Delvig Batyushkov Zhukovsky Vyazemsky Kuchelbecker Baratynsky Languages \u200b\u200bDavydov
Salon of Zinaida Volkonskaya 2
House of Zinaida Volkonskaya The Moscow house on Tverskaya Street belonged to Princess Z.A. Volkonskaya in the early 19th century. Zinaida Volkonskaya inherited this house from her father, Prince Alexander Mikhailovich Beloselsky-Belozersky. He was a Muscovite, was friends with N.M. Karamzin and had the nickname “Moscow Apollo”. Prince A.M. Beloselsky-Belozersky was one of the most educated people of his time. He wrote poetry in Russian and French, was fond of theater, collected works of art. 3
Zinaida Volkonskaya Princess Zinaida Aleksandrovna Volkonskaya (1792 - 1862) is a writer, daughter of Prince A.M. Beloselsky-Belozersky. Since 1808, she was a maid of honor, soon married Prince Nikita Grigorievich Volkonsky - the brother of the famous Decembrist Sergei Grigorievich Volkonsky. From 1813 to 1817, Zinaida Alexandrovna lived abroad, working in the highest salons of high society. Upon returning to St. Petersburg, she took up literary activity. From 1824 she lived in Moscow, on Tverskaya Street, at 14.4
Mondays at Volkonskaya The house of Zinaida Volkonskaya became the most famous salon, which was usually visited on Mondays by Pushkin, Zhukovsky, Vyazemsky, Odoevsky, Baratynsky, Venevitinov. The wives of the Decembrists who decided to follow their husbands to Siberia stayed in her house. In July 1826, Princess EI Trubetskaya was received here, and in December - Maria Nikolaevna, the wife of Sergei Volkonsky, the brother of her husband Zinaida Alexandrovna. five
6 Batyushkov Konstantin Nikolaevich
7 Batyushkov K.N. KN Batyushkov was born on May 18, 1787 in a noble family. He was brought up in St. Petersburg, in private boarding houses, where he studied well foreign languages, thoroughly familiarized himself with literature and began to write poetry himself. According to the memoirs of contemporaries, the appearance of Batyushkov exactly corresponded to the ideas of people of the early 19th century. about what a poet should be. Pale face, blue eyes, pensive eyes. He read poetry in a low, soft voice, inspiration shone in his eyes.
Batyushkov as an artist At the very end of 1809, Batyushkov arrived in Moscow and soon, thanks to his talent, bright mind and kind heart, found good friends for himself in the best spheres of the then Moscow society. Of the literary people there, he became closest to Vasily Lvovich Pushkin (Pushkin's uncle), V. A. Zhukovsky, P. A. Vyazemsky and N. M. Karamzin. eight
"My genius" Oh, the memory of the heart! You are stronger than Reason in a sad memory And often with your sweetness I am captivated in a distant country. I remember the voice of sweet words, I remember blue eyes, I remember golden locks Carelessly curly hair. My incomparable shepherdess I remember the whole dress is simple, And the image is dear, unforgettable, Everywhere wanders with me. Guardian, my genius - by love In joy he is given to separation; Will I fall asleep? - will creep to the headboard And delight a sad dream. nine
"A terrible thunder is thundering everywhere" A terrible thunder is thundering everywhere, The sea is swollen to the sky, The elements are furious in dispute, And the distant debt of suns goes out, And the stars fall in rows. They are at rest at the tables, They are at rest. There is a pen, there is paper and - all good! They neither see nor hear And they all write with a goose feather! ten
"There is delight ..." There is delight in the wildness of the forests, There is joy on the coastal coast, And there is harmony in the dialect of the shafts Crushing in the desert run. I love my neighbor, but you, nature, mother, For the heart you are dearer than all! With you, mistress, I'm used to Forgetting And what I was, how I was younger, And what I have now become under the cold of years. I come to life in your feelings: The soul does not know harmonious words to express them, And I don’t know how to keep silent about them. eleven
12 Vyazemsky Petr Andreevich
Prince Vyazemsky Descended from the ancient princely family of the Vyazemsky. Vyazemsky received an excellent education at home, in 1805-06. studied at the St. Petersburg Jesuit boarding school and boarding school at the Pedagogical Institute. I started trying the pen early. From an early age, Pyotr Vyazemsky entered the environment of the Moscow writers of the Karamzin circle. 13
Poetic fame He gained wide popularity in Russia as a poet in 1818-19. Vyazemsky quickly developed his own style of writing, which amazed his contemporaries with "Voltaire's sharpness and strength" (AF Voeikov) and at the same time evoked associations with a "lively and witty girl" (KN Batyushkov). fourteen
"Black Eyes" Southern Stars! Black eyes! Heaven of someone else's lights! Do my gaze meet you In the cold, pale midnight sky? A constellation of the south! Heart zenith! Heart, admiring you, Southern bliss, southern dreams It beats, languishes, boils. In secret delight the heart is embraced, In your burning fire; Sounds of Petrarch, song of Torquato You search in the silent depth. In vain impulses! The tunes are deaf! There are no songs in the heart, alas! Southern eyes of the northern maiden, Gentle and passionate like you! fifteen
"Evening star" My evening star, My last love! For the darkened years Spill a welcoming ray again! Among the young, incontinent years We love the glitter and ardor of fire; But half-joy, half-light Now is more gratifying for me. sixteen
"Why are you days? .." "Why are you days?" - said the poet. And I will ask: "Why are you, nights?" Why does your darkness drive away the light And curtains your eyes? And so our life is short, And time quickly mows years, And a dream from this scrap Barely a third still takes away. If I were happy a sign, Oh, how I would hate a dream! But my treasure, on the shrine in it I would see an invader. A lucky man - a dream? He steals from him Hours of bliss, And on the fly, He will count so few of them already. with everything, What the heart breathed with joy: Like a dead man, he is blind, deaf and dumb, Soul seems to have never happened. Death is called eternal sleep, And in this place we are temporarily dead. Why do we need to sleep, when then we have enough sleep?
Baratynsky Evgeny Abramovich 18
19 Baratynsky E.A. “Reading Baratynsky's poems, you cannot deny him your sympathy, because this person, feeling strongly, thought a lot, therefore, he lived, as not everyone is given to live,” VG wrote about Baratynsky. Belinsky.
Yevgeny Baratynsky Descended from the Polish noble family of Boratynsky, who left for Russia at the end of the 17th century. As a child, Baratynsky's uncle was the Italian Borghese, so the boy got to know the Italian language early. He also spoke French, adopted in the Baratynskys' house. In 1808, Baratynsky was sent to a private German boarding school in St. Petersburg - there he learned German. From the German boarding school Baratynsky moved to the Pages of His Imperial Majesty Corps. 20
In 1819, Baratynsky entered the ranks of the Life Guards Jäger Regiment. In Petersburg, he avoids old acquaintances, but finds new ones: here he meets Delvig. As a nobleman, Baratynsky had greater freedom than simple lower ranks. Outside of the service he wore a tailcoat, he did not live in the general barracks. With Delvig, they rented a small apartment and together they wrote a poem: Where the Semyonovsky regiment, in the fifth company, in a low house, lived the poet Boratynsky with Delvig, also a poet. They lived quietly, they paid little for an apartment, They had to go to the shop, they rarely dined at home ... 21
Baratynsky retired on January 31, 1826, moving to Moscow. In Moscow, Baratynsky met with a circle of Moscow writers Ivan Kireevsky, Nikolai Yazykov, Alexei Khomyakov, Sergei Sobolevsky. Baratynsky's fame as a poet began after the publication in 1826 of his poems "Ed" and "Feast" and in 1827 the first collection of lyric poems 22
Delvig began writing poetry early, and already in 1814 they appeared in print, in the "Bulletin of Europe" ("On the capture of Paris" - signed Russian). He graduated from the course with the first release of the Lyceum, in 1817, and for the release he wrote the poem "Six Years", which was published, set to music and was repeatedly sung by lyceum students. He published his poems in the "Russian Museum", "News of Literature", and almanacs of the 1820s. In 1825 Delvig married Sofya Mikhailovna Saltykova, and their house became one of the literary salons of St. Petersburg. 47
"Love" What is love? Disjointed dream. Charm clutch! And you are in the embrace of dreams That publish a dull groan, Then doze in sweet ecstasy, Throw your hands for a dream And leave a dream With a sick, heavy head. 48
"To friends" I rarely sang, but fun, friends! My soul spilled freely. Oh Tsar's garden, can I forget you? My mischievous fantasy lived on with your magic beauty, And the string echoed with the string, In a harmonious ringing merging at hand, - And you, friends, loved my voice. You will receive songs as a gift from a rural poet! Love them for being mine. God knows where you will rush off in the noise of the light. All of you, friends, all my joys! And perhaps my Lilhet's dreams There will be a torment of love for me; And the gift of a singer, only dear to you in the desert, Like a cornflower, does not bloom dull. 49
50 Zhukovsky Vasily Andreevich
Born on January 29 (February 9), 1783 in the village of Mishenskoye, Tula province. The illegitimate son of the landowner Afanasy Ivanovich Bunin and the captive Turkish woman Salha (baptized - Elizaveta Dementyevna Turchaninova 51
To receive the nobility, the child was fictitiously enrolled in the service of the Astrakhan hussar regiment, receiving the rank of ensign, which gave the right to personal nobility. In 1797, 14-year-old Zhukovsky entered the Moscow University Noble Boarding School and studied there for four years. 52
In 1816 Zhukovsky became a reader under the Empress Dowager Maria Feodorovna. In 1817, he became a teacher of the Russian language for Princess Charlotte, the future Empress Alexandra Feodorovna, and in the fall of 1826 he was appointed “mentor” to the heir to the throne, the future Emperor Alexander II 53
54 More than half of everything Zhukovsky wrote is translations. Zhukovsky discovered Goethe, Schiller, Byron, Walter Scott, Grimm, Jung and many others to the Russian reader.
"Svetlana" Once on the Epiphany evening Girls wondered: Outside the gate a slipper, Taking off from his feet, threw; We poured snow; under the window Listened; fed the counted chicken with grain; Ardent wax was heated; In a bowl of clean water They put a gold ring, Earrings are emerald; They spread a white cloth And sang over the bowl in tune. The moon glows dimly In the gloom of fog - Silent and sad Sweet Svetlana. "What, friend, with you? Speak out a word; Listen to the circular songs; Take out a ring for yourself. Sing, beauty:" Blacksmith, Buy me a gold and a new crown, Take a golden ring; I shall be married with that crown, Betrothed with that ring At holy tax. "55
56 Yazykov Nikolay Mikhailovich
Biography Born into a landowner family in Simbirsk. In the 12th year he was sent to the Institute of Mining Engineers in St. Petersburg, and after completing the course there he entered the engineering corps; but not feeling a vocation to study mathematics and being carried away by poetry, he decided, on the advice of a professor of literature at the University of Dorpat, the famous writer A.F. Voeikov, to go to this university (1820). In 1819 he debuted in print 57
58 Yazykov N.M. From the very beginning of his poetic career, Yazykov prepared for fame and triumphs. "The time will come when I will have a lot, a lot of new things and when my poems will be a hundred times more worthy ..." "And then ... oh, then a lot, a lot, maybe, beautiful things await me ..." "Only God grant me health, and I will do miracles in the literary world ... everything will go uphill, time will dance on my tune ..." In letters to his native languages, he is completely focused on his talents and success in the present and future.
59 Yazykov N.M. Yazykov's nature is also a property of love for freedom. Yazykov was close here not to the tradition of Byron, who created the first freedom-loving character in European literature, but to Denis Davydov. Davydov and Yazykov - this is their originality - do not paint a general romantic type of "exceptional" personality, but a "national character", fanned by the romance of prowess and strong passions. Yazykov did it consciously and persistently. All the properties of "nature" are presented in his poems as properties of the Russian national character.
D.V. Davydov Happy darling of life, You deserve two wreaths; Know, Suvorov justly baptized your chest: He was not mistaken in a child, You grew up and flew, Full of all grace, Under the banner of the Russian army, Proud and joyful and courageous. Your chest burns with stars, You heroically got them In hot battles with enemies, In fatal battles; Warrior, famous smlada, You were still under the Swede And on the Finnish granites Your sonorous hoofed horse lifted Shine and stomp. 60
61 Davydov Denis Vasilievich
D. Davydov Representative of the old noble family Davydov. Born into the family of Brigadier Vasily Denisovich Davydov, who served under the command of A. V. Suvorov, in Moscow. In 1801, Davydov entered service in the Guards Cavalry Regiment located in St. Petersburg. In September 1802, Davydov was promoted to cornet, in November 1803 - to lieutenant. At the same time, he began to write poetry and fables, and in fables he began to very caustically ridicule the top officials of the state. 62
63 Davydov D.V. Davydov created only about fifteen "hussar" songs and messages. The scope of his work is generally small, but the trace he left in Russian poetry is indelible. Davydov's manner has always remained exceptional due to its straightforwardness.
"Do not wake up ..." 64
"I Love You" 65
The salon is closed! See you again! 66
67 The poets of the Pushkin era contributed to the development of national literature with their creativity. They improved versification, introduced many new themes - social, historical, personal - and brought poetry closer to the people. But their main merit is that they were sensitive to the needs and interests of their people, promoted the ideas of patriotism, and advocated human rights and dignity. And their poems are close to us today by the sincerity of our feelings.
On November 10 and 11, pupils of the 6th and 6th grades of school №1 became guests of the literary and musical living room "Salons of the Pushkin era" .
Irina Karpova, an employee of the city library named after E.R. Dashkova, told the children about the most interesting phenomenon of Russian cultural life the first half of the 19th century - secular salons.
With the help of a media presentation, music and poetry, we managed to create an atmosphere that inspired the great writers, poets, artists and musicians of the Pushkin era.
The schoolchildren "visited" the living rooms of Zinaida Volkonskaya, Anton Delvig and Ekaterina Karamzina. We learned how these salons attracted Pushkin, Zhukovsky, Baratynsky, Gogol, Glinka and other people gifted with various talents. We “saw” them in a relaxed, friendly and creative atmosphere, saw new, significant touches in the already familiar portraits.
At the end of the event, children were invited to share their impressions. I would like to quote one of the reviews: “I liked the calm atmosphere of the lesson. Often I got goosebumps. I really want to create the same salon. I really, really liked it. Thanks!" Shishanova Taya
.
2017
I. Introduction.
II. Albums of the salons of the Pushkin era and their echoes today:
1. Salons in the life of the Russian society of the Pushkin era.
2. The best Moscow and St. Petersburg salons.
3. Salon albums.
III. Conclusion.
IV. References.
Introduction
Culture is a multi-tiered building. And if her highest manifestation - art, then “culture of everyday life” is its foundation.
The features of the life of any society are interesting and informative, especially if they have been distant from us for almost two centuries. They require decryption.
In what order did the guests sit at the table during the dinner party? When were two coats of arms depicted on the carriage door and what did this mean? What is a ball and how does it look like a parade?
All these are the little things of everyday life, but without them much is incomprehensible in the works of Pushkin, Lermontov, Tolstoy ... This is our history and the history of our culture, therefore the life of our ancestors is interesting to us, there are no little things in it.
Y. Tynyanov, V. Vinogradov, V. Zhirmunsky, Y. Lotman dealt with the problems of everyday life as a cultural phenomenon.
The literary life of the Pushkin era of the 19th century was reflected in works of art, letters, memoirs of Pushkin and his contemporaries.
Salons in the life of the Russian society of the Pushkin era
In the 20-30s of the XIX century in St. Petersburg and Moscow, along with literary societies and circles, there was another form of them - salons, for whose visitors literature was not a profession, but a hobby or entertainment. A salon is a political or literary-artistic circle of people of a select circle that gathers in the house of some private person. (Ozhegov Dictionary)
“There were about 30 people in the smart salon. Some spoke among themselves in an undertone, others listened, some walked around ...
There were no loud voices and arguments, as well as cigars. The hostess was sitting not far from the door ... in the other corner there was a tea table; in his neighborhood several lovely girls were whispering among themselves; near the bronze clock, on which half-past ten had just struck, a graceful woman, sinking in velvet armchairs, was busy with three young people who sat down beside her: they were talking about something. " This is how the salon is described by Karolina Pavlova, a famous poetess who herself was the owner of the famous Moscow salon on Sretensky Boulevard. On Thursdays, a diverse audience gathered in it. Here Herzen met with Shevyrev, Aksakov - with Chaadaev. Here they argued about the historical paths of Russia, read poetry and discussed articles. Karolina Pavlova's poetic talent, her lively educated conversation made her salon pleasant and attractive for writers.
On the announced day, a certain group of people gathered without an official invitation to talk, exchange views, and play music. Such meetings did not provide for maps, feasts, or dances. Traditionally, the salon was formed around a woman - she introduced the spirit of intellectual coquetry and grace, which created an indescribable atmosphere of the salon.
The best Moscow and St. Petersburg salons of that time
Each salon was distinguished by its selection of visitors, its own character. If people came to Princess Volkonskaya to enjoy music and poetry, a society of literary friends would gather at Delvig's, and a high society salon would gather in the St. Petersburg salons of Elizaveta Khitrovo and Countess Fiquelmon. All vital European and Russian life, political, literary and social, had true echoes in these two related salons. In them one could stock up on information about all the issues of the day, from a political brochure and a parliamentary speech by a French or English speaker to a novel or drama by one of the favorites of that literary era.
The evenings at the literary V. Sollogub's were completely different. In addition to people of art, there were many dignitaries here who could have a close look at Russian writers. Only four women had access to Sollogub's salon, and then on condition that they had the most modest toilets. These are Countess Rostopchina, Countess Dashkova, Musina-Pushkin and Demidova.
From the very beginning, the Karamzins' salon spoke only Russian. After the death of the writer, his daughter Sofya Nikolaevna became the owner of the salon. For twenty years or more, this salon has been one of the most attractive centers of St. Petersburg public life, a true oasis of literary and intellectual interests among the brilliant and magnificent, but little inspired St. Petersburg light.
There has always been an atmosphere of trust in the salons. The salon of Sophia Dmitrievna Ponomareva occupied a special place in the Petersburg of Pushkin's time. A charming, intelligent woman, she herself created the society of her salon. She knew languages, translated well, wrote. Delvig, Baratynsky, and Kuchelbecker were in love with her. There was not even a hint of luxury in her salon, no pretensions to fashion; here everyone was happy, free and easy. The album that has come down to our time, which was filled by visitors to her salon, also speaks about Ponomareva's salon.
Salon albums
Albums in the Pushkin era spread the taste for reading and writing, and inspired literature. Pushkin, Baratynsky and Batyushkov also wrote about the albums. The hostess gave the album to one of the salon visitors with a request to write her poetry. The recipient of the "assignment" read other notes and responded to them. It turned out to be a conversation. Album lyrics are various madrigals, puns, epigrams. The album gave scope for a kind of album play. Here, in addition to verses, one could meet instructions and teachings. For example, in Ponomareva's album there is the following "Teaching Instructions" by N.I. Grech: “Sit straight at the table, do not fight with your neighbors and do not eat anything without bread. When walking the streets, don't look at the windows. Do not scoff at old people and your teachers. "
Albums of that time are still a precious source poetic texts - many of them never got into print during the life of the author, others were applied by the author to different addressees several times. As time passed, the relationship between people changed. In the albums there were additions to the existing records. So A.S. Pushkin in A.A. Olenina's album under the poem "I loved you" in 1833 ascribes: "Plyusquamperfe is a long time past."
The album took a long time to fill, passed from mother to daughter. Burial crosses appeared next to the recordings - a sign that the author of the recording was no longer in the world. The album not only accompanied a person through life - it marked his relationship with death. They were afraid to write on the first sheet - there was a belief that the one who filled in the beginning of the album would die. The first entry often appeared on the last page, then in the middle. The albums contained not only notes, but also drawings that actively supplement the words. So to the poem
Long ago my soul would fade
And the blood has cooled in my heart,
If only they would not support me ...
instead of the last line there was a drawing: an anchor, a cross and a flaming heart. The meaning is clear: an anchor is hope, a cross is faith, a burning heart is a sign of love.
In the albums, a conversation was struck up. One writes: "Be silent about the weaknesses of people, shout about the virtues," and the other replies: "Good deeds will show itself without screaming." In response to an unfortunate verse compliment:
They say that the eyes are the mirror of the soul.
Your wise and loving ones are so good, -
immediately there was a rebuke:
I have seen many such eyes
That there is not a little soul in them:
And look for hearts in them, -
It was as if the heart was gone.
This is already a reflection of the salon culture - in the album, as it were, the conversation that just sounded in the living room froze.
Conclusion
“Albums have spread our taste for reading and writing - they have become attracted to literature. And this is clear! .. Women, these light, fickle, windy, but always lovely creatures for us - women do whatever they want with us, their zealous admirers ... Thanks to women! They introduced albums and provided a pleasant and rewarding experience for our young people. - I'm even sure that since the release of the albums we have started to write better, more pleasant; express themselves more freely, more decently, closer to public conversation. "
These are lines from the article "On Albums", published in 1820 in the magazine "Blagonamerenny". Apparently, this topic has already occupied Pushkin's contemporaries. In 1846, in a letter to Wolfe, the poet Yazykov complained: "The album containing Pushkin's poems is a treasure, and it must also be preserved as a monument to that golden time when the girls had albums."
The amazing thing is that the form of the album has gone through a century and reached our time. The current generation, fascinated by computers and players, continues to be interested in them. It is very good that the shape of the 19th century salon album has come down to our time, at least in this somewhat modified, even vulgarized form ..
Those fashion did not pass on the albums,
At least we have advanced a hundred years.
The girl's soul is poured into them from year to year,
Not hiding, not hiding hopes.
There was a golden time then
Time of stormy passions and intrigues.
I see and hear you at this moment.
Live learning from salon albums,
Reading them to friends on the way,
I want at least for these templates
Learn to save their souls.
It seems to me that having studied the albums of that time in more detail, promoting them among students, it would be possible to encourage my peers to write correctly and create.
References
1 ... Lotman Yu.M. Conversations about Russian culture. - SPb., 1994.
2. L.A. Chereisky Contemporaries of Pushkin. - L., Det. Lit., 1981.
3. Marchenko N.A. Literary life of the Pushkin era. - "Literature at school", 1997 -4.
4. Lukovich I.E. In the salon of Z.A. Volkonskaya. - "Literature at school", 2003 -2.
5. Vatsuro V.E. Literary albums in the collection of the Pushkin House. - L., 1979. (There is a presentation for the work)
"Only a very enlightened woman can run a salon"
\\ Prince P.A. Vyazemsky \\
"And a new provincial
The hostess did not bother with arrogance:
Equally for everyone she was
At ease and sweet "
\\ A.S. Pushkin \\
Pushkin's time ... This is now what we call the 20-30s of the 19th century ... And then the golden age of Russian literature was just beginning ... And it was in demand all the way national history... The era of reforms and enlightenment has borne fruit: a narrow layer of highly educated people has appeared ... And among them are amazing women ...
Today we will remember them - those who were muses and the first listeners ... Thanks to whom the future great men of Russian literature could gather under one roof ...
Olenin House
Fontanka, 101 ... This house has survived the centuries unchanged. In it, at the director of the Public Library Alexei Olenin, the young Poet was accepted immediately after graduation from the Lyceum. The owner himself designed the title page of the first edition of Ruslan and Lyudmila. Here Pushkin first met Zhukovsky and Gnedich, Krylov and Batyushkov.
It was the center of noble culture, where "opinions were formed on issues of literature and art." Literary salons met the needs of mutual communication, exchange of opinions ... They knew how to have fun there (unlike our virtual)))))).
In the summer, meetings took place in the Priyutino country estate. It has now been quite well restored: the house has survived, and even the oaks planted by Olenin in memory of his sons ...
After exile in 1827, Pushkin returned to St. Petersburg. This time in the album of Anna Olenina he left the following dedication:
"You are afraid of love confession,
You will tear the letter of love
But a poetic message
You can read it with a tender smile ... "
Then there will be many others, more serious, with the hope of a reciprocal feeling ... And, finally, the last: "I loved you ..."
Salon of the Karamzins
Contemporaries recognized Karamzin's wife, Ekaterina Andreevna, as one of the most outstanding women of the era. "Possessing feelings, mind - she shone with perfection" - this is how Pushkin sang her in poetry. After the death of her husband in 1826, she finished and published the last (12th) volume of the History of the Russian State, continuing to expand Karamzin's literary achievements. Later, the Salon was helped to keep the daughters of the historiographer - Sophia and Ekaterina.
The Karamzin salon is mentioned in the sketches for " Eugene Onegin»,
“In the living room, truly noble,
Shunned the panache of speeches
. . . . . . . . . . . .. . . . .
Mistress secular and free
The common syllable was adopted ... "
This was the circle where they communicated on native language and where ladies also took part in the discussion of novelties in literature. Pushkin visited here with Natalie. Before last days The poet idolized Ekaterina Andreevna.
Voeikov and Ponomareva
Pushkin did not manage to visit these Petersburg Salons - he was serving his southern exile. But his lyceum and literary friends were their regulars. These hostesses were very different in character and never met each other.
Alexandra Voeikova - Zhukovsky's niece (the ballad "Svetlana" is dedicated to her) - a gentle, sublime creature, a draftsman and a musician ... Her mansion was located next to Anichkov Bridge. Yevgeny Boratynsky wrote about her: "... And with you, the soul is full of sacred silence." K. Ryleev dedicated the poem "Rogneda" to her. She was the muse of I. Kozlov and N. Yazykov. And she herself was fond of the poems of young Pushkin, recording them in her album.
Sofya Ponomareva ... Merry, lively and flirtatious. She composed poetry, knew 4 languages, and selected music. With the consent of her husband, she created the Salon "SDP" - "The Estate of Friends of the Enlightenment", where Masonic rituals were performed and humorous nicknames were assigned. Everything revolved around the hostess. And all ... former lyceum students: M. Yakovlev, Kyukhlya and madly in love A. Illichevsky and A. Delvig. It is believed that the famous poem is dedicated to her: "Short days are given to love, \\ But I cannot mature her cold ... \\"
Sonechka died on the threshold of her 30th birthday, leaving a bright mark on the souls of many poets ...
"Princesse nocturne"
In the late evenings, the windows in the mansion of Princess Evdokia Golitsyna on Millionnaya Street, near the Winter Palace, shone brightly ... Guests came here in carriages, among them 18-year-old Pushkin. He met the hostess at the Karamzins'. The whole furnishings of the palace were something mysterious ... Starting with the fact that the princess received only at night. Not very happy in her personal life, she put spiritual communication at the highest level at the forefront.
The rare beauty and true patriot of Russia immediately conquered the Poet. In the same year, he dedicated a wonderful verse to Golitsyna (one of my favorites):
“Inexperienced lover of the lands of strangers
. . . . . . . . . . . . . . .. .
I said: in my fatherland
Where is the right mind, where is the genius we find?
Where a woman is not with cold beauty,
But with a fiery, captivating, alive?
. . . . . . . . . . . . . . . . . . . . ..
I almost hated my fatherland -
But yesterday I saw Golitsyna
And he was reconciled with my fatherland. "
The literary tastes of "Princess of the Night" were very progressive: all her closest friends were in "Arzamas" ... The poet visited Golitsyna every day, and in 1818 he sent her the Oda "Liberty" - with dedication.
From his first exile in May 1820, he writes Al. Turgenev:
“In the distance of the fireplace book. Golitsyna you will freeze and under the sky of Italy "... And in 1823, already from Odessa:" What does the poetic, unforgettable, constitutional, anti-Polish, heavenly princess Golitsyna? " (The princess was indignant that Poland was given a Constitution, but Russia was not).
Returning to Petersburg, Pushkin often visits Delvig.
Among their
On Saturdays, a circle of writers gathered at V.A. Zhukovsky - not far from the Nikolsky Cathedral, and on Wednesdays and Sundays - at the Delvigs, near the Vladimir Church (the house was defended in the 90s of the 20th century). Anton had already published "Northern Flowers" and was happily married to Sofya Saltykova. Pushkin, Kuchelbecker, A. Bestuzhev, K. Ryleev and others burst in here.
Visiting a friend, the Poet often saw Anna Kern (she lived with the Delvigs, then with Pushkin's sister - at the other end of the same Kuznechny Lane), but now they were only connected by friendship. In 1828, Pushkin read "Poltava" here ... Delvig in 1830 began publishing the Literary Gazette, but in January of the following year his life was cut short. Alexander could not find a place for himself from grief.
"Beauties of the Century"
This is how Bella Akhmadulina called the brilliant women of that time. The first in this row, no doubt, is Zinaida Volkonskaya ... Refined, romantic and gifted with talents:
singers, musicians, writers, and most importantly: the ability to support any conversation.
She opened her famous Salon in Moscow, on Tverskaya. We all remember the picture that captures the moment when Pushkin and Mickiewicz met there ...
"Queen of muses and beauty,
With a gentle hand you hold
Magic scepter of inspiration ... "
This is Pushkin's offering. But most of all the poems were dedicated to Her by the loving Dmitry Venevitinov, who died early. The salon united D. Davydov and P. Chaadaev, Khomyakov and Zagoskin and other Moscow writers. It was in it that Pushkin represented Boris Godunov and the last chapters of Eugene Onegin ... Living later in Rome, the Princess received Zhukovsky and Gogol, encouraged Russian artists, and created the Patriotic Conversation society.
Kutuzov's granddaughter also kept the high-society Salon: Countess Fiquelmon ... As the wife of the Austrian ambassador, she lived in Saltykov's house - near the Summer Garden. This is where Pushkin most often visited in the 30s. These walls were the first to hear his new creations ... In a letter from Moscow, the poet is upset that he was "removed from the salon." Calls the Countess "the most brilliant of noble ladies." And she regrets that "God made her bigger" - dreams of a simpler life.
In 1832, after her marriage in St. Petersburg, the Salon was opened by a good friend of Pushkin and Gogol, the independent and original Alexandra Rosset.
She was fond of all kinds of arts and philosophy ... Let us recall the famous lines of the Poet about her:
"... And as a child she was kind,
Laughed at the absurd crowd,
Judged sensibly and lightly
And jokes of anger of the blackest
I wrote straight away. "
Friends called her "Donna Sol". This is what Vyazemsky emphasized in the verse:
"You are Donna Sol, sometimes Donna Peretz!
. . . . . . . . . .
Oh Donna Sugar! Donna Honey! "
After the death of Pushkin in the same year with the Karamzins, Smirnova-Rosset met Lermontov, who dedicated beautiful poems to her:
"I cannot occupy your mind ...
All this would be funny
Whenever it was so sad ... "
She loved Russian poetry selflessly. And after the death of two great Poets, she continued to serve her faithfully ... Zhukovsky called her "Sweetheart of the dear, clever of the clever, charming of the charming." She even captivated Gogol, Belinsky and Aksakov - only later.
End of an era
In the middle of the 19th century, the Salons gradually "faded away" ... along with Russian poetry. The well-known connoisseur of the world, Prince Pyotr Vyazemsky, noted: "That type of woman has disappeared. This sovereign, this queen of secular sociability is no longer there."
From the history of the literary life of the Pushkin era
Aunt's album
(Instead of a preface)
A little less than a century ago, the theater historian N.V. Drizen found in the family archives an old album with drawings and poems. The album belonged to his great-grandmother; the poems were partly addressed to her, and under them were names that were very well known in the history of Russian literature of Pushkin's time.
Gnedich. Izmailov. Kuchelbecker. East. Illichevsky. Vladimir Panaev. Unpublished, unknown poems.
Drawings by Kiprensky and Kolman.
From the miniature, inserted into the binding, the face of the great-grandmother in the prime of her youth and beauty looked at her grand-nephew: a black curl developed and fell on her shoulder, huge wet eyes are thoughtfully concentrated, a half-smile on her lips, her hand straightens her cape with an absent-minded gesture. This is how she was seventy years ago, when everything around her was seething with life and youth and first-class artists and poets touched the sheets of her album. "Salon of the Twenties" - Drizen entitled an article in which he spoke about his find.
The word "salon" for modern consciousness carries a certain negative connotation - and in the days of Drizen it meant something artificial, unreal, devoid of significant social content. But this is not entirely true.
Circle, salon, society - all this was an integral part of the literary life of the first decades of the nineteenth century. Suffice it to recall the "Friendly Literary Society" of the brothers Turgenev and Zhukovsky, from which came the "Rural Cemetery", which began a new era of Russian poetry, or "Arzamas" - the literary school of the young man Pushkin. If we leaf through the excellent book by M. Aronson and S. Reiser "Literary circles and salons" (1929), we will be convinced that the leading role in the history of Russian spiritual culture in Pushkin's time belonged to the intimate circle.
In the early twenties, a salon led by a hostess was a cultural fact of deep meaning. The memory of the society retained the idea of \u200b\u200bthe French Salon Rambouillet, which brought together the precision writers of the 17th century, and already quite modern - the Salon of Madame Recamier, famous during the Restoration, where Chateaubriand constantly visited. These salons were designated by the name of the hostess, who became a historical person. But this is not enough.
Sentimental aesthetics — and in the early 1820s in Russia it had not yet lost its significance — regarded the woman of the "good society" as the main arbiter of literary taste. Karamzin was guided by her language, cleared of vernacular and vulgarisms, and, on the other hand, of book speech and professional jargon, reforming the language of literature. Even Bestuzhev, a writer of the new generation, while promoting Russian literature, appeals to "female readers and readers." So it is indicated on title page famous "Polar Star".
The "reader" who created the literary circle was a victory for the Russian enlightenment. When Ryleev and Bestuzhev published the first "Polar Star", they hoped for less: to convince readers to break away from French novels and pay attention to Russian literature.
The album of such a reader is not only a collection of autographs, but an indication of the existing connection between them. It has a fourth dimension: it can not only be opened, but also deployed in time.
In the fourth dimension, people who hold a pen and a brush come to life, they move, and speak, and lead a life full of drama: a life of hobbies, love, confessions and ruptures - and its vicissitudes are left on the pages of albums by gallant madrigals, messages, initiations, love cycles ... Writers unite in circles and parties, warring with each other: passions boil, pour out on the pages of magazines, give rise to handwritten literature. And it remains in albums and handwritten collections.
There are albums that continue each other, supplement, clarify, challenge and deny.
That he did not have time or could not, did not want to finally tell us the album found by Drizen, is told by the second, which is now kept in the manuscript collection of the Pushkin House in Leningrad. About ten years ago, sheets were also discovered from the third, scattered and almost completely lost, belonging to the same dark-haired beauty that Drizen first saw on a miniature album binding.
The scattered links form a chain. We know the albums of people whose poems Drizen found in the "aunt's album."
Album of Izmailov and his wife. Album of Vladimir Panaev ... the album of Pavel Lukyanovich Yakovlev ...
Baratynsky and Pushkin wrote to Yakovlev's album.
It was a whole literature, comparable to the literature of friendly letters and letters, which flourished in magnificent colors in the tenths and twenties of the nineteenth century. There was life behind it - moreover, not one, but many, who made up a literary society, salon, circle.
Behind the “aunt's album,” or, rather, albums, stood not just a circle, but one of the most remarkable literary associations of Pushkin's Petersburg, which included Delvig, Baratynsky, Gnedich, Izmailov, O. Somov, V. Panaev; where Krylov, Ryleev, Kuchelbecker, Katenin, almost the entire literary world of the capital, excluding Pushkin, already exiled to the south, have been.
In the book, which the reader is holding in his hand, an attempt is made to trace the biography of this circle step by step. Collecting and systematizing, arranging in chronological sequence album records, printed references, memoirs, documents and letters that have not been published for the most part, we will try to recreate what is left of him, carefully reading into the excellent, familiar to many verses, which reflected his inner life. This task is difficult: the home circle usually does not care about its history and does not keep chronicles, unlike society, and in the chronicle it always lacks some links, and most of all it lacks exact dates... And therefore the role of hypothesis increases in it - that reading "behind a document" about which Yu. N. Tynyanov once wrote and which is an inevitable and necessary condition for any research, if it does not turn into reading without a document. We will not hide these gaps and hypotheses, for this is also the law of research.
So, let's start: we are in St. Petersburg, at the end of the 10s of the last century.
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