Lermontov, Mikhail Yuryevich
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Mikhail Yuryevich Lermontov
Lermontov in the uniform of the Life Guards of the Hussar regiment.
Painting by Peter Zabolotsky (1837).
Birth name: Mikhail Yuryevich Lermontov
Aliases: - - [1]; Lamver; Gr.
Diarbekir; Lerma[2]
Date of birth: October 3 (15) 1814[3][4][5]
Place of birth: Moscow, Russian Empire
Date of death: July 15 (27) 1841[4][6][3][5] (26 years)
Place of death: Pyatigorsk,
The Caucasus region,
The Russian Empire
Citizenship (citizenship): The Russian Empire
Occupation: poet, novelist, artist
Creative years: 1828-1841
Direction: romanticism, realism
Genre: poem, poem
Language of works: Russian
Debut: "Spring" (1830) [7]
Signature:
Works on the site Lib.ru Works in Wikitek Files on Wikimedia Commons Quotes in Wikicitatnik
Mikhail Yuryevich Lermontov[8] (October 3 [15], 1814, Moscow — July 15 [27], 1841, Pyatigorsk) was a Russian poet, novelist, playwright, artist.
Russian Russian literature has flourished again and has had a great influence on the most prominent Russian writers and poets of the XIX and XX centuries.
Lermontov's creative work, which combines civil, philosophical and personal motives that met the urgent needs of the spiritual life of Russian society, marked a new flowering of Russian literature and had a great influence on the most prominent Russian writers and poets of the XIX and XX centuries.
Lermontov's works received a great response in painting, theater, and cinema.
His poems have become a real storehouse for opera, symphony and romance creativity, and many of them have become folk songs[9].
Content
1 Biography 1.1 Family 1.2 Upbringing 1.3 The first youthful hobbies 1.4 In the Guard 1.5 The first stay in the Caucasus and its influence on creativity 1.6 The first duel 1.7 Pyatigorsk.
The second duel 1.8 Addresses in St. Petersburg
2 Chronology of publications of the most important works 3 Lermontov the artist 4 Memory of Lermontov 4.1 Monuments 4.2 In philately 4.3 Lermontov in numismatics 4.4 Lermontov's works in other types of art 4.4.1 Film adaptations and films based on the works 4.4.2 Musical Theater
4.5 The image of Lermontov 4.5.1 In feature films 4.5.2 Documentaries
5 See also 6 Notes 7 Literature about M. Y. Lermontov 8 References
Biography[edit / edit wiki text]
Family[edit / edit wiki text]
Coat of arms of the Lermontov family with the motto: "SORS MEA JESUS" (My fate is Jesus)
The Lermontov family originated from Scotland and went back to the semi mythical bard, the prophet Thomas Lermont.
In 1613, one of the representatives of this family, lieutenant of the Polish army Georg (George) Lermont (about 1596-1633 or 1634), was captured by the Russians during the capture of the Belaya fortress and, among other so called Belsky Germans, entered the service of Tsar Mikhail Fedorovich.
He converted to Orthodoxy and became, under the name of Yuri Andreevich, the ancestor of the Russian noble family of Lermontov[10].
In the rank of captain of the Russian reitar system, he died during the siege of Smolensk[11].
Currently, the British company Oxford Ancestors, which makes up the pedigrees, is working to confirm this version of Lermontov's origin using DNA analysis[12].
Lermontov dedicated the poem "Desire"to his Scottish roots.
In his youth, Lermontov associated his surname with the Spanish statesman of the early XVII century, Francisco Lerma, these fantasies were reflected in the imaginary portrait of Lerma written by the poet, as well as the drama "The Spaniards".
Documents have been preserved regarding Mikhail Lermontov's paternal great grandfather, Yuri Petrovich Lermontov, a pupil of the gentry cadet corps[13].
At this time, the Lermontov family still enjoyed prosperity; the rundown began with the generations closest to the poet's time.
According to the memoirs collected by the local historian P. K. Shugaev (1855-1917), the poet's father, Yuri Petrovich Lermontov (1787-1831) "was of medium height, a rare handsome man and beautifully built; in general, he can be called in the full sense of the word an elegant man; he was kind, but terribly quick tempered"[14].
Before marrying Maria Mikhailovna Arsenyeva, Yuri Petrovich retired with the rank of infantry captain.
Yuri Petrovich Lermontov had sisters who lived in Moscow.
Ancestors 1.
Mikhail Yuryevich Lermontov 1814-1841 2.
Father:
Yuri (Evtihiy) Petrovich Lermontov (1787-1831) 4.
Pyotr Yuryevich Lermontov (1767-1811) 8.
Yuri Petrovich Lermontov (1722 - >1778) 9.
Anna Ivanovna Lermontova (born. Boborykina, 1723-1792) 5.
Anna Vasilyevna (or Alexandra) Rykacheva[15] 10.
Vasily Ivanovich Rykachev 11.
Evdokia Ivanovna Rykacheva (born. N) 3.
Mother: Maria Mikhailovna Lermontova (nee. Arsenyev, 1795-1817)
6.
Mikhail Vasilyevich Arsenyev (1768-1810) 12.
Vasily Vasilyevich Arsenyev (b. 1731) 13.
Efimya Nikitichna Arsenyeva (born. Ivashkina) 7.
Elizaveta Alekseevna Arsenyeva (born. Stolypin, 1773-1845) 14.
Alexey Yemelyanovich Stolypin (1744-1810) 15.
Maria Afanasyevna Stolypina (born. Meshcherinova, d. 1817?)
The poet's maternal grandfather, Mikhail Vasilyevich Arsenyev (8.11.1768 — 2.1.1810), a retired lieutenant of the Guards, married in late 1794 or early 1795 in Moscow to Elizabeth Alekseevna Stolypina (1773-1845), after which he bought "almost for nothing" from Naryshkin in the Chembarsky district of the Penza province the village of Tarkhany, where he settled with his wife.
This village was founded in the XVIII century by Naryshkin, who settled there his serfs (from the Moscow and Vladimir patrimony) from among desperate thieves, thugs and schismatics hardened to fanaticism.
They talked for a long time in the Moscow region dialect with the dominant "o".
During the Pugachev uprising, rebel detachments entered the village.
The prudent headman of the village managed to appease all the dissatisfied in advance by distributing almost all the lord's bread to the peasants– which is why he was not hanged.
M. V. Arsenyev "was of medium height, handsome, stately, strong build; he came from a good old noble family."
He liked to arrange various entertainments and was distinguished by some eccentricity: he wrote a dwarf to his estate from Moscow.
Elizaveta Alekseevna Arsenyeva (1773-1845), grandmother of M. Y. Lermontov
Elizabeth Alekseevna, the poet's grandmother, was "not particularly beautiful, tall, severe and to some extent clumsy."
She had a remarkable mind, willpower and business acumen.
She came from the famous Stolypin family.
Her father was elected the leader of the nobility of the Penza province for several years.
There were 11 children in his family.
Elizaveta Alekseevna was the first child.
One of her brothers, Alexander, served as an aide de camp to Alexander Suvorov, the other two — Nikolai and Dmitry - became generals; one became a senator and was friends with Speransky, two were elected leaders of the provincial nobility in Saratov and Penza.
One of her sisters was married to a Moscow vice governor, the other to a general[16].
After the birth of her only daughter, Maria, on March 17 (28), 1795, Elizabeth Alekseevna fell ill with a female disease.
As a result, Mikhail Vasilyevich got together with a neighbor on the estate, the landowner Mansyreva, whose husband was abroad for a long time in the active army.
On January 2 (14), 1810, having learned during the Christmas tree arranged by him for his daughter about the return of Mansyreva's husband home, Mikhail Vasilyevich took poison.
Elizaveta Alekseevna, saying: "a dog is a dog's death," together with her daughter left for Penza for the funeral [17].
Mikhail Vasilyevich was buried in the family crypt in Tarkhany.
Elizabeth Alekseevna Arsenyeva began to manage her own estate.
She kept her serfs, whom she had about 600 souls, strictly, although, unlike other landowners, she never applied corporal punishment to them.
The most severe punishment for her was to shave half of the head of a guilty peasant, or to cut off the braid of a serf.
M. M. Lermontov (1795-1817),
mother of M. Y. Lermontov
The estate of Yuri Petrovich Lermontov Kropotovka, Efremovsky district of the Tula province (currently the village of Kropotovo Lermontovo of the Stanovlyansky district of the Lipetsk Region) - was located next to the village of Vasilevsky, which belonged to the Arsenyev family.
Marya Mikhailovna married Yuri Petrovich when she was not even 17 years old– as they said at the time, "she jumped out of a fever".
But for Yuri Petrovich, it was a brilliant match.
Memorial plaque at the birthplace of M. Y. Lermontov
After the wedding, the Lermontov family settled in Tarkhany.
However, Yuri Petrovich took his young wife, who was not very healthy, to Moscow to give birth, where he could count on the help of experienced doctors.
There, on the night of October 2 (14) to October 3 (15), 1814, the future great Russian poet was born in the house opposite the Red Gate (now there is a high rise building on this place, on which there is a memorial plaque with the image of M. Y. Lermontov).
Yu.
P. Lermontov (1787-1831), the poet's father
On October 11 (23), the newborn Mikhail Lermontov was baptized in the Church of the Three Saints at the Red Gate.
Her grandmother, Elizabeth Alekseevna Arsenyeva, became the godmother.
She, who did not like her son – in law, insisted that the boy be named not Peter, as his father wanted, but Mikhail in honor of his grandfather, Mikhail Vasilyevich Arsenyev.
There is an opinion that immediately after the birth of her grandson, Arsenyev's grandmother founded a new village seven versts from Tarkhan, which she named in his honor — Mikhailovsky (in fact, the Mikhailovsky farm was founded before Arsenyeva's grandson was born).
The first biographer of Mikhail Lermontov, Pavel Alexandrovich Viskovaty (1842-1905), noted that his mother, Maria Mikhailovna, was "gifted with a musical soul".
She often played music on the piano, holding her little son on her lap, and allegedly Mikhail Yuryevich inherited "his extraordinary nervousness"from her.
The Lermontovs ' family happiness was short lived.
"Yuri Petrovich grew cold to his wife for the same reason as his father in law to his mother in law; as a result, Yuri Petrovich began intimate relations with his son's wife, a young German woman, Cecilia Fyodorovna, and, moreover, with the dvorovs...
A storm broke out after Yuri Petrovich's trip with Maria Mikhailovna to visit the neighbors Golovnins... going back to Tarkhany, Maria Mikhailovna began to reproach her husband for treason; then the ardent and irritable Yuri Petrovich was exasperated by these reproaches and hit Maria Mikhailovna very hard in the face with his fist, which later served as the reason for the unbearable situation that had been established in the Lermontov family.
From that time on, Maria Mikhailovna's illness developed with incredible speed, which later turned into consumption, which brought her prematurely to the grave.
After the death and funeral of Marya Mikhailovna...
Yuri Petrovich had no choice but to go to his own small ancestral Tula estate Kropotovka, which he did soon, leaving his son, still a child, in the care of his grandmother Elizabeth Alekseevna..."
[18].
Marya Mikhailovna was buried in the same crypt as her father.
Her monument, installed in the chapel built over the crypt, is crowned with a broken anchor a symbol of unhappy family life.
There is an inscription on the monument: "Under this stone lies the body of Marya Mikhailovna y Lermontova, nee Arsenyeva, who died on February 24, 1817, on Saturday; her life was 21 years, 11 months and 7 days."
Elizaveta Alekseevna Arsenyeva, who survived her husband, daughter, son in law and grandson, is also buried in this crypt.
She doesnot have a monument.
The village of Tarkhany with the village of Mikhailovskaya after the death of Elizabeth Alekseevna Arsenyeva passed, according to a spiritual will, to her brother Afanasy Alekseevich Stolypin, and then to the son of the latter – Alexey Afanasyevich.
On December 1, 1974, next to the Arsenyev chapel, thanks to the efforts of the famous Soviet lermontologist Irakli Andronikov and the 2nd secretary of the Penza Regional Committee of the CPSU, Georg Myasnikov, the poet's father, Yuri Petrovich Lermontov, was also reburied (his ashes were transferred from the village of Shipovo, Lipetsk region)[19][20].
Education[edit / edit wiki text]
M. Y. Lermontov at the age of 6-9 years.
M. Y. Lermontov at the age of 3-4 years.
Tarkhans
The poet's grandmother, Elizabeth Alekseevna Arsenyeva, passionately loved her grandson, who was not in good health as a child.
Energetic and persistent, she made every effort to give him everything that a successor of the Lermontov family can claim.
She didnot care about her father's feelings and interests.
Lermontov in his youth works reproduces the events and characters of his personal life very fully and accurately.
Lermontov's father did not have the means to raise his son.
The drama with the German title — "Menschen und Leidenschaften" - tells the discord between his father and grandmother.
Lermontov's father did not have the means to raise his son the way the aristocratic relatives wanted, and Arsenyeva, having the opportunity to spend "four thousand a year on teaching different languages for her grandson," took him to her with an agreement to raise him until the age of 16, make him her sole heir and consult with her father in everything.
But the last condition was not fulfilled; even the meetings of father and son were met with insurmountable obstacles on the part of Arsenyeva.
The child should have been aware of the unnatural nature of this situation from the very beginning.
His childhood was spent on his grandmother's estate – in the village of Tarkhany, Penza province.
The boy was surrounded by love and care — but he did not have the bright impressions of childhood that are characteristic of age.
In the unfinished youth "Story" Lermontov describes the childhood of Sasha Arbenin, the double of the author himself.
From the age of six, Sasha discovers a tendency to dreaminess, a passionate attraction to everything heroic, majestic and stormy.
Lermontov was born sickly and suffered from scrofula all his childhood years; but this disease also developed an extraordinary moral energy in the child.
The child's painful condition required so much attention that the grandmother, who spared nothing for her grandson, hired for him Dr. Anselm Levis (Levi) — a Jew from France, whose main responsibility was the treatment and medical supervision of Mikhail.
The "Story" recognizes the influence of the disease on the mind and character of the hero: "he learned to think ...
Deprived of the opportunity to have fun with the ordinary amusements of children, Sasha began to look for them in himself.
Imagination has become a new toy for him…
During the torturous insomnia, suffocating between hot pillows, he was already getting used to overcoming the sufferings of the body, being carried away by the dreams of the soul…
It is likely that his early mental development hindered his recovery a lot..."
This early development became a source of frustration for Lermontov: no one around him was not only able to meet the "dreams of his soul", but did not even notice them.
Here the main motives of his future poetry "disappointments"are rooted.
A sullen child grows contempt for everyday life around him.
Everything alien and hostile to her aroused in him a warm sympathy: he himself is lonely and unhappy— every loneliness and someone else's misfortune, resulting from people's misunderstanding, indifference or petty egoism, seems to him to be his own.
In his heart, there is a feeling of alienation among people and an irresistible thirst for a native soul– just as lonely, close to the poet with its dreams and, perhaps, sufferings.
And as a result, "In my childishness, I began to understand the longing of a sultry love / I began to understand a restless soul."
As a boy of ten, his grandmother took him to the Caucasus, to the waters; here he met a girl of nine years old — and for the first time an unusually deep feeling awoke in him, which left a memory for the rest of his life; but at first it was unclear and unsolved for him.
Two years later, the poet tells about a new hobby, dedicates the poem "To the Genius"to him.
Caucasian landscape with a lake, a children's drawing by Lermontov from the album.
The first love has inextricably merged with the overwhelming impressions of the Caucasus.
"The Caucasus Mountains are sacred to me," Lermontov wrote.
They united all the dear things that lived in the soul of the poet of the child.
Since the autumn of 1825, Lermontov's more or less permanent training sessions begin, but the choice of teachers — a Frenchman Capet and a Greek who fled from Turkey was unsuccessful.
The Greek soon completely abandoned his pedagogical studies and took up fur making.
The Frenchman obviously did not inspire Lermontov with a special interest in the French language and literature: in the poet's student notebooks, French poems give way to Russian very early.
Nevertheless, having an excellent library in Tarkhany, Lermontov, who was addicted to reading, was engaged in self education under the guidance of teachers and mastered not only European languages (he read English, German and French writers in the originals), but also perfectly studied European culture in general and literature in particular.
As a fifteen year old boy, he regrets that he did not hear Russian folk tales in his childhood: "they probably have more poetry than in all French literature."
He is captivated by the mysterious, but courageous images of the outcasts of human society — "corsairs", "criminals", "prisoners", "prisoners".
Two years after returning from the Caucasus, my grandmother took Lermontov to Moscow, where in 1829-1832 she rented a small wooden one story (with a mezzanine) mansion on Malaya Molchanovka for living [21].
She began to prepare her grandson for admission to the university noble boarding school – immediately in the 4th grade.
His teachers were Zinoviev (a teacher of Latin and Russian at a boarding school) and a Frenchman Gondrot, a former colonel of the Napoleonic guard.
The latter was replaced in 1829 by the Englishman Windson, who introduced Lermontov to English literature.
At the boarding school, the future poet studied literacy and mathematics.
After studying, M. Y. Lermontov still spoke four languages, played four musical instruments (seven string guitar, violin, cello and piano), was fond of painting and even mastered the technique of needlework.
Lermontov stayed at the boarding school for about two years.
Here, under the leadership of Merzlyakov and Zinoviev, a taste for literature was instilled: there were "meetings on literature", young people tried their hand at independent creativity, there was even a magazine with the main participation of Lermontov.
The poet began to read fervently; at first he is absorbed in Schiller, especially his youthful tragedies; then he takes up Shakespeare, in a letter to a relative "stands up for his honor", quotes scenes from "Hamlet".
a welcome to "everything in the world".
A little later, mourning his father, he calls himself and him "victims of the earthly lot": "you gave me life, but happiness is not given!.."
The first youthful hobbies[edit / edit wiki text]
Lermontov at the monument "The Millennium of Russia" in Veliky Novgorod.
The inscription on the front side of the obelisk in Serednikovo.
The inscription on the back of the obelisk in Serednikovo.
In the spring of 1830, the noble boarding school was transformed into a gymnasium, and Lermontov left it.
He spent the summer in Serednikov, the estate of his grandmother's brother, Stolypin, near Moscow.
Currently, a monument has been erected there with an inscription on the facade side: "M. Y. Lermontov, 1914, This obelisk was erected in memory of his stay in 1830-1831 in Srednikov."
The back side contains the words: "To the singer of sadness and love..."
Varvara Lopukhina Bakhmeteva.
Watercolor by Mikhail Lermontov.
Not far from Serednikovo lived other relatives of Lermontov the Vereshchagins; Alexandra Vereshchagina introduced him to her friend, Ekaterina Sushkova, also a neighbor on the estate.
Sushkova, later Khvostova, left notes about this acquaintance.
Their content is a real "novel", which falls into two parts: in the first — the triumphant and mocking heroine, Sushkova, in the second the cold and even cruelly vindictive hero, Lermontov.
A sixteen year old "boy", prone to" sentimental judgments", plain, club footed, with red eyes, with a turned up nose and a sarcastic smile, could least of all seem an interesting cavalier for young ladies.
In response to his feelings, he was offered a "top or a string", treated to buns stuffed with sawdust.
Sushkova, many years after the event, portrayed the poet in the illness of hopeless passion and even attributed to herself a poem dedicated to Lermontov to another girl Varenka Lopukhina, his neighbor in the Moscow apartment on Malaya Molchanovka: for the rest of his life, he had the deepest feeling ever evoked in him by a woman.
In the same summer of 1830, Lermontov's attention focused on the personality and poetry of Byron; for the first time he compares himself with an English poet, realizes the similarity of his moral world with Byron's, devotes several poems to the Polish revolution.
It is unlikely that, in view of all this, the poet's fascination with the "black eyed" beauty, that is, Sushkova, can be recognized as all consuming and tragic, as the heroine herself draws it.
But this did not prevent the "novel" from introducing a new bitterness into the poet's soul; this will later be proved by his really cruel revenge — one of his responses to human heartlessness, which thoughtlessly poisoned his "childish days", extinguished the "divine fire"in his soul.
In 1830, Lermontov wrote a poem "Prediction" ("There will come a year, / a black year for Russia, / When the crown of the tsars will fall...").
By 1830, the poet met Natalia Fedorovna Ivanova — a mysterious stranger N. F. I., whose initials were revealed to Irakli Andronikov.
The so called "Ivanovo cycle" of about thirty poems is dedicated to her.
Relations with Ivanova initially developed differently than with Sushkova — Lermontov felt a mutual feeling for the first time.
However, soon an incomprehensible change comes in their relationship, an ardent, young poet is preferred to a more experienced and wealthy rival.
By the summer of 1831, the theme of infidelity and infidelity became the key theme in Lermontov's work.
From the "Ivanovsky" cycle of poems, it is clear how painfully the poet experienced this feeling.
The poems addressed to N. F. Ivanova do not contain any direct indications of the reasons for the heart drama of two people, in the first place only the feeling of unrequited love itself, interspersed with thoughts about the bitter fate of the poet.
This feeling becomes more complicated in comparison with the feeling described in the cycle to Sushkova: the poet is oppressed not so much by the lack of reciprocity, but by the unwillingness to appreciate the rich spiritual world of the poet.
At the same time, the rejected hero is grateful to his beloved for the uplifting love that helped him to fully realize his vocation as a poet.
The heartache is accompanied by reproaches to his unfaithful chosen one for stealing him from Poetry.
At the same time, it is poetic creativity that can immortalize the feeling of love:
But there is no grave for the heavenly one.
When I will be dust, my dreams,
At least the surprised light will not understand them
He will bless you; and you, my angel, you
You will not die with me: my love
He will give you to the immortal life again;
With my name, they will repeat
Yours: why should they separate the dead?
The poet's love becomes an obstacle to poetic inspiration and creative freedom.
The lyrical hero is overwhelmed by a contradictory range of feelings: tenderness and passion struggle in him with innate pride and love of freedom[22].
During his studies at Moscow University in 1830-1832, Lermontov lived in the house of his grandmother Elizabeth Alekseevna Arsenyeva.
Moscow, Malaya Molchanovka, 2.
Now his museum is located here.
Since September 1830, Lermontov has been a student at Moscow University, first at the "moral and political department", then at the "verbal".
A serious intellectual life developed outside the walls of the university, in student circles, but Lermontov does not agree with any of them.
He undoubtedly has more inclination for secular society than for abstract comradely conversations: he is by nature an observer of real life.
The feeling of young, unsullied trustfulness disappeared, the ability to respond to the feeling of friendship, to the slightest glimmer of sympathy, cooled down.
His moral world was of a different type than that of his comrades, enthusiastic Hegelians and aestheticians.
He respected the university no less than they did: he calls the "bright temple of science" a "holy place", describing the desperate disregard of students for the priests of this temple.
He also knows about the philosophical arrogant "disputes" of young people, but he does not take part in them himself.
He probably did not even know the most ardent debater — the famous critic later, although one of the heroes of his student drama "The Strange Man" bears the surname Belinsky, which indirectly indicates Lermontov's uneasy attitude to the ideals preached by the enthusiastic youth among whom he had to study.
The main character — Vladimir embodies the author himself; through his mouth, the poet frankly confesses to the painful contradiction of his nature.
Vladimir knows the egoism and insignificance of people — and yet he cannot leave their society: "when I'm alone, it seems to me that no one loves me, no one cares about me — and it's so hard!".
Even more important is the drama as an expression of the poet's social ideas.
The peasant tells Vladimir and his friend, Belinsky opponents of serfdom about the cruelties of the landowner and about other peasant misfortunes.
The story makes Vladimir angry, pulls out a cry from him: "Oh, my fatherland! my fatherland!", and Belinsky is forced to help the peasants.
For Lermontov's poetic activity, the university years turned out to be extremely fruitful.
His talent matured quickly, the spiritual world was defined sharply.
Lermontov diligently attends Moscow salons, balls, masquerades.
He knows the real price of these entertainments, but he knows how to be cheerful, to share the pleasures of others.
To superficial observers, Lermontov's stormy and proud poetry seemed completely unnatural with his secular talents.
They were ready to consider his demonism and disappointment as a "drapery", to recognize his" cheerful, relaxed appearance "as a truly Lermontov property, and the burning" longing "and" anger " of his poems as a pretense and a conditional poetic masquerade.
But it was poetry that was a sincere echo of Lermontov's moods.
"Inspiration saved me from petty vanities," he wrote, and gave himself up to creativity as the only pure and high pleasure.
"Light", in his opinion, levels and trivializes everything, smooths out personal shades in people's characters, erases all originality, brings everyone to the same level of an animated mannequin.
Having belittled a person, the "light" teaches him to be happy precisely in a state of impersonality and humiliation, fills him with a sense of self satisfaction, kills any possibility of moral development.
Lermontov is afraid of being subjected to such a fate himself; more than ever, he hides his intimate thoughts from people, arms himself with ridicule and contempt, sometimes plays the role of a kind fellow or a desperate seeker of secular adventures.
In solitude, he remembers Caucasian impressions — powerful and noble, not a single feature similar to the trifles and infirmities of refined society.
He repeats the dreams of the poets of the last century about a natural state free from the" decency of chains", from gold and honors, from the mutual hostility of people.
He cannot allow "unfulfilled desires" to be put into our soul, so that we search in vain "for perfection in ourselves and in the world".
His mood is a disappointment of active moral forces, a disappointment in the negative phenomena of society, in the name of fascination with the positive tasks of the human spirit.
These motives were fully determined during Lermontov's stay at Moscow University, which is precisely why he kept his memory as a "holy place".
The petition of M. Y. Lermontov to the board of Moscow University for dismissal from the number of students.
June 1, 1832
Lermontov did not stay at the university for even two years; the certificate issued to him says that he was dismissed "on request" — but the petition, according to legend, was forced by student history with one of the least respectable professors Malov.
Since June 18, 1832, Lermontov was no longer listed as a student.
Comments on The "Memoirs" of P. F. Vistengof specify that Lermontov left Moscow University (did he apply?) in the spring of 1832, at the same time, the first of the four semesters of his stay did not take place because of the quarantine on the occasion of the cholera epidemic, in the second semester classes did not improve partly because of the "Malovskaya history", and then Lermontov transferred to the verbal department.
There, at the rehearsals of exams in rhetoric (P. V. Pobedonostsev), as well as heraldry and numismatics (M. S. Gastev) Lermontov, finding himself well read beyond the program and at the same time ignorant of the lecture material, entered into arguments with the examiners; after an explanation with the administration, a litter appeared next to his name in the list of students: Lat.
consilium abeundi ("advised to leave")[23].
He left for St. Petersburg with the intention of re entering the university, but they refused to count the two years spent at Moscow University, offering to enroll again for the 1st year.
Lermontov was not satisfied with such a long student life, and he, under the influence of St. Petersburg relatives, first of all Mongo Stolypin, contrary to his own plans, enters the School of Guards sub ensigns and cavalry junkers.
This career change also corresponded to the wishes of my grandmother.
Lermontov stayed at school for two "ill fated years", as he himself puts it.
No one thought about the mental development of the students; they were "not allowed to read books of purely literary content."
A magazine was published at the school, but its character is quite obvious from Lermontov's poems included in this organ: "Ulansha", "Peterhof Holiday"…
On the eve of joining the school, Lermontov wrote a poem "Sail"; the "rebellious" sail, "asking for a storm" in moments of unruffled peace — this is still the same restless soul of the poet from childhood.
"He was looking for perfection in people, and he himself was not better than them, "he says through the mouth of the hero of the poem" The Angel of Death", written back in Moscow.
There is an opinion in Lermontov studies that during the two junker years Lermontov did not create anything significant.
Indeed, in the volume of poems over the years, we will find only a few "Junker Prayers".
But we should not forget that Lermontov pays so little attention to poetry not because he is completely immersed in the junker revelry, but because he works in a different genre: Lermontov is writing a historical novel on the theme of Pugachevism, which will remain unfinished and will go down in literary history as the novel "Vadim".
In addition, he writes several poems and is increasingly interested in drama.
The life that he leads, and which causes sincere fear among his Moscow friends, gives him the opportunity to study life in its entirety.
And this knowledge of life, the brilliant knowledge of the psychology of people, which he mastered during his junker years, will be reflected in his best works.
Junker revelry and bullying have now provided him with the most convenient environment for the development of any "imperfections".
Lermontov did not lag behind his comrades in anything, was the first participant in all the adventures — but even here the chosen nature affected immediately after the most apparently unaccountable fun.
Both in Moscow society and in the junker feasts, Lermontov was able to save his "best part", his creative forces; in his letters one sometimes hears bitter regret for past dreams, cruel self reproach for the need for"sensual pleasure".
Everyone who believed in the poet's talent became afraid for his future.
Vereshchagin, a constant friend of Lermontov, in the name of his talent, implored him to "firmly stick to his road".
Lermontov described the junkers ' amusements, including erotic ones, in his poems.
These youthful poems, which also contained obscene words, earned Lermontov his first poetic fame.
In 1832, in the arena of the School of Guards Ensigns, a horse hit Lermontov in the right leg, bruising it to the bone.
Lermontov was lying in the infirmary, he was treated by the famous doctor N. F. Arendt.
Later, the poet was discharged from the infirmary, but the doctor visited him at the house of E. A. Arsenyeva[24].
In the Guard[edit / edit wiki text]
Patent to M. Y. Lermontov for the rank of Life Guard cornet.
Having left school (November 22, 1834) as a cornet in the Life Guards Hussar Regiment, Lermontov still lives among hobbies and reproaches of his conscience; among passionate impulses and doubts bordering on despair.
He writes about them to his friend Maria Lopukhina; but he exerts all his strength so that his comrades and the " light "do not suspect his" Hamlet " moods.
M. Y. Lermontov in the uniform of the Life Guards of the Hussar regiment.
Portrait of P. Z. Zakharov, a Chechen.
People who knew him intimately, like Vereshchagina, were sure of his "good character" and "loving heart"; but Lermontov considered it humiliating for himself to appear kind and loving before the "arrogant buffoon" — "light".
On the contrary, he wants to appear merciless in words, cruel in actions, at all costs to be known as an inexorable tyrant of women's hearts.
Then it was time for the reckoning for Sushkova.
Ekaterina Sushkova
Lermontov's hussar, the heir to a large fortune, did not cost anything to fill the heart of a once mocking beauty, to upset her marriage with Lopukhin.
Then the retreat began: Lermontov took such a form of appeal to Sushkova that she was immediately compromised in the eyes of the "light", having fallen into the position of a ridiculous heroine of a failed novel.
Lermontov had to finally break with Sushkova — and he wrote an anonymous letter to her with a warning against himself, sent the letter to the relatives of the unfortunate girl and, according to him, produced "thunder and lightning".
Then, when meeting the victim, he played the role of an astonished, distressed knight, and in the last explanation he bluntly stated that he did not love her and, it seems, had never loved her.
All this, except for the scene of separation, is told by Lermontov himself in a letter to Vereshchagina, and he sees only the "funny side of the story".
The only time Lermontov will allow himself not to compose a novel, but to "live it" in real life, playing the story according to the notes, as Pechorin will do in the near future.
Completely indifferent to the service, inexhaustible in mischief, Lermontov writes drinking songs of the most relaxed genre — and at the same time such works as "I, the Mother of God, am now with prayer"…
Until now, Lermontov's poetic talent was known only in officers ' and secular circles.
His first work that appeared in print, "Hadji Abrek", got into the" Library for Reading " without his knowledge, and after this involuntary, but successful debut, Lermontov did not want to print his poems for a long time.
Pushkin's death revealed Lermontov to the Russian public in all the power of his poetic talent.
Lermontov was ill when the terrible event took place.
He heard contradictory rumors; "many, "he says," especially the ladies, justified Pushkin's opponent, " because Pushkin was bad looking and jealous and had no right to demand love from his wife.
At the end of January, the same doctor N. F. Arendt, having visited the sick Lermontov, told him the details of the duel and Pushkin's death[24].
Another writer, P. A. Vyazemsky, told about the doctor's special attitude to the events that took place[25].
Autograph of the poem "The Death of a Poet".
Ending.
List of 1837 State Literary Museum, Moscow
Involuntary indignation seized Lermontov, and he " poured out the bitterness of his heart on paper."
The poem "The Death of the Poet" (1837) ended first with the words "And on his lips is the seal".
It quickly spread "in the lists", caused a storm in high society and new praise for Dantes.
Finally, one of Lermontov's relatives, N. Stolypin, began to criticize his vehemence towards such a "gentleman" as Dantes to his face.
Lermontov lost his temper, ordered the guest to leave and in a fit of passionate anger scribbled the final 16 lines – " And you, arrogant descendants...".
The arrest and trial followed, which was supervised by the Emperor himself; Pushkin's friends, first of all Zhukovsky, who was close to the Imperial Family, stood up for Lermontov, in addition, the grandmother, who had secular connections, did everything to soften the fate of her only grandson.
Some time later, Cornet Lermontov was transferred "by the same rank"[26], i.e. ensign[27], to the Nizhny Novgorod Dragoon regiment operating in the Caucasus.
The poet went into exile, accompanied by general attention: there was both passionate sympathy and hidden hostility[source not specified 281 days].
The first stay in the Caucasus and its influence on creativity[edit / edit wiki text]
Self portrait
Lermontov's first stay in the Caucasus lasted only a few months.
Thanks to the efforts of his grandmother[28], he was first transferred with the returned rank of cornet to the Life Guards Grodno Hussar Regiment, located in the Novgorod province, and then — in April 1838 — transferred to the Life Guards Hussar Regiment of His Majesty.
With the regiment, Lermontov also traveled through the territory of Azerbaijan (Shusha (Nukha?), Cuba, Shamakhi)[29].
Despite the short duration of his service in the Caucasus, Lermontov managed to change a lot morally.
Impressions of the nature of the Caucasus, the life of mountaineers, Caucasian folklore formed the basis of many of Lermontov's works[29].
Nature has attracted all his attention; he is ready to sit "all his life" and admire its beauty; society seems to have lost its attractiveness for him, the youthful gaiety has disappeared, and even fashionable ladies noticed a "black melancholy" on his face.
The instinct of the poet psychologist drew him, however, into the midst of people.
He was little appreciated here, even less understood, but bitterness and anger boiled up in him, and new fiery speeches were put on paper, in the imagination immortal images were formed there.
Lermontov returns to the St. Petersburg "light", again plays the role of a lion, especially since all the lovers of celebrities and heroes are now courting him; but at the same time he is considering a powerful image that excited his imagination even in his youth.
The Caucasus has renewed long standing dreams; "Demon" and "Mtsyri" are being created.
"A few years ago,
Where, merging, they make noise,
Embracing like two sisters,
Streams of Aragva and Chickens..."
Both the one and the other poem were conceived long ago.
The poet thought about the" Demon " even in Moscow, before entering the university, later he began and reworked the poem several times; the origin of "Mtsyri" is undoubtedly hidden in a youthful note by Lermontov, also from the Moscow period: "to write notes of a young monk: 17 years old.
Since childhood, he has not read in a monastery, except for sacred books…
The passionate soul languishes.
Ideals".
At the heart of the "Demon" is the consciousness of loneliness among the entire universe.
Features of demonism in Lermontov's work: a proud soul, alienation from the world and contempt for petty passions and cowardice.
The world is small and pitiful for a demon; for Mtsyri, the world is hateful, because there is no will in it, there is no embodiment of the ideals brought up by the passionate imagination of the son of nature, there is no exodus to the mighty flame that has been living in the chest from a young age.
"Mtsyri" and" Demon " complement each other.
The Georgian military road near Mtskheta (Caucasian view from the sakla).
1837.
Painting by M. Y. Lermontov.
Cardboard, oil.
The difference between them is not psychological, but external, historical.
The demon is rich in experience, he has watched humanity for centuries — and has learned to despise people consciously and indifferently.
Mtsyri dies in blooming youth, in the first impulse to will and happiness; but this impulse is so decisive and powerful that the young prisoner manages to rise to the ideal height of demonism.
A few years of tedious slavery and loneliness, then a few hours of admiration for the freedom and greatness of nature, suppressed the voice of human weakness in him.
Demonic worldview, harmonious and logical in the speeches of the Demon, Mtsyri has a cry of premature agony.
Demonism is a general poetic mood composed of anger and contempt; the more mature the poet's talent becomes, the more real this mood is expressed and the chord is decomposed into more specific, but also more definite motives.
The "Duma" is based on the same Lermontov's feelings about "light" and "peace", but they are aimed at tactile, historically accurate social phenomena: "the earth", so arrogantly humiliated by a Demon, gives way to "our generation", and powerful, but vague pictures and images of the Caucasian poem turn into life types and phenomena.
This is also the meaning of the New Year's greeting for 1840.
M. Y. Lermontov after returning from the first exile.
one thousand eight hundred thirty eight
Obviously, the poet was quickly moving towards a clear, real creativity, the makings of which were rooted in his poetic nature; but the collisions with everything around him were not without influence.
It was they who were supposed to set more definite goals for the poet's anger and satire and gradually turn him into a painter of social mores.
While in Tiflis, Lermontov began to learn the Azerbaijani ("Tatar", according to the terminology of that time) language.
In 1837, in his letter to S. A. Rayevsky, Lermontov writes: "I started studying in Tatar, a language that is necessary here, and in general in Asia, like French in Europe — but it's a pity, I wonot finish studying now, and later it could be useful..."
[30].
Lermontov was taught Azerbaijani by the famous Azerbaijani educator Mirza Fatali Akhundov, who served at that time as an interpreter in the office of the Caucasian governor[31].
The first duel[edit / edit wiki text]
M. Y. Lermontov in 1840
After returning from his first exile, Lermontov brought a lot of new poetic works.
After the "Death of the Poet", he became one of the most popular writers in Russia, and even in the light he is now perceived quite differently.
Lermontov joined the circle of Pushkin's friends and finally begins to be published, almost every issue of Krayevsky's magazine "Otechestvennye Zapiski" comes out with new poems by the poet.
On February 16, 1840, in the house of the Countess Laval, in the midst of the ball, a quarrel between Lermontov and the son of the French ambassador de Barant, Ernest, broke out as if by chance.
The young Frenchman was informed of Lermontov's epigram, written at the junker school at the address of a completely different person, and was assured that the poet insulted him in this quatrain, and even allegedly spoke ill of him in a conversation with a lady.
At the ball, Barant approached Lermontov and demanded an explanation from him.
The duel took place on February 18 early in the morning on the Pargolovskaya road, beyond the Black River, not far from the place where Pushkin shot with Dantes.
The duel ended bloodlessly: one sword broke, they switched to pistols, and Barant, although he aimed, missed, and Lermontov discharged the pistol after that, firing to the side.
The opponents reconciled and left.
But in secret ways, the authorities became aware of the duel.
Lermontov was arrested and put on military trial for "not reporting" about the duel.
And the young Barant, in order not to involve him in a judicial investigation, was advised by the Foreign Minister Count Nesselrode in a private conversation to go abroad for a while.
Finally, the verdict was passed and approved: the tsar ordered Lermontov to be exiled again to the Caucasus, to an army regiment that fought in the most remote and dangerous point of the Caucasian line[32].
During the arrest, Belinsky visited Lermontov.
When he met the poet, it is not known for sure: according to Panaev — in St. Petersburg, at Krayevsky, after Lermontov's return from the Caucasus; according to Lermontov's friend at the university boarding school I. Satin — in Pyatigorsk, in the summer of 1837.
One thing is quite certain that Belinsky's impression of the first acquaintance remained unfavorable.
Lermontov, out of habit, avoided serious conversation, poured out jokes and witticisms about the most important topics — and Belinsky, according to him, did not see through Lermontov.
Russian Russian literature The meeting in the guardhouse ended completely differently: the conversation turned to English literature, about Walter Scott, turned to Russian literature, and then to the whole of Russian life.
Belinsky was delighted with both the personality and the artistic views of Lermontov.
He saw the poet as "himself"; "there was so much truth, depth and simplicity in his words!"
— Belinsky noted.
Belinsky's impressions were repeated on Friedrich Bodenstedt, later a translator of the poet's works.
To appear and to be for Lermontov were two completely different things; in front of people he didnot know much, he preferred to appear, but he was absolutely right when he said: "I am better than I seem to people."
M. Y. Lermontov after the Valerian battle.
Palen D. P.
July 23, 1840
The second exile to the Caucasus was radically different from what was waiting for him in the Caucasus a few years earlier: then it was a pleasant walk, which allowed Lermontov to get acquainted with eastern traditions, folklore, and travel a lot.
Now his arrival was accompanied by a personal order from the emperor not to let the poet go from the first line and to involve him in military operations.
Arriving in the Caucasus, Lermontov plunged into combat life and at the very first distinguished himself, according to the official report, "courage and composure".
In the poem "Valery" and in a letter to Lopukhin, Lermontov does not say a word about his exploits.
Lermontov's secret thoughts have long been given to Roman.
It was conceived during his first stay in the Caucasus; Princess Mary, Grushnitsky and Dr. Werner, according to the same Satin, were copied from the originals back in 1837.
The subsequent processing probably focused mainly on the personality of the main character, whose characterization was associated for the poet with the matter of self knowledge and self criticism.
At first, the novel "The Hero of Our Time" existed in the form of separate chapters, printed as independent stories in the magazine "Otechestvennye Zapiski".
But soon the novel was published, supplemented with new chapters and thus received completeness.
The first edition of the novel was quickly sold out, and almost immediately there was criticism of it.
Almost everyone, except Belinsky, agreed that Lermontov portrayed himself in the image of Pechorin, and that such a hero cannot be a hero of his time.
Therefore, the second edition, which appeared almost immediately after the first, contained the author's preface, in which he responded to hostile criticism.
In the "Preface" Lermontov drew a line between himself and his hero and outlined the main idea of his novel.
In 1840, the only lifetime edition of Lermontov's poems was published, in which he included 26 poems and two poems — "Mtsyri" and "A Song about ... the merchant Kalashnikov".
Pyatigorsk.
The second duel[edit / edit wiki text]
The last lifetime portrait of Lermontov in a frock coat of an officer of the Tenginsky Infantry regiment.
1841 Artist K. A. Gorbunov
Lermontov's killer Nikolai Martynov
The house in Pyatigorsk, where Lermontov lived the last two months of his life
In the winter of 1840-1841, while on vacation in St. Petersburg, Lermontov tried to retire, dreaming of devoting himself entirely to literature, but did not dare to do so, because his grandmother was against it, she hoped that her grandson would be able to make a career for himself and did not share his passion for literature.
Therefore, in the spring of 1841, he was forced to return to his regiment in the Caucasus.
On the way to the Caucasus, Lermontov turned to Zemlyansk.
He met former brother A. G. Remy, which has long been familiar, he gave as his cigarette case depicting a hunting dog (now this exhibit is in the Museum of the reserve "Tarkhany").
With Remy appointed in Novocherkassk, Lermontov visited the officer in the life guards hussar regiment, A. L., Potapov, his Voronezh estate Semidurable 50 km from Voronezh and 10 km South West of Zemlyansk.
He left St. Petersburg with heavy forebodings [33] - first to Stavropol, where the Tenginsky regiment was stationed, then to Pyatigorsk.
In Pyatigorsk, he had a quarrel with retired Major Nikolai Martynov.
Lermontov first met Martynov at the school of guards sub ensigns, which Martynov graduated a year later than Lermontov.
In 1837, Lermontov, who was transferred from the Guards to the Nizhny Novgorod Regiment for his poems "On the Death of a Poet", and Martynov, who was going to the Caucasus, spent two weeks in Moscow, often having breakfast together at Yar's.
Lermontov visited the Moscow home of Martynov's parents.
Subsequently, contemporaries believed that the prototype of Princess Mary was Natalia Solomonovna Martynov's sister.
As N. I. Lorer wrote in his "Notes of the Decembrist" :
Martynov served in the cavalry guards, moved to the Caucasus, to a line Cossack regiment and had just left the service.
He was very good looking and had a brilliant secular education.
By wearing a Circassian suit out of convenience and habit, he exaggerated the tastes of the mountaineers and, of course, thereby incurred the ridicule of his comrades, among whom Lermontov was the most implacable by his mindset.
As long as these jokes were within the bounds of decency, everything went well, but water and stone sharpens, and when Lermontov allowed himself inappropriate jokes in the company of ladies..., these jokes seemed offensive to Martynov's vanity, and he modestly noticed to Lermontov all their inappropriateness.
But the bilious and bored man did not leave his victim, and when they once met in the Verzilins ' house, Lermontov continued to joke and mock Martynov, who, finally, out of patience, said that he would find a way to silence the offender.
Spoiled by the general attention, Lermontov could not give in and replied that he was not afraid of anyone's threats, and would not change his behavior.
From the testimony of N. S. Martynov, given on July 17, 1841 at the investigation in the case of the duel (the spelling of the original is preserved)[34]:
Since his arrival in Pyatigorsk, Lermontov has not missed a single occasion where he could say something unpleasant to me.
Witticisms, taunts, ridicule at my expense, in a word, everything that can annoy a person without touching his honor.
I showed him, as well as I could, that I did not intend to serve as a target for his mind, but he did not seem to notice how I accepted his jokes.
About three weeks ago, during his illness, I spoke to him openly about this;
I asked him to stop, and although he did not promise me anything, joking and offering me, in turn, to laugh at him, he really stopped for a few days.
Then, he took up the old one again.
At an evening in a private house, two days before the duel, he called me out of patience, becoming attached to every word I said, showing at every step a clear desire to annoy me.
I decided to put an end to this.
When leaving this house, I held his hand so that he would walk next to me; the others were all already ahead.
Here, I told him that I had previously asked him to stop these jokes that were unbearable for me, but that now I was warning him that if he ever decided to choose me as the subject of his witticism again, I would make him stop.
He did not let me finish and repeated repeatedly: "that he did not like the tone of my sermon; that I could not forbid him to say what he wanted about me, and finally said to me:" Instead of empty threats, you would have done much better if you had acted.
You know that I never refuse duels, therefore you will not frighten anyone with this."
At this time, we came to his house.
I told him that in that case I would send my Second to him — and returned to my room.
Undressing, I told the man to ask Glebov to come to me when he arrived home.
A quarter of an hour later Glebov came into my room, I explained to him what was the matter;
I asked him to be my Second, and after receiving his consent, I told him to go to Lermontov the next day at dawn.
Glebov tried to persuade me, but I decisively told him that he would see from Lermontov's own words that in fact, it was not I who was calling, but I was being called, and that therefore it was not possible for me to take the first step towards reconciliation.
The place of the Lermontov duel
The duel took place on July 15 (July 27), 1841.
Lermontov shot up (main version)[35], Martynov right in the chest of the poet.
A group of Soviet vacationers visits the place of Lermontov's duel.
25.07.1950
Prince A. I. Vasilchikov, an eyewitness of the events who was present at the duel as a second [36], told the story of the duel.
The main idea of the author:
there were two people in Lermontov: one was good natured, for a small circle of closest friends and for those few people for whom he had a special respect; the other was arrogant and perky, for all other acquaintances.
Portrait of Lermontov in a coffin.
Lermontov's funeral could not be performed according to the church rite, despite all the efforts of friends.
The official news of his death read: "On July 15, at about 5 o'clock in the evening, a terrible storm with thunder and lightning broke out; at the same time, M. Yu.
Lermontov, who was treated in Pyatigorsk, died between the Mashuk and Beshtau mountains."
According to Prince Vasilchikov, in St. Petersburg, in high society, the poet's death was met with a review: "There is a road for him" ...
In his memoirs, P. P. Vyazemsky, according to the adjutant of Colonel Luzhin, noted that Nicholas I responded to this, saying: "A dog is a dog's death".
However, after the Grand Duchess Maria Pavlovna "flared up and reacted to these words with bitter reproach," the emperor, going into another room to those who remained after the divine service (it happened after the Sunday liturgy), announced: "Gentlemen, the news has been received that the one who could replace Pushkin for us has been killed"[37].
The first burial
Lermontov's funeral took place on July 17 (July 29), 1841 at the old Pyatigorsk cemetery.
A large number of people came to see him off on his last journey: residents of Pyatigorsk, vacationers, friends and relatives of Lermontov, more than fifty officials.
Coincidentally, the coffin with the body of Mikhail Yuryevich was carried on their shoulders by representatives of all the regiments in which the poet had to serve: Colonel S. D. Bezobrazov was a representative from the Nizhny Novgorod Dragoon Regiment, N. I. Lorer — from the Tenginsky infantry, Alexander Frantsevich Tyran — from the Life Hussar and A. I. Arnoldi — from the Grodno Hussar [38].
The poet's body rested in the Pyatigorsk land for 250 days[39].
On January 21, 1842, E. A. Arsenyeva appealed to the emperor with a request to transport the body of her grandson to Tarkhany.
Having received the Highest permission, on March 27, 1842, the servants of the poet's grandmother took Lermontov's ashes in a lead and tarred coffin to the family crypt of the village of Tarkhany.
The tombstone monument on the grave of M. Y. Lermontov in Tarkhany.
On Easter week, April 21 (May 3), 1842, the mournful cortege arrived in Tarkhany.
The coffin with Lermontov's body delivered from Pyatigorsk was installed for two days for the last farewell in the church of Mikhail Archangel.
On April 23 (May 5), 1842, a burial took place in the family chapel of the tomb, next to the graves of his mother and grandfather[40].
Addresses in Saint Petersburg[edit / edit wiki text]
august 1832 — N. V. Arsenyev's apartment house — 10A Shopping Street; 1835 — May 1836 — N. V. Arsenyev's apartment house — 10A Shopping Street; May 1836 — March 1837 — E. A. Arsenyeva's apartment in the Shakhovskaya apartment house — 61 Bolshaya Sadovaya Street; February 1838 — April 1839 — Venetskaya House — 14 Fontanka River Embankment; April 1839 — April 1841 — E. A. Arsenyeva's apartment in the Khvostova apartment house — 18 Sergievskaya Street[41].
Chronology of publications of the most important works[edit / edit wiki text]
In periodicals
"Hadji Abrek" ("Library for Reading", 1835, volume IX); "Borodino (poem)" ("Sovremennik", 1837, vol. VI); "Song about Tsar Ivan Vasilyevich" ("Literary Additions" to "The Russian Invalid", 1838, No. 18; with the signature in); "Duma" ("Domestic notes", 1839, vol. I); "Bela" (ibid., vol. II);
"The Branch of Palestine" (ibid., vol. III);
"Three Palm Trees" (ibid., vol. IV); "The Fatalist" (ibid., vol. VI);
"The Gifts of the Terek" (ibid., vol. VII); "Taman" (ibid., 1840, vol. VIII); "The Airship" (ibid., vol. X); "Angel" ("Odessa Almanac", 1840);
"The Last housewarming" ("Domestic notes", 1841, vol. XVI); "Parus" (ibid., vol. VIII); "Dispute" ("Moskvityanin", 1841, part 3);
"A fairy tale for children" ("Domestic notes", 1842, vol. XX).
After the poet's death, there were:
"Izmail Bey" ("Otechestvennye zapiski", 1843, vol. XXVII); "Tamara" (ibid.);
"The Death of a Poet" (Herzen's almanac "The Polar Star" for 1856; "Bibliographic Notes", 1858, No. 20; before the verse: "And his seal is on his lips") and much more.
Selected publications
"The Hero of our time" (St. Petersburg, 1840; here for the first time "Maxim Maksimych" and "Princess Mary"; 2nd ed., 1842; 3rd ed., 1843); "Poems" (St. Petersburg, 1840; for the first time: "When the yellowing field is agitated", "Mtsyri", etc.); "Essays" (St. Petersburg, 1847, edition of Smirdin); the same (St. Petersburg, 1852; ed. Glazunov); the same (St. Petersburg, 1856; ed. his own); "The Demon" (B., 1857 and Karlsruhe, 1857);
"The Angel of Death "(Karlsruhe, 1857); "Essays" (St. Petersburg, 1860, edited by S. S. Dudyshkin; for the first time placed on a fairly complete list of "The Demon", the end of "On the death of Pushkin" is given, etc.; 2nd ed., 1863); "Poems" (Lpc., 1862); "Poems that were not included in the last edition of the works" (V., 1862); "Essays" (St. Petersburg, 1865 and 1873 and later, edited by P. A. Efremov; to the 1873 edition, an introductory article by A. N. Pypin).
When the right to ownership of Lermontov's works, which belonged to the bookseller Glazunov, expired in 1892, a number of publications appeared at the same time, of which the editions edited by P. A. Viskovatov, A. I. Vvedensky and I. M. Boldakov, which are of scientific interest, are of scientific interest.
At the same time, an illustrated edition with an article by I. I. Ivanov (M.) was published; a large number of cheap editions of individual works.
Translated into foreign languages: "Hero of Our Time" - into German by unknown (1845), Boltz (1852), Rediger (1855); into English: Pulsky (1854) and unknown (1854); into French: Leduc (1845) and unknown (1863); into Polish: Ken (1844) and Lermontov B. (1848); into Swedish: unknown (1844 and 1856); into Danish: unknown (1855) and Thorson (1856).
Poems in German: by Budberg Bennishausen (1843), Bodenstedt (1852), F. F. Fiedler (1894; an exemplary translation in proximity to the original); in French: Chopin (1853), D'angere (1866);
"The Demon" - in German: Senker (1864); in French: D'angere (1858) and Akosova (1860); in Serbian unknown (1862); "Mtsyri" - in German: by Budberg Bennishausen (1858); in Polish: Syrokomleyu (1844; 2nd ed. 1848); "Boyar Orsha" - on the Polish G. Ts. (1858)
In 1989-90, the most popular Lermontov edition in the world was published in the USSR, and in the USSR — the largest circulation subscription edition and the Lermontov edition: essays in two volumes of the publishing house "Pravda".
Its circulation was 14 million copies and was printed by at least 58 factories in various cities and republics of the USSR.
The title page of the collected works in 4 volumes.
Ogonyok Library, 1969
The cover of the world's most popular edition of Lermontov.
"Pravda", 1989
The output data of the most popular publication of Lermontov.
Circulation of 14 million, 1989
The smallest edition of M. Y. Lermontov in Russia.
Size 8 x 9 mm[42]
Lermontov the artist[edit / edit wiki text]
Main article: Drawings and paintings by Lermontov
Lermontov owns at least 13 paintings, many watercolors and drawings.
Skirmish in the mountains of Dagestan (1840-41; oil on canvas; GLM).
Remembrance of the Caucasus (March April 1838; cardboard, oil; IRLI).
Tarkhans.
Landscape with two birch trees.
(Late 1820s.
Watercolor, Library named after Saltykova Shchedrin, Saint Petersburg)
View of Tiflis (1837; cardboard, oil; GLM)
Russian Hussars in the offensive on Warsaw on September 7, 1831
The Duke of Lerma (oil on canvas; 1832-33).
A duel.
Pen, ink 1832-34.
Emilia, a character in the play "The Spaniards".
Presumably the author portrayed his beloved Varvara Lopukhina
Equestrian highlander with a banner.
1836.
Watercolour.
Sea view with a sailing boat, fragment, watercolor.
1828—1831.
Troika on the village street.
1832—1834.
The blessing of the young.
Ink, pen. 1835.
A troika.
1832—1834
A saddled horse.
Sepia.
the 1830s
The memory of Lermontov[edit / edit wiki text]
Commemorative copper nickel coin of the USSR with a value of 1 ruble, issued in 1989 in honor of M. Y. Lermontov; obverse
Celebrations of the 200th anniversary of the great poet and writer were held at the University of Malaya (Kuala Lumpur) on November 20, 2014.
In 1862, in Veliky Novgorod, M. Y. Lermontov was depicted among 129 figures of the most outstanding personalities in Russian history on the monument "1000 anniversary of Russia".
In 1889, according to the All Russian subscription, a monument to the poet was erected in Pyatigorsk according to the project of the sculptor Opekushin.
In 1892, thanks to the efforts of the Lermontov Society formed in the same year, in connection with the 50th anniversary of Lermontov's death, a bronze bust of the poet was installed on a four sided granite pedestal in the square named after M. Y. Lermontov in Penza.
In the XX century, the state museums and reserves of M. Y. Lermontov were opened in the Penza Region and in Pyatigorsk.
The city of Lermontov in the Stavropol Territory Localities — Lermontovo, Lermontovka.
Lermontovyurt until the 1990s, the name of the village of Khambi Irze Achkhoy of the Martanovsky district of Chechnya.
Lermontov's name is borne by 1700 [43] streets in populated areas of Russia, as well as many streets in other countries of the world, for example, Lermontov Street, square and Avenue in Moscow, avenue in St. Petersburg, streets in Penza, Spassk Dalny, Baku, Riga, Uglich, Petrozavodsk, Prague, etc.
The State Russian Drama Theater named after Lermontov in Grozny and the monument to the poet near the theater.
In 2006, the literary museum of M. Y. Lermo was opened in the village of Paraboch in the Shelkovsky district of Chechnya, where the poet came as a child ntova.
The State Academic Russian Drama Theater named after Lermontov in Alma Ata.
Monument in front of the building of the Nikolaev cavalry school (at the address Lermontovsky Prospekt, 54).
Monuments in Moscow and the region, St. Petersburg, Penza, Pyatigorsk, Stavropol, Gelendzhik and other cities of Russia.
Minor planet (2222) Lermontov.
A crater on Mercury.
Monuments[edit / edit wiki text]
Monument in Pyatigorsk, 1889.
Sculptor A.M. Opekushin
Bust in Penza, 1892.
Sculptor I. Ya.
Ginzburg
Monument in St. Petersburg in the Alexander Garden, 1896.
Sculptor V. P. Kreitan
Monument in Moscow, 1965.
Sculptor I. D. Brodsky
Monument in Penza, 1978.
Sculptor V. G. Stamov
Monument in Taman, 1984.
Sculptor I. D. Brodsky
Monument in Tarkhany (village of Lermontovo, Belinsky district, Penza region), 1985.
Sculptor O. K. Komov
Monument in the Muzeon Park in Moscow, 1985.
The sculptor O. K. Komov.
(The author's repetition of the monument in Tarkhany).
Monument in Kislovodsk, 2006.
Sculptor N. Khodov
Monument in Grozny, 2012.
Sculptor N. Khodov
Monument in Kuala Lumpur (Malaysia), 2015. [44]
Sculptor G. Potocki
In philately[edit / edit wiki text]
Postage stamp of the USSR, 1939
Postage stamp of the USSR, 1939
Postage stamp of the USSR, 1939
Postage stamp of the USSR, 1941
Postage stamp of the USSR, 1941
Postage stamp of the USSR, 1957
Postage stamp of the USSR, 1964
Postage stamp of the USSR, 1964
Postage stamp of the USSR, 1964
Lermontov in numismatics[edit / edit wiki text]
In 1989 (the year of the 175th anniversary of his birth) , the State Bank of the USSR issued a coin (1 ruble, copper nickel alloy, proof) dedicated to M. Y. Lermontov.
Lermontov's works in other types of art[edit / edit wiki text]
Film adaptations and films based on the works[edit / edit wiki text]
1911 — "The Demon" / Il demone, directed by Giovanni Vitrotti (Italy) 1926 — "Princess Mary" / Tavadis asuli Meri, directed by Vladimir Barsky (USSR) 1927 — "Bela", directed by Vladimir Barsky (USSR) 1927 — "Maxim Maksimych", directed by Vladimir Barsky (USSR) 1941 — "Masquerade", directed by Sergei Gerasimov (USSR) 1955 — "Princess Mary", directed by Isidor Annensky (USSR) 1965 — "Hero of our time", directed by Stanislav Rostotsky (USSR) 1966 — "Bela", directed by Stanislav Rostotsky (USSR) 1966 — "Maxim Maksimych", directed by Stanislav Rostotsky (USSR) 1968 — "Masquerade", directed by Vladimir Laptev (USSR, TV) 1975 — "Pages of Pechorin's magazine", directed by Anatoly Efros (USSR, TV, film performance) 1981 — "Masquerade", directed by Vladimir Samsonov (USSR, animated) 1985 — "Scenes from the drama "Masquerade", director Mikhail Kozakov (USSR, TV, TV show)
1985 — "Hero of Our Time", directed by Michael Almereida (USA) 1988 — "Ashik Kerib", directed by Sergey Parajanov (USSR) 2006 — "Hero of Our Time", directed by Alexander Kott (Russia)
Musical Theater[edit / edit wiki text]
1852 - "Revenge" (opera), composer A. Rubinstein (lost)[45] 1871 — "Demon" (Opera), composer Anton Rubinstein 1871 — "Tamara" (Opera), composer B. A. Fitingof Xel[45] 1879 — "the Merchant Kalashnikov" (Opera), composer Anton Rubinstein 1882 — Tamara (ballet Fokine to the music of a symphonic poem by M. Balakirev 1936 — "Treasurer" (Opera), composer Boris Asafiev 1938 — "Pechorin" (Opera), composer Alexander Melik Pashayev 1939 — "Pugachev" (Opera), composer S. V. Aksyuk 1939 — Bela (Opera), the composer Alexander Alexandrov 1940 — "Ashik Kerib (ballet)," the composer Boris Asafiev 1941 — Bela (ballet), composer V. M. Deshevov[45] 1943 — "the Fugitive" (Opera), composer B. K. Avetisov 1944 — "Masquerade" (Opera), composer R. Bunin 1952 — "The terrible year" (Opera), composer G. G. Kreitner 1955 — "Bela" (ballet), composer Boris Moshkov 1956 — "Masquerade" (ballet)
, composer L. Laputin 1957 — "Masquerade" (Opera), composer A. Artamonov, 1957 — "the Masquerade" (Opera), composed by a Colon and D. B. Zeydman[45] 1961 — "Demon (ballet)", composer S. Tsintsadze 1964 — "the novice" (ballet), composer A. M. Balanchivadze 19??
— "Masquerade" (Opera), composer Yulia Matskevich 2011 — "3 romances to poems by M. Y. Lermontov" (a cycle of songs for Alto, mezzo soprano and piano), composer Oleg Larionov
The image of Lermontov[edit / edit wiki text]
In the feature film[edit / edit wiki text]
1943 — "Lermontov" (Alexey Konsovsky) 1953 — "Belinsky" (Nikolai Afanasyev) 1986 — "Lermontov" (Nikolai Burlyaev, Ivan Burlyaev (as a child), Vladimir Faibyshev (as a child)) 2006 — " Pushkin.
The Last Duel "(Evgeny Stychkin) 2008 — "From flame and Light" (another name is "Michel Lermontov")[46] (Yuri Chursin) 2012 - "The Ambassador of Dawn" (Oleg Amirbekov) 2014 — " Duel.
Pushkin - Lermontov" (Gennady Yakovlev)
Documentaries[edit / edit wiki text]
2004 — " M. Lermontov.
The Pilgrim's Prayer "(Russia, directed by Vagran Galstyan, written by Viktor Filippov) 2005 — "The Secret of the Lermontov Duel" (Cinematographer film Studio, written and directed by Vladimir Karev)[47] 2014 — " Lermontov "("Star Media", director: Maxim Bespaly, screenplay: Elena Sibirtseva) 2014 "Unknown Lermontov" (a film dedicated to the 200th anniversary of the poet's birth, directed by Andrey Danilin, written by Marina Nikitenko)
See also[edit / edit wiki text]
► Mikhail Lermontov
Notes[edit / edit wiki text]
Masanov I. F.
New additions to the alphabetical index of pseudonyms.
Alphabetical index of authors.
/ / Dictionary of pseudonyms of Russian writers, scientists and public figures / Masanov Yu.
I — - Moscow: Publishing House of the All Union Book Chamber, 1960.
- Vol. IV — - p. 280 — - 558 p — - 15,000 copies.
Ф PHOEBE : ENI "Dictionary of pseudonyms" ↑ 1 2 Record #11857194X / / Gemeinsame Normdatei — 2012-2015.
<a href="https://wikidata.org/wiki/Track:Q27302"></a><a href="https://wikidata.org/wiki/Track:Q304037"></a><a href="https://wikidata.org/wiki/Track:Q256507"></a><a href="https://wikidata.org/wiki/Track:Q170109"></a><a href="https://wikidata.org/wiki/Track:Q36578"></a>
↑ 1 2 Short literary encyclopedia Moscow: The Great Russian Encyclopedia.
<a href="https://wikidata.org/wiki/Track:Q4239850"></a><a href="https://wikidata.org/wiki/Track:Q5061737"></a>
↑ 1 2 Bibliothèque nationale de France: open data platform — 2011.
<a href="https://wikidata.org/wiki/Track:Q20666306"></a>
Брок Brockhaus and Efron Encyclopedic Dictionary 1907.
<a href="https://wikidata.org/wiki/Track:Q602358"></a><a href="https://wikidata.org/wiki/Track:Q4436456"></a>
Ф PHOEBE : ENI Lermontov Encyclopedia ↑ In the old days, there was also a spelling of Lermants.
↑ Lermontov Mikhail Yuryevich (article in the BSE) ↑ "Lermontovs" on the website of the State Lermontov Museum Reserve "Tarkhany".
Баб Babulin I. B. Regiments of the new order in the Smolensk War of 1632-1634 / / Reitar No. 22, 2005 Ученые Scientists will try to prove that Lermontov's ancestors came from Scotland ↑ Muryanov M. F., Shekhurina L. D., Panfilova S. A.
The Lermontov family / / Lermontov Encyclopedia / USSR Academy of Sciences.
In t rus.
lit. (Pushkin. House); Scientific ed. the council of the publishing house " Sov.
Encycl. "
- M.: Sov.
Encikl., 1981.
- p. 468 .
М. M. Yu.
Lermontov in the memoirs of contemporaries.
Penza: Penza Book Publishing House, 1960.
p. 36 Молч Molchanova T.
New about the Lermontovs Сид Sidorovnin G. P. Appendix 1.
Pedigree of the Stolypins / / P. A. Stolypin: Life for the Fatherland: A biography (1862-1911).
- Moscow:: Generation, 2007.
- pp.
608-673 — - 720 p — - 3000 copies.
- ISBN 978-5-9763-0037-8.
↑ M. Y. Lermontov in the memoirs of contemporaries.
Penza: Penza Book Publishing House, 1960.
pp.
35-37 ↑ M. Y. Lermontov in the memoirs of contemporaries.
Penza: Penza Book Publishing House, 1960.
pp.
37-38; for another version of the family life of the poet's parents, see P. A. Frolov "The Birth and Collapse of the Lermontov family".
Penza, 2010.
Мяс Myasnikov G. V. Pages from the diary / Edited by M. G. Myasnikov and M. S. Poluboyarov.
- M.: Printing house of the ANO "Institute of National Problems of Education", 2008.
- pp.
217-221.
↑ Rhythm N. P. memories of Tarkhany time dad // web site "Posure" on narod.ru ↑ http://lermontov museum.ru/muzey House Museum of Mikhail Lermontov in Moscow ↑ http://4friends.od.ua/~porto fr/print.php?art num=art017&year=2004&nnumb=39 Felix Kamenetsky, Lermontov.
Love lyrics.
ист Vistengof P. F.
From my memoirs — - p. 143.
Sr.: Literary encyclopedia — - p. 289.
↑ 1 2 E. M. Khmelevskaya.
Arendt, Nikolai Fedorovich.
The Lermontov Encyclopedia.
Verified on August 16, 2008.
Archived from the original source on August 24, 2011.
Пуш Pushkin A. S. Essays.
In 5 tt .
- M.: Publishing House "Synergy", 1999.
That is, he was demoted in the military rank: he became listed not in the XII class of the Table of Ranks, but in the XIV.
In the dragoon regiments of that time, the officer ranks were the same as in the infantry (except for the absent rank of major).
A certain role in the decision of Nicholas I to return Lermontov to the guard was played by the excellent assessment given by the Emperor to the Nizhny Novgorod Dragoon regiment at the review in Tiflis on October 10, 1837.
In such cases, Nicholas I had a habit of forgiving the "guilty".
The irony of fate lies in the fact that Lermontov, although he was listed in the regiment, but, for various reasons, had not yet arrived in the regiment at that time and did not participate in the review.
↑ 1 2 O. V. Miller.
LERMONTOV PLACES AND ROUTES.
М. M. Y. Lermontov.
Collected works / Under the general editorship of I. L. Andronikov, D. D. Blagogo, Yu.
G. Oxman.
- M.: State Publishing House of Fiction, 1958.
- Vol. 4. - pp.
450-451 — - 596 p .
↑ V. V. Trepavlov.
Russians in Eurasia of the XVII XIX centuries.
- Institute of Russian History of the Russian Academy of Sciences, 2008.
- p. 382.
- 477 p. .
Let us recall how Lermontov began to learn Azerbaijani (Tatar, according to the terminology of that time), which, according to him, "is necessary here and in general in Asia, like French in Europe."
He was taught the Azerbaijani language by none other than the famous Azerbaijani educator Mirza Fatali Akhundov, who served as an interpreter in the office of the Caucasian governor.
Bestuzhev Marlinsky took lessons from him.
The poet Ya.
P. Polonsky was also familiar with Akhundov, writing down Azerbaijani folklore from his words.
И. I. Andronikov.
Lermontov.
Research and findings.
1964 ↑ Mikhail Yuryevich Lermontov.
Biography with photos ↑ M. Y. Lermontov.
The complete collection of works in ten volumes / Editor in Chief of the project V. V. Milyukov.
The editor of the volume is Yu.
P. Kulikov.
- Moscow: Sunday, 2001.
- Vol. 9. - pp.
383-384 — - 592 p. Дуэ Duels.
Lermontov Encyclopedia ↑ .
The exact distribution of seconds is unknown.
Two names are indicated in official documents: Mikhail Glebov and Prince Vasilchikov.
The first is indicated by Martynov's second, the second by Lermontov.
Researchers put forward several versions.
According to one of them, the names of two more seconds — Alexey Stolypin (Mongo) and Prince Sergei Trubetskoy — were hidden by the participants of the duel because both were in the position of exiles and could not count on leniency.
Then, it is possible that they were Lermontov's seconds.
According to another version, Stolypin and Trubetskoy were late to the place of the duel due to a heavy downpour and by agreement of the parties "the duel took place with two seconds" / / Lermontov Encyclopedia / Editor in chief V. A. Manuilov.
- M.: Soviet Encyclopedia, 1981 — - 784 p.
In the supervision of: Institute of Russian Literature of the USSR Academy of Sciences (Pushkin House).
Scientific Editorial Board of the publishing house.
- p. 152.
Благ Blagoy D. Pernicious happiness (Marriage, duel, death) / / Soul in the cherished lyre.
- 2nd, add.
- Moscow: Soviet Writer, 1979.
- pp.
475-476.
ПОХОРО THE POET'S FUNERAL ↑ The place of the original burial of M. Y. Lermontov (the old cemetery) ↑ State Museum Reserve "Tarkhany" ↑ Lermontov in St. Petersburg: addresses.
Entertaining Petersburg (April 9, 2015).
Verified on April 9, 2015.
↑ http://knigarekordovrossii.ru/index.php/rekordy/kategorii/samoe malenkoe/1300 samoe malenkoe izdanie m yu lermontova.html The Book of Records of Russia ↑ Federal information address System ↑ Victor A. Pogadaev.
Penyair Rusia menetap di Malaysia (The Russian poet registered in Malaysia).
- Dewan Sastera.
Kuala Lumpir: DBP.
2015, Bil.
5, Jilid 45, p.
4. ISSN 0126-5059 ↑ 1 2 3 4 Gozenpud A. A., Jesuitova R. V., Morozova L. I., Glovatsky B. S., Miller O. V., Vatsuro V. E. Music // Lermontov Encyclopedia / USSR Academy of Sciences.
In t rus.
lit. (Pushkin. House); Scientific ed. the council of the publishing house " Sov.
Encyclopedia. "
- Moscow: Soviet Encyclopedia, 1981.
- p. 313-323 .
Из From the flame and light information about the film, Cinema Театр.ги ↑ publications about the film: the magazine "Miracles and Adventures" 2007, No. 7, p. 9-10 (ISSN 0868-8931)
Literature about M. Y. Lermontov[edit / edit wiki text]
Lermontov, Mikhail Yuryevich / / Encyclopedic dictionary of Brockhaus and Efron : in 86 vol. (82 volumes and 4 supplements).
- St. Petersburg, 1890-1907.
"Russian acts on the poet's ancestors" ("Rus. Old " 1873, VII, 548); "Scottish news about the ancestor of the Lermonts" (ibid.);
"About Lermontov's great grandfather" ("Russian Archive" 1875, III, 107); "Decree on the resignation of Father Lermontov" ("Russian Antiquity" 1873, VII, 563);
"The Lermontov family tree in Russia" ("Russian Antiquity" 1873, VII, 551); "Speransky's review of Lermontov's father" ("Rus. Arch." 1872, II, 1851);
"A letter of nobility issued to Lermontov's father" ("Rus. St." 1882, XXXIII, 469);
"Information about Lermontov's mother" ("Rus.
Arch." 1
