences are determined by his loneliness, deep resentment against the ruling circles, persecution by secular society, insoluble social contradictions and unfulfilled expectations.
In Pushkin's poem "Demons" one feels the loss and anxiety that gripped the poet. In the Elegy, Pushkin sums up his life: there is also bitterness, despondency, sadness, mental confusion and joyless forebodings:
My path is sad.
Promises me labor and sorrow
The coming turbulent sea.
But the poem ends not with the thought of the hopelessness and hopelessness of life, but with a wise and enlightened acceptance of it:
But I do not want, oh my friends, to die,
I want to live in order to think and suffer...
Saluting the national merits of the nobility, which has fallen into decline and ruined, Pushkin continues to castigate hypocrisy, embezzlement, meanness of the noble nobility, the new careerist aristocracy (“Lukullus to get well”). Acutely feeling the impenetrable darkness of his era and the inconsistency of the position of a person who hates court spheres, but is forced to rotate in them, the poet strives for freedom ("God forbid I go crazy", "It's time, my friend, it's time!"), To life, full of joy. Pushkin thinks and feels like a representative of the common people.
In Belkin's Tales, Pushkin revealed the dependence of the characters' feelings, psychology and speech on the circumstances of life: a person thinks, speaks and acts as he was brought up by the environment in which he was. The "Tales ..." depict military officer morals ("The Shot"), bureaucratic and aristocratic life ("The Stationmaster"), the manor way of life ("Snowstorm", "Young Lady-Peasant Woman"). But the poet himself is ironic about his romantic plots and consistently reveals the real reasons for the actions of the characters.
Pushkin, asserting realism in Belkin's Tales, fights for truthful, sober, original domestic prose, realistically rethinks and even parodies the plot clichés of sentimental-romantic literature. He skillfully combined the paradoxical anecdotal plot with the truth of life and richness of thought, the maximum conciseness with the depth of the psychological image. "Tales..." are imbued with humor and irony, often turning into satire, they are polemical and parodic in relation to "dull" romanticism.
In Boldino, Pushkin develops the realistic principles of his work. The plot-thematic basis of "Little Tragedies" was his impressions and experiences, reflections on modern life, acquiring an increasingly ideological, moral, philosophical and psychological character, and literary traditions. The characters are people with great passion, great will and an outstanding mind. In "Little Tragedies" the main characters appear at the moment of the greatest tension of their spiritual forces. This tension is dictated by turns, turning points in history, which are reflected in the fate of the heroes. the main objective"Little Tragedies" is not a detailed and comprehensive depiction of characters, but an artistically concentrated embodiment of problems and ideas.
In the Boldin autumn, not only Pushkin's lyrics, but also the poet's prose and dramaturgy reach an unprecedented ideological and artistic height.
BOLDINO (Big Boldino), a village in the south of the Nizhny Novgorod region, 39 km from the Uzhovka railway station. 4.4 thousand inhabitants (1989). The former Nizhny Novgorod estate of the Pushkins.
History of the estate
Evstafiy Mikhailovich Pushkin, ambassador at the court of Ivan the Terrible (see IVAN IV the Terrible), received Boldino on the estate - land ownership given to the nobles for the duration of their service. Later it became the patrimony (family estate, which could be inherited) of the Pushkins.
Grandfather A. S. Pushkin (see PUSHKIN Alexander Sergeevich) owned rather large land holdings around Boldin. After his death, the land was divided among numerous heirs, and as a result of fragmentation, the ruin of an old family began. Boldino went to Pushkin's uncle, Vasily Lvovich, and his father, Sergei Lvovich. After the death of Vasily Lvovich, the northwestern part of the village with the old manor was sold. Pushkin's father owned the southeastern part of Boldin (with a manor house and other buildings) - 140 peasant households, more than 1000 souls, and the village of Kistenevo.
Nizhny Novgorod Region Bolshoe Boldino
Pushkin A.S. Autumn in Boldino-1 part
Pushkin A.S. Autumn in Boldino-2 part
Pushkin in Boldin
August 31, 1830 A.S. Pushkin left Moscow in the direction of Nizhny Novgorod. Before getting into the wagon, he sealed an envelope with a letter to Pyotr Aleksandrovich Pletnev, friend and relative, publisher and cashier, where he announced that he was going to the village of Boldino. Before his death, his father gave the poet a small estate in the family estate. It would seem that the upcoming marriage should have made him recklessly happy, but Pushkin did not feel like that. “My dear,” he wrote to Pletnev in St. Petersburg, “I’ll tell you everything that’s in my heart: sadness, melancholy, melancholy. The life of a thirty-year-old fiancé is worse than thirty years of a player’s life ... Autumn is coming. This is my favorite time - my health usually gets stronger - the time of my literary labors is coming - and I have to fuss about the dowry and about the wedding, which we will play God knows when. All this is not very comforting. I am going to the village, God knows, will I have time to study there and peace of mind, without which nothing can be will make…" Vladimir, Murom, Lukoyanov. The horses took it briskly and here it is, big Boldino. Huts on both sides formed a wide street. They did not please their eyes: gray and miserable, although a different hut was decorated carved platbands. The wagon turned to the estate, on the left was a pond, further, on a green meadow, a white-stone church; To the right, behind a fence and linden trunks, is a faded-red house with a veranda.
At dinner, the clerk explained that it was not easy to take ownership: the land that Sergei Lvovich gave to his son was not a separate estate, but part of the village of Kistenevo. In addition, after the entry procedure, Pushkin was going to immediately mortgage the estate, and this required his presence in the county town of Sergach. The money was desperately needed: he, the groom, undertook to deliver the dowry to his bride; without him, Natalya Ivanovna Goncharova would not give her daughter for him.
Pushkin stood at the window and thought, he did not leave the confidence that he would complete his work no later than two or three weeks and return to the bride. Two months ago, he wrote to her from St. Petersburg: “I don’t go out much. They are waiting for you there with impatience. Beautiful ladies ask me to show your portrait and cannot forgive the fact that I don’t have it ...”. He smiled and remembered his sonnet:
My wishes have been fulfilled. Creator
I sent you down to me, you, My Madonna,
The purest beauty, the purest pattern.
In the morning Pushkin went about his business. With the clerk we went to Kistenevo. In Kistenevo lived craftsmen who made sledges and carts, peasant women wove canvases and cloth. These goods were famous in the bazaars of the Lukoyanovsky and Sergachsky districts and at the Makarevskaya fair itself. In the evening Pushkin sorted out his papers. Pushkin introduced the people's priest from Baldino. The mischievous lines played by themselves:
From the first click
Pop jumped up to ceiling;
From the second silk
Lost pop language;
And from the third click
The old man's mind was blown out;
The word "balda", like, probably, "stupid", came into Russian speech from Tatar language. But "stupid", most likely, came from the Tatar "bilmes", which means ignoramus. And "balda" should have come from "boldak", this word meant a saber handle or a saber hilt. Not for nothing in the old days the word "balda" was even "closer" to Boldin: in the seventeenth century it was written "bolda". Pushkin had a tenacious memory, although he had read documents and manuscripts relating to this century five years ago when he wrote Boris Godunov.
Pushkin wrote a letter to Pletnev: “Oh, my dear! What a charm this village is! and prose and poetry.
It is authentically known that in Boldino Pushkin
On the seventh of January I finished the poem "Demons".
Clouds are rushing, clouds are winding;
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
I'm going, I'm going in an open field;
Ding ding ding bell...
Terrible, terribly scary
Amid the unknown plains!
"Hey, go, coachman! .." - "No urine:
Horses, master, it's hard;
The blizzard sticks my eyes;
All roads skidded;
For the life of me, no trace is visible;
We got lost. What should we do!
In the field the demon leads us, apparently
Yes, it circles around.
Look: out, out playing,
Blows, spits on me;
Out - now pushes into the ravine
wild horse;
There's an unprecedented milestone
He stuck out in front of me;
There he flashed a small spark
And disappeared into the empty darkness.
Clouds are rushing, clouds are winding;
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
We do not have the strength to spin around;
The bell suddenly stopped;
The horses became... "What's in the field?" -
"Who knows them? a stump or a wolf?"
The blizzard is angry, the blizzard is crying;
Sensitive horses snore;
Here he is galloping far away;
Only eyes in the darkness burn;
The horses raced again;
Ding ding ding bell...
I see: the spirits have gathered
Among the whitening plains.
Endless, ugly
In the muddy month game
Various demons swirled
Like leaves in November...
How many of them! where are they driven?
What is it they sing so plaintively?
Do they bury the brownie
Are witches getting married?
Clouds are rushing, clouds are winding;
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
Demons rush swarm after swarm
In the boundless height
Screeching plaintively and howling
Breaking my heart...
The eighth of September - "Elegy"
Crazy years faded fun
It's hard for me, like a vague hangover.
But, like wine - the sadness of bygone days
In my soul, the older, the stronger.
My path is sad. Promises me labor and sorrow
The coming turbulent sea.
But I don't want, oh friends, to die;
I want to live in order to think and suffer;
And I know I will enjoy
Between sorrows, worries and anxiety:
Sometimes I'll get drunk again with harmony,
I will shed tears over fiction,
And maybe - at my sad sunset
Love will shine with a farewell smile.
September 9th - The Undertaker's Tale
Fourteenth of September - the story "The Stationmaster"
On the fourteenth of September, he wrote the preface to "Belkin's Tales"
September 20 - finished the story "The Young Lady Peasant Woman"
September twenty-fifth - the eighth chapter of "Eugene Onegin"
September 26 - wrote a poem "Answer to Anonymous".
ANSWER TO ANONYMOUS
Oh, whoever you are, whose gentle singing
Greets my rebirth to bliss,
Whose hidden hand is shaking my hand tightly,
Points the way and gives the staff;
Oh, whoever you are: whether the old man is inspired,
Or distant comrade of my youth,
Ile lad, mysteriously kept by muses,
Or the bashful cherub of the meek sex, -
I thank you with a tender heart.
The attention of the weak is a solitary object,
Until now I'm not used to benevolence -
And his friendly language is strange to me.
Ridiculous, who demands participation from the world!
The cold crowd looks at the poet,
Like a visiting buffoon: if he
Deeply expresses a heartfelt, heavy groan,
And the suffering verse, piercingly dull,
Hit the hearts with an unknown force -
She beats and praises in her palms, or sometimes
He nods his head disapprovingly.
Will a sudden commotion overtake the singer,
Mournful loss, exile, imprisonment, -
"So much the better," art lovers say,
All the better! he will gain new thoughts and feelings
And he will give them to us." But the happiness of the poet
Between them he will not find a cordial greeting,
When fearfully silent it...
. . . . . . . . . . . . . . . . . . . ..
How long am I to walk in the world
Now in a wheelchair, then on horseback,
Now in a wagon, now in a carriage,
Either in a cart or on foot?
Not in the ancestral den
Not among father's graves,
On the big me, know, road
The Lord judged to die
On the stones under the hoof,
On the mountain under the wheel
Or in a moat washed out by water,
Under the demolished bridge.
Or the plague will catch me,
Or the frost will ossify,
Or put a barrier in my forehead
Impaired invalid.
Or in the forest under the knife of the villain
I'll get to the side
I'll die of boredom
Somewhere in quarantine.
How long will I be in anguish hungry
Fasting involuntary to observe
And cold veal
Truffles Yar to commemorate?
Whether it's to be in place,
Drive along Myasnitskaya
About the village, about the bride
Think at your leisure!
Whether it's a glass of rum,
Sleep at night, tea in the morning;
Whether business, brothers, at home!..
Well, let's go, let's go!
Pushkin spent three autumns in Boldino, including the famous Boldinskaya 1830. Arriving in Boldino to pledge Kistenev property to the Board of Trustees to receive the money needed for the upcoming wedding to Natalya Goncharova, he stayed here for all three autumn months due to the cholera epidemic that raged at that time in Russia. The poet had almost no connection with the outside world (he received no more than 14 letters). However, forced seclusion contributed to fruitful work, which surprised Pushkin himself, who wrote to P. A. Pletnev (see Petr Aleksandrovich PLETNEV): “I will tell you (for a secret) that I wrote in Boldin, as I had not written for a long time. Here is what I brought here: the last 2 chapters of Onegin, 8th and 9th, completely ready for printing. A story written in octaves ... Several dramatic scenes, or small tragedies, namely: "The Miserly Knight", "Mozart and Salieri", "Feast during the Plague", "Don Giovanni". Moreover, he wrote about 30 small poems. Fine? Not all yet ... I wrote 5 prose stories ... ”(and this is not the whole list).
Feast in Time of Plague. Alexander PUSHKIN - Little tragedies.
The first of Pushkin's three trips to Boldino took place in the autumn of 1830. Autumn seclusion, a sense of isolation from the outside world, a feeling of complete freedom, local nature - all contributed to a special creative mood of the soul. In three months, Pushkin wrote the last two chapters of the novel in verse "Eugene Onegin", the poem "The House in Kolomna", five "Tales of Belkin", "Little Tragedies", "The History of the Village of Goryukhin", "The Tale of the Priest and His Worker Balda", more than thirty lyrical poems (among them such as "My genealogy", "My ruddy critic ...", "Spell"), as well as a number of literary critical articles.
A.S. Pushkin Eugene Onegin (1958)
Pushkin A. S. Little tragedies 1 series
Pushkin A. S. Little tragedies 2 series
Pushkin A. S. Little tragedies 3 series
A.S. Pushkin » House in Kolomna (1974) performer Sergei Yursky
The second time Pushkin visited Boldino in October 1833, returning from a trip to the Urals, where he collected material on the history of the Pugachev uprising.
Collecting material for The History of Pugachev, Pushkin again came to Boldino in October 1833 and spent time there until mid-November. It was the second Boldino autumn, also surprisingly fruitful. Then he finished the historical work "The History of Pugachev", wrote the poem "The Bronze Horseman", "Angelo", "The Tale of the Fisherman and the Fish", "The Tale of the Dead Princess", the story "The Queen of Spades"
A.S. Pushkin "Queen of Spades" (1960)
And a lot of poetry. Among them is the life-affirming poem "Autumn":
A.S. Pushkin. "Autumn"
October has already come - the grove is already shaking off
The last leaves from their naked branches;
The autumn chill has died - the road freezes through.
The murmuring stream still runs behind the mill ...
………….
And every autumn I bloom again;
The Russian cold is good for my health;
I again feel love for the habits of being:
Sleep flies in succession, hunger finds in succession;
Easily and joyfully plays in the heart of blood,
Desires boil - I'm happy again, young,
I am full of life again...
In Boldin, he hoped to put in order collected materials and work on new stuff. About his life during this period, he wrote to his wife: “I wake up at seven o'clock, drink coffee and lie down until three o'clock. Recently signed and already wrote the abyss. At three o'clock I sit on horseback, at five I take a bath, and then I dine on potatoes and buckwheat porridge. Until nine o'clock I read. Here is my day for you, and everything looks the same" (October 30, 1833). It was during the second Boldin autumn that Pushkin wrote the poem "Autumn":
And I forget the world - and in sweet silence
I am sweetly lulled by my imagination,
And poetry awakens in me:
The soul is embarrassed by lyrical excitement,
It trembles and sounds, and searches, as in a dream,
Finally pour out free manifestation -
And then an invisible swarm of guests comes to me,
Old acquaintances, fruits of my dreams.
And the thoughts in my head are worried in courage,
And light rhymes run towards them,
And fingers ask for a pen, pen for paper,
A minute - and the verses will flow freely ... ".
In addition to many poems, Pushkin wrote The Bronze Horseman, Angelo, The Tale of the Fisherman and the Fish and other works during this visit.
The last time Pushkin came to Boldino was a year later, in 1834, in connection with taking possession of the estate and spent about three weeks here. On this visit, Pushkin had to do a lot of household chores, which, however, did not prevent him from writing The Tale of the Golden Cockerel and preparing for publication other fairy tales written here a year earlier.
Museum-reserve
Since 1949, the State Museum-Reserve has been established in Boldin. Its center is the estate where A. S. Pushkin lived during his visits to Boldino.
The manor's house, repeatedly rebuilt, retained the features characteristic of residential buildings of the early 19th century. The cladding of its corners and window architraves resembles stone rustication, the central entrance is decorated with a veranda with a low balustrade and a portico serving as the basis for a balcony; common for Pushkin's time and two-tone ocher-white color. The layout of the main premises has been preserved. The atmosphere of Pushkin's study was recreated on the basis of a drawing made by Pushkin himself in the autumn of 1830. In general, the exposition of the house-museum is devoted to the theme "Pushkin in Boldino".
During his last visit, Pushkin stayed at the "patrimonial office", at that time apparently located outside the estate (now in the estate park). In 1974, this room was restored and a memorial and domestic museum is located in it. In one of the two rooms, the interior of the office itself was restored, in the second - Pushkin's temporary office.
The picturesque Boldino park is also a valuable natural monument. Its layout was formed in the 1830-1840s. Trees are still alive here - the poet's contemporaries: a two-hundred-year-old willow and several oaks. Two ancient ponds, a humpbacked bridge on the upper pond and a gazebo on the bank of the lower one, the so-called "gazebo of fairy tales", have been preserved.
Archaeological excavations carried out in the 1980s, as well as surviving documents, plans and old photographs, have made it possible in recent years to carry out extensive restoration work and completely recreate the estate complex. Restored: the master's kitchen, bath, human, stables, barns. Items of local peasant life are exhibited in these rooms.
The Museum-Reserve hosts annual Poetry Festivals.
Introduction
A.S. Pushkin is not only a Russian writer, but also a world one. He left behind a huge literary legacy for modern readers. The poet occupies a special place in the cultural life of Russia. He created such works that have become a symbol of Russian spiritual life. A. Grigoriev prophetically remarked: “Pushkin is our everything: so far the only complete essay on our national personality” Zolotareva I.V., Belomestnykh O.B. Methodical material on literature. M.: VAKO, 2004, p. 46 .. No one was able to notice the subtleties of the Russian soul and national culture as accurately as Alexander Sergeevich.
The poet's work is a rapid movement, development, closely connected with his fate, with the literary life of Russia. In his works, he captured the beauty of Russian nature, the peculiarities of peasant life, the breadth and versatility of the human soul. His creations are full of colors, emotions, experiences.
The works of A.S. Pushkin delighted, and will continue to delight for hundreds of years. His creations are popular even outside of our country. Schoolchildren not only read fairy tales, short stories and novels, but also memorize poems from year to year, discovering the diverse creative world of the poet.
A fairly large part of literary works was written by him in the Nizhny Novgorod region. The amazing beauty of nature, historical places could not but leave indelible impressions in the memory of the poet. Therefore, the purpose of this work is to study the influence of the Nizhny Novgorod land on the work of A.S. Pushkin.
Each new generation, each era affirms its understanding of the poet, writer, sees him as a contemporary, they study him, argue about him, idolize him or reject him. But invariably everyone sees his own Pushkin in him.
Boldin autumn
The name of Alexander Sergeevich Pushkin is inextricably linked with the Nizhny Novgorod side and the village Boldino. He spent 3 autumns at the estate. Alexander Sergeevich made his first trip autumn 1830 year in order to pledge the Kistenev property to the board of trustees in order to receive the money necessary for the upcoming wedding to Natalya Goncharova.
The ancient ancestor of AS Pushkin, Evstafiy Mikhailovich Pushkin, ambassador at the court of Ivan the Terrible, received Boldino on the estate - land ownership, given to the nobles for the duration of their service.
Dedu A.S. Pushkin owned rather large land holdings around Boldin. After his death, the land was divided among numerous heirs, and as a result of fragmentation, the ruin of an old family began. Boldino went to Pushkin's uncle, Vasily Lvovich, and his father, Sergei Lvovich. After the death of Vasily Lvovich, the northwestern part of the village with the old manor was sold. Pushkin's father owned the southeastern part of Boldin (with a manor house and other buildings) - 140 peasant households, more than 1000 souls, and the village of Kistenevo.
Going to the family estate, Alexander Sergeevich did not feel much happiness. He wrote to Pletnev in St. Petersburg: “I’m going to the village, God knows, will I have time to study there and peace of mind, without which you won’t produce anything ..”. But A.S. Pushkin was wrong. Arriving in Boldino, in the morning the writer went about his business. With the clerk we went to Kistenevo. In Kistenevo lived craftsmen who made sledges and carts, peasant women wove canvases and cloth. In the evening, Pushkin sorted out his papers and introduced the Boldino people's father. The mischievous lines played by themselves:
From the first click
Pop jumped to the ceiling;
From the second silk
Lost pop language;
And from the third click
The old man's mind was blown out;
Having looked around in Boldin, the poet wrote to a friend: “Now my gloomy thoughts have dissipated; I came to the village and rest... No neighbors, ride as much as you like, write at home as much as you like...” Tikhonova O S, Muza E V. Life and work of AS Pushkin. - M .: Children's Literature, 1989. p. 25. After the tension of recent years, literary fights, Benckendorff's chicanery, who followed his every step, after Moscow experiences and quarrels with his future mother-in-law, who demanded money from him, "position in society", he he could finally breathe freely: he rode around the neighborhood on horseback, wrote, read at home in silence. He was not going to stay here for a long time - he entrusted his property troubles to the clerk Peter Kireev, signed several papers - he was in a hurry to Moscow. But it was not possible to leave Boldin: a cholera epidemic was approaching. There were quarantines all around.
The poet stayed here for all three autumn months. He had almost no contact with the outside world (he received no more than 14 letters). However, forced seclusion contributed to fruitful work, which surprised Pushkin himself, who wrote to P.A. Pletnev: “I’ll tell you (for a secret) that I wrote in Boldin, as I haven’t written for a long time ...”.
"Boldino Autumn" opened with the poems "Demons" and "Elegy" - the horror of the lost and hope for the future, difficult, but giving the joy of creativity and love. Three months were devoted to summing up the results of youth and searching for new ways.
In Boldino solitude, Pushkin was rethinking the past. He thought about what is stronger: the laws terrible age or high impulses of the human soul. And one after another, tragedies were born, which he called "small" and which were destined to become great. These are "The Miserly Knight", "Mozart and Salieri", "Feast during the Plague", "Don Giovanni", etc. These four plays help us better understand the feelings and thoughts that possessed Pushkin, who found himself for three months "in the wilderness, in the darkness of imprisonment."
In Boldino, he recalled his youth and past hobbies, saying goodbye to them forever. Evidence of this is in his papers: sheets with lines of poems "farewell", "spell", "for the shores of the distant homeland." In these poems, as in others written in Boldin, Pushkin expressed the mood of a man who, with sadness, with mental anguish, recalls the past and parted with it.
The amount written by A.S. Pushkin for three months of forced seclusion is comparable to the results of creative work over the previous decade. He created completely diverse works in Boldin - both in content and in form. One of the first were the prose "Tales of Belkin", in parallel, work was underway on the comic-parody poem "The House in Kolomna" and the last chapters of "Eugene Onegin". The Boldin autumn brought "The Tale of the Priest and His Worker Balda", "The History of the Village of Goryukhin". The background of Pushkin's imagination is lyrical poetry: about 30 poems, including such masterpieces as "Elegy", "Demons", "My Genealogy", "Spell", "Poems Composed at Night During Insomnia", "Hero", etc. d.
There was no peace in the world. A revolution has just taken place in France, finally throwing off the throne of the Bourbons. Belgium revolted and seceded from Holland. A little later, a few days before Pushkin's departure from Boldin, an uprising will begin in Warsaw. Pushkin thought about all these events in the silence of the village. These thoughts disturbed the imagination, forced to compare, search for inner meaning what is happening. At night, during insomnia, Pushkin turned with verses to life itself:
I want to understand you
I'm looking for meaning in you
Pushkin visited Boldino for the second time in October 1833, returning from a trip to the Urals, where he collected material on the history of the Pugachev uprising. In Boldin, he hoped to put the collected materials in order and work on new works. It was during the second Boldin autumn that Pushkin wrote many poems, The Bronze Horseman, Angelo, The Tale of the Fisherman and the Fish, and other works. It was during the second Boldin autumn that Pushkin wrote the well-known poem "Autumn":
And I forget the world - and in sweet silence
I am sweetly lulled by my imagination,
And poetry awakens in me:
The soul is embarrassed by lyrical excitement,
It trembles and sounds, and searches, as in a dream,
To pour out, finally, a free manifestation -
And then an invisible swarm of guests comes to me,
Old acquaintances, fruits of my dreams.
And the thoughts in my head are worried in courage,
And light rhymes run towards them,
And fingers ask for a pen, pen for paper,
A minute - and the verses will flow freely ... ".
The last time Pushkin came to Boldino was a year later, in 1834, in connection with taking possession of the estate and spent about three weeks here. On this visit, Pushkin had to do a lot of household chores, which, however, did not prevent him from writing The Tale of the Golden Cockerel and preparing for publication other fairy tales written here a year earlier.
The significance of the Boldin autumn in Pushkin's work is determined by the fact that most of the written works are the realization of the poet's earlier ideas and, at the same time, a kind of prologue to his work of the 1830s. The end of many years of work - the novel "Eugene Onegin" - is a symbolic result of Pushkin's artistic development in the 1820s. in the creative field of the novel were many works - poems, poems, the first prose experiments. Belkin's Tales, in which A.S. Pushkin said goodbye to the plots and heroes of sentimental and romantic literature, marked the beginning of a new, prosaic period of creativity.
Indeed, the Boldin autumn had a significant impact on the creative potential of A.S. Pushkin, forced a lot to rethink, to implement long-planned.
In 1830, in the month of May, the engagement of A.S. Pushkin and Natalia Nikolaevna Goncharova took place. But there were some obstacles to the marriage of a property nature. The bride's parents did not have the opportunity to give her such a dowry, which they considered decent, in connection with which they thought about upsetting the marriage. Pushkin was forced to find additional cash in order to transfer them to the parents of Natalya Nikolaevna for the purchase of at least the most necessary as a dowry and thereby allow the Goncharov family to keep up appearances. Putting his property affairs in order, in September Pushkin went to the Boldino estate, which belonged to his father - Sergei Lvovich agreed to mortgage a small village near the village in order to at least partially resolve his son's financial difficulties. Pushkin expected to spend several days in Boldin and return to Moscow to his bride, but this was prevented by the famous cholera epidemic of 1830, which began in India and reached Russia by the summer. In the autumn of 1830, when cases of cholera began to occur in Moscow and St. Petersburg, the government took a series of tough measures to stop the spread of the disease. In particular, quarantine posts, or “quarantines,” were organized on major roads so that people from infected areas would not spread the infection to neighboring counties and provinces. Pushkin was a victim of quarantine - all his attempts to leave Boldino ended in failure. As a result, he spent almost three months on the estate and only at the beginning of December did he finally get to Moscow.
The Boldin autumn is known for the fact that within three incomplete months Pushkin wrote such a large number of works that one can speak of a kind of "creative explosion". Thanks to the favorable Boldino conditions (lack of heat, social entertainment, annoying acquaintances and everyday problems), Pushkin managed to work extremely efficiently. Among the things he wrote in Boldin, one can name about 30 poems, the cycles "Little Tragedies" and "Belkin's Tales", the fairy tale "About the priest and his worker Balda"), the poem "The House in Kolomna", "The History of the Village of Goryukhin". It was also in Boldin that many years of work on the novel "Eugene Onegin" was completed.
The cycles of "Little Tragedies" and "Tales of Belkin" were written in the full sense of the word in parallel: Pushkin's papers preserved indications of the time of work on each work included in these two cycles. So, in September, “The Undertaker”, “The Stationmaster” and “The Young Lady-Peasant Woman” were written, in October - “Shot”, “Snowstorm”, “The Miserly Knight” and “Mozart and Salieri”, in November - “The Stone Guest” and "A Feast in the Time of Plague". The independence and completeness of each of the cycles does not prevent us from perceiving them, in turn, as a kind of super-unity that recreates an integral picture of the world. The cycles analyzed in aggregate make it possible to judge the versatility of Pushkin's interests, his ability to reflect reality in infinitely diverse forms, and his perception of human life as a set of diverse phenomena, both tragic and comic. Below, in the form of a table, the main parameters by which cycles can be compared are presented.
"Little Tragedies"
"Tales of Belkin"
General European cultural context: wandering plots and characters from Western European culture, the setting is Western Europe.
Russian cultural context: characters and scenes from the life of the Russian hinterland.
Generalized conditional past, the dates in the text of the works are not specified:
"The Miserly Knight": the era of the knights;
"Mozart and Salieri": the era of Mozart (d. 1791);
"Stone Guest": Spain of the XIV century. (according to legend, it was then that Don Juan lived);
"A Feast During the Plague": refers to the famous London plague of 1665.
Specific present:
"Shot": the rebellion of Alexander Ypsilanti and the battle near Skulyany are mentioned, in which he died main character;
"Snowstorm": the action covers 1811-1816, the Battle of Borodino in 1812 is mentioned, after which the main character Vladimir dies;
"The Undertaker": it is reported that the main character "sold his first coffin in 1799, and also a pine one for an oak one",
“The Stationmaster”: it is reported that in 1816 Dunya was 14 years old, in the future, the calculation of the time of action can be carried out taking into account this date;
“The Young Lady-Peasant Woman”: at the beginning of the story we learn that the elder Berestov has been living in the village since 1797.
The movement from tragicomedy ("The Miserly Knight") to the universal tragedy ("Feast in the Time of Plague"). The world eventually appears as a "vale of suffering".
The movement from tragedy ("The Shot") to comedy with disguise and cheerful confusion ("The Young Lady-Peasant Woman"). The world is gradually being painted with brighter colors and perceived optimistically.
"Little Tragedies"
In the cycle of "little tragedies", consisting of four works, there is a clear tendency to increase the tragedy of what is happening, the conflict from a completely earthly one, unfolding between specific people, turns into a generalized, universal conflict.
Plot. The manuscript contains the author's note "Scenes from Chenstone's tragicomedy The Covetous Knight". This note is nothing more than a hoax (the English writer Shenston never had such a play). “The miserly knight was written by Pushkin himself, however, using the well-known “wandering story” about the miser, which is presented in many works of European literature.
Conflict. The old baron (embodied stinginess) - his son Albert (embodied extravagance).
The characters are generalized, stinginess and extravagance are personal dominants.
The cause of the conflict is the struggle for inheritance. The conflict is mundane.
The final. The tragic ending associated with the death of the old baron is softened by the ridiculousness of the figure of the Miser and the positive outcome of events in the perception of Albert, who finally gets to the father's inheritance and has the opportunity not to embarrass himself in anything.
Plot. The plot is based on a rumor that existed in Europe that the brilliant musician Mozart died an unnatural death. There was no evidence for this version, but the topic of poisoning in the 19th century in secular circles exaggerated very actively.
Krnflikt. Mozart (genius) - Antonio Salieri (hard worker).
Heroes are real people, however, they are little individualized in terms of similarity with prototypes and rather embody generalized types of genius and hardworking mediocrity.
The reason for the conflict is the envy of mediocrity in relation to a genius, to whom everything is given “by itself”. Envy is disguised as the idea of universal equality and justice of reward "according to work."
Plot. The plot was based on the Spanish legend of Don Juan (Juan), which has undergone multiple revisions and is represented in European literature by the works of such famous authors as Tirso de Molina, J.-B. Molière, J. G. Byron, E. T. A. Hoffman, etc.
Don Juan is a statue of the Commander.
Don Juan is a generalized image of a man who is successful with women, a kind of "genius of love." The statue of the Commander embodies the will higher powers, is a mystical entity
The reason for the conflict is Don Juan's violation of moral norms (courtship of the widowed Donna Anna, in whose husband's death he is guilty). At the same time, we can talk about Don Juan's violation of a kind of balance, the principle of justice - Don Juan does not know failures with women, while many men are forced to endure a fiasco.
The tragedy is connected with one of the songs of John Wilson's poem "The Plague City" (1816), which refers to the London plague of 1665. The plot itself People are a plague.
Images of people are generalized to the utmost, details of their appearance are ignored, biographical details are “people in general”. Plague is an abstract, blind force that strikes people randomly.
There is no reason for the conflict, people die unmotivated, all indiscriminately, regardless of their behavior in the past and present.
The finale represents the apogee of the universal tragedy - the senseless death of hundreds and thousands of people is shown, whose guilt is doubtful, but death is certain. In fact, the author raises the question of the justice of the world order as such.
Belkin's Tales.
The cycle of five stories is united by the figure of Ivan Petrovich Belkin, who, however, is not a character, but acts as a "collector" of stories.
1. Pushkin plays the role of a publisher;
2. I. P. Belkin - collector.
3. Belkin's biography is set out in the preface "From the Publisher" on behalf of the landowner with. Nenaradovo.
4. Each of the five stories was at one time told to Belkin by one of the four narrators, references to which are given in the note to the preface: “The Caretaker” was narrated by the titular adviser A. G. N., “The Shot” by Lieutenant Colonel I. L. P., "Undertaker" by the clerk B.V., "Snowstorm" and "The Young Lady" by the maiden K.I.T.
In "Tales" we observe a movement from a pessimistic perception of the world to an optimistic one, the opposite of what took place in "Little Tragedies". In addition, when characterizing the conflict, it should be noted that in four of the five stories it has a well-established “triangle” shape, and one of the vertices of the triangle inevitably disappears. The conflict in the first two stories actually exists, in the story “The Undertaker”, which occupies a middle position, two conflicts are presented - real and dreamed of by the hero, and in the last two stories there is no conflict as such, it exists only in the imagination of the characters and is easily dispelled when confronted with reality .
Name
conflict
cause of conflict
the final
Silvio - Count B. - Masha (Count's wife)
The reason for the conflict is Silvio's envy of the Count; the conflict actually exists because the hostility that gives rise to it is not a fiction, but a reality.
The outcome of the story is tragic - Silvio dies in Greece, participating in the uprising; the count is disgraced in his own eyes, because during the duel he gave all the initiative to Silvio; his wife's tranquility is disturbed by the unexpected visit of a stranger who is trying to shoot the count.
A successful resolution of the conflict was initially impossible. A necessary condition for such permission was the death of one of the participants in the "triangle" - Silvio himself, the count or the count's wife (in this case, Silvio had no reason to envy, because the count turned out to be a deeply unhappy person).
Vladimir - Marya Gavrilovna - Burmin
The reason for the conflict is the unwillingness of parents to bless their children for marriage; the conflict actually exists, the parents forbid the wedding, because of this, Marya Gavrilovna and Vladimir have to get married in secret. Due to a snowstorm, Vladimir is late for church, and by this time Marya Gavrilovna is mistakenly married to an officer passing by and also lost her way.
The outcome is tragic - the marriage did not take place due to a mistake, Vladimir leaves for the war with Napoleon and dies there. There is a kind of gap - Marya Gavrilovna meets the man with whom she was married by mistake, and not only meets, but it turns out that she is in love with him, like he is with her, and they expect a happy life together.
A successful resolution of the conflict is impossible: the tied knot can be cut only with the death of one of the heroes (Marya Gavrilovna's husband disappeared immediately after the wedding, it is impossible to dissolve the marriage, to conclude a second one with Vladimir, too).
"The Undertaker" (September 1830)
Double Conflict: A true clash is combined with a fictional one.
The true conflict: a quarrel between the undertaker Adrian Prokhorov and the German craftsmen at the festival.
Fictional conflict: clash between the undertaker and the dead, his former clients.
The reason for the conflict in reality is the insufficient respect of the German craftsmen for the trade of the undertaker; the conflict really flares up.
The reason for the fictional conflict is the desire of the dead to pay off the undertaker who organized their funeral and profited from it; the clash was seen by the undertaker in a dream.
In a dream, the conflict is resolved tragically, the dead come to the undertaker's house and crush him with their mass. A successful outcome is impossible, because the dead are creatures from another world, their motives and actions are difficult to interpret, much less manage. The outcome is tragic, the conflict can only be resolved with the death of the undertaker.
In reality, the conflict has a favorable resolution, the undertaker is ready to forgive his offenders, because the insult seemed serious only in a state of intoxication. The outcome is comical - the next day after the quarrel, the hero wakes up, remembers a terrible dream he had had and understands that in fact nothing terrible happened. The death of any of the heroes is not required to resolve the conflict.
Samson Vyrin - his daughter Dunya - hussar Minsk
The reason for the conflict is the imaginary betrayal of Minsky in relation to Dunya, for which Vyrin wants to take revenge on the seducer of his daughter; the conflict exists only in Vyrin's imagination, because in reality Minsky marries Dunya and does not at all think of leaving her.
The outcome is optimistic - Minsky married Dunya, they have three children; a tragic note is introduced into the plot by the death of Samson Vyrin, but this death is accidental, it is not required to resolve the conflict.
Akulina - Liza Muromskaya - Alexey Berestov
The reason for the conflict is Alexei's love for the peasant woman Akulina and the need to marry Liza Muromskaya; the conflict exists only in the imagination of Alexei, who until a certain moment does not know that Lisa and Akulina are the same person.
The outcome is optimistic - Alexei learns that Liza and Akulina are one person, he is now willingly entering into marriage; The story presents a comic image of the “death” of the peasant woman Akulina, who merges with the image of the noblewoman Lisa and disappears as an independent person.
Second Boldino autumn (1833).
Along with the first Boldin autumn, which is widely known, another period with the same name stands out in Pushkin’s biography - the so-called second Boldin autumn of 1833. In 1833, Pushkin spent about a month and a half in Boldin - from early September to mid-October (he returned to Petersburg on October 20). He turned into Boldino on his way back from a trip to the Orenburg and Kazan provinces, where he was looking for information about the Pugachev uprising . This time, the results of staying at the estate were also quite impressive - Pushkin completed work on "The History of Pugachev", wrote the poems "The Bronze Horseman" and "Angelo", as well as several fairy tales - "The Tale of the Fisherman and the Fish", "The Tale of the Dead Princess and seven heroes "- and several poems.
10. Creativity A.S. Pushkin during the Boldin autumn. (ANOTHER TO 10 - WMD)
Boldin Autumn (1830)
In the spring of 1829, Pushkin received consent to marry N.N. Goncharova. In the summer of 1830 the poet came to Boldino to take possession of the estate. There he had to stay not for a month, as expected, but for three whole: an epidemic of cholera began.
The forced stay in Boldin was marked by an unprecedented rise of Pushkin's genius. He completed the novel "Eugene Onegin", wrote "Tales of Belkin", "The History of the Village of Goryukhin", several small dramatic works, which he called "little tragedies", the folk-lyrical drama "Mermaid", the poem "The House in Kolanna", "The Tale of priest and his worker Balda” and several lyric poems.
The famous scammer and agent F.B. Vulgarin published a feuilleton in 1830, in which he claimed that Pushkin “did not find in his writings not a single lofty thought, not a single lofty feeling, not a single useful truth…”. The magazines write about the decline of his talent, accuse him of imitation, shamelessly slander him and humiliate his human dignity.
The persecution has begun. Pushkin accepted the challenge. He could not but respond to the impudent attacks of journalists, and the government, in turn, did not miss a chance not to remind the poet of his distrust. All this determined the attitude of the poet to the Russian life of the reign of Nicholas.
Pushkin's lyrics in the Boldin autumn reaches unprecedented ideological and artistic heights.
Period of creativity - Boldino autumn
Leaving Moscow on August 31, Pushkin arrived in Boldino on September 3. He expected to manage within a month the affairs of taking possession of the village allocated by his father, mortgage it and return to Moscow to celebrate the wedding. He was a little annoyed that autumn would disappear behind these chores - the best working time for him: “Autumn is coming. This is my favorite time - my health is usually getting stronger - the time for my literary works is coming - and I have to fuss about a dowry (the bride didn’t have a dowry. Pushkin wanted to get married without a dowry, but Natalya Nikolaevna’s conceited mother could not allow this, and Pushkin had to get it himself money for the dowry that he allegedly received for the bride. - Yu. L.) and about the wedding, which we will play God knows when. All this is not very comforting. I am going to the village, God knows if I will have time to study there and peace of mind, without which you will not produce anything, except for the epigrams ja Kachenovsky.
Pushkin was athletically complex, although short in stature, physically strong and hardy, possessed strength, agility and good health. He loved movement, riding, a noisy crowd of people, a crowded, brilliant society. But he also loved complete solitude, silence, the absence of annoying visitors. In spring and summer heat, he was tormented by excessive excitement or lethargy. By habits and physical disposition, he was a man of the north - he loved the cold, fresh autumn weather, winter frosts. In autumn, he felt a surge of vigor. Rain and slush did not frighten him: they did not interfere with horseback riding - the only entertainment during this working time - and supported the fever of poetic labor. “... A wonderful autumn,” he wrote to Pletnev, “and rain, and snow, and knee-deep mud.” The prospect of losing this cherished time for creativity set him irritably. The point was not only that the difficult year of 1830 affected fatigue: Petersburg life, with the bustle of literary battles, took away strength and did not leave time to work on creative ideas - and there were a lot of them, they filled both the poet’s head and draft notebooks. He felt like an “artist in power”, at the pinnacle of creative fullness and maturity, but “time” to study and “peace of mind, without which you can’t produce anything”, was not enough. In addition, the autumn "harvest" of poems was the main source of subsistence for the whole year. The publisher and friend of Pushkin, Pletnev, who followed the material side of Pushkin's publications, constantly and persistently reminded him of this. Money was needed. Independence was associated with them - the ability to live without service, and happiness - the opportunity family life. Pushkin from Boldin wrote with playful irony to Pletnev: “What is Delvig doing, do you see him. Please tell him to save money for me; money is nothing to joke; money is an important thing - ask Kankrin (Minister of Finance - Yu. L.) and Bulgarin. It was necessary to work, I really wanted to work, but the circumstances were such that, apparently, the work should not have succeeded. \ Pushkin arrived in Boldino in a depressed mood. It is no coincidence that the first poems of this autumn were one of Pushkin's most disturbing and intense poems "Demons" and reeking of deep fatigue, in which even the hope for future happiness is painted in melancholic tones, "Elegy" ("Mad years faded fun ..."). However, the mood soon changed; everything turned out for the best: a “charming” letter came from the bride, which “quite reassured”: Natalya Nikolaevna agreed to get married without a dowry (the letter, apparently, was gentle - it did not reach us), the clerical rigmarole was completely entrusted to the clerk Peter Kireev , but it turned out to be impossible to leave Boldino: “Kolera Morbus is near me (cholera morbus is the medical name for cholera. - Yu. L. Do you know what kind of animal this is? Just look that he will run into Boldino and bite us all” ( in a letter to his fiancee, he called cholera more tenderly, in accordance with the general tone of the letter: "Very nice lady" - XIV, 112, 111 and 416). However, cholera did not bother Pushkin much - on the contrary, she promised a long stay in the village. On September 9, he cautiously writes to the bride that she will be delayed for twenty days, but on the same day to Pletnev, that she will arrive in Moscow “not before a month.” And every day, as the epidemic around her intensifies, the date of departure is more and more postponed, therefore, the time for poetic work increases . He firmly believes that the Goncharovs did not stay in cholera Moscow and are safe in the countryside - there is no reason for concern, there is no need to rush to go. Having just looked around in Boldin, on September 9 he writes to Pletnev: “You can’t imagine how fun it is to get away from the bride, and even sit down to write poetry. A wife is not like a bride. Where! Your brother's wife. With her, write as much as you like. And the bride is more than the censor Shcheglov, she ties her tongue and hands ...<...>Ah, my dear! what a delight this village is! imagine: steppe and steppe; no neighbors; ride as much as you like, sit at home and write as much as you like, no one will interfere. I’ll prepare all sorts of things for you, both prose and poetry.
In Boldino solitude there is another charm for Pushkin; it is not peaceful at all: death is lurking nearby, cholera is circulating around. The feeling of danger electrifies, amuses and teases, just as the double threat (plague and war) amused and aroused Pushkin in his recent - just two years ago - trip to the active army near Arzrum. Pushkin loved danger and risk. Their presence excited him and awakened his creative powers. Cholera sets you up for mischief: “... I would like to send you my sermon to the local peasants about cholera; you would die of laughter, but you are not worth this gift ”(XIV, 113), he wrote to Pletnev. The content of this sermon has been preserved in memoirs. Nizhny Novgorod Governor A.P. Buturlina asked Pushkin about his stay in Boldino: “What did you do in the village, Alexander Sergeevich? Did you miss it? “There was no time, Anna Petrovna. I even gave sermons." - "Sermons?" - “Yes, in the church, from the pulpit. On the occasion of cholera. He warned them. “And cholera has been sent to you, brothers, because you don’t pay dues, you get drunk. And if you continue like this, you will be flogged. Amen!"
However, it aroused not only the danger of illness and death. And the words written right there in Boldin:
Everything, everything that threatens death,
For the heart of a mortal conceals
Inexplicable pleasures,
although they relate directly to the "breath of the Plague", they also mention "rapture in battle, / And the gloomy abyss on the edge."
After the suppression of the European revolutions of the 1820s. and the defeat of the December uprising in St. Petersburg, a motionless leaden cloud of reaction hung over Europe. History seemed to stop. In the summer of 1830 this silence gave way to feverish events.
The atmosphere in Paris had steadily heated up ever since King Charles X, in August 1829, called the fanatical ultra-royalist Comte Polignac to power. Even the moderate chamber of deputies that existed in France on the basis of a charter approved by the allies in the anti-Napoleonic coalition and returning power to the Bourbons came into conflict with the government. Pushkin, while in St. Petersburg, followed these events with intense attention. The distribution of French newspapers in Russia was forbidden, but Pushkin received them through his friend E. M. Khitrovo, and also drew information from diplomatic channels, from the husband of the latter's daughter, the Austrian ambassador Count Ficquelmont. Pushkin's awareness and political instinct were so great that they allowed him to predict the course of political events with great accuracy. So, on May 2, 1830, in a letter to Vyazemsky, discussing plans for publishing a political newspaper in Russia, he gives examples of future news that “there was an earthquake in Mexico, and that the Chamber of Deputies is closed until September” (XIV, 87). Indeed, on May 16, Charles X dissolved the Chamber.
On July 26, the king and Polignac staged a coup d'état, overturning the constitution. 6 ordinances were published, all constitutional guarantees were destroyed, the electoral law was changed in a more reactionary direction, and the convocation of a new chamber was scheduled, as Pushkin had predicted, for September. Paris responded to this with barricades. By July 29, the revolution in the capital of France won, Polignac and other ministers were arrested, the king fled.
Pushkin went to Moscow on August 10, 1830 in the same carriage with P. Vyazemsky, and after arriving, settled in his house. At this time, they had a characteristic dispute over a bottle of champagne: Pushkin believed that Polignac committed an act of treason by attempting a coup and should be sentenced to death penalty, Vyazemsky argued that this “should not and cannot be done” for legal and moral reasons. Pushkin left for the countryside, never knowing the end of the case (Polignac was eventually sentenced to prison), and on September 29 he asked Pletnev from Boldino: “What is Philip doing (Louis Philippe is the new king of France erected by the revolution. - Yu. L .) and is Polignac healthy” (XIV, 113) - and even in a letter to his bride he was interested in “how is my friend Polignac doing” (Natalya Nikolaevna had a lot to do with the French Revolution!).
Meanwhile, revolutionary upheavals began to spread in waves from the epicenter of Paris: on August 25, a revolution began in Belgium; on September 24, a revolutionary government was formed in Brussels, proclaiming the separation of Belgium from Holland; in September, riots began in Dresden, which later spread to Darmstadt, Switzerland, and Italy. Finally, a few days before Pushkin's departure from Boldin, an uprising broke out in Warsaw. The order of Europe, established by the Congress of Vienna, cracked and fell apart. “Quiet captivity,” as Pushkin called in 1824, the peace that the monarchs who defeated Napoleon prescribed for the peoples of Europe was replaced by storms.
A restless wind blew across Russia.
Epidemics in the history of Russia often coincided with unrest and popular movement. There were still people alive who remembered the Moscow plague riot of 1771, which was a direct prologue to the Pugachev uprising. It is no coincidence that it was in the cholera year of 1830 that the theme of the peasant revolt first appeared in Pushkin's manuscripts and in the poems of the sixteen-year-old Lermontov ("The year will come, Russia's black year ...").
The news of cholera in Moscow prompted vigorous government action. Nicholas I, showing determination and personal courage, galloped to the epidemic-ridden city. For Pushkin, this gesture received symbolic meaning: he saw in him a combination of courage and philanthropy as a guarantee of the government's readiness not to hide from events, not to cling to political prejudices, but to boldly meet the demands of the moment. He was waiting for reforms and hoped for the forgiveness of the Decembrists. He wrote to Vyazemsky: “What kind of sovereign? Well done! and look that he will forgive our convicts - God grant him health "(XIV, 122 ). At the end of October, Pushkin wrote the poem "Hero", which he secretly sent to Pogodin in Moscow with a request to print it "wherever you want, even in Vedomosti - but I ask you and demand in the name of our friendship not to announce my name to anyone. If the Moscow censorship does not let it pass, then send it to Delvig, but also without my name and not copied by my hand ... ". The poem is plotly dedicated to Napoleon: the poet considers his greatest deed not military victories, but mercy and courage, which he allegedly showed by visiting the plague hospital in Jaffa. Both the theme and the date under the poem hinted at the arrival of Nicholas I in cholera Moscow. This was the reason for the secrecy of the publication: Pushkin was afraid of the shadow of suspicion of flattery - openly expressing his disagreement with the government, he preferred to express approval anonymously, carefully hiding his authorship.
However, the poem also had a more general meaning: Pushkin put forward the idea of humanity as a measure of historical progress. Not every movement of history is valuable - the poet accepts only one that is based on humanity. “Hero, be a man first,” he wrote in 1826 in drafts of Eugene Onegin. Now the poet expressed this thought in print and more sharply:
Leave a hero a heart! What
Will he be without it? Tyrant...
The combination of silence and leisure, necessary for reflection, and disturbing and cheerful tension, born of a sense of the approach of terrible events, splashed out unheard of even for Pushkin, even for his "autumn leisure", when he used to "love to write", a creative upsurge. In September, "The Undertaker" and "The Young Lady-Peasant Woman" were written, "Eugene Onegin" was completed, "The Tale of the Priest and His Worker Balda" and a number of poems were written. In October - "Snowstorm", "Shot", "Stationmaster", "House in Kolomna", two "little tragedies" - "The Miserly Knight" and "Mozart and Salieri", the tenth chapter of "Eugene Onegin" was written and burned, many poems were created, among them such as "My genealogy", "My ruddy critic ...", "Spell", a number of literary and critical sketches. In November - "Stone Guest" and "Feast during the plague", "History of the village of Goryukhin", critical articles. In the Boldin autumn, Pushkin's talent reached its full bloom.
In Boldin, Pushkin felt freer than ever (paradoxically - this freedom was ensured by those 14 quarantines that blocked the path to Moscow, but also separated from Benckendorff's "fatherly" cares and friendly advice, from the annoying curiosity of strangers, tangled heart attachments, emptiness social entertainment). Freedom for him has always been - the fullness of life, its richness, diversity. Boldin's work is striking in its freedom, which is expressed, in particular, in the unfettered variety of ideas, themes, and images.
The variety and richness of materials were united by the desire for a strict truth of view, for understanding the entire surrounding world. To understand, for Pushkin, meant to comprehend their inner meaning hidden in the events. It is no coincidence that in "Poems composed at night during insomnia" written in Boldin, Pushkin turned to life with the words:
I want to understand you
I'm looking for meaning in you.
History reveals the meaning of events. And Pushkin is not only for desk surrounded by history, not only when he refers to different eras in "little tragedies" or analyzes the historical works of N. Polevoy. He himself lives, surrounded and permeated with history. A. Blok saw the fullness of life in
Look into people's eyes
And drink wine and kiss women
And fill the evening with the fury of desires,
When the heat prevents you from dreaming during the day,
And sing songs! And listen to the wind in the world!
(“On Death”, 1907)
The last verse could be put as an epigraph to the Boldino chapter of Pushkin's biography.
In Boldin, Pushkin's most significant work, on which he worked for more than seven years, was completed - "Eugene Onegin". In it, Pushkin reached a maturity of artistic realism that was still unheard of in Russian literature. Dostoevsky called "Eugene Onegin" a poem "tangibly real, in which real Russian life is embodied with such creative power and with such completeness, which did not happen before Pushkin, and even after him, perhaps." The typicality of characters is combined in the novel with the exceptional versatility of their depiction. Thanks to the flexible manner of narration, the fundamental rejection of a one-sided point of view on the events described, Pushkin overcame the division of heroes into “positive” and “negative”. This was what Belinsky had in mind, noting that, thanks to the form of narration found by Pushkin, "the personality of the poet" "is so loving, so humane."
If "Eugene Onegin" drew a line under a certain stage of Pushkin's poetic evolution, then "little tragedies" and "Belkin's Tales" marked the beginning of a new stage. In the "little tragedies" Pushkin in acute conflicts revealed the influence of the crisis moments of history on human characters. However, in history, as well as in the deeper layers of human life, Pushkin sees deadening tendencies that are in a struggle with living, human forces full of passion and trembling. Therefore, the theme of freezing, slowing down, petrifying or turning a person into a soulless thing, terrible with its movement even more than immobility, coexists with revival, spiritualization, the victory of passion and life over immobility and death.
The Tales of Belkin were the first completed works of Pushkin the prose writer. Introducing the conventional image of the narrator Ivan Petrovich Belkin and a whole system of cross-narrators, Pushkin paved the way for Gogol and the subsequent development of Russian prose.
After repeated unsuccessful attempts, Pushkin finally managed to return to Moscow on December 5 to his bride. His travel experiences were unhappy. On December 9, he wrote to Khitrovo: “The people are depressed and irritated. 1830 is a sad year for us!”.
Reflections on the circumstances of the Boldin autumn lead to conclusions that are not without interest. In the 1840s an exceptionally fruitful idea of the determining influence of the environment on the fate and character of an individual human personality has become widespread in the literature. However, every idea has a downside: Everyday life for the average person, it turned into the formula “environment stuck”, not only explaining, but also, as it were, excusing the dominance of omnipotent circumstances over a person who was assigned the passive role of a victim. intellectual of the second half of the 19th century. sometimes he justified his weakness, hard drinking, spiritual death by a collision with overwhelming circumstances. Reflecting on the fate of the people of the early 19th century, he, resorting to familiar schemes, argued that the environment was more merciful to the noble intellectual than to him, the commoner.
The fate of Russian raznochintsev intellectuals was, of course, exceptionally hard, but the fate of the Decembrists was not easy either. Meanwhile, none of them - first thrown into casemates, and then, after hard labor, scattered across Siberia, in conditions of isolation and material need - did not sink, did not drink, did not give up not only on their spiritual world, their interests, but also on their appearance, habits, manner of expression.
The Decembrists made a huge contribution to the cultural history of Siberia: it was not the environment that "jammed" them - they remade the environment, creating around them that spiritual atmosphere that was characteristic of them. This can be said to an even greater extent about Pushkin: whether we are talking about exile to the south or to Mikhailovskoye, or about long-term imprisonment in Boldin, we invariably have to note what a beneficial effect these circumstances had on the creative development of the poet. One gets the impression that Alexander I, by exiling Pushkin to the south, rendered an invaluable service to the development of his romantic poetry, and Vorontsov and cholera contributed to Pushkin's immersion in the atmosphere of nationality (Mikhailovskoye) and historicism (Boldino). Of course, in reality, everything was different: exiles were a heavy burden, imprisonment in Boldin, the uncertainty of the fate of the bride could break even a very strong person. Pushkin was not a darling of fate. The key to why the Siberian exile of the Decembrist or Pushkin’s wanderings seems to us less gloomy than the material need of the mid-century raznochinets in distress in St. his spiritual wealth, does not allow the "environment" to triumph over himself. It is impossible to force him to live not the way he wants. Therefore, the most difficult periods of his life are bright - only a part of Dostoevsky's well-known formula applies to him: he was offended, but he never allowed himself to be humiliated.
A few months after the creation of the poem "To the nobleman" in the famous Boldin autumn of 1830, a radical change occurred in Pushkin's work - the final rejection of romantic ideas about reality, romantic illusions and, in connection with this, the transition from "minx-rhyme" to "severe prose" , a turning point, the foreboding of which the final stanzas of the sixth chapter of "Eugene Onegin" mentioned above were filled, and which gradually prepared and matured in his creative mind.
Arriving for a short time to arrange property affairs in connection with the upcoming marriage in the tribal patrimony of Nizhny Novgorod, the village of Boldino, Pushkin unexpectedly, due to the outbreak of a cholera epidemic, was forced to stay here for about three months.
As in 1824-1825. in Mikhailovsky, Pushkin again found himself in a remote Russian village, in even more complete solitude and even closer contact with the common people, far from capital captivity, from Benckendorff and his gendarmes, from corrupt journalists like Bulgarin, from the secular “rabble”. And the poet, speaking in his own words, started up, "like an awakened eagle." The enormous internal energy that had accumulated over the years of a relative creative lull, now and then making itself felt in the incessantly replacing each other numerous ideas, plans, sketches that Pushkin did not complete and remained under a bushel in his workbooks, suddenly and at once broke out. And this received the power of a grandiose creative explosion - in terms of the quantity, variety and quality of works created in this shortest period of time - unparalleled in all world literature.
Of the lyrical works in the Boldin autumn of 1830, about thirty poems were written, among which are such the greatest creations as “Elegy” (“Fun of Crazy Years Faded Fun ...”), love poems - “Farewell”, “Spell” and especially “ For the shores of the distant homeland...”, such as “Hero”, “Demons”, “Poems composed at night during insomnia”. The widest thematic range of the lyrics of the Boldin period is striking: from a heartfelt love poem (“For the shores of the distant homeland ...”) to a scourging social pamphlet (“My Genealogy”), from a philosophical dialogue on a great ethical theme (“Hero”) to an anthological miniature ( “The Tsarskoye Selo Statue”, “Labor”, etc.), to a funny joke (“A deaf man called a deaf ...”), to a well-aimed and evil epigram. This also corresponds to the exceptional variety of genres and poetic forms: elegy, romance, song, satirical feuilleton, monologue, dialogue, passage in tercina, a number of poems written in hexameter, etc.
The lyrics of these months, like all of Pushkin's "Boldino" work, on the one hand, completes a whole long period of the poet's creative development, on the other hand, marks his entry into fundamentally new paths that progressive Russian literature will follow decades later.
Especially innovative is the small poem “My ruddy critic ...”, which was not published during Pushkin’s lifetime and so embarrassed the editors of the posthumous edition of his works that they gave it (perhaps for censorship reasons) the softening title “Caprice”. Indeed, in this poem, which is, as it were, a lyrical parallel to the simultaneously written "History of the village of Goryukhin", the poet completely washes away all idyllic colors from the image of rural serf reality, gives an example of such a sober, harsh realism that directly anticipates Nekrasov's poetry.
Remember your love.
The main theme of the Boldino "love trilogy" is the theme of parting, separation, characteristic of love elegies. But this theme, common for such a genre, is revealed in a new way in Pushkin's Boldino elegies.
Among the poems dictated by the impression of the present, we note the poems, not without reason, ranked by D.I. Ovsyaniko-Kulikovsky to "artificial lyrics" and prompted by various impressions of life - meetings, acquaintances, observations or books, works recently published ("Istanbul giaurs are now glorifying ...", "On the translation of the Iliad", "I drink for the health of Mary ..." ). These verses testify to the dramatic gift of the poet, his ability to make speeches and sing songs on behalf of people of different nationalities, social status, and different ages.
An excellent feature of many of Pushkin's Boldino poems is not only the originality of the content, but also the compositional originality. Some of them, written in the form of monologues, differ sharply from love monologues not only in the presence of a narrative in them, but also in contrasting lyrical intonations.
None of Pushkin's uncensored and "secret" poems has such a lengthy history and such a variety of printed text options as "My Genealogy". More than six dozen texts (copies and publications) are known, but there were undoubtedly many more, and reading Russia knew My Genealogy long before it appeared in print.
The poem "Hero" was written under the impression of the news of the arrival of Tsar Nicholas I in Moscow, where cholera was rampant, but it tells about Napoleon. What made you put these names together? Not only the similarity of external actions: the arrival of Nicholas in cholera Moscow and Napoleon's visit to the plague hospital. The poem was written in the first decade after the death of Napoleon, when the question of the historical role of Napoleon was being actively discussed in Russian society - about the accident or not the accident of his greatness and fall. According to Friedman, the myth of Napoleon "Pushkin needed in order to radically tear the ideal hero away from bad everyday life."
In "Hero" attention is drawn to the title of the poem, and the epigraph ("What is truth?"), And above all, the images of the interlocutors.
Unlike most other poetic dialogues, in which the poet talks with persons alien and hostile to him (an official, a bookseller, a crowd), and which are built on mutual misunderstanding, on a dispute, on a conflict, in the "Hero", with some divergence of opinion, there is no misunderstanding between the interlocutors.
The poet does not at all oppose the legend to the historical material, he does not defend the apocryphal story about Napoleon. On this issue, he does not argue with either a friend or a historian, he defends and defends the right to a dream of heroism, to a dream of a Man, of his high appointment, of the norms of his social behavior.
3. "Little Tragedies"
In contrast to the Boldino stories, the study of which in general attracted little attention of researchers, Boldino dramaturgy - both the entire cycle and individual works of this cycle - is devoted to a huge literature.
The saturation of Pushkin's dramas with deep thoughts, the versatility in the depiction of characters, the laconicism of the scenes, the presence of climaxes in the development of the action, the small number of actors - these are the external features of the "little tragedies" that all researchers usually point to.
The statement of K.S. Stanislavsky that in "little tragedies" there is almost no external action. Everything is inward action.
It is not known what remarks Zhukovsky was going to make or made, but when evaluating Pushkin's works as "dirty things", Zhukovsky undoubtedly had in mind their plot basis, which could not shock him. But at the same time calling them “charming”, he had in mind the artistic validity of the “dirty things” themselves, i.e. mastery of their dramatic resolution.
All these plays, built on sharply conflicting plots, have one peculiarity. Conflicts that develop in a certain era, in specific countries, are at the same time conditionally specific here.
The study of man in his most irresistible passions, in the extreme and most secret expressions of his contradictory essence - that is what interests Pushkin most of all when he begins work on small tragedies. It is not surprising that Pushkin's dramatic experiments contain not so much answers as questions. This makes them not only a kind of artistic studies, but also truly tragic works of philosophical and psychological content.
3.1. "Stingy Knight"
In The Miserly Knight by Pushkin, scenes of high tragedy develop, but at the same time this play can also be attributed to comedies.
In the center of Pushkin's tragedy is the image of a baron, a miserly knight, shown not in the spirit of Moliere, but in the spirit of Shakespeare. Everything in the baron is based on contradictions, the incompatible is united in it: the miser is a knight; the knight is seized by his withering passion for money; and at the same time he has something of a poet.
The baron's glory to gold is like the glory of love. This is unnatural, but it becomes possible due to the fact that the baron is drawn to money not just as a miser, but as a power-hungry. Money becomes a symbol of power, and that is why it is so especially sweet for the baron. This is a tragedy not only of Pushkin's time. It is especially relevant for today, therefore it is also in demand among modern readers.
3.2. "Mozart and Salieri"
Initially, Pushkin was going to name his tragedy "Envy", but then dropped this intention. Such a name, obviously, would not correspond to Pushkin's artistic principle. But this name corresponded to the content of the tragedy in the sense that Pushkin really set the task of investigating envy as a passion at the same time base and great, decisive in life.
The tragedy begins with Salieri's monologue - pathetic, rich not only in feeling, but also in thought. Salieri for Pushkin - main subject artistic research, he is the living embodiment of passion - envy. It is in it that it is so difficult and so necessary to understand, unravel, reveal, it is with it that the tension of artistic search is connected and, accordingly, the movement of the plot of the tragedy. What is the secret of this passion, when it is not petty, not ordinary, but comes from a person who is able to interest and even for a moment arouse sympathy for himself - this is the question that Pushkin poses in his tragedy and which is embodied in the character of Salieri .
The name Mozart has become a household name in relation to the genius of a special warehouse, combining deep, creative creative forces with inner freedom and harmony, with a carefree perception of life, with a childish trust in people.
Of course, the heroes in Pushkin's tragedy are by no means equal in their moral and human value. The idea of the appointment of a person inspired the tragedy "Mozart and Salieri", small in size, but large in terms of the questions of philosophy, ethics and aesthetics posed in it.
3.3. "Stone Guest"
Compared with the previous small tragedies, The Stone Guest meant not only a new subject of artistic research, but also an appeal to other times and other peoples.
The tragedy is based on a well-known literary plot.
One of the interesting finds of Pushkin was the image of Laura. Laura in Pushkin's tragedy lives on her own, as a bright personality, and she enhances the sound of the Don Juan theme. She is like a mirror image, like his doppelgänger. In it and through it, the triumph of Don Juan, the strength, and charm, and the power of his personality are affirmed - and some of his important features are repeated in it.
Both of them not only know how to love, but they are poets of love. They have a strong element of improvisation, free impulse, they are equally in love and in life freely indulge in inspiration and know how to fill every moment of their life and the life of those to whom they turned their eyes and their hearts with the uniqueness of their personality.
This, above all, applies to Don Juan. Laura is only occasionally involved in the plot, Don Juan is its center and focus. Artistic research is primarily aimed at him.
In contrast to some traditional ideas about Don Juan, Pushkin's hero is not just a daring reveler, not just a passionate lover and a playboy, but, above all, a highly human character. Pushkin also depicts Don Juan - like all the heroes of his little tragedies - at the "highest level". It was this that most of all made his tragedy both a great artistic discovery and, at the same time, a discovery in the sphere of psychology and philosophy.
3.4. "Feast in Time of Plague"
The source for the tragedy "A Feast in the Time of Plague" was the dramatic poem "City of the Plague" by the English poet John Wilson. Pushkin used book sources. He not only assimilated foreign material, but also processed it to a greater extent, subordinating it to his own ideological and artistic tasks.
The very name of Pushkin's tragedy is original. In it - as it happened in other cases with Pushkin - one can see reflections of the personal, the facts of the biography, the facts of close reality. In the autumn of 1830, when the tragedy was written, cholera raged in the central provinces of Russia, Moscow was cordoned off by quarantines, the path from Boldin was closed for Pushkin for a while. Pushkin was surrounded by death, and he wrote as much and as successfully as he had never written before. At that time, he himself experienced a feast of poetic inspiration, which could be realized by him due to tragic circumstances and as “a feast during the plague.” This determined the strong lyrical coloring not only of individual places of the tragedies, but also of the work as a whole.
All small tragedies are about irresistible human passions. In A Feast in the Time of Plague, a high passion for life is artistically explored when it manifests itself on the verge, on the verge of death, despite the possible death. This is the ultimate test of man and his strength.
4. "Tales of Belkin"
The world of small tragedies is opposed in Pushkin's work in the Boldino autumn of 1830, not only sharply different from him, but also directly opposite to him, one might say, the opposite world of five stories "written in prose" - "Belkin's Tales".
The creation of "Belkin's stories" ended the complex and lengthy process of formation and establishment in Pushkin's work of that area of \u200b\u200bverbal creativity, into which he penetrated the latest and which, apparently, was the most difficult for him to master - artistic prose.
Earlier than the other in Boldin, Belkin's Tales were written.
Pushkin wrote them not only easily, but also with pleasure, fun, enthusiasm, experiencing the joy of quick inspiration.
Belkin's Tales was not published by Pushkin under his own name, but was attributed to him by a conditional author, Ivan Petrovich Belkin. The image of the quiet and humble Ivan Petrovich Belkin, appearing from a letter to the "publisher" and from an autobiographical preface supposedly by Belkin himself to "The History of the Village of Goryukhin", was sketched by Pushkin in tones of good-natured humor and subtle irony. The world of extraordinary passions and exceptional heroes is opposed in Belkin's Tales by a "simple retelling" of incidents that took place in the lives of the most ordinary people. “The stories offered by Belkin,” it is indicated in the preface “From the Publisher,” are for the most part fair and heard by him from various persons ... This happened ... solely from a lack of imagination.
In a conversation with one of his acquaintances, who, seeing on Pushkin’s table the just-released “Tales of Belkin”, asked: “Who is this Belkin?”, Pushkin replied: “Whoever he is, you need to write stories like this: just , briefly and clearly".
But at the same time, in this "simple retelling" Pushkin managed to bring so much deep humane feeling, so much keen observation and mild irony, and, at the same time, so much ability for broad typical generalizations, so much truth of life that his Belkin Tale was the first in our literature a model of truly realistic artistic prose, a new word in our literature, a huge step forward in all its development.
4.1. "Shot"
"Shot" is a kind of romantic novel with a sharp plot, with an unusual and mysterious hero, with an unexpected ending. This is a short story, masterfully constructed, monostyle and solid, which can serve as a model for the short story genre.
The story "The Shot" is the first socio-psychological story in Russian literature. In it A.S. Pushkin, anticipating M.Yu. Lermontov (“The Hero of Our Time”), drew the psychology of a person through a multifaceted image: through his actions, behavior, perception of the heroes by others, and, finally, through the self-characterization of the heroes.
Silvio, a Protestant and a fighter out of a sense of personal revenge, ended his life in the struggle for independence and for the freedom of the oppressed Greek people, for the assertion of national honor. In the image of Silvio, Pushkin embodied the idea of that high social morality, about which V.G. Belinsky wrote: “Until a person kills his egoism, his personal passions, until then he will not find true freedom for himself on earth ...”.
4.2. "Blizzard"
The Blizzard, which is also a romantic “adventurous” short story in its plot, amazes the reader with unexpected twists in the story and the ending - young people in love turned out to be husband and wife. The art of the story lies here in the fact that the author, interrupting the thread of the story, switches the reader's attention from one episode to another. Pushkin's irony permeates the entire narrative. She is the beginning of creation in him. He creates new prose, destroying its old, beloved canons.
In this story, Pushkin tells in different ways about each of the characters in the story, and this is the key to the ideological basis of the whole work. Marya Gavrilovna is described more fully than the rest of the characters. The story is dedicated, at first glance, to the history of her life; at the beginning of the story - she is paired with Vladimir, at the end - paired with Burmin, but Pushkin is not only worried about her fate. The story is dedicated to Vladimir to a greater extent than to the fate of Marya Gavrilovna and Burmin. On the same stormy night in 1812, the future of the heroine and the two heroes was determined. The first - a poor army ensign unsuccessfully fought for happiness and, having distinguished himself and seriously wounded near Borodino, died in Moscow on the eve of the entry of the French. The second, also wounded and distinguished, returned victorious after the defeat of the French, with George in his buttonhole, and easily found happiness.
Blizzard, blizzard in the image of Pushkin - this is the life of every person, sweeping up the path in front of the traveler, leading astray, which can play both a fatal and a happy role in his fate.
4.3. "Undertaker"
Irony is also present in the story "The Undertaker". The plot is reminiscent of romantic works in the spirit of Hoffmann. But the plot is told not at all in the Hoffmannian way, with a surprisingly and deliberately simple and sober look at things, almost in a businesslike way, with all the attributes of everyday, typically Russian reality.
The two parts of the story - reality and dream - are intertwined and deployed in the story in two planes, but they lead to one thought. The main goal of Pushkin: to draw the undertaker both professionally and in human terms, and to reveal the conditionality of the human professional and social. Despite the fact that the dead both threatened and frightened Prokhorov, they could not and will not be able to instruct or teach the undertaker a lesson, since it is impossible to instruct or teach a lesson to him, a huckster and a horse dealer.
4.4. "Station Master"
“The stationmaster is written in the spirit of the best sentimental stories. At the same time, in its poetics, the story is not only close to sentimentalism, but also noticeably differs from it. Close to the characters of the hero, humiliated and sad; its ending - equally sad and happy; close to the setting of the topic little man and pathos of compassion.
The story is by its nature not accusatory, but epic, in it the deep philosophical view of the artist on life is noticeable, the wisdom of a great artist is visible. "The Stationmaster" more than other stories of the same cycle shows what "Belkin's Tales" were for Russian literature. They opened new paths. F.M. relied on them. Dostoevsky in "Poor People", relied on I.S. Turgenev, both in his humanistic stories and in the play "The Freeloader", looked back at them and relied to a greater or lesser extent on all post-Pushkin Russian prose of the 19th century.
4.5. "Young lady-peasant"
There is not even a hint of romantic poetics in The Young Lady-Peasant Woman, there is nothing mysterious, mysterious, unexpectedly strange in it.
"The Young Lady-Peasant Woman" is a kind of playful and light Christmas story, built on a real-life basis, with uncomplicated plot twists, with a relieved happy ending. The apparent lightness of the author's narration in The Young Lady-Peasant Woman, individual purely vaudeville situations are not at all lightness and not vaudeville, in essence, since Pushkin himself is the first to laugh at this. "The Young Lady-Peasant Woman", "Snowstorm" - the stories are partly playful, but also serious in their literary goals. This is what makes them like no one and no one else. If these are pranks, then the pranks of a genius.
5. Other works of the Boldino period
5.1. "House in Kolomna"
"The House in Kolomna" is a realistic, innovative work and testifies to the democratization of Pushkin's work.
To this day, it causes a lot of controversy among literary critics. In this comic and polemical story, Pushkin boldly and defiantly introduces into the realm of poetry the life of a poor Petersburg outskirts, the ingenuous and simple life of its inhabitants - the urban philistine lower classes.
“Despite its apparent insignificance in terms of content,” wrote V.G. Belinsky, - this comic story, however, is distinguished by great merits from the side of form. Sharpness. Jokes, a story at the same time both light and entertaining, in places glimpses of feeling, in everything there is some special color and, finally, an excellent verse - all this immediately exposes the great master ... ". The rhymes of "House in Kolomna" amaze with their originality.
“House in Kolomna” is a literary manifesto of a realist artist, and if “My family tree” is a “declaration of the rights of a person and a citizen”, and “Hero” is a “Declaration of the rights of a poet-citizen”, then “House in Kolomna” is a “declaration of rights artist" to write not only about the high, but also about the low, about the everyday, about the everyday, fusing high and low, funny and sad into one whole.
"House in Kolomna" is a creative and passionate conversation about poetry, about its tasks and boundaries in the past and in the present.
5.2. "History of the village of Goryukhina"
“The chronicle of the village of Goryukhino” is a sharp, sweet and funny joke, in which, however, there are also serious things, such as, for example, the arrival of the steward in the village of Goryukhino and the picture of his administration,” wrote V.G. Belinsky. This is a statement by V.G. Belinsky formed the basis for understanding one of the "mysterious" works of Pushkin, in the study of which researchers interpreted and illuminated in different ways, usually either only the first half of V. G. Belinsky's thought, or only the second.
Written in 1830 in Boldino, “The History of the Village of Goryukhina” was first published after Pushkin’s death, in No. 7 of Sovremennik for 1837. The manuscript found in Pushkin’s papers by N.A. Pletnev titled "the chronicle of the village of Goryukhin". If in The Snowstorm, The Young Lady-Peasant Woman, Pushkin draws rural reality from the side of the image of the life of the landowners, then in this work he draws the same reality from the side of the life of the serf peasantry. The poet's emphasis on the burden of serfdom and his sympathetic attitude to the sorrows and troubles of the enslaved peasantry is already expressed in the very name of the village Goryukhin. The chronicle of the village of Goryukhin was picked up and brilliantly developed in the "History of a City" by the most powerful Russian political satirist Saltykov-Shchedrin.
For all the complexity and inconsistency of Pushkin's positions, one thing is certain - "The History of the Village of Goryukhin" is the pinnacle of Belkin's Boldino stories. It contains the beginning of future stories on the themes of peasant uprisings ("Dubrovsky", "The Captain's Daughter").
5.3. "The Tale of the Priest and His Worker Balda"
“The Tale of the Priest and His Worker Balda” continues the theme of the simple Russian people in the work of A.S. Pushkin. It is built on a kind of play on two nicknames that are equivalent in meaning: oatmeal forehead (according to V.I. Dahl - a fool) and a bulldozer (according to V.I. Dahl - a fool, blockhead, unreasonable dunce). The plot of Pushkin's fairy tale is based on an agreement concluded by two fools (nicknamed). But one of them, a prudent but short-sighted priest, chasing cheapness, lived up to his nickname. Another, a far-sighted and resourceful worker, did not justify his nickname - he turned out to be not a bullshit at all. This is the essence of a fairy tale built on a contest of minds. Joking at first glance, the moral of the tale ("Don't chase cheapness, priest") is full of great social meaning: a cheap product - Balda's work - turned into an expensive product.
It is noteworthy that in all Boldino works on folk themes, the poet speaks of two sides of the social life of the people: on the one hand, the people are smerd, “a gray bunny, a poor little bunny”, he is a victim of “backstage teeth of a wolf-nobleman” and “priest - oatmeal forehead ”, on the other hand, he is a force capable of rebellion, resistance and creative work.
6. Conclusion
The study of works of art created by Pushkin in the autumn of 1830 leads us to the conclusion that in creative biography poet Boldin autumn is a natural stage, closely connected with the previous periods of his work, and with the works written in the last years of his life.
The Boldin autumn testifies not to the inferiority in Pushkin's worldview and work, but to the intensity of his inner life, the progressiveness and depth of his ideas, the historicism of his thinking and the novelty and courage of those great artistic tasks that he set for himself. The very genre variety of Boldin's work is evidence of the richness and completeness of its content.
But in this diversity, our attention is drawn to the unity of problems and the unity of Pushkin's creative principles. Determined by the conditions of Russian reality at the turn of the 20-30s, even in those cases when the poet borrows and uses themes, plots and images of world literature, or in those cases when he turns to romantic forms, symbols and allegories, Boldino Pushkin's work is realistic at its core.
The unity of subjectivity and objectivity in the work of the poet is realized not only in the development of significant themes (for example, "The History of the Village of Goryukhin" or in "little tragedies"), but also in the development of topics that at first glance are insignificant (for example, in "The House in Kolomna" or in "The Young Lady-Peasant Woman"). At the same time, the poet always comes and leads the reader to broad generalizations, to deep and significant conclusions. The diverse subtle shades of attitude towards objectivity: sympathy, pity, admiration or a smile, mockery, angry guise - are always deeply justified and are always organically connected with the "journalistic overtones" of Pushkin's Boldino works in all their genre diversity.
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Spring and summer of 1830
On May 6, 1830, the engagement of Pushkin and Goncharova was officially announced. But the wedding was constantly postponed - Natalya Ivanovna Goncharova did not want to give her daughter away without a dowry, but the ruined family had no money. In August of the same year, Pushkin's uncle, Vasily Lvovich, died. The wedding was again postponed due to mourning, and on August 31 Pushkin left Moscow for Boldino in order to take possession of the nearby village of Kistenevo, allocated to him on the occasion of his marriage by his father. Before leaving, Pushkin quarreled with his future mother-in-law and, in a letter written under the influence of an explanation with her, announced that Natalya Nikolaevna was “completely free”, but he would marry only her or never marry.
Boldino
Pushkin's estate in Bolshoi Boldin
Pushkin arrived in Boldino on September 3, hoping to get things done in a month. At first, he feared that the best working time (usually in the fall he wrote a lot) should be filled with the hassle of putting Kistenev into possession and mortgage. The cholera epidemic disrupted his plans - due to quarantine, he was delayed for three months, which became one of the most fruitful periods in his work.
His anxieties were reflected shortly after his arrival "" and "" ("Crazy years of extinct fun ..."). Soon, however, the bride's letter restored his lost peace of mind. Pushkin told his friend and publisher Pletnev that, in her “pretty little letter,” she “promises to marry me without a dowry” and calls him to Moscow. The affairs of Kistenev were handed over to the clerk, and the poet, confident that the Goncharovs had left cholera Moscow, had already informed his friend that he would appear there no earlier than in a month.
The autumn of 1830 was the time for Pushkin to take stock. Already in his letter to his parents with a notice of engagement (April 6-11, 1830), he wrote that a new period was beginning; he says the same thing to Pletnev already from Boldino: “So far he is me - and here he will be us. Joke!" (XIV, 113.29 September 1830). Changes in his personal life coincided with the beginning of a new stage of literary activity. The poet opens the final chapter of "Eugene Onegin" with a retrospective picture of his work, symbolically presenting its development through "the change in the faces of the Muse", and the direction of his literary evolution, according to Blagoy, as "movement through romanticism to realism, from" poetry "to" prose " » .
In early October, Pushkin tried to leave Boldino, but he was unable to overcome the quarantine cordon.
On December 5, 1830, Pushkin returned from the third attempt to Moscow, still surrounded by cholera quarantines. On December 9, Pushkin wrote to Pletnev:
I'll tell you (for a secret) that I wrote in Boldin, as I haven't written for a long time. Here's what I brought here: 2 [ch<авы>] the last chapters of Onegin, the 8th and 9th, completely ready for publication. A story written in octaves (verses 400), which we will issue to Anonyme. Several dramatic scenes, or small tragedies, namely: The Miserly Knight, Mozart and Salieri, Feast during the Plague, and D.<он>Juan. In addition, he wrote about 30 small poems. Fine? Not everything yet: (Very secret) I wrote 5 stories in prose, from which Baratynsky neighs and beats - and which we will also publish Anonyme.
Prose
Tales of Belkin
Little Tragedies
Pushkin's hand in November 1830 wrote a list of dramatic works created in Boldino, to which he added "The House in Kolomna":
I. "Oct." (that is, Octaves - "House in Kolomna"). II. "Stingy". III. "Salieri". IV. "D. G." (Don Guan - "Stone Guest"). V. "Plague" * ("Feast during the plague").
Critical articles
The situation that had developed in the Russian literary world by the beginning of the 1830s, the isolation in which the Literaturnaya Gazeta employees found themselves and, especially, the aggravated relations with Bulgarin - all this forced Pushkin to turn to literary controversy for the first time and re-evaluate all his important works ( "Ruslan and Lyudmila", "Eugene Onegin", "Count Nulin", "Poltava"). On October 2, after an unsuccessful attempt to escape to Moscow, he begins his notes: “Today, in the unbearable hours of quarantine, having neither books nor a comrade with me, I decided to pass the time to write a refutation of all the critics that I could only remember, and own remarks on own compositions. Pushkin had neither newspapers nor magazines at his disposal, however, he apparently remembered all the significant critical reviews he received. Pushkin wrote two large literary-critical cycles for the Literaturnaya Gazeta, but all the articles remained unpublished, since on November 15, 1830, the publication of the newspaper was suspended.
In film art
Boldin Autumn (film), 1999
In fine arts
etchings by E. Kh. Nasibulin “Boldino Autumn”.
Notes
Comments
Literature
- Akhmatova A. Boldinsky autumn (8th chapter of Onegin<»>) // Akhmatova A. About Pushkin: Articles and notes. L., 1977.
- Belyak N.V., Virolainen M.N. “Little Tragedies” as a cultural epic of modern European history: (The fate of the individual is the fate of culture) // Pushkin: Research and Materials / USSR Academy of Sciences. In-t rus. lit. (Pushkin. House). - L.: Science. Leningrad. Department, 1991. - T. 14. - S. 73-96.
- Blagoy D. D. The creative path of Pushkin (1826-1830). - M.: Soviet writer, 1967. - 723 p.
- Golovin, V. V. “The young peasant woman”: why Baratynsky “neighed and fought” [Text] / V. V. Golovin // Russian Literature. - 2011. - No. 2. - C. 119-135. http://lib.pushkinskijdom.ru/LinkClick.aspx?fileticket=yRwEPo-s8Zo%3d&tabid=10358
- Yeliferova M. Why did Baratynsky "neigh"? in Art. Shakespearean stories retold by Belkin // Questions of Literature. 2003. No. 1. http://magazines.russ.ru/voplit/2003/1/mel.html
- Krasnoborodko T. I. Boldin's Polemic Notes of Pushkin: (From Observations on Manuscripts) // Pushkin: Research and Materials / USSR Academy of Sciences. In-t rus. lit. (Pushkin House). - L.: Science. Leningrad. department, 1991. - T. 14. - S. 163-176.
- Lotman Yu. M. Alexander Sergeevich Pushkin: Biography of the writer // Lotman Yu. M. Pushkin: Biography of the writer; Articles and notes, 1960-1990; "Eugene Onegin": Commentary. - St. Petersburg: Art-SPB, 1995. - S. 21-184.
- Smolnikov I.F. Boldin autumn. - L .: Children's literature, 1986. - 142 p.
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See what "Boldino Autumn" is in other dictionaries:
- "BOLDIN AUTUMN", Russia, Aquarium / Lenfilm, 1999, color, 9 min. Novella. Based on the story of the same name by Viktor Erofeev. Cast: Andrey Krasko (see KRASKO Andrey Ivanovich), Ivan Krasko (see KRASKO Ivan Ivanovich), Mikhail Urzhumtsev (see ... ... Cinema Encyclopedia
Razg. A particularly fruitful creative period in life. /i> The expression is based on the autumn of 1830, which A. S. Pushkin spent in the village of Boldino, where he worked a lot and fruitfully. Yanin 2003, 36 ...
Boldin autumn- Boldino autumn (also: a period of special creative upsurge) ... Russian spelling dictionary
BOLDIN AUTUMN- 1999, 12 min., color, "Lenfilm" film studio, "Aquarium" studio, Goskino RF. genre: philosophical drama. dir. Alexander Rogozhkin, sc. Alexander Rogozhkin (based on a story by Viktor Erofeev), opera. Andrey Zhegalov, art. Vladimir Kartashov, sound. Igor Terekhov. IN… … Lenfilm. Annotated Film Catalog (1918-2003)
Boldin autumn- (in the biography of A. S. Pushkin; about the period of a special creative upsurge) ... Spelling Dictionary of the Russian Language
Fed since autumn. Prost. Shuttle. About a person who refuses food, eats poorly, has no appetite. F 1, 198; Podyukov 1989, 80. Indian autumn. Sib. Warm sunny days at the beginning of autumn. FSS, 127. Boldin autumn. Razg. Particularly fruitful... Big Dictionary Russian sayings
- (abbr. YURSP) an association of writers from the city of Odessa and the Odessa region, as well as writers associated with the literature of the city. The main goals of the work of the URSP are to unite the ranks of Russian-speaking writers in the region, to update the Russian-speaking ... ... Wikipedia
Wikipedia has articles about other people with that surname, see Sidorenko. Veniamin Georgievich Sidorenko ... Wikipedia
"Pushkin" redirects here; see also other meanings. Alexander Sergeevich Pushkin Alexander ... Wikipedia
Russian writer, founder of new Russian literature. Born in the family of a poor nobleman, a descendant of an old boyar family. Great-grandson (on the maternal side) of the Abyssinian A.P. Hannibal, ... ... Great Soviet Encyclopedia
