Pushkin, Alexander Sergeevich
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Alexander Sergeyevich Pushkin
Alexander Pushkin,
portrait of the work of O. A. Kiprensky.
Pushkin: "I see myself as in a mirror, but this mirror flatters me."
Birth name: Russian Alexander Sergeevich Pushkin
Pseudonyms: Alexander NKSHP, Ivan Petrovich Belkin,
Feofilakt Kosichkin (magazine)[1], P., St. Arz. (Old Arzamas)
, A. B.
Date of birth: May 26 (June 6), 1799[2]
Place of birth: Moscow, Russian Empire[2]
Date of death: January 29 (February 10), 1837[2] (37 years old)
Place of death: Saint Petersburg, Russian Empire[2]
Citizenship (citizenship): The Russian Empire
Occupation: poet, novelist, playwright, literary critic, translator, publicist, historian
Creative years: 1814-1837
Direction: Romanticism, realism
Genre: Poetry, prose, play, criticism, journalism, History, Translation
Language of works: Russian, French[3]
Debut: To a friend of the poet (1814)
Signature:
Works on the site Lib.ru Works in Wikitek Files on Wikimedia Commons
Alexander Sergeevich Pushkin (May 26 (June 6), 1799, Moscow — January 29 (February 10), 1837, St. Petersburg) was a Russian poet, playwright and prose writer.
Even during Pushkin's lifetime, his reputation as the greatest national Russian poet developed[4][5].
Pushkin is considered as the creator of the modern Russian literary language[K 1].
Content
1 Biography 1.1 Origin 1.2 Childhood 1.3 Youth 1.4 Youth 1.5 In the South (1820-1824) 1.5.1 Pushkin in the Crimea 1.5.2 In Chisinau
1.6 Mikhailovskoye 1.7 After exile 1.8 Boldino 1.9 St. Petersburg 1831-1833 1.10 St. Petersburg 1833-1835 1.11 "Sovremennik" 1.12 1836-1837 years 1.13 Death 1.14 Descendants of Pushkin
2 Appearance 3 Pushkin's Work 3.1 Pushkin's Literary reputation and Cultural Role 3.2 Studying Pushkin 3.3 Denying the Significance of Pushkin's Work and Criticizing His Cult 3.4 Works 3.4.1 Poems 3.4.2 A Novel in Verse 3.4.3 Dramatic Works 3.4.4 Poems 3.4.5 Prose 3.4.6 Fairy Tales
3.5 Collected works 3.6 Editions of letters
4 Pushkin in culture 4.1 In chamber music 4.2 Film Adaptations 4.3 Musical Theater 4.4 In literature 4.5 In cinema
5 Memory of Pushkin 6 Background information 6.1 Addresses
7 Comments 8 Notes 9 Literature 10 References
Biography
Origin
Pushkin's family Tree
The origin of Alexander Sergeevich Pushkin comes from the branched untitled noble family of the Pushkins, who, according to genealogical legend, ascended to the "husband honest" Ratsha[6][K 2].
Pushkin repeatedly wrote about his ancestry in verse and prose; he saw in his ancestors an example of a true "aristocracy", an ancient family that honestly served the fatherland, but did not win the favor of the rulers and was"persecuted".
More than once he turned (including in an artistic form) to the image of his maternal great — grandfather, the African Abram Petrovich Hannibal, who became a servant and pupil of Peter I, and then a military engineer and general[8].
His paternal grandfather Lev Alexandrovich was a colonel in the artillery, a captain in the Guards.
His father was Sergei Lvovich Pushkin (1767-1848), a secular wit and an amateur poet.
Pushkin's mother was Nadezhda Osipovna (1775-1836), Hannibal's granddaughter.
His paternal uncle, Vasily Lvovich (1766-1830), was a famous poet of the Karamzin circle.
Of the children of Sergei Lvovich and Nadezhda Osipovna, in addition to Alexander, a daughter Olga (married Pavlishchev, 1797-1868) and a son Lev (1805-1852) survived[9].
Childhood
Pushkin was born on May 26 (June 6), 1799 in Moscow.
In the metrical book of the Church of the Epiphany in Elokhov (now the Epiphany Cathedral in Elokhov is located in its place), on the date of June 8, 1799, among others, there is such an entry:
May 27.
In the courtyard of the Kolezhsky registrar Ivan Vasiliev Skvartsov, a son Alexander was born to his tenant, Sergei Lvovich Pushkin.
He was baptized on June 8 of the day.
The recipient is Count Artemiy Ivanovich Vorontsov, the godfather of the mother of the said Sergius Pushkin, the widow Olga Vasilyevna Pushkin[10]:6
The future poet usually spent the summer months of 1805-1810 with his maternal grandmother Maria Alekseevna Hannibal (1745-1818, nee Pushkina[11], from another branch of the family), in the village of Zakharov near Zvenigorod near Moscow.
Early childhood impressions were reflected in the first experiments of Pushkin's poems written a little later ("Monk", 1813; "Bova", 1814), in the lyceum poems "Epistle to Yudin" (1815), "Dream" (1816).
The grandmother wrote the following about her grandson:
I donot know what will come out of my eldest grandson.
The boy is smart and a hunter for books, but he studies poorly, rarely when he passes his lesson in order; then you wonot stir him up, you wonot drive him away to play with children, then suddenly he turns around and diverges so that you canot calm him down: he rushes from one extreme to the other, he has no middle ground[10]:40
Youth
Nadezhda Osipovna Hannibal
major Sergey Lvovich Pushkin
Pushkin spent six years at the Tsarskoye Selo Lyceum, opened on October 19, 1811.
Here the young poet experienced the events of the Patriotic War of 1812.
Here, for the first time, his poetic gift was discovered and highly appreciated.
The memories of the years spent at the Lyceum, of the lyceum brotherhood, remained forever in the poet's soul[12].
During the lyceum period, Pushkin created many poetic works.
He was inspired by the French poets of the XVII—XVIII centuries, whose works he met in childhood, reading books from his father's library.
The favorite authors of the young Pushkin were Voltaire and the Guys.
His early lyrics combined the traditions of French and Russian classicism.
The teachers of Pushkin's poet were Batyushkov, a recognized master of "light poetry", and Zhukovsky, the head of Russian romanticism.
Pushkin's lyrics of the period 1813-1815 are permeated with the motives of the transience of life, which dictated the thirst for enjoying the joys of being.
Since 1816, following Zhukovsky, he turns to elegies, where he develops motifs characteristic of this genre: unrequited love, the departure of youth, the fading of the soul.
Pushkin's lyrics are still imitative, full of literary conventions and cliches, nevertheless, even then the novice poet chooses his own special path[13].
Without focusing on chamber poetry, Pushkin turned to more complex, socially significant topics.
"Memories in Tsarskoye Selo" (1814), which earned Derzhavin's approval — - at the beginning of 1815, Pushkin read a poem in his presence, dedicated to the events of the Patriotic War of 1812[14].
The poem was published in 1815 in the magazine "Russian Museum" with the full signature of the author.
And in Pushkin's epistle to Licinius, the modern life of Russia is critically depicted, where Arakcheev is brought out in the image of the "despot's favorite".
Already at the beginning of his creative career, he showed interest in Russian satirical writers of the last century.
The influence of Fonvizin is felt in Pushkin's satirical poem "The Shadow of Fonvizin" (1815); "Bova" (1814) and "Disbelief"are associated with Radishchev's work[15].
In July 1814, Pushkin made his first appearance in the press in the Moscow based magazine Vestnik Evropa.
In the thirteenth issue, the poem "To a friend of the poet" was published, signed with the pseudonym Alexander N. K. sh.
p. [K 3][10]:60.
While still a pupil of the Lyceum, Pushkin joined the literary society "Arzamas", which opposed routine and archaic in literary work, and took an effective part in the polemic with the association" Conversation of lovers of the Russian Word", which defended the canons of classicism of the last century.
Attracted by the work of the most prominent representatives of the new literary trend, Pushkin was at that time strongly influenced by the poetry of Batyushkov, Zhukovsky, Davydov[16].
The latter initially impressed Pushkin with the theme of the brave warrior, and then with what the poet himself called "the twisting of the verse" - sharp changes of mood, expression, an unexpected combination of images.
Later, Pushkin said that, imitating Davydov in his youth, "I learned his manner forever" [17].
Youth
Pushkin at the lyceum exam in Tsarskoye Selo.
Painting by I. Repin (1911)
Pushkin was released from the lyceum in June 1817 with the rank of collegiate secretary (10th grade, according to the table of ranks) and was assigned to the College of Foreign Affairs.
He becomes a regular visitor of the theater, takes part in the meetings of "Arzamas".
(he was accepted there in absentia, while still a student of the Lyceum)[18], in In 1819, he became a member of the literary and theatrical community "Green Lamp".
which is led by the "Union of Prosperity" (see the Decembrists)[19].
Not participating in the activities of the first secret organizations, Pushkin is nevertheless connected by friendly ties with many active members of Decembrist societies, writes political epigrams and poems "To Chaadaev" ("Love, hope, quiet glory...", 1818), "Liberty" (1818), "N. Ya.
Plyuskova" (1818), "Village" (1819), which were distributed in the lists.
During these years, he was busy working on the poem "Ruslan and Lyudmila", which was started at the Lyceum and met the program guidelines of the literary society" Arzamas " about the need to create a national heroic poem.
The poem was published in May 1820 (according to the lists it was known earlier) and caused various, not always benevolent, responses.
Already after Pushkin's expulsion, disputes broke out around the poem[20].
Some critics were outraged by the decline of the high canon.
The mixing of Russian French methods of verbal expression with vernacular and folklore stylistics in" Ruslan and Lyudmila " caused reproaches from the defenders of the democratic nationality in literature.
Such complaints were contained in a letter by D. Zykov, a literary follower of Katenin, published in the Son of the Fatherland[21][22].
In the South (1820-1824)
In the spring of 1820, Pushkin was summoned to the military Governor General of St. Petersburg, Count M. A. Miloradovich, to explain about the content of his poems (including epigrams on Arakcheev, Archimandrite Photius and Alexander I himself), incompatible with the status of a state official.
It was a question of his expulsion to Siberia or imprisonment in the Solovetsky monastery.
Only thanks to the efforts of friends, first of all Karamzin, it was possible to achieve a commutation of the sentence.
He was transferred from the capital to the south to the Kishinev office of I. N. Inzov[23].
On the way to his new place of service, Alexander Sergeevich falls ill with pneumonia after swimming in the Dnieper.
To improve their health, the Raevskys took the sick poet with them to the Caucasus and the Crimea at the end of May 1820[24].
On the way, the Raevsky family and A. S. Pushkin stop in Taganrog, in the former house of the mayor P. A. Papkov (40 Grecheskaya Street).
Pushkin in the Crimea
On August 16, 1820, Pushkin arrived in Feodosia.
He wrote to his brother Lev:
"We came from Kerch to Kafa, stayed with Bronevsky, a venerable man for immaculate service and poverty.
Now he is on trial — and, like the old man of Virgil, he is planting a garden on the seashore, not far from the city.
Grapes and almonds make up his income.
He is not a smart person, but he has a lot of information about the Crimea.
The important and neglected side.
From here we went by sea past the midday shores of Tavrida, to Yurzuf, where the Rayevsky family was located.
At night on the ship I wrote an elegy that I am sending you"[25].
Two days later, Pushkin and the Rayevskys left by sea for Gurzuf.
Pushkin spent several weeks in Gurzuf in the summer and autumn of 1820.
Together with the Rayevskys, he stayed in the house of the Duke of Richelieu; the poet was given a mezzanine in it, facing west.
While living in Gurzuf, the poet made many walks along the coast and in the mountains, among which were a horseback ride to the top of Ayu Dag and a boat trip to Cape Suuk Su.
In Gurzuf, Pushkin continued working on the poem "The Caucasian Prisoner", wrote several lyrical poems; some of them are dedicated to the daughters of N. N. Rayevsky — Ekaterina, Elena and Maria.
Here the poet conceived the idea of the poem "The Fountain of Bakhchisarai" and the novel "Eugene Onegin".
At the end of his life, he recalled the Crimea: "There is the cradle of my Onegin"[26].
In September 1820, on his way to Simferopol, he visited Bakhchisarai.
From a letter to Delvig:
...When I entered the palace, I saw a ruined fountain, water was falling from a rusty iron pipe by drops.
I went around the palace with great annoyance at the neglect in which it is decaying, and at the semi European alterations of some rooms[27].
Walking through the courtyards of the palace, the poet plucked two roses and put them at the foot of the" Fountain of Tears", to which he later dedicated his poems and the poem"The Fountain of Bakhchisarai".
In mid September, Pushkin spent about a week in Simferopol, presumably in the house of the Tauride governor Baranov Alexander Nikolaevich, an old friend of the poet in St. Petersburg.
Pushkin also used his impressions of visiting the Crimea in the description of "Onegin's Journey", which was first included in the poem" Eugene Onegin " as an appendix[28].
In Chisinau
Only in September he arrives in Chisinau.
The new chief condescended to Pushkin's service, allowing him to leave for a long time and visit friends in Kamenka (winter 1820-1821), go to Kiev, travel with I. P. Liprandi in Moldova and visit Odessa (late 1821).
In Chisinau, Pushkin joins the Masonic lodge "Ovid"[29], which he writes about in his diary[30].
Russian Russian poet's poem "Ruslan and Lyudmila" was the result of the school of the best Russian poets, but Pushkin's first "southern poem" "The Caucasian Prisoner" (1822) put him at the head of all modern Russian literature, brought him the well deserved fame of the first poet, which always accompanied him until the end of the 1820s.
Later, in the 1830s, he received the epithet "Russian Byron" [31].
Later, another "southern poem" "The Fountain of Bakhchisarai" (1824) was published.
The poem turned out to be fragmentary, as if concealing something unsaid, which gave it a special charm, arousing a strong emotional field in the reader's perception.
P. A. Vyazemsky wrote from Moscow about this:
The appearance of the" Bakhchisarai fountain " is worthy of attention not only of poetry lovers, but also of observers of our success in the intellectual industry, which also, not to be angry, contributes, like another, to the welfare of the state.
The manuscript of a small poem by Pushkin was paid three thousand rubles; there are not six hundred verses in it; so, the verse (and what else? note for stock appraisers a small four stop verse) cost five rubles with an excess.
A verse by Beiron, Casimir Lavigne, a line by Walter Scott brings an even more significant percentage, it's true!
But let us also remember that foreign capitalists collect interest from all educated consumers on the globe, and our capital is circulated in a close and domestic circle.
Anyway, the poems of the "Bakchisarai Fountain" were paid as much as they had not been paid for any Russian poems yet[32].
However, the poet is trying to appeal to the Russian antiquity, outlining plans poems "Mstislav" and "twerk" (the latter plan is adopted and dramatic form), creates satirical poem "Gavriiliada" (1821), the poem "Brothers robbers" (1822; special edition in 1827).
Over time, the group has matured the conviction (initially hopeless tragic) that the world has its own laws, to shake that man can not, no matter how brave and beautiful it thoughts.
In this vein, the novel in verse "Eugene Onegin" was started in May 1823 in Kishinev; the finale of the first chapter of the novel suggested the story of the hero's journey outside the homeland, modeled on Byron's poem "Don Juan".
In the meantime, in July 1823, Pushkin is seeking a transfer to the office of Count Vorontsov in Odessa.
It was at this time that he realized himself as a professional writer, which was predetermined by the rapid readership success of his works.
Courting the boss's wife, and, possibly, an affair with her and an inability to perform public service, aggravated his relationship with Vorontsov.
Pushkin's four — year stay in the south is a new romantic stage in his development as a poet.
At this time, Pushkin got acquainted with the works of Byron and Chenier[33].
Fascinated by the personality of Byron, by his own admission, the poet was "crazy" about him.
The first poem he created in exile was the elegy "The daylight has gone out...", in the subtitle of which Pushkin noted: "Imitation of Byron".
The core, the main task of his works was the reflection of the emotional state of a person, the disclosure of his inner life.
Pushkin developed the artistic form of the verse, referring to ancient Greek poetry, studying it in translations.
Rethinking the imaginative thinking of ancient poets in a romantic way, taking the best of the work of his predecessors, overcoming the cliches of the elegiac style, he created his own poetic language.
The main property of Pushkin's poetry was its expressive power and at the same time unusual conciseness, laconism[34].
Formed in 1818-1820 under the influence of French elegies and lyrics by Zhukovsky, the conventionally melancholic style underwent a serious transformation and merged with the new "Byronic" style.
The combination of old, complicated and conventional forms with romantic colors and tension was clearly manifested in the "Caucasian Prisoner" [35].
Lifetime portraits of Pushkin by Xavier de Maistre (1800-1802), S. G. Chirikov (1810), V. A. Tropinin (1827), P. F. Sokolov (1836)
Mikhailovskoe
The young poet first visited here in the summer of 1817 and, as he himself wrote in one of his autobiographies, was fascinated by "rural life, a Russian bath, strawberries, etc., — but I didnot like all this for long"[36].
In 1824, the police in Moscow opened a letter from Pushkin, where he wrote about his passion for"atheistic teachings".
This was the reason for the poet's resignation from the service on July 8, 1824[37].
He was exiled to his mother's estate, and spent two years there (until September 1826) — this is the longest stay of Pushkin in Mikhailovsky.
Soon after Pushkin's arrival in Mikhailovskoye, he had a major quarrel with his father, who actually agreed to the tacit supervision of his own son.
At the end of autumn, all of Pushkin's relatives left Mikhailovsky [38].
Contrary to the fears of friends, solitude in the village did not become disastrous for Pushkin.
Despite the difficult experiences, the first Mikhailovsky autumn was fruitful for the poet, he read a lot, reflected, worked[38].
Pushkin often visited his neighbor on the estate P. A. Osipova in Trigorsky and used her library[39] (Osipova's father, a mason, an associate of N. I. Novikov, left a large collection of books).
From the Mikhailovsky exile until the end of his life, he was bound by friendly relations with Osipova and members of her large family.
In Trigorsky in 1826, Pushkin met with Yazykov, whose poems had been known to him since 1824.
Pushkin completes the poems begun in Odessa, "The Conversation of a bookseller with a poet", where he formulates his professional credo, "To the Sea" - a lyrical reflection on the fate of a man of the era of Napoleon and Byron, about the cruel power of historical circumstances over a person, the poem "Gypsies" (1827), continues to write a novel in verse.
In the autumn of 1824, he resumed work on autobiographical notes.
left at the very beginning in the Kishinev time, and ponders the plot of the folk drama " Boris Godunov "(completed on November 7 (19), 1825, published in 1831), writes a comic poem"Count Nulin".
In total, the poet created about a hundred works in Mikhailovsky.
In 1825, he met Osipova's niece Anna Kern[K 4] in Trigorsky, to whom, as is commonly believed, he dedicated the poem " I remember a wonderful moment...".
A month after the end of the exile, he returned "free to the abandoned prison" and spent about a month in Mikhailovsky.
In the following years, the poet periodically came here to take a break from city life and write in freedom.
In Mikhailovsky in 1827, Pushkin began the novel "The Blackamoor of Peter the Great" [40].
In Mikhailovsky, the poet also joined the game of billiards, although he did not become an outstanding player, however, according to the memories of friends, he wielded a cue on a cloth quite professionally[41].
After the link
On the night of September 3 to 4, 1826, a messenger from the Pskov governor B. A. Aderkas arrives in Mikhailovskoye: Pushkin, accompanied by a courier, must come to Moscow, where Nicholas I, who was crowned on August 22, was at that time.
On September 8, immediately after his arrival, Pushkin was taken to the emperor for a personal audience.
The conversation between Nikolai and Pushkin took place face to face[42].
Upon his return from exile, the poet was guaranteed the highest personal patronage and exemption from the usual censorship.
It was during these years that Pushkin's interest in the personality of Peter I, the tsar of the reformer, arose in his work.
He becomes the hero of the novel about the poet's great grandfather, Abram Hannibal, and the new poem "Poltava".
Within the framework of one poetic work ("Poltava"), the poet combined several serious topics: the relationship between Russia and Europe, the unification of peoples, happiness and the drama of a private person against the background of historical events.
According to Pushkin's own admission, he was attracted by "strong characters and a deep, tragic shadow cast over all these horrors"[43].
Published in 1829, the poem did not find understanding either among readers or critics.
In the draft manuscript of the article "Objections to the critics of "Poltava"" Pushkin wrote:
The most mature of all my poetic stories, the one in which everything is almost original (and we are only fighting from this, although this is not the main thing), is "Poltava", which Zhukovsky, Gnedich, Delvig, Vyazemsky prefer to everything that I have not yet written," Poltava " was not a success[44].
By this time, a new turn was marked in the poet's work.
A sober historical and social analysis of reality is combined with an awareness of the complexity of the often elusive rational explanation of the surrounding world, which fills his work with a sense of anxious foreboding, leads to a wide invasion of fiction, gives rise to sad, sometimes painful memories, intense interest in death.
At the same time, after his poem "Poltava", the attitude towards him in criticism and among a part of the reading public became more cold or critical[45].
In 1827, an investigation was launched into the poem "Andrei Chenier" (written back in Mikhailovsky in 1825), which provided a response to the events of December 14, 1825[46], and in 1828 the Kishinev poem "Gavriiliada"became known to the government.
These cases were terminated by the highest order after Pushkin's explanations [47], but an unspoken police supervision was established for the poet.
In December 1828, Pushkin met a Moscow beauty, 16 year old Natalia Goncharova.
By his own admission, he fell in love with her from the first meeting.
At the end of April 1829, through Fyodor Tolstoy, an American, Pushkin made an offer to Goncharova.
The vague answer of the girl's mother (the reason was called Natalia's youth), according to Pushkin, "drove him crazy."
He went to Paskevich's army, to the Caucasus, where at that time there was a war with Turkey.
He described his trip in "Journey to Arzrum".
At the insistence of Paskevich, who did not want to take responsibility for Pushkin's life, he left the active army and lived for some time in Tiflis[48].
When he returned to Moscow, he met a cold reception at the Goncharovs.
Perhaps Natalia's mother was afraid of the reputation of a freethinker, which was fixed for Pushkin, his poverty and passion for the game[49].
Boldino
Main article: Boldinskaya autumn
Portrait of N. N. Pushkin by Alexander Bryullov (1831-1832)
Pushkin feels the need for everyday changes.
In 1830, his repeated matchmaking to Natalia Nikolaevna Goncharova was accepted, and in the autumn he went to the Nizhny Novgorod estate of his father Boldino to take possession of the nearby village of Kistenevo, given by his father for the wedding.
Cholera quarantines detained the poet for three months, and this time was destined to become the famous Boldin autumn, the highest point of Pushkin's creativity, when a whole library of works poured out from his pen: "The Stories of the late Ivan Petrovich Belkin" ("Belkin's Stories"), "The Experience of Dramatic Studies" ("Small Tragedies"), the last chapters of "Eugene Onegin", "The House in Kolomna", "The History of the Village of Goryukhina", "The Tale of the Priest and his worker Balda", several sketches of critical articles and about 30 poems.
Among Boldin's works, as if deliberately unlike one another in genre and tonality, two cycles are particularly contrasting with each other: prose and dramatic.
These are the two poles of his work, to which the rest of the works, written in the three autumn months of 1830, gravitate.
The poetic works of this period represent all the variety of genres and cover a wide range of topics.
One of them - "My Ruddy Critic..." echoes the "History of the Village of Goryukhina" and is so far from the idealization of village reality that it was first published only in a posthumous collection of works under the changed title ("Caprice")[50].
"Belkin's Stories" were the first completed work of Pushkin's prose that has come down to us, experiments for the creation of which were undertaken by him repeatedly.
In 1821, he formulated the basic law of his prose narrative: "Accuracy and brevity are the first advantages of prose.
It requires thoughts and thoughts — without them, brilliant expressions do not serve for anything."
These stories are also a kind of memoirs of an ordinary person who, not finding anything significant in his life, fills his notes with a retelling of the stories he heard, which struck his imagination with their unusual nature.
"The Stories ..." marked the end of Pushkin's formation as a prose writer, which began in 1827 with the "Blackamoor Peter the Great".
The cycle determined both the further direction of Pushkin's work: for the last six years of his life, he turned mainly to prose, and the entire, still undeveloped Russian artistic prose word[51][52].
St. Petersburg 1831-1833
A reduced facsimile of the Pushkin manuscript (prose)
A. S. Pushkin.
Portrait by P. F. Sokolov (1831)
At the same time, Pushkin took an active part in the publication of the Literary Gazette (the newspaper was published from January 1, 1830 to June 30, 1831) by his friend, publisher A. A. Delvig.
Delvig, having prepared the first two issues, temporarily left St. Petersburg and entrusted the newspaper to Pushkin, who became the actual editor of the first 13 issues[53].
The conflict between the Literary Gazette and the editor of the semi official newspaper Severnaya Pchela, F. V. Bulgarin, an agent of the Third Branch, led, after the publication of the newspaper's quatrain by Casimir Delavigne about the victims of the July Revolution, to the closure of the publication.
On February 18 (March 2), 1831, he was married to Natalia Goncharova in the Moscow Church of the Great Ascension at the Nikitsky Gate.
During the exchange of rings, Pushkin's ring fell to the floor.
Then his candle went out.
He turned pale and said: "All are bad omens!"
[54].
Immediately after the wedding, the Pushkin family briefly settled in Moscow at 53 Arbat Street (according to the modern numbering; now a museum).
The couple lived there until mid May 1831, when, without waiting for the end of the lease, they left for the capital, as Pushkin quarreled with his mother in law, who interfered in his family life[55]:62.
For the summer, Pushkin rented a dacha in Tsarskoye Selo.
Here he writes "The Letter of Onegin", thereby finally completing work on the novel in verse, which was his "faithful companion" for eight years of his life.
The new perception of reality that emerged in his work at the end of the 1820s required in depth studies of history: it was necessary to find the origins of the fundamental issues of modernity in it.
In 1831, he was allowed to work in the archives.
Pushkin again entered the service as a "historiographer", having received the highest task to write "The History of Peter".
The cholera riots, terrible in their cruelty, and the Polish events that put Russia on the verge of war with Europe, are presented to the poet as a threat to Russian statehood.
A strong government in these conditions seems to him the key to the salvation of Russia — this idea is inspired by his poems " Before the tomb of the saint...", "Slanderers of Russia", "Borodino anniversary".
The last two, written on the occasion of the capture of Warsaw, together with the poem by V. A. Zhukovsky "An Old Song in a new way" were printed in a special brochure "For the Capture of Warsaw" and caused an ambiguous reaction.
Pushkin, who had never been an enemy of any nation, who was friends with Mickiewicz, nevertheless could not accept the claims of the rebels to join the Lithuanian, Ukrainian and Belarusian lands to Poland[56]: 236.
His friends reacted differently to Pushkin's response to the Polish events: Vyazemsky and A. I. Turgenev negatively.
On September 22, 1831, Vyazemsky wrote in his diary:
Pushkin in his poems: Slanderers of Russia seem to them a lump out of their pocket.
He knows that they will not read his poems[K 5], therefore, they will not answer questions that would be very easy to answer even for Pushkin himself.
<...
> And what kind of sacrilege is it again to combine Borodino with Warsaw?
Russia cries out against this lawlessness [57].
After the publication of the poems, Chaadaev sent an enthusiastic letter to their author, his position was shared by the exiled Decembrists[56]:232, 236.
At the same time, F. V. Bulgarin, associated with the III department, accused the poet of adhering to liberal ideas.
Since the beginning of the 1830s, prose in Pushkin's work has begun to prevail over poetic genres.
"Belkin's Stories" (published in 1831) were not successful.
Pushkin is plotting a broad epic canvas a novel from the era of Pugachevism with a nobleman hero who defected to the side of the rebels.
This plan is abandoned for a while due to insufficient knowledge of that era, and work begins on the novel "Dubrovsky" (1832-33), his hero, avenging his father, whose ancestral estate was unjustly taken away, becomes a robber.
The noble robber Dubrovsky is depicted in a romantic way, the other characters are shown with the greatest realism[58].
Although the plot basis of the work was drawn by Pushkin from modern life, in the course of his work the novel increasingly acquired the features of a traditional adventurous narrative with a collision that is atypical in general for Russian reality.
Perhaps, anticipating the insurmountable censorship difficulties with the publication of the novel, Pushkin left work on it, although the novel was close to completion.
The idea of the work about the Pugachev revolt attracts him again, and, true to historical accuracy, he interrupts classes on the study of the Petrine era for a while, studies printed sources about Pugachev, seeks to familiarize himself with documents on the suppression of the peasant uprising (the "Pugachev Case" itself, strictly classified, turns out to be inaccessible), and in 1833 undertakes a trip to the Volga and the Urals to see firsthand the places of terrible events, hear live legends about Pugachev.
Pushkin goes through Nizhny Novgorod, Kazan and Simbirsk to Orenburg, and from there to Uralsk, along the ancient Yaik River, renamed the Urals after the peasant uprising.
On January 7, 1833, Pushkin was elected a member of the Russian Academy simultaneously with P. A. Katenin, M. N. Zagoskin, D. I. Yazykov and A. I. Malov.
In the autumn of 1833, he returned to Boldino.
Now Pushkin's Boldinskaya autumn is twice as short as three years ago, but in terms of value it is commensurate with the Boldinskaya autumn of 1830.
In a month and a half, Pushkin completes work on the "History of Pugachev" and "Songs of the Western Slavs", begins work on the story "The Queen of Spades", creates the poems "Angelo" and "The Bronze Horseman", "The Tale of the Fisherman and the Fish" and "The Tale of the Dead Princess and the Seven Heroes", the poem in octaves "Autumn".
St. Petersburg 1833-1835
The family tree of the Pushkins, (watercolor, unknown artist, the beginning of the XIX century; the central museum of A. S. Pushkin)
In November 1833, Pushkin returned to St. Petersburg, feeling the need to change his life abruptly and, above all, to get out of the custody of the court.
An authentic Pushkin device from the museum on Moika, 12, St. Petersburg
On the eve of 1834, Nicholas I promoted his historiographer to the junior court rank of chamberlain.
According to Pushkin's friends, he was furious: this title was usually given to young people.
In his diary on January 1, 1834, Pushkin made an entry:
The day before yesterday, I was granted the rank of chamberlain (which is rather indecent for my years).
But the Court wanted N. N. [Natalia Nikolaevna] to dance in Anichkov[59].
At the same time, the publication of the "Bronze Horseman"was banned.
At the beginning of 1834, Pushkin completed another, prose Petersburg story — " The Queen of Spades "and placed it in the magazine" Library for Reading", which paid Pushkin immediately and at the highest rates.
It was started in Boldin and was then intended, apparently, for the joint almanac "Troichatka"with V. F. Odoevsky and N. V. Gogol.
On June 25, 1834, Pushkin resigned with a request to retain the right to work in the archives, necessary for the performance of the"History of Peter".
The motive was indicated by family affairs and n the possibility of a permanent presence in the capital.
The petition was accepted with a refusal to use the archives, thus, Pushkin was deprived of the opportunity to continue working.
Following Zhukovsky's advice, Pushkin withdrew the petition[60].
Later, Pushkin asked for a vacation for 3-4 years: in the summer of 1835, he wrote to his mother in law that he was going to go to the village with the whole family for several years.
However, he was refused a vacation, in return, Nicholas I offered a six month vacation and 10,000 rubles, as it was said, "for recollection".
Pushkin did not accept them and asked for 30,000 rubles with the condition of deduction from his salary, he was granted leave for four months.
So for several years ahead, Pushkin was bound by the service in St. Petersburg[61].
This amount did not cover even half of Pushkin's debts, with the termination of salary payments, we had to rely only on literary income, which depended on reader demand.
At the end of 1834 beginning of 1835, several final editions of Pushkin's works were published: the full text of "Eugene Onegin" (in 1825-32 the novel was printed in separate chapters), collections of poems, novellas, poems, but they all diverged with difficulty.
Criticism has already spoken in full voice about the grinding of Pushkin's talent, about the end of his era in Russian literature.
Two autumns — 1834 (in Boldin) and 1835 (in Mikhailovsky) were less fruitful.
For the third time, the poet came to Boldino in the autumn of 1834 on the complicated affairs of the estate and lived there for a month, writing only "The Tale of the Golden Cockerel".
In Mikhailovsky Pushkin continued to work on "Scenes from the chivalrous times", "Egyptian nights", created the poem "I visited again".
The general public, lamenting the fall of Pushkin's talent, was unaware that his best works were not allowed to be published, that in those years there was constant, intense work on extensive plans: "The History of Peter", a novel about Pugachevism.
Fundamental changes have matured in the poet's work.
Pushkin the lyricist in these years becomes mainly "a poet for himself".
He is now persistently experimenting with prose genres that do not completely satisfy him, remain in plans, sketches, drafts, looking for new forms of literature.
"Sovremennik"
Main article: Sovremennik (magazine)
According to S. A. Sobolevsky:
The idea of a large time based publication that would touch, if possible, all the most important aspects of Russian life, the desire to directly serve the fatherland with his pen, occupied Pushkin almost continuously in the last ten years of his short term career…
Circumstances hindered him, and only in 1836 he managed to get himself the right to publish Sovremennik, but already in a very limited and tight size[62].
Since the closure of the Literary Newspaper, he has been seeking the right to his own periodical.
The plans of the newspaper ("Diary"), various almanacs and collections, the "Northern Spectator", which was to be edited by V. F. Odoevsky, were not implemented.
Together with him, Pushkin in 1835 intended to publish "A Modern chronicler of politics, sciences and Literature".
In 1836, he received permission for a year to publish an almanac.
Pushkin also counted on an income that would help him pay off the most urgent debts.
Founded in 1836, the magazine was named "Sovremennik".
It published the works of Pushkin himself, as well as N. V. Gogol, A. I. Turgenev, V. A. Zhukovsky, P. A. Vyazemsky.
Nevertheless, the magazine did not have a success as a reader: the Russian public still had to get used to a new type of serious periodical devoted to topical issues, interpreted by hints, if necessary.
The magazine had only 600 subscribers, which made it ruinous for the publisher, since neither printing costs nor employee fees were covered.
Pushkin fills the last two volumes of Sovremennik with more than half of his works, mostly anonymous.
In the fourth volume of Sovremennik, the novel "The Captain's Daughter"was finally published.
Pushkin could have published it as a separate book, then the novel could bring the income that he needed so much.
However, he still decided to publish "The Captain's Daughter" in the magazine and could no longer count on simultaneous publication as a separate book, at that time it was impossible.
Probably, the novel was placed in Sovremennik under the influence of Krayevsky and the publisher of the magazine, who feared its collapse.
"The Captain's Daughter" was favorably received by readers, but Pushkin did not have time to see the reviews of enthusiastic critics about his latest novel in print.
Despite the financial failure, Pushkin was busy with publishing until the last day, "hoping, in spite of fate, to find and educate his reader"[63].
1836-1837 years
In the spring of 1836, Nadezhda Osipovna died after a serious illness.
Pushkin, who became close to his mother in the last days of her life, suffered this loss hard.
The circumstances were such that he, the only one of the whole family, accompanied the body of Nadezhda Osipovna to the burial place in the Holy Mountains.
This was his last visit to Mikhailovskoye.
At the beginning of May, Pushkin came to Moscow on publishing matters and to work in the archives.
He hoped for cooperation in the "Contemporary" of the authors of the "Moscow Observer".
However, Baratynsky, Pogodin, Khomyakov, Shevyrev did not rush to answer, not directly refusing.
In addition, Pushkin expected that Belinsky, who was in conflict with Pogodin, would write for the magazine.
After visiting the archives of the College of Foreign Affairs, he was convinced that working with documents of the Peter the Great era would take several months.
At the insistence of his wife, who was expecting to give birth from day to day, Pushkin returns to St. Petersburg at the end of May.
According to the memoirs of the French publisher and diplomat Levet Weimar, who visited Pushkin in the summer of 1836, he was fascinated by the "History of Peter", shared with the guest the results of his archival searches and fears about how readers would perceive the book, where the tsar would be shown "as he was in the first years of his reign, when he furiously sacrificed everything to his goal."
Having learned that Levet Weimar was interested in Russian folk songs, Pushkin made translations of eleven songs into French for him.
According to experts who studied this work of Pushkin, it was performed flawlessly[64].
In the summer of 1836, Pushkin created his last poetic cycle, named after the place of writing (dacha on Kamenny Island) "Kamennoostrovsky".
The exact composition of the cycle of poems is unknown.
Perhaps they were intended for publication in Sovremennik, but Pushkin refused it, anticipating problems with censorship.
Three works, undoubtedly belonging to the cycle, are connected by the gospel theme.
The end to end plot of the poems "Hermit Fathers and Immaculate wives", "How he fell from the tree..." and "Worldly Power" is the Holy Week of Great Lent[65].
Another poem in the cycle - "From Pindemonti" is devoid of Christian symbolism, but it continues the poet's reflections on the duties of a person living in peace with himself and others, about betrayal, about the right to physical and spiritual freedom.
According to V. P. Stark:
"This poem formulates the ideal poetic and human credo of Pushkin, which he suffered all his life"[66].
The cycle probably also included "When I wander thoughtfully outside the city", the quatrain "In vain I run to the Zion Gate" and, finally, (some researchers dispute this assumption) "Monument" ("I erected a monument to myself not made with hands...") — as the beginning or, according to other versions, the finale — Pushkin's poetic testament.
Death
Main article: The Last duel and the death of A. S. Pushkin
Pushkin's Duel with Dantes.
A. A. Naumov, 1884
Endless negotiations with his son in law about the division of the estate after the death of his mother, worries about publishing affairs, debts, and, most importantly, the courtship of Dantes ' cavalry for his wife, which became deliberately obvious, which led to gossip in secular society, were the cause of Pushkin's depressed state in the autumn of 1836.
On November 3, an anonymous lampoon was sent to his friends[K 6] with insulting hints to Natalia Nikolaevna.
Pushkin, who learned about the letters the next day, was sure that they were the work of Dantes and his adoptive father Heckern.
On the evening of November 4, he sent a challenge to a duel to Dantes.
Geckern (after two meetings with Pushkin) achieved a postponement of the duel for two weeks.
Thanks to the efforts of the poet's friends, and, above all, Zhukovsky and aunt Natalia Nikolaevna E. Zagryazhskaya, the duel was prevented.
On November 17, Dantes proposed to Natalia Nikolaevna's sister Ekaterina Goncharova.
On the same day, Pushkin sent his second V. A. Sollogub a letter rejecting the duel[68].
The marriage did not resolve the conflict.
Dantes, meeting Natalia Nikolaevna in the light, pursued her.
Rumors were spreading that Dantes had married Pushkina's sister in order to save Natalia Nikolaevna's reputation.
According to K. K. Danzas, his wife suggested that Pushkin leave St. Petersburg for a while, but he, "having lost all patience, decided to end differently"[69].
Pushkin sent a "highly offensive letter"to Louis Hecker on January 26, 1837[70].
The only answer to it could only be a challenge to a duel, and Pushkin knew it.
A formal challenge to a duel from Heckern, approved by Dantes, was received by Pushkin on the same day through the attache of the French embassy, the Vicomte d'Archiac.
Since Geckern was an ambassador of a foreign state, he could not fight a duel — this would mean the immediate collapse of his career.
The duel with Dantes took place on January 27 on the Black River.
Pushkin was wounded: the bullet broke the neck of the thigh and penetrated into the stomach.
For that time, the wound was fatal.
Pushkin learned about this from the life doctor Arendt, who, yielding to his insistence, did not hide the true state of affairs.
Before his death, Pushkin, putting his affairs in order, exchanged notes with Emperor Nicholas I.
The notes were passed by two people:
V. A. Zhukovsky is a poet, at that time the tutor of the heir to the throne, the future Emperor Alexander II.
N. F. Arendt is the life physician of Emperor Nicholas I, the doctor of Pushkin.
The poet asked for forgiveness for violating the royal ban on dueling:
...
I'm waiting for the king's word to die in peace…
Your Majesty:
If God does not tell us to see each other in this world already, I send you my forgiveness and my last advice to die a Christian.
Donot worry about your wife and children, I'll take them into my own hands.
- It is believed that this note was passed by Zhukovsky
Nikolai saw Pushkin as a dangerous "leader of freethinkers" (in this regard, measures were taken to ensure that the funeral service and funeral were held as modestly as possible) and subsequently assured that "we forcibly brought him to a Christian death"[71], which did not correspond to reality: even before receiving the royal note, the poet, having learned from the doctors that his wound was fatal, sent for a priest to take communion.
On January 29 (February 10) at 14:45, Pushkin died of peritonitis.
Nicholas I fulfilled the promises made to the poet.
The order of the Sovereign:
1. Pay your debts.
2. To clear the mortgaged estate of the father from debt.
3. A widow's pension and a daughter's marriage.
4. Sons to be pages and 1500 rubles for the education of each for joining the service.
5. Publish essays at the state expense in favor of the widow and children.
6. 10,000 rubles at a time.
At the request of his wife, Pushkin was put in a coffin not in a chamber junker uniform, but in a tailcoat[72].
The funeral service, scheduled in St. Isaac's Cathedral, was moved to the Stable Church.
The ceremony took place with a large gathering of people, they were allowed to enter the church by invitation cards.
There were also, as usual, the most absurd orders.
The people were deceived: they said that Pushkin would be buried in St. Isaac's Cathedral — this was also indicated on the tickets, and meanwhile the body was taken out of the apartment at night, secretly, and put in the Stable Church.
The university has received a strict instruction that professors should not leave their departments and students should attend lectures.
I could not resist expressing to the trustee my regret on this occasion.
Russians cannot mourn their fellow citizen who has done them honor with his existence!
From the diary of A.V. Nikitenko[73].
After that, the coffin was lowered into the basement, where it was located until February 3, before departure to Pskov.
A. I. Turgenev accompanied Pushkin's body.
In a letter to the governor of Pskov, Peshchurov, A. N. Mordvinov, on behalf of Benckendorf and the emperor, pointed out the need to prohibit "any special expression, any meeting, in a word, any ceremony, except for what is usually performed according to our church rite at the burial of the body of a nobleman"[73].
Alexander Pushkin was buried on the territory of the Svyatogorsky Monastery of the Pskov province.
In August 1841, by order of N. N. Pushkina, a tombstone by the sculptor Alexander Permagorov (1786-1854) was installed on the grave[74].
Descendants of Pushkin
Main article: The Descendants of Pushkin
Of Pushkin's four children, only two left offspring Alexander and Natalia.
The poet's descendants now live all over the globe: in the USA, England, Germany, Belgium.
About fifty of them live in Russia, including Tatyana Ivanovna Lukash, whose great grandmother (Pushkin's granddaughter) was married to Gogol's great nephew.
Now Tatiana lives in Klin[75].
Alexander Alexandrovich Pushkin is the last direct descendant of the poet in the male line, lives in Belgium[76]
Appearance
Self portrait
The height of A. S. Pushkin was 2 arshins 5 vershkov and a half (it was measured by the artist Grigory Chernetsov on April 15, 1832)[77].
This is 166.7 cm, which at that time was quite a lot for a man (the height of Pushkin's wife was 173 cm)[78].
Contemporaries had different opinions about Pushkin's appearance.
To a greater extent, they depend on the attitude to it.
In the conventional sense of Pushkin never been called beautiful, however, many noted that his features were made perfect, when it became a reflection of his spirit.
M. V. Yuzefovich especially paid attention to the eyes of Pushkin, "which seemed to reflect all the beautiful things in nature"[79].
L. P. Nicholas, who met in 1833 Pushkin lunch with Nizhny Novgorod Governor, describes it:
"His slightly swarthy face was original, but ugly: a large open forehead, a long nose, thick lips - generally irregular features.
But what was great about him was his dark gray eyes with a bluish tint — large, clear.
It is impossible to convey the expression of these eyes: some burning, and at the same time caressing, pleasant.
I have never seen a more expressive face: intelligent, kind, energetic.
<...
> He speaks well: ah, how much intelligence and life there was in his unskilful speech!
And how cheerful, amiable, charming he is!
This fool could like... " [80]
Pushkin's creativity
Pushkin's literary reputation and cultural role
Russian Russian poet Alexander Sergeyevich Pushkin has a reputation as a great or the greatest Russian poet, in particular, the Encyclopedia "Krugosvet"[4], "Russian Biographical Dictionary" and "Literary Encyclopedia" calls him so.
In Philology Pushkin is regarded as the founder of modern Russian literary language (see, for example, the works by V. V. Vinogradov), and "a brief literary encyclopedia" (author S. S. Averintsev) speaks of atalanti of his works, like the works of Dante in Italy or Goethe in Germany.
D. S. Likhachev wrote about Pushkin as "our greatest national treasure"[81].
Even during his lifetime, the poet was called a genius, including in print[5].
Russian Russian poet Since the second half of the 1820s, he has been considered the "first Russian poet" (not only among contemporaries, but also Russian poets of all times), and a real cult has developed around his personality among readers[82].
On the other hand, in the 1830s (after his poem "Poltava"), there was also a certain cooling of the reading public towards Pushkin[45].
In the article "A few words about Pushkin" (1830), N. V. Gogol wrote that " Pushkin is an extraordinary phenomenon and, perhaps, the only phenomenon of the Russian spirit: this is the Russian man in his development, in which he may appear in two hundred years " [81].
Critic and philosopher Westerner Belinsky called it "the first poet artist of Russia"[83].
Fyodor Dostoevsky said that "in "Onegin" in this immortal and invincible your poem, Pushkin was the great national writer before him, and no one ever" and talked about "universality and vsechelovechnosti of his genius."[81].
The most succinct description was offered by Apollo Grigoriev (1859): "And Pushkin is our everything"[84].
Studying Pushkin
Main article: Pushkin Studies
Russian Russian culture's understanding of Pushkin is divided into two directions artistic, philosophical, and essayistic, the founders of which were Nikolai Gogol and Apollo Grigoriev (in this series — many Russian writers writers, including Fyodor Dostoevsky, Marina Tsvetaeva and Alexander Solzhenitsyn, and philosophers), and the scientific historical and biographical, founded by Pavel Annenkov and Peter Bartenev.
The heyday of scientific Pushkin studies in Russia at the beginning of the XX century is associated with the creation of the Pushkin House in 1905, the Pushkin Seminary in 1908, the appearance of serial publications about Pushkin.
In Soviet times, under the conditions of restrictions on the study of Pushkin's ideology, Pushkin's textual studies and studies of his style received great development.
A number of important achievements are associated with Pushkin studies abroad (Poland, France, the USA, etc.), including in Russian emigration.
Denial of the significance of Pushkin's work and criticism of his cult
The"sixties" publicist and literary critic Dmitry Pisarev denied the significance of Pushkin's work for modernity: "Pushkin uses his artistic virtuosity as a means to dedicate the whole of reading Russia to the sad secrets of his inner emptiness, his spiritual poverty and his mental impotence"[85].
Many nihilists of the 1860s, such as Maxim Antonovich and Bartholomew Zaitsev, stood on the same position.
V. Mayakovsky, D. Burlyuk, V. Khlebnikov, A. Kruchenykh, B. Livshits called for "throwing Pushkin [along with a number of other classics] off the ship of modernity" in the manifesto of the Futurists of 1912 "A Slap in the Face to Public Taste" [86].
Further, the manifesto said: "Who will not forget his first love, will not know the last" (a paraphrase of Tyutchev's words on Pushkin's death: "The heart of Russia will not forget you as the first love").
At the same time, the highest assessment of Pushkin's work was given by Innokenty Annensky, Anna Akhmatova, Marina Tsvetaeva, Alexander Blok.
According to a number of researchers, since 1937, the official ideology in the USSR has been instilling the "cult of Pushkin"[87][88]; "the cult of Pushkin becomes part of the cult of Stalin"[89].
There is also an opinion that "the purely communist cult of Pushkin was built on exactly the same model as the cults of Lenin and Stalin"[90].
Works of art
Main article: List of Pushkin's works
Poems
Ruslan and Lyudmila (1817-1820) The Caucasian Prisoner (1820-1821) Gavriiliada (1821) Vadim (1821-1822) The Robber Brothers (1821-1822) The Fountain of Bakhchisarai (1821-1823) The Gypsies (1824) Count Nulin (1825), facsimile reproduction of the first edition of 1827, pdf Poltava (1828-1829) Tazit (1829-1830) House in Kolomna (1830)
Pushkin's autograph self portrait with Onegin on the Neva embankment
Yezersky (1832) Angelo (1833)
The Bronze Horseman (1833)
A novel in verse
Eugene Onegin (1823-1832)
Dramatic works
Boris Godunov (1825) The Miserly Knight (1830) Mozart and Salieri (1830) The Stone Guest (1830) PHOEBE: Pushkin.
The Stone Guest — - 1948 (text) Feast during the Plague (1830) The Mermaid (1829-1832)
Poems
1813—1825 1826—1836
Prose
The Blackamoor of Peter the Great (1827) A Novel in Letters (1829) The Stories of the late Ivan Petrovich Belkin (1830) Shot Snowstorm Undertaker Stationmaster Young lady peasant
The history of the village of Goryukhina (1830) Roslavlev (1831) Dubrovsky (1833) The Queen of Spades (1834) The story of Pugachev (1834) Kirdzhali (1834) Egyptian Nights (1835) Journey to Arzrum during the campaign of 1829 (1835) The Captain's Daughter (1836)
Fairy tales
The groom (1825) The tale of the priest and of his workman Balda (1830) the Tale of medvedykha (1830-1831), the Tale of Tsar Saltan, of his son, the glorious and mighty Bogatyr Prince Gvidon Saltanovich and of the beautiful Princess Swan (1831) the Tale of the fisherman and the fish (1833) the tale of the dead Princess and the seven knights (1833) the Tale of the Golden Cockerel (1834)
Collected works
The first posthumous edition of Pushkin's works (1838) in eight volumes, issued in favor of the heirs, included only those works that were published during his lifetime.
The publication was printed "under the special supervision of the Minister of Public Education", in whose department there was censorship[91].
According to the response of S. A. Sobolevsky, it came out "badly by the grace of Atreshkov"[K 7][92].
Numerous typos, corrections, omissions, distortions of Pushkin's texts were made, the publication was not complete even in the declared volume.
In 1841, three additional volumes (9-11) were published.
By the beginning of 1846, this collection of works was almost all sold out.
The new collection of works was conceived only as a repetition of the 1838-1841 edition.
However, these plans did not come to fruition.
In the winter of 1849-1850, the poet's widow, who had married Lansky by that time, turned to Pavel Annenkov for advice on a new edition.
Annenkov, who had at his disposal all the Pushkin manuscripts kept by Lanskaya, at first did not dare to take up such a serious matter.
He was persuaded by his brothers Ivan[K 8] and Fyodor, who got acquainted with the papers.
On May 21, 1851, Lanskaya transferred the rights to the publication to I. V. Annenkov under the contract.
Brothers P. Annenkov wanted, so he took matters into their own hands.
P. Annenkov also came to the decision to write a biography of the poet[93][94].
N. DOB so responded to the appearance of the collected works of Pushkin years 1855-1857: "Russian <...> has long been ardently wished for a new edition of his works worthy of his memory, and met the company Annenkov with admiration and gratitude"[95].
Despite all the censorship obstacles, Annenkov carried out the first critically prepared collection of Pushkin's works[94].
The Annenkov edition with additions and changes was repeated twice by G. N. Gennadi (1859-1860, 1869-1871) [96].
After 1887, when the rights to Pushkin's works expired for his heirs, a variety of available publications appeared, which, however, did not have important scientific significance[96].
The most complete of the works published at the beginning of the XX century was the collected works of Pushkin (1903-1906) edited by P. O. Morozov[96].
The release of the Complete Academic Collection of Pushkin's Works in 16 volumes was timed to coincide with the centennial anniversary (1937) of the poet's death, however, for objective reasons, work on it stretched for many years.
This publication combined the work of all the most prominent Pushkin scholars of that time.
The collected works in 16 volumes still remain the most complete set of Pushkin's works, in the scientific literature, when quoting Pushkin's texts, it is customary to refer to him.
In terms of textual research, the collection became a reference point for other academic publications of Russian writers[97].
Nevertheless, this" Complete "edition does not include volumes with Pushkin's drawings and texts that made up the collection"By the Hand of Pushkin".
For censorship reasons, the ballad "Shadow of Barkov"was not published[98].
Detailed comments on Pushkin's texts, which, according to the authorities, delayed the entire publication, were omitted, this is one of the main shortcomings of the sixteen volume book[99][100].
Editions of letters
In 1926 and 1928, two volumes of the edition of Pushkin's letters (1815-1830), carried out by B. L. Modzalevsky, were published.
The third volume (1935, letters of 1831-1833) was prepared for publication by his son after Modzalevsky's death.
The undoubted value of the three volume collection of letters lies in the preservation of Pushkin's spelling and punctuation.
An extensive commentary on the letters is a full fledged encyclopedia of the life and work of Pushkin and the Pushkin era in general.
The disadvantages of this publication include the exclusion of profanity from the texts of letters.
The 1969 edition "A. S. Pushkin.
Letters of recent years" (general edition of N. V. Izmailov) does not reproduce the author's spelling and punctuation.
To date, the only edition of Pushkin's letters that does not contain banknotes is "Correspondence" in three volumes edited by V. I. Saitov (Imperial Academy of Sciences, 1906-1911).
"Correspondence" was published in a small number of copies and was distributed exclusively among members of the Academy[101].
In 2013, the publishing house "Slovo" carried out a reprint edition of "Correspondence"[102].
Pushkin in culture
Adaptations of Pushkin's works
In chamber music
Many composers wrote music for Pushkin's poems:
A. A. Alexandrov: romances to Pushkin's poems.
A. A. Alyabyev, author of romances to poems: "I loved you", "Alas, why did she Shine", "Circassian song", "Winter road", etc.
A. S. Dargomyzhsky: romances on poems by Pushkin.
C. A. Cui: romances on poems by Pushkin.
P. p. Podkovyrov: songs by G. V. Sviridov, author of 6 romances on poems by Pushkin (1935); Musical illustrations for the film adaptation of the story "Blizzard" (1964), which includes a song cycle based on the words of Pushkin; Oratorios "The Decembrists" based on the words of A. S. Pushkin and the Decembrist poets (1954-1955, not finished).
I. I. Shvartz wrote two romances based on the poems of A. S. Pushkin for the film "The Stationmaster" (1972).
Film adaptations
1909/1910 — The Fountain of Bakhchisarai 1910 — The Queen of Spades 1911 — Eugene Onegin 1913 — The House in Kolomna 1916 — The Queen of Spades 1918 — The stationmaster 1930 — The tale of the priest and his worker Balda (animated, not finished), directed by Mikhail Tsekhanovsky 1936 — Dubrovsky 1943 — The Tale of Tsar Saltan 1950 — The Tale of the fisherman and the fish 1951 — The Tale of the dead Princess and the Seven heroes 1953 — Aleko 1954 — Boris Godunov 1958 — Evgeny Onegin 1959 — The Captain's Daughter 1964 — A Blizzard 1966 — A Fairy Tale about Tsar Saltan 1966 — A Shot 1972 — Ruslan and Lyudmila 1972 — The Stationmaster 1973 — A fairy tale about a priest and his employee Balda — an
animated film by Inessa Kovalevskaya 1979 — A Ball 1979 — Small Tragedies 1979 — Autumn Bells 1982 — The Queen of Spades 1984 — A Fairy Tale about Tsar Saltan 1986 — Boris Godunov 1989 — Boris Godunov 1989 — The Noble Robber Vladimir Dubrovsky 1995 — The Young Lady Peasant 1999 — Russian Riot 1999 — 2000 — Onegin 2011 — Boris Godunov
Films performances
1999 Angelo
Musical Theater
1 821 Ruslan and Lyudmila, or The Overthrow of Chernomor, the Evil Wizard (ballet), composer F. E. Scholz.
Production: Theater on Mokhovaya (Moscow), 1821 1823 The Caucasian prisoner, or the Shadow of the Bride (ballet), composer K. Kavos [103] 1825 - "Finn".
A magic comedy in verse in 3 parts with a prologue by A. A. Shakhovsky, based on the poem by A. S. Pushkin "Ruslan and Lyudmila" (staged: April 23, 1825 at the Bolshoi Theater in the benefit of A. T. Saburova and A.M. Saburov)[104].
1831 The Black Shawl, or Punished infidelity (one act ballet to the combined music of various composers (based on the poem "The Black Shawl"by A. S. Pushkin)[103].
Screenwriter, choreographer, author of musical processing A. P. Glushkovsky.
Production: December 11, 1831 at the Bolshoi Theater (Moscow), artist I. Brown, conductor D. P. Karasev; performers: Muruz N. A. Peshkov, Olympia T. I. Glushkovskaya, Aspasia F. Gullen Sor, Zeida E. I. Lobanova, Vakhan Zh.
Richard [105] 1842 Ruslan and Lyudmila (opera), composer M. Glinka 1850 — The Queen of Spades (French: La Dame de Pique) (opera based on the story), composer Fromantal Halevi 1856 — The Mermaid, composer A. Dargomyzhsky 1858 — The Caucasian Prisoner (opera), composer Ts.
Kui 1867 — "Goldfish" (ballet), composer L. Minkus[103] 1868 — The Stone Guest (opera), composer A. Dargomyzhsky 1869 — Boris Godunov (opera), composer M. Mussorgsky 1878 — Eugene Onegin (opera), composer P. Tchaikovsky 1883 — Mazeppa (opera), composer P. Tchaikovsky 1891 — The Queen of Spades (opera), composer P. Tchaikovsky 1892 — Aleko (opera), composer S. Rachmaninov 1896 — Dubrovsky (opera), composer E. Napravnik 1897 — Mozart and Salieri (opera), composer N. Rimsky Korsakov 1900 — Egyptian Nights (ballet), composer A. Arensky[103] 1900 — The Tale of Tsar Saltan (opera), composer N. Rimsky Korsakov 1900 — A Feast during the Plague (opera), composer Ts.
Cui 1903 The Miserly Knight (opera), composer S. Rachmaninov 1908 — The Golden Cockerel (opera), composer N. Rimsky Korsakov [106] 1909 — The Captain's Daughter (opera), composer Ts.
Cui 1922 The Moor, a comic opera in one act, libretto by B. Kohno based on the poem by A. S. Pushkin "The House in Kolomna".
The composer I.Stravinsky 1934 — the Fountain of Bakhchisarai (ballet), composer B. Asafyev 1937 — The Golden Cockerel (ballet to the music of the opera), composer N. Rimsky Korsakov[103] 1937 — in New York in the Mordkin ballet company — ballet to the suite of N. N. Cherepnin "Goldfish", choreographer Mordkin 1938 — The Caucasian Prisoner (ballet), composer B. Asafyev 1940 — A fairy tale about a priest and about his worker Balda (ballet), composer M. Chulaki[103] 1940 — Count Nulin (ballet), composer B. Asafyev 1943 — The Undertaker (ballet), composer B. Asafyev[103] 1946 — The Stone Guest (ballet), composer B. Asafyev 1946 — The Peasant Lady (ballet), composer B. Asafyev 1949 — The Bronze Horseman (ballet), composer R. Glier 1949 — The Tale of the Dead Princess and the Seven Heroes (ballet), composer A. Lyadov[103] 1953 — Goldfish (ballet)
, composer M. Logar 1971 — Miserly Baron (opera), composer Ya.
Napoli 1982 A Feast during the Plague (opera), composer A. Nikolaev 1983 Count Nulin (opera), composer A. Nikolaev 1984 Dubrovsky (opera), composer V. Kikta 1997 — "Tsar Nikita and His Forty Daughters" (chamber opera), composer A.V. Tchaikovsky
The image of Pushkin in literature and cinema
In the literature
A. S. Pushkin has become a character in numerous works of art, some of them reflect his biography with more or less accuracy (for example, the novel "Pushkin" by Yu.Tynyanova), others do not set biographical goals for themselves.
M. Y. Lermontov responded to the death of Pushkin with the poem "On the death of the poet", and M. F. Akhundov - " East
