The famous poet of the XIX century Alexey Koltsov. Brief biography of Alexey Koltsova Most importantly

Koltsov Alexey Vasilyevich (1809-1842), poet.

Primary education received at home, under the guidance of a seminar teacher. In 1820 he entered the Voronezh county school, but after a year the father took the boy home to teach to trade activities.

Rings reading replenished the lack of education. The first poem "Three Visions"
(1825), written in the imitation of I. I. Dmitriev, the poet subsequently destroyed. In his youth, Koltsov survived a love drama (he was ruled with a serf girl who wanted to marry), and this was further affected by his loving lyrics in his poet.

Taking a family business, Koltsov successfully engaged in trade. His first poetic publication in 1830 was anonymous. In 1831, during a business trip to Moscow, rings with the help of publisher and critic N. V. Stankevich entered a literary circle. In the same year, the "literary newspaper" published the poem of Koltsov "Ranger" (later name "Ring").

In 1835, Stankevich issued the book "Poem" Aleksei Koltsov collected by subscription "is the only artifermic compilation of the poet. Critics noted the connection of the poems of Koltsov with folk songs, tangible on the figurative, thematic and language levels.

1836 became a turning point in the creative development of the poet. His poems were printed in the magazines "Telescope", "Son of the Fatherland", "Moscow Observer" and others. One of the poems published in the "contemporary" A. S. Pushkin.

The death of Pushkin Koltsov responded to the poem "Forest" (1837).

In 1840, after a trip to the capital, which ended in trade affairs, the poet fell ill with a Cahotka, who brought him into the grave (died on November 10, 1842 in Voronezh).

In 1846, a posthumous collection of writings of Koltsov was published by V. G. Belinsky.

Alexey Vasilyevich Koltsov born 3 (15) October 1809 in Voronezh. Russian poet from Meshan, son of hereditary prasol (merchant cattle).

In 1821. He graduated from one class of the two-year Voronezh district school, after which the father attracted him to his enterprise, whose affairs rings were engaged in the end of life.

Early addicted to reading, in the mid-1820s Began to compose poems, finding support among the Voronezh intelligentsia (bookseller D.A. Kashkin, seminarist-verse by A.P. Serebryansky). In 1830 In Moscow, the first (anonymous) publication of 4 poems Koltsov took place. In the same year he met N.V. Stankevich, who introduced Koltsov in literary circles. Since 1831 Beginned in metropolitan publications. In 1835 Efforts of Stankevich and V.G. Belinsky, who became the main popularizer of Koltsov's creativity, was published the first collection of his poems. In 1836, 1838 and 1840 Rolling on trading cases was in Moscow and St. Petersburg, where A.S. was favorably taken Pushkin, V.A. Zhukovsky and others. The convened rolling crossing to St. Petersburg did not take place due to his illness and material difficulties in the family. Alexey Vasilyevich Koltsov died October 29 (November 10) 1842 in Voronezh.

Posthumous edition of Koltsov poems ( 1846) Prepared to Belinsky, who previously won it by a large article "On the life and writings of Koltsov", in which the first one is described, in part mythologized biography of the poet.

In the poetry Koltsov, its most significant songs, created at the junction of the people's poetic and literary (stylization of folk songs A.F. Merzlyakova, A.A. Delivia et al.) Traditions. Folklore techniques are characterized (constant epithets, stable formulas, personification, psychological parallelism, etc.), to which the rings resort to an intimate, psychologically complicated lyrics. So, in love songs is represented sophisticated gamma experiences, right up to the most painful and dramatic: "treason of narrowed" (1838); "Russian Song" ("I told me a friend, saying goodbye ...", 1839); "Glinding" ("at the dawn of foggy adolescence ...", 1840).

In a number of early songs Koltsov recreated harmonious picture of peasant life With its holidays, prayers and agricultural labor, adorganizing a person to nature ("Rural Pirushka", 1830; "Pahar song", 1831; "Vintage", 1835; "Kosar", 1836). In late songs Koltsova prevailed motifs of loneliness, needs, captured by the "Self-changing people" of the Menota forces, etc. ("Celanne Meditation", 1837; "bitter share", 1837; "What are you sleeping, a peasant? ..", 1839 and dr.); Social and family conflicts are sharpened ("the second song of Likhach Kudryavich", 1837; "Rustic conversation", 1838; "Every His Talan", 1840), there is a "robbery" topic ("delets", 1833; "Hortors", 1839), The line of spiritual poetry continues ("in front of the Savior", 1839). Genuine tragedy is inherent in poems to the death of Pushkin "Forest" (1837).

Another significant section of the Rolzov lyrics - "Duma", We are deliberately idle arguments on philosophical and religious topics: about the secret of the universe and the idea of \u200b\u200bthe Creator, about the limits of human knowledge ("God's World", 1837; "Forest", 1839; "Poet", 1840). Unlike the poems of Koltsov in traditional literary genres (Messages, Elegia, Madrigals, etc.), his songs and "Duma" is a unique phenomenon of Russian poetry. The elements of the poetics of Koltsov were perceived by A.N. Nekrasov, I.Z. Surikov, S.D. Yezhin, S.A. Yesenin and others. Music on the songs of Koltsov wrote A.S. Dargomyzhsky, N.A. Rimsky-Korsakov, M.P. Mussorgsky, MA Balakirev, etc.

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Koltsov, Alexey Vasilyevich

- "Poet-Prasol", "Artist of the Russian Song", one of the favorite poets of the Russian school, Rod. October 3, 1809 in Voronezh, mind. In the same time on October 29, 1842, his father, Vasily Petrovich, Voronezh Proshan Prasol, traded his cattle; Its education, despite the fairly significant wealth, was limited to one literacy; The mother of the poet, Praskovya Ivanovna, was illiterate. The school's teaching of the Koltsov-son lasted only the year and three months in the county school, from where his father took him from the second class in 1821, in order to accustom to the trade case. Since then, the mental needs of the boy were met by chance by books, first fairy tales, then with novels (Aug. Lafontena, Düsuskov, "Kadm and Hranmona" Heraskov). The first poems read by Koltsov, writings I. I. Dmitrieva, made a strong impression on him; Having noticed the presence of a rhythm, he decided that they should not be read, and to sing, which did, until he was withdrawn from the delusion of the bookcarriage of Cashkin, who gave him a "Russian request"; Since then, the poems of the Koltzov (Piece "Three Visions" begin, which led the dream of a comrade boy, and others), extremely imperfect until the influence of the Serebryan seminar, which was at the time in the senior philosophical class. According to the reviews of people who knew his son of a rural priest Andrei Porfiryevich Serebryansky was a person's richly gifted, issued a mental development and could write a cheap poems - he owns a pretty famous song "Fasts, like waves, days of our life", - standing out at the same time idealism The aspirations and mental heat, which was expressed, according to Koltsov's testimony, in hot, animated improvisations. Friendship with Serebryansky, tied around 1827, gave Koltsov a lot: since then, the poems of Kolzov are often corrected by Serebryansky; Exchange thoughts and joint reading replenish his mental development; But she also had another meaning for the future friend of Belinsky and Stankevich - prepared him for the perception of this most important influence in his mental life, since, with all the difference in provisions and scientific training, the spiritual appearance of Serebryansky had undoubted traits of similarities with the mental mood of the famous mug. In the first "Duma" Koltsova (" Great Mystery"), written in 1833, it is impossible to separate the echoes of the first trip of Koltsov to Moscow to Stankevich (1831) from the possible effects of Serebryansky, who himself was the author of the philosophical ON" Immortality ". This is the participation of Serebryansky in the authorship of Koltsov for the earlier period of his Development, of course, of course, an accurate assessment, subsequently gave reason to accuse Koltsov in the assignment of someone else. The accusation relied on a few words of the letter to the Serebryan's letter to the brother. The best objection in favor of Koltsov can serve as its subsequent, more valuable works and also its hot attitude. To the fate of the friend (in 1838), with whom he went before, before, and to the assessment of the verses of Serebryansky Belinsky: Peresavil Belinsky, several poems of Serebryansky, Koltsov wrote criticism: "I am impatiently to hear about the verses of Serebryansky - I'm in the very The case was a bad poet "..." together with him we grew up, together read Shakespeare, thought, argued. I have so much to him, he too was bald me "... it doesn't interfere not to notice that, with the exception of the above song, all the preserved poems of Serebryansky are bad.

The new era in the life of Koltsov begins with his rapprochement with N. V. Stankevich (probably in 1830). The circumstances of the first meeting are transmitted differently; A more believable story, going through Nevelov from Stankevich himself, reports that, heed in the estate of Stankevich Gurt cattle, rings, dinner from the palace, sang her songs of his essay; Interested in the story of the servant by Songnik-Prasol, Stankevich wished him to see and unmistakably defined in it the presence of native poetic dating. Since then, the concerns of Stankevich about Koltsov do not stop until the departure of him abroad in 1837, from where he was not destined to return. When in 1831, Koltsov went to Moscow on the instructions of his father for the first time, he stopped at Stankevich and became acquainted with the members of the circle, which was very welcome: the ideal gusts of the Stankevich friends and then the desire for spiritual improvement in which they saw the meaning of life , I had to make them see the phenomenon related and susceptible self-taught. But both the external facts of this trip and direct traces of its influence on the spiritual life of Koltsov is not possible to trace even approximately. But the participation of a mug to Koltsov is expressed in concerns about his literary fame: then his poems are attached to the magazines; In the "literary newspaper" for 1831, a play "Ring" appears (subsequently "ring"), accompanied by the notes of Stankevich, in which the author's name is reported, its age, occupation and degree of education. The row of Kolzov's plays is then printed in the "Sheet", "Molve" and "Telescope". But for the first time, the poems of Koltsova saw the light even earlier, in 1830, thanks to the accident: some kind of sukchev, a little famous writer, passing through Voronezh, got acquainted with the "self-troop" and included the three plays of Koltsov, without the name of the author, in his book: "Sheets from the note books S. ". - The new Moscow friends was obliged to rings and the first individual edition of his writings, the only one during the lifetime of the poet. In one of the assembly, the mug was solved by the fate of the publication, to which Stankevich gave funds; In 1835, a book concluded only 18 plays and entitled: "Poems Alexei Koltsov", which was not immediately seen. The perplexed and dismissive oral feedback about it is an inconsiser who did not prevent it, however, Belinsky give a sympathetic note about it in the telescope, published by the same hopeful. The Slavophilic print proved this original manifestation of the Russian People's Spirit. Belinsky, the head of Belinsky mentioned in the preface to him about the material participation of Stankevich, which led the last to indignation: he was desperate that he would be considered for the literary entrepreneur, for the "literary worker." Fortunately, a delay in the printing house was released, and the preface was destroyed. Regarding this, two letters of Stankevich are preserved to Belinsky from the village. Stankevanich was obliged to rings and the first biographical essay: Ya. M. Nevers, to which Koltsov appeared in March 1836 in St. Petersburg with the recommendation letter of Stankevich, prints several months later by Article: "Poet-Prasol A. V. Koltsov" (in "The Son of the Fatherland" of 1836), the heat written, in which it has repeatedly refers to Stankevich, without calling him, however, by name; Indicating the edition of 1835 and calling a number of plays that were later in magazines, he appreciates them especially for their immediacy, "as a clean and free outflow of the soul." The period of life Koltsova, concluding between the first and second trips to his capital (1831-1836), represents an almost full gap in its generally poor biographies. On the space of five years, only one "Duma" (1833) represents an example of ideological creativity; It is expressed entirely in songs with the paintings of the national life; The number of written is small, but among it there are such famous plays as "harvest", "you are not noise, rye", "you do not sing, nightingale." The time of the poet, obviously, was employed by life, business, walking in the steppes, impressions of nature, - all what the material of observations, sentiment and the paints of People's Russian Koltsovskaya poetry gives the end of the world. By the property of its nature, the rings experienced the need for actively, active, sometimes passionately, to participate in life, perceiving her extremely sensitly impressions. We have the grounds to represent him in this early time, a rayful, rapid, not overlooking their own, industrialists who have not worried about the deprivation and dangers of steppe nights, not alien to unnecessary, walking fun, who did not be boring at once ordinary young ladies, nor dirty, even the brown side of the fallen His share of fishery, which forced him sometimes to spend all days among the puddles of blood when there were bulls with dozens and a master's eye was required. Folk life with their work, simplicity, attributive and ragged a wide wave was then in his soul, not exposed to the analysis, and when the gap was subsequently manifested with the medium, he had to have his source not in the nervous weakness and squeamishness of the Belarusian, but in mental , moral and aesthetic queries that power spoke in the shower and for which environment It was so obviously unfavorable; Then, in the fight against it, he invested the same activity and passion from which he used to participate in her work and in her fun; But according to the circumstances of his life, instead of an open struggle with the enemy, he was only led to tease him and annoy him, because it was so difficult in the later history of Koltsov to separate a serious protest from the pick-up and a true drama from the smallest and dirt.

In early 1836, the rings again went to Moscow and from there for the first time in St. Petersburg on the tall and trade affairs of the Father. On this trip, he got close to Belinsky, the relationship to which was subsequently transferred to friendship; By moving Koltsov to Petersburg, his correspondence with Belinsky begins, which continues to the end of the life of Koltsov and occupies the most important place in its correspondence. A competitive tone of the student in circulation to the teacher is heard from the very beginning, it will remain to the end, connecting subsequently with the expression of love, even tenderness. Having reproaches himself for burdened Belinsky in some order, Koltsov writes (1836): "Sorry ... I thought very stupid: a person who dedicated himself to sublime thought. Which in complete ideas of common sense brings the sacred truths and gives the whole world. ... And I stupidly disturb your Duma with my bale "- the way of expression is characteristic of the then development of the Prasol poet. - In St. Petersburg, thanks to the recommendations of Moscow friends, the rings acquired many literary dating; He has a business literary relationship with Kraevsky, Vladislavlev and others, who helped him subsequently attach his poems in the journal; Koltsov saw Pushkin, welcomed was welcome. Odoevsky, Zhukovsky, Plentnev, at the evening with which I. S. Turgenev met him, who preserved for us in his "literary memories" then the appearance of the poet. Among the new relations of the rings found a lot of clutches and self-control, kept modestly, but with dignity; A less profitable impression makes his desire to extract practical benefits from a sympathetic attitude towards him KN. P. A. Vyazemsky, Zhukovsky and KN. V. F. Odoyevsky for Father's Horbious Affairs. These things were walking between the ring and local peasants due to the lease of pastures and wore a blurred nature, which would even protest the Moscow circle; The poet had to be justified, referring to his subordinate role of the father's attorney. Rovkolov's inflammatory and letters to three mentioned persons produce an adverse impression of the tone of naivety, which in them prevails and which contradicts the true warehouse of the Rovtsov's mind; Once the requests were met, apparently, rebuffed even from the side of good-natured and soft Zhukovsky. In May 1836, Koltsov again in Voronezh, apparently, encouraged by experienced impressions. This is the moment of raising forces, revitalizing hopes and plans; Verina is noticeable; The poetic activity of Koltsova becomes more tense, looking for new topics; Almost all the best plays Koltsova were written after 1836. But the influence of the experiences experienced impressions went even deeper: the world of wide mental and aesthetic interests, which Koltsov was lucky to see in his best representatives, uncontrollably pulled the talented and still full forces of nature. The direct fruits of this influence are the Koltsovsky "Duma", which are almost almost focused on these median years (1836-1838) of the short poetic field of Koltsov. After the hot article Belinsky, a more comprehensive follow-up criticism has repeatedly pointed to their shortcomings: uncertainty, sometimes the flow of thought; The author is stronger where he asks, hesitates, what where he is trying to give answers; But it does not interfere with recognizing the poetic advantages of individual places, where Prasolu poet was able to combine the abstract latitude of the plan with the trees of poetry in images and contrasts, heated by their lyrism courageous and strong, the harmonization of the plot ("God's Peace", "Roughness" "," Forest "and others). Looking close to the "Thies" Koltsov, it is easy to find traces of those philosophical ideas in them, who lived a circle of Stankevich, the ideas of sillying philosophy; It is enough to compare the characteristic lines in the "literary dreams" of Belinsky: "The whole infinite wonderful God has nothing else like the breath of a single eternal idea, the thoughts of a single, eternal God" - with the Duma "The Kingdom of Thought" (1837). The same idea of \u200b\u200bthe presence of thoughts in nature and the original kinship of the spirit of nature with a personal spirit - we find in the Duma "Forest" (1839). A high view of the artist aroused from the philosophy of Schelling as on the "Spirit of the Spirit of Life, flowing in the depths of nature," and on art, as on the rare merging of the "ideal and real in absolute," on earth, has its own echoes in several "thinks" Koltsova. You can put in touch with it and then a hot letter similar to the "poem in prose", which was written to Koltsov to Kravsky about the death of Pushkin: "The sun is shot ... The ugly block fell to the ground" ... - at this time and family relationships Koltsova were quite satisfactory - better than ever. The practical benefit that the son extracted from metropolitan dating was to her face. In July 1837 he arrived in Voronezh Zhukovsky, accompanying the heir to the throne, had repeatedly seen with Koltsov and had him in front of everyone. This unexpected honor raised his father's poet's eyes and his literary activities in the eyes of the Father and Environment. But the turn in the unfavorable side followed soon.

At the beginning of 1838, the third Koltsov trip refers; At first, he stayed for some time in Moscow, where he became close to this time with M. Bakunin and V. P. Botkin, see the Aksakov; Rovtsov's relationship to Belinsky remained very close; Having moved to St. Petersburg, the rings served as an intermediary in his intercourse with Kraevsky and Polev: Prepared to move Belinsky to St. Petersburg (in 1839); In May, the rings were again in Moscow, and by June returned to Voronezh. We do not know the details of this trip and the impressions made by the poet, but it is from this time that it starts to sound more in the letters of Koltsov double note - distrust of its forces and alienation, even embitractions in relation to the environment. The poet seems to be an impossible task of re-education for his personality, which he would like to fulfill the widest program: "I have been given to God to God desires, and from the body of the soul," he says with bitterness; In the letters, during this time, we find traces of enhanced reading, but philosophical studies, apparently approved by Belinsky, give few results, confuse terminology ("subject", "object", "absolute"); He in vain seeking a "real" understanding, so that "he himself could convey: no matter what the concept is not," it is confessed that in Belinsky, it was different. Losing faith in the possibility of a new device of life, the rings at the same time became more and more dismantled with the old: "With my friends, I wonder the little ones ... They missed everything - the conversations are vulgar ... they need to be laughing at me" ... he emphasizes in letters dirty And the coarse side of its fishery: "I stayed at the factory all day, I admired the battered cattle and on people, torn off, appeared in the mud, lured with blood from the legs to the head." Meanwhile, the commerce requires the "whole person," there is no time or forces for another. At this time, Serebryansky died, did not have time to reconcile with the Koltsov, with whom he was in a grinding. His death caused a few hot lines in Koltsov's letters: "The beautiful world of the soul is beautiful, without sprinkling, fell forever." It was prepared in the soul of Koltsov, then the attitude toward his living conditions, which grown at the end to an irreconcilable enmity, making it unbearable to others, as they were for him.

In September 1840, Koltsov again started on the road, this time with particularly important assignments: it was necessary to achieve the end of two taller cases, one in Moscow, the other in St. Petersburg, and also to sell two guards, which cost at least 12 thousand . There was no Belinsky in Moscow; Koltsov seen with Botkin, got close to Katkov, performed various orders of Belinsky and Kraevsky; In October, he is already in St. Petersburg, where he spent two months; Koltsov stopped at Belinsky and here the sympathy for him of his teacher became a hot friendly feeling, and later, in the famous article 1846 "Rich and Noble Nature" - writes Belinsky under the impression of this last meeting. Koltsov returned to Moscow on November 27 and the new 1841 met in Botkin in a big campaign; In a letter to Belinsky, "Full Register" Guests are given: Granovsky, Wings, Ketcher, Krasnikov, Krasov, Satin, Shchepkin ... The meeting was noisy and on a wide leg. It was the last contact of Koltsov with the remains of the Mug of Stankevich, who himself just came down in the grave. The play "Pomy", inspired by this death, has a price when studying the biography of Koltsova: it gives us that measure of the assessment, which he made to the members of the circle; It has been preserved for us who did not cool the enthusiasm who took with him to his "close peace" poet Prasol and who played an important role in his life, but a sad role. - Stay in Moscow slowed down; You can guess that the rings thoughtful, did not know how to get home, where he was considered the missing, they did not think that he would return. In Voronezh, he was waiting for a heavy and final gap with his father and his beloved younger sister.

We do not have data in order to restore the facts of this episode in the poet's life. The gap between his father and son occurred on the basis of monetary accounts; Of the two processes, one was played; Gurta were sold unprofitable; You can think that the reversed money was not regularly handed over with a clerk-son. Relationships were irrevocably spoiled; Joint life became unbearable, but nevertheless continued; At one time, at the request of the Son, the father appointed him a certain salary; This, apparently, could resolve relations; But soon the disease made it incapable of "the case, the TUNADER, who holds from the grace. The Petersburg friend built plans to cut the poet from heavy, hostile conditions:" Let everything throws and runs, saving the soul "(writes Belinsky Bottina); rings, by his The assumption could be headed by the office of "domestic notes" or open a book trade; but all plans are broken: there is no money, the son is confused in Voronezh by paternal affairs, debt obligations, - in addition, "there is no voice in the soul to be a merchant." In the correspondence on this We had to change the teacher and the student more than once: in rubles and penny, calculated the rings with an impractical Belinsky rings, in which his plans would cost, and what could be waiting for them. Own practices developed in a young trader without a delayed look at the commercial business: it is impossible not to deceive . He begins to speak dismissively talking about his gift; the condemnation in the last "Duma" is heard of the latter philosophical interest, ("Don't leave us about the height of dreaming "), consecrated kN. Vyazemsky. But in the letters, traces of zealous reading, reviews and questions about books, projects of future readings, admiration of Belinsky articles, new things Lermontov are still noticeable. So continued until the very end of life. When V. Askochensky, Comrade Serebryansky, visited Almost dying Koltsov, he heard the words pronounced with difficulty: "My God, like you are happy; You studied; and I'm not destiny, I'm so unacceptable."

But in this sad period, the decline was to be played in the life of Koltsov another episode, which completely loosened his strength and knocked him out completely from the rut. It was a hobby of a violent character, who forced him to completely lose his head and scandaling his relatives. In a letter to Belinsky dated March 1, he shares this news in an indiscriminate line, from which madness can and who could not see print. Subsequently, under the pen of the biographer-friend, this episode turned into an excerpt of the romantic poem of a gloomy-beautiful, Baironovsky shade; The reality was much lowest, but also mercilessly consistent: the result of the connection was severe illness; The patient and abandoned rings remained on his hands from the relatives, which he was completely frowned. So prepared his sad end; On February 27, 1842, he wrote for the last time Belinsky and on the same day Botkin; From here, they are mainly drawn by those details, which then gave the opportunity to Belinsky to make a relationship of relatives to Koltsov "criminal case", on the ironic expression of the de-pool. Subjectivity, painful irritability of both letters is undoubted; But the agony of dying agony in each row is trusting. Such was the life of Koltsov in the next 8 months; On October 29, he died suddenly, without suffering, while the old woman was sniffed with a spoon of tea: he was weak as a child, he could hardly sit and spoke in a whisper. The death of him who has long been preparing, was met by family as liberation. Cool, the disappropriate father did not give the view that they touched anyway; But on a modest monument, which was put on the grave of the poet, was made, probably, at his desire, the inscription was very characteristic of its illiterate eloquence: "An enlightened non-name of nature was awarded to the monarch of 33 years and 26 days in 12 o'clock marriage NoniMel" . The death day of the poet was subsequently forgotten. In 1888, the sister of the poet Andronova put a new monument on his grave, and the death date was markedly markedly: October 19, the number that was repeatedly repeated almost all the biographers. Church books restore the True date: October 29; It is confirmed in addition to the score of the lived days at the initial monument, as well as the fact that the funeral of Koltsov was occurring on November 1.

Few, crayons and are not diverse the facts of the life of the poet prasol; His closed, uncommunicative character made him stingy to the expression of more intimate, personal experiences; his paper, including the letter of Belinsky, Botkin, Bakunina, after his death fell to the market; The brightness and characterity of a few letters fills little spaces. The more important, but together and the more responsible for the biographer, the lighting of the facts. In the biography of Koltsov, it was under the pen of various biographers to serious disagreements, it can be said to the contrast, which is why it is necessary to stop.

Of people who personally knew Koltsov, two - Belinsky and Katkov - tried to make a serious assessment of his personality, and the result was not the same. Belinsky saw only one part of his nature in Koltsov - his desire for the highest spiritual development and his givingness, which rushed to anyone after the shortest acquaintance with him; But having loved him as a person, the famous critic passionately "regretted him", as a typical "victim of the environment", a personal irritated memory of which has never ceased to live in Belin's own soul; An approximate "Case" of Koltsov with his own blood business, Belinsky, without thinking, attributed to him the degree of sincere heat, reaching him to the thirst for the feat, until he felt in herself. And rings part unwittingly, partly consciously turned into it to him the side of his being, which he saw and wanted to see Belinsky in him; This is the character of letters Koltsov to Belinsky, in which the facts are often given to one-sided lighting. The news of the death of Koltsova, which came to him only a month later, when the poem "on the death of Koltsov" was sent from Voronezh in the "domestic notes", Belinsky met with the crocate of despair. He writes Botkin: "The death of Koltsov struck you. What to do? For me such things otherwise act: I look like a soldier in the fullness of the battle - fell friend and brother - nothing - with God is an ordinary business." From this soulful source, his Biography of Koltsova occurred, written in the midst of a social protest (1846), on the eve of "letters to Gogol". Calmfully stood in Koltsov Rinks. Recalling the night held in conversations at the conversation in the courtyard of the charge, where the rings lived, he expresses the surprise of his natural greenery, but he did not slip away from him, which connected Koltsov with the medium and life, in which he was already extinguished, energetic tender with the familiar already receptions and tastes; The mental susceptibility was connected in it with the unfoldable, "flint", according to the expression of Katkova, the character, closed on instinct, sometimes for the calculation in which it was difficult to find the features of the enthusiast. - But there was another side in sophisticated personality The poet who did not fully appreciate the rollers nor Belinsky: This is a wide folk nature, pushing him on rampant and excesses; Belinsky saw her only as it affected, poetically transformed, in Koltsov's poetry; Therefore, the episode of the last "passion" grew up and bloomed before the poetchiness under his pen, having departed a picture of moral and physical decline. Thus, the later disagreement was prepared in the literature on Koltsov, thanks to whom the most aware of the poet's biographers, M. P. De Pule, had to appear more than once as a prosecutor of the Prasol poet and defender so severely convicted Belin family. The episode of Koltsov's relationship to the younger sister Anice can successfully illustrate this tangled litigation. The poet bitterly complained about the "treason" of the sister, which from a friend and an ally became the evil enemy for him; But his complaints with difficulty can be divided by an impartial judge. How much can be judged by - far, however, not sufficient - data available at our disposal to restore this quarrel, it is necessary to represent the case: in an uneducated, the old-fashioned family established stretched relations between the son and parents; The young sister, Darovitis and Characteristic, joined the brother, susceptible to propaganda new, on the banner of which at first it is written: to study in French and play the piano; After a considerable struggle, young people achieve their own; The letter of Koltsov to the sister (January 10, 1841) from Moscow, the only thing we have, is full of proselytism, the binding to the best, tempting world, where you can listen to wonderful music, see smart, interesting people. But the most advocacy, as we know, I do not succeed to let the roots in this world; Meanwhile, one, eye on her eyes with parents remained in his long, sister abolisses; At times, she is ready to think that the brother will not return home, it takes a rumor that he is delivered in St. Petersburg, where she, right, will not fall into all of her life, - and that is the practical meaning of a woman takes the top of dubious dreams: it is necessary to go with that medium in which she will always have to live. But this turn to another way brother does not forgive his sister, he tries to prevent her marriage, reproaches, Mustit: "They poured me so much that I began to gossip," he writes Belinsky; True, he is ready to repent in the sown discord, but the malicious note continues to sound. In the same letter, he gives the words of the sister, the mother mentioned about him: "Wait for you, he is a nose to you," and really he knew how to "bite"; In the struggle, it was shrouded cool on the father of Natura, it was manifested by something tough and unkind, akin to the gloomy and passionate poetry of his songs-ballads with bloody junction (Khutorsok, night). Of this Koltsov knew badly and understood Belinsky, the nature is inesentistic, poorly skilled even defend himself, brave only where it was necessary to stand for the principle. The fate of Koltsov-poet served as another critical biographical gravity, in which the role of the prosecutor and the plaintiff, this time in the interests of Koltsov, belongs to the same de Pule; He expressed the idea that Belinsky brought one harm to the Koltsov poet, knocking him down from the right thing, the natural way of development, that the ideas of the "mug" gave rise to one "smart", the self-confidence, confusion of concepts. The accusing documents were not difficult to find; The unpreparedness of Koltsov to philosophical studies is too obvious; But the accuser-biographer forgets about that aesthetic school, which was held under the leadership of Belinsky. His letters are full of instructions for this: "So this topic is not good, and I considered it successful," writes the rings and now it starts to think about it - why not good? What was the mistake? Study critical work begins. M. P. De Pula forgets about the wide honoring of Koltsov, in which the influence of Belinsky will undoubtedly forget the exchange of literary news, judgments, experienced impressions that are full of correspondence. Koltsov - "Songbook", developed independently, in close its corner, to high artistic, - there is a myth, inability; Early experiments are full of flaws - Slastoughness, Lizmanthism, it is not possible to distinguish poetry from a set of words; It was necessary to develop a critical ability, contact with the world of broad generalizations and sublime points of view. M. P. de Poule tries to separate the influence of Stankevich from the influence of Belinsky to the benefit of the first; But where is the basis for such opposition? One "harmony", "sense of measure", strongly developed in Natura Stankevich, who shaking his head, listened to "violent Vissarion". The poem of Stankevich, together with the tirais of "literary dreams" and "Dummy" Koltsov, constitute a completely homogeneous integer in the spirit. I remember even the feeling of gratitude to the poet to Belinsky until the very end of his bitter life, which is hardly the most light feature in the correspondence of Koltsov. Almost everyone who wrote later about Koltsov (I. I. Ivanov, N. A. Kotlyarevsky, and others, rebelled against this condemnation of Belinsky.

The first thing that found an assessment among the poetic creatures of Koltsov was those pictures of rustic life, folk fun and folk ware, which are still so popular in the Russian school. But the meaning of them, of course, was strongly silent in our eyes; They will hardly satisfy the adult and educated reader; Early critic Koltsova, Valerian Meskov, calling such plays like "that you sleep, a peasant" - "economic" poetry, said to them a fair sentence. But the main lyrical motives in the poetry Koltsov retain their poetic price, thanks to its universal and national importance, brightness and strength of mood, beauty and strength of the tongue. The expression was deleted, a wide sweep of the soul, one of the frequent motifs of Koltsov, concludes both national elements; But these motives are developed better where less domestic details. The personal fate of Koltsov often suggested him also the motive of the struggle, the fatal fight of the person with an external hostile forces; Such is the "Duma Sokol", "Calculation with life", named before "complaint". The characteristic feature is that the external forces affecting life are always drawn by the poet in the form of fate, unreasonable, blind and at the same time merciless and persistent. If the identity triumphs in the fight, this is not so much merit, how much "luck" is the case of the same fate. Such is the People's Philosophy of Koltsov, which he tried in vain to replace the shelling faith in the kingdom of a reasonable idea. This property deserves attention: being an expression of a person who has reflected freedom and right, it at the same time, as it were, in the very depths of its original unbelief, due to the personality, ominous premonition of its final defeat!

But, perhaps, the brightest motive in the work of Koltsova is the thirst for life, life in general, by all means, whatever its content, the passionate desire "life is progress" in his own expression. Through the entire poetry of Koltsov, this jet, composed of sensual impulses, with a tragic and proud note and the powerful passion of feelings. The poet willingly transfers the fleeting moments of the folk drama in the situation of the storm, nights with ghosts and nightmares; They are homogeneous on the poetic atmosphere with the "hostess" of Dostoevsky; Between the two artists in this direction can be seen related traits. Thirst for life, expressed in the Koltsovsky lyrics, is infinitely far from the bright cheerfulness of Pushkin Muse: there is a grain of self-destruction. The trait of passionism, extremely rare in Russian art, inherent in the poetry of this nugget; She changes its content; This is not one love, sometimes it is a feud as passionate, challenge, thirst for freedom, anger on himself. Without a doubt, in the plays of this kind, and not in idyllic-instructive rural motifs, the true meaning of Koltsov in Russian art.

The Koltsov's place in the history of Russian literature cannot be significant, but it is firmly engaged in them. His poetry was one of the earliest fruits of the Great Pushkin reform, who freed the final creative person, who had made a possible creativity, which aroused out of the depths of personal being, and through this from the depths of being national. But besides this general meaning, Koltsov expressed a certain and further step of literary development: a liberated person who daring to oppose himself to life, a lot and most suddenly demanded from her. In this regard, with all the difference in tank and development, rings represents a phenomenon similar to Lermontov. Finally, the merit of the poetry Koltsov - the merit of the expression of public self-consciousness - can not be denied, but it is not achieved by the plays, drawing the people's life, and the image of the soul of commoner, which he himself was, in significant and bright features that loudly declare his rights on full human existence; In this sense, the song Koltsov is served by the Hunter's "note of the hunter", Nekrasov's poetry and subsequent populatory literature.

The first edition of the compositions of Koltsov was made by Stankevich in 1835; The next edition was in 1846, accompanied by the Belinsky article; It was repeated in 1856. Since then, the poems of Koltsov reprinted repeatedly. In 1892, on the occasion of the 50th anniversary of the death of the poet, several publications were immediately; The best of them is the magazine "Niva" edited by ARS. Injected; It was repeated in 1895; Here all known letters of Koltsov (64) are printed here, a review of manuscripts and notes to individual plays. (Never-Date of writing No. 41 - Kraevsky: Must be 1841, and not 1840). By the same plan, the publication of the North magazine was drawn up under the editors of A. Lyashchenko (where an important letter to Botnu is missed by however. - Deserves attention on the illustrations and accurate chronology, the publication of the "World Illustration" edited by P. Bykov, 1892.

The first biography of Koltsova was written by Yang. Peveerov, "Son of the Fatherland", 1836, part 176. - Important Article Belinsky with the publication of 1846 ("Composition of Belinsky", vol. Xii). The most thorough biography belongs to M. P. De Poule: "A. V. Koltsov in its everyday and literary affairs and in the family atmosphere" 1878 (earlier in the "Ancient and New Russia" of the same year), which caused objections ( "Voice", 1878, No. 336) and the answer to them ("Our Critical Different" - "New Time", 1878, 31 Dec.). Biography compiled by V. Oharkov - in ed. Pavlenova "Life of Note." People "and at the anniversary editions of Koltsova; Also in "Enz. words.", ed. Brockhaus and Efron Biogr. Essay I. I. Ivanova. - To illuminate individual episodes of the life of Koltsov, they have the price: "several. Words to BioGr. Koltsova", M. Katkova ("Russian. Vestn.", 1856, VI); Memories of V. Askochensky ("Kiev. lips. Vedod.", 1854 No. 14) Something in the memoirs of I. S. Turgenev and I. N. Panayev; The effect of the Mug of Stankevich on Koltsov is seriously reviewed by G. Yarmershtedt ("Filos Questions. And Psychos." 1803, November and 1894, March). - The first assessment of the early plays Koltsova is given in Art. I. Neverova, then - the whole poetry of Koltsov - in Belinsky; In the same (1846) he wrote his shaft an article. Mikes ("critical experiments" of 1891), where the look at the Koltsov is carried out not so much as the product of the folk medium, as in the embodiment of her aspirations to get out of the close circle of interest. By 1856 it believes the article M.S. (in "Russian. Vestn."), directed against the well-limited understanding of the nationality along with the tendency idealization of patriarchal life. - Overview of Koltsov poems mainly on the content and rapprochement of them with folk songs gives an article by V. Waterozov, in "Journal. Min. People. PR." 1861 An attempt to determine the place of poetry Koltsov in the history of Russian literature concludes an article by A. N. Dypina: "Lermontov and Koltsov" in "Vestn. Heb." 1896, January, also "East. Rus. Sheet." t. IV. Small articles and notes about Koltsov during until 1870 - see Gennadi, "Reb .. Dictionary", II. 153-154.

A. Shelygin.

(Polovtsov)

Koltsov, Alexey Vasilyevich

The famous poet. Rod. In Voronezh, on October 2, 1808, his father, Vasily Petrovich, belonged to the Meshansky Church, was engaged in Prasolism, that is, the buying and selling livestock, he was heard in his surrounding and honest trader. Distinguishing with intelligence and practical talents, K.-Father barely knew how to read and write, the mother of the poet - Paraskova Ivanovna - was completely illiterate. From numerous brothers and sisters, Alexey Vasilyevich for his biography, the younger sister, Anusya, is important. Family lived in an old, patriarchal. When the son turned nine years old, his father invited him to learn his diploma of the seminarist. The boy discovered, obviously, good abilities, could go straight into the county school, bypassing parish. Here, a long father did not allow him a long time: a year later, and 4 months, K. was supposed to leave the second class. He was no more than 12 years old, and he immediately had to become an active assistant of his father. So a short stay at school could not bring noticeable fruits. The rings before the end of the life led a vigorous struggle against Russian spelling, with great labor owned prosaic speech and at every step he felt his ignorance with deep pain. But at school he developed a passion for reading. One of the comrades came to the rescue - the Son of the merchant - and began to supply K. Tales and novels from the Father's library. The young reader was especially interested in the Arab fairy tales and the writings of Heraskov " Cadm and harmony". The monument of his gratitude comrade remained, according to Belinsky, poem " Peer"Needing reading prasolis classes of young K. Prasolism represented a lot of dangers and deprivation, but also had their attractive parties. Cattle was scared at the southern steppes, along the Don region, buyers had weeks to live in the steppe, stay on horseback, spend the night Open Sky. K. had to deal with various kinds of people, get along with them, fervent leisure - in the villages during the parking lot, at night in the unreleased steppe. The poet could close to the folk life and the People's Soul, listen to the folk song, to penetrate her original The warehouse and its motives. It did not manage, of course, and without the "strong sensations" during this dating. So, once, K. threatened the danger to be slaughtered in the steppe. One of the workers or orders were blocked on him, - and the owner had to tighten his malice. Joint drip. But the steppe generously awarded the future poet for all the troubles - wonderful, mighty beauty, inexhaustible poetry. In minutes of inspiration Pictures of steppe wandering It will rise before it imagination and will cause songs performed deep, strong feeling.

With the beginning of poetic activity K. Tied two names - the Kashkin's bookcard and the Serebornsky seminarist. In 1825, K. It happened to buy poems in the Bazaar I. I. Dmitriev. Until then, he did not read poems. The new book led him to the unspecified excitement, he ran into the garden and began to spin just bought poems, confident that all verses would certainly and, therefore, come across, and not read. In a young reader, under the influx of new impressions, a passionate desire spoke - to write a poem himself. One of the comrades told his dream by the way, and the rings firmly decided to shift the story to the poems. There was a poem " Three vision"," Personcing play ", according to Belinsky's expression, - and the author himself was consciously conscious of her unsatisfactory and destroyed it. But the first experience only got a passion. K. began to buy works by the verse - Lomonosov, Derzhavin, Bogdanovich. Cashkin was the owner of the shop, where bought These books. A smart person who loving Russian literature, he became interested in sixteen-year-old buyer, recognized his cherished Duma, brought his works and, frankly appreciating them to dignify, gave him to leadership Russian prosidia And he suggested free to use his library. K. widely took advantage of precious right, especially the favorite works - Pushkin, Delivia, Zhukovsky - he bought - and since that time the Voronezh poet began to feel the solid soil under his feet. Cashkin took part in his activities, gave him advice, corrected his verses, as evidenced by K. himself in the poem, facing him. Here the poet Cashkin attributes a decisive influence on his work, calls him the "culprit" of his "works", thanks him for "non-forming councils." Poems are written by K. with the great diligence, on two days two and three poems. The author becomes fame in Voronezh, begins to hear under the name of the "poem-trashman", "Poet-Prasola" - the names, which later contributed to the popularity of K. and in the capitals. Two years after studying with Cashkin, K. became close to Serebryansky and this rapprochement finally decided his further fate as a poet. Andrei Porfiryevich Serebryansky - the Son of the rural priest - was gifted by great abilities, possessed a brilliant gift of words, easily wrote poems, knew how to read them with such an art that he fascinated even comrades, completely indifferent to poetry. His song "Fast as a wave days of our life" is still not forgotten. A talented young man was highly cordially reacted to the Prasolu poet, began to help him and the case, and the word, corrected his poems, introduced him to European classical literature. Best of all, K. Himself rated this relationship: "Together we grew up with him, together read Shakespeare, thought, argued. And I was so much I was obliged to him, he was too bald." But even more important was the intervention of Serebryansky in the literary works K. No Prosody And the instructions of the inquisitive book governor could not have so much services to a novice poet, how smart, educated and poetically gifted silver. Many poems attributed to K., more than half or straightened, or written by Serebryansky, especially the Duma, for example, " Great Mystery", "God's world", "Prayer", "Great Word ". It was a friendly cooperation, it did not initiate any misunderstandings from both poets and only later Serebryansky, already sick in Cahotka, in letters to his brother complained about the assignment of his poems. But the help of Serebryansky K. At first - did not underminate the original talent. "Poet-Prasola" and, apparently, was most often applied to works, less valuable in the work of K., - To the Things. The power of K. did not affect these measured distraction, deprived of true inspiration. Serebryansky was useful to K. Not as Employee, and as a literary teacher, as a historian and critic in the field of art. Under the influence of the Serebryansky K. From the literality, the verse was turned into a poet writer, the instinct suggested fun became a serious conscious activity. The fate was pleased to K. Tested a strong hearty shock - the inevitable motive of poetic inspirations. In the house K. lived a fortress servant, bought from landowners. Among this servants turned out to be Eugene, named Dunyasha, wonderful beauty. K. passionately fell in love with her, bowed to her, as a woman before the ideal. Such love needed to marry. But the old people of K. believed for themselves humiliating relationship with the servant and, taking advantage of the absence of the Son on Affairs, sold Dunyash to the remote Cossack village. This incident pretended to such an extent to K. that he was running to bed, fell ill with cruel and hardly died. Having recovered from the disease, he rushed into the steppe to search for his beloved. All searches remained vain. It happened at the end of the twenties. Belinsky heard the story of K. about the event in 1838 and testifies to how hard the poet was remembered about the past: "His face was pale, words with difficulty and slowly came out of his mouth, and, speaking, he looked to the side and down" . Belinsky no longer decided to ask K. about his first love. The story with the Dunny showed how much passionate feeling was placed in the chest of the ugly, suton, in the trade affairs of an unusually revolving prasol. K. Loved his work, it was even happening - he was delighted about the deft trading operations, favorable buying-selling considered a kind of sport and in general he was not in his youth, he was not the involuntary martyr of his craft. In this rich and strong nature, a practical skill got alongside, a prasholskaya energy and a perceptible inspired feeling of the poet. Life in the steppe gradually focused these feelings, happy dating directed him to the path of creative activity, the first tragic love was a blow of lightning, which brought a rich spring of the poetic "dum" and "heartfie". She inspired a poem a lot of poems performed by passion, turbulent, dizzying. She put her seal at all on all the work of K., striking the depth and power of feeling, energy and completeness of the form. Tosca about lost happiness resulted in the poem " The first love", Written in 1830, may be immediately after unsuccessful search for Dunyushi. The poet talks about an unforgettable first feeling that there is no strength to replace with others, and the poet will remain faithful to him until the last years of his life. In the same year, K. first appears in the press . Somehow dryham, who wrote poetry himself, accidentally driving in Voronezh on the way to Moscow from a southern city, met through Cashkin with K., he took several poems and in the collection - " Leaves", released in Moscow, placed one of them, without the name of the author. In the next 1831, already with the name K., two poems appear:" Sigh on the grave of Venevitinova" and " My friend, my angel is cute"- in the Moscow newspaper" Leaf "and in the" Literary Gazeta "- poem" Ran.", subscribed to the editor of N. V. Stankevich. Stankevich, sending a poem, recommended by K., as the original self-taught poet. He himself met C. Quite by chance, on a distinguished plant of his father, where K. as Prasola drove Gurt cattle. This was the first literary acquaintance K., who discovered him soon access to Moscow and St. Petersburg literary circles. Stankevich, extinguishing in Voronezh, visited the poet and, undoubtedly, he was strongly interested in the fate of his works. K. For the first time he came to Moscow for the Father's Affairs in 1831, visited Stankevich, at that time the university student together with Belinsky, met some members of Stankevich's student mug. But the stay of the poet in the capital this time was obviously briefly and no important facts were accompanied by his poetic activity.

Four years later in Moscow came out " Poem Aleksey K.. "In quantity 18. The book is printed on the subscription money collected by the friends of Stankevich in one evening, and was met by universal sympathy and interest: the appearance of the" poet self-tair "," Poet-Prasola "seemed to be an extraordinary news. The next - 1836 was the era in K.'s life poet also had to be in Moscow again on shopping affairs and drive to Petersburg. This trip K. briefly got close to Belinsky, writing at the time in the "telescope" and "Molve". Belinsky introduced him to many Moscow writers, those They provided it with books, accepted generally, although some reacted pretty indifferent to the "echoes" barely competent eating and prosaic, too "positive" appearance K. Such a relation to the shyness of K. He did not seek literary dating, was the most modest opinion about his songs , Society spoke a little, looked improved and felt a kind of swirop in front of the "literary generals." But the lack of a disconneness did not prevent K. to accurately observe and pro Evil to evaluate people. He saw perfectly and even expressed, with some kind of indulgence, some metropolitan patrons looked at him, took him for the perfect ignorance and, according to him, they dust into his eyes. But these were exceptions. Writers stood at the head of literature sincerely found K. in Moscow, Belinsky became his friend for his whole life. In St. Petersburg K. . I got acquainted with Pushkin, Zhukovsky, Prince Vyazemsky, prince Odoevsky. Pushkin, in front of which K. was threatened, took it to such an extent that K. until the end of days with a deep feeling remembered this technique. Zhukovsky and Vyazemsky reacted with great attention even to trade and hurricular affairs K. and he skillfully knew how to enjoy them with the influence of various authorities and pretrial places. Often, the poet had to thank their patrons in the letters "knee-free". And the prince of Odoevsky he wrote the following: "If there were beautiful moments in my life, they are all given to me by you, Prince Vyazemsky and Zhukovsky." In St. Petersburg, K. brought a letter to Stankevich to the nevertal, who later wrote the first biography of K. At Plenev K. met with I. S. Turgenev. Kraevsky overwhelmed him with all Petersburg alone. Zhukovsky, according to Neverov, introduced K. Sovereign and, driving through Voronezh with the heir, his pupil, visited K. and took it at himself. It was in July 1837. K. enthusiastically described events in a letter to Kraevsky, concluding his story with characteristic words: "I now live and with the grief even became warmth." Many grief hurt the poet confusing prasolis of the Father. Highly accumulated annually accumulated, the troubles were predominantly on the sown, which had such influential dating. Shortly after a trip to Moscow and St. Petersburg, K. wrote: "Bath for two months in Moscow sells bulls. At home I am a lot. I buy pigs, I will become a winery, on the bard; in a grump of firewood; in the fall, the earth plowed; I go to the village; houses on business cotton with zori until midnight. " In 1838, K. again went to Moscow, from here to St. Petersburg and, returning, stopped in Moscow for a long time. In March of this year, Belinsky became the editor of the Moscow Observer. K. actively supplied the magazine poems, generally at all to heart took the case of the publication edited by Belinsky. The critic finally mastered the feeling and thought of the poet. Since then, he has been for K. friend, teacher, attorney all joys and chagrins. In the spiritual world, K. gradually there was a decisive coup. Prolonged intercourse with talented representatives of literature, especially close ties with Belinsky, had to inevitably cause new ideas and moods, which hardly became reconciled with the life of Prasola, a traded, surrounded by Torgage, the pursuit of a small profitable, the struggle for interests - not always flawless in moral and Even legal sense. K. did not cease to appreciate the friendship and the manager of Belinsky highly, but his letters are simultaneously overwhelmed by complaints about the Voronezh everyday life, so farewell to the capital's time. Nature remained the only consolation, from childhood a favorite steppe. With people, even the former buddies, K. felt "boring, sad, homeless." "In Voronezh live me with the previous one worse," he wrote Belinsky, "and everything somehow seems to be the same, and not that." The poet, no doubt, had to lead long conversations with Belinsky, who were experiencing philosophical hobbies in this era. The critic did not fail to devote his friend in the secrecy of favorite questions of Moscow hegelians - "ideas", "reality." K. I sincerely increased to get used to these terms, - and these efforts were reflected even at his work. Duma " The kingdom of thought", Written in 1837, sets out in verses that the very idea of \u200b\u200ban ubiquitous idea, which Belinsky put on the article" Literary Dreams "at the head. From the letters K. It is clear that he tried to enlighten his fellow countrymen," but attempts were not successful. The poet assured his friends, probably family, that "they look at things crookedly, mistakenly understand," "interpreted so and so." But "they need to be laughing at me, think that I carry a nonsense." Maybe under the influence of disappointment In Voronezh, the poet wrote the Duma " Little Poet", sticking indifference crowds to an inspired poet. Before the trip to the capital, such a direction of thought was unlikely possible at K. and the poem itself partly could be the echo of Pushkin indignation on the same crowd. In any case, a close acquaintance with the capital literary circles and especially Conversations and correspondence with Belinsky produced a deep split in the moral world K. The last five to six years of his life represent the real dramatic struggle truth and poetry Homemade little things and prasolism with higher mental and artistic requests are richly gifted. The later biographer of the poet - de Pula (see) - with the greatest diligence, seeks to prove the integrity of literary influences and especially Belinsky on K. These influences, according to the biographer, "Songnik" turned into a "office writer", arrogant, intolerable, who broke out of pride and Mentoric complaints of communication with the most close people, like Cashkin. But such an accusation can be the result of one misunderstanding. First of all, the influence of Moscow and St. Petersburg writers on K. was not only natural, but directly inevitable. Once K. left the close Voronezh Wednesday, - he inevitably fell into the cycle of modern literature and thought. And he perfectly knew how to appreciate all the benefits of his convergence with writers, primarily with Belinsky. K. did not differ in any naivety naivence nor the inclination to the unrecognizable feelings. This feature with a special emphasis indicates the biographer of the poet. Meanwhile, letters K. To Belinsky are overcrowded by the living senses of love, often delight and gratitude. C. to be any material calculations: Belinsky could not help him like the prince of Vyazemsky and Zhukovsky, as for the poems - for them, K. Gonorara never took and never took, and for the placement they did not need recommendations and patronage, and Only since 1839 decided to speak with criticism of the new edition of his works. Obviously, the relationships were built exclusively on the ideal foundations - for K., a person is definitely practical and reasonable - the fact of great importance. All the outpouring of him in letters to Belinsky, we, therefore, should be the fruit of a sincere feeling; Finally, it is impossible for the whole years to pretend with such constancy and art. We are indifferent with confidence that for K. next to Belinsky life is more fully, that for the poet his friend will soon replace "everyone and everything", and K. Dreams, as the greatest happiness - about living together with Belinsky. Obviously, with such a mood, the home furnishings had to seem to poet the unbearable oppression. The family was the only person, morally close to Alexey Vasilyevich, the sister of Annice, the girl is beautiful, talented, possessed by musical abilities. She with these abilities was an involuntary friend of his brother in misfortune. Father also did not want to hear about the piano, as well as about the books. Is it possible to blame poet if he did not put up with his native barbarism and if his requests now rose higher, so much that the former intelligent and scientists seemed to be vulgar and ignorant? After all, he himself never ceases to repent in his ignorance, headally looking for knowledge, reads books, reads his lips to Belinsky and truly touching this unusually intelligent from nature and a lot of people who experienced such naive statements: "Subject and object I understand a little bit, And the absolute is neither a tiny, and if I understand, it is very bad. " If, after Belinsky, K. courageously rushed to thorny path Philosophy, - Obviously, his views on people and life, surrounding him become obviously more vigorously. It could have happened that he fell into too hot tone, struck involuntary insults to his interlocutors. But here it was not the pride of a pride and teacher, as the biographer thinks, and sincerely painful indignation at the same time on the darkness of his own and others, reality Voronezh mesh, regardless of individuals and states.

An even more important is the question of how the metropolitan dating to the talent of K. The answer here is absolutely clear and simple. Since 1837, all the best works are written and with the greatest brightness and power reflecting the folk life and soul. Metropolitan friends have even strengthened the interest of K. to the people, convinced him to collect folk songs, in general, they sought to comprehend and deepen the difference in the habit. One of the first results of the metropolitan impressions " Forest"Founded by Pushkin's memory: it in harmonic beauty merges the sublime idea about the great writer with the grandiose paintings of the Russian nature; and the poem dedicated to Belinsky, -" Calculation with life" - No traces of artificial, suggested by the outside of thoughts and feelings: it is difficult to point out a more sincere complaint about a failed life ... Obviously, the freshness of inspiration and the power of creativity remained intact, - the poet only thoughtful and stricter now and to the outside world , and to your mind. K. Soon brutally had to pay for his mental disorder, for the involuntary gap with the former life. Father appreciated the poetic talents of the Son exclusively on material results, on influential acquaintances, on brilliant guests - like Stankevich and Zhukovsky. But it was worth the son to detect a smaller diligence to trading enterprises and litigation, "every meaning and his talent disappeared in the eyes of his father, and in general its existence. Undoubtedly, many prasolism affairs and especially on processes seemed to K. now in a different light, the earlier, - hence endless disputes with the Father, who gave the latter the reasons for throwing ukrumsna at the address of the diploma and pisak. K. chuckled in these labels and waited only the case to escape from the parental home. At the same time, he had to mourn the death of Serebryansky. In a letter to Belinsky, he again remembered than to a friend. "The beautiful world of an excellent soul, without sprinkling, fell forever," he wrote about the dear deceased. He stated about himself that he was "in Voronezh not to drink for a long time." "My world is crazy, my world is dirty, it is bitter to live in it in it, and I don't know how I haven't lost it for a long time. Some kind of good power invisibly supports me from falling." In September 1840, two charges were to finally finish and it was necessary to go to Moscow and St. Petersburg. K., of course, took the opportunity. Father instructed him to sell two gunts in Moscow (300 goals) bulls. Belinsky, who lived now in St. Petersburg, waited with a passionate impatience of the poet, insisted that he came straight to him, without stopping anywhere. In Moscow, K. saw the rinks and then recalled the later about this meeting: "His face was tightly imprinted in my memory. The fight against the coupling circumstances has already portrayed the hopeless despondency" ... Obviously, it was not an appreciated popularizer of Belinsky's ideas like his Presents the angry de Pula, and the oppressed and dismissed victim of his talent and the mind, so controversial living conditions. In St. Petersburg, K. stopped at Belinsky than he brought him to delight. "I came to life a little of his presence," wrote a critic. "Eka's rich and noble nature! .. I accurately found himself in society of several wonderful people." And Gorky complained Belinsky, when K. I went to Moscow. The poet came to horror at one thought - again to find himself in Voronezh, he no longer had a "voice in the soul to be a merchant." Bulls were sold and, apparently, very unprofitable, the money lived, K. heavily needed, and finally, decided to go, although until the last minute his thought was tempted - to return to St. Petersburg and remain there. In Voronezh, the poet again had to plunge into cases and trouble. Relations with the Father were completely upset. All the failures in trade indirectly fell on the son. And the son, in his grief, loved, and the subject of love was a woman long rejected by the public opinion of Voronezh. In the poem dedicated to this heroine in 1839, her personality is clearly described. It addressed to ***, the poet suggests the hand of helping the woman who went into the way "for criminal pleasures, for the comfort of life without love"; The poet promises to withdraw her "from the abyss of a terrible sin", no matter how hard it was to "pass in front of the ulcer crowd." The desire of the poet was fulfilled, but the award was a terrible disease and painful death agony, laughing more than a year. This time is a true tragedy in the life of the poet. At the beginning of K. wrote in detail Belinsky about his hopeless, trapped position. Home, except for the mother, were his first tormentors. Even his beloved sister Annice in the midst of his brother's disease decided to marry and together with his friends, next to his room, sat the parody of the faces on his funeral, and all others came on purpose of his requests. He did not always have a decent lunch, tea and sugar. Hardly starting to get better, the unfortunate has already built plans, how to escape from a homemade pool. His poems are filled with spiritual flour. The very topics of their eloquence - " Calculation with life", "Pominik", "Cry of suffering". There are constantly questions: will death come so soon? Caught to the poet untimely "get out of the world," - "not committing and sincere desire." It is these words ends the poem " On the new 1842 year". The last letter K. to Belinsky marked February 27, and on October 19, the poet died. Death struck K. Suddenly, for tea. The father took her more than indifferent. The son no longer existed for him. Subsequently, the old man put on the grave K. Modest monument with such an inscription: "An enlightened non-margin of nature was awarded to the monarch of Milostia, the 33rd anniversary died and did not have 26 days in 12 days." In 1880, this monument was replaced by a new one, three stains from poems were cut on it. Calculation with life", erecting all reasoning, outlining the tireless vital struggle of the poet. But the most beautiful monument to K. was erected shortly after his death - his friend Belinsky. Brilliant critic did finally, cherished desire The poet - published his works and predicted them a biographical story, imbued with a sincere deep feeling. The article is written under the fresh impression of an indispensable loss and, maybe, at times, it flows into too lyrical tone, illuminates the solid ideal light of the identity of the hero. The later author of the most detailed and conscientious biography of K. - De Pule - he tried to dissipate this idealization by all means, lift the poet's family at the expense of him. Efforts should have been vain and intelligent. Readers learned that K. Poetic talent connected with a large practical mind, before the acquaintance with Belinsky engaged in Prasolism with love, he lived in Lada and his father, was friends with Voronezh, "but at the same time it was impossible to hide that the world with his family was based exclusively on trade calculations: The son was first a senior clerk, and then, thanks to influential acquaintances, - a favorable petition in litter. Stoyed K. to get out of these roles - and the family world disappeared without a trace and contradiction of the Dark Domostroevian environment with personal aspirations to light and independence acted in the whole strength. De Poule himself cums his book with a comment: "The father of his father and his sister Annice," and gives the reader the court and sentence. Obviously, nor the court nor the sentence can be other than in the Belinsky article. They are based on the facts recognized as undoubted the same pool on death letters and poems K.

Poetry K. Especially as precious that everything without exceptions represents sincere and truthful reflection of reality, experienced by the poet. By poems K. can be restored in the main features of his biography, his worldview, his joy, grief and hope. In the first poems, he presented a number of paintings from steppe life that had fed poetic sentiment in it. IN " Overnight Chumakov", in " Traveler"The poet talks about himself and from his face as Prasol, and at the same time a foliar poetry and wild steppe nature. Further, all the feelings, who spoiled over the years in his heart, certainly cause a song, a message, a frank story, and everywhere trembles. Deep, strong passion. Does the poet turn Peer -we hear about the "young blood flame", about a rapid desire - to be with the other "boiling soul" are sent verses Sister - Energetic message speaks about "wonderful dreams", about the "stream of sweet tears" ... it is easy to imagine what a stormy speech will sound on this "homemade lyre" a love passion. Entry serves - " Elegy" - Complaint for loneliness, rather not a complaint, but indignation to unfair fate. Here, all comparisons are striking by force and courage. The deceased friend is "the hearth instantaneous", extinct in the morning dawn, love - a star "in the black dusk dense", and the lonely poet himself - the "sirota root", among the "Crowd of Human" - "with the soul of gloomy and cold, like an unskilled villain ". Among this, youthful lyrism is heard in the highest degree of serious note; It will remain unchanged by the chorus of all sad songs K. The poet repeatedly stops at the contradictions of reality and best human aspirations (" Definition", "To friend"). Bewilderment and longing are permitted by an unusually self-confident speech:

Let me have a human malice

All Otradny Lushit

Let from the cradle and to the coffin

Only evil and torment, and scary:

Before her soul does not humiliate

In dreams, I will not be afraid;

Grave shadow in dust

But I will not give sorrow! ...

These verses belong to 1831: they should be put on the head of typical Koltsovsky obstacle to life, moral and external adversity. The motive is repeated whenever the poet have to fight with a personal grief or give advice to other, caught troubles. "Sing the wings of a banging doubt," says one of the early "DUM" - " Non-proud truth"This does not mean that the poet will forever liberate from doubt: this testifies only to a decisive will, ready to go once accepted by, despite any obstacles and fluctuations. Poems" Last struggle", Written in 1838, that is, when the disorder of the K.-Poet began with K.-Torgash, - ends with a proud challenge to fate. The poet says:" I have power in my heart, I have blood in my heart. " And these forces of the soul bring the poet from the abyss of despair, where the fervent nature is often fascinated. After " Treason suled"" The poet is looking for the consolation at the people first, "they meet it with a laugh," then the storm raises his courage, he goes to the "way without a road" - "with an evil share of the share." The poet loves to put the indifference to someone else's grief and heroic struggle. Lonely well done. In the poem " Comrade"The poet in short, but amazingly strong expressions draws the psychology of the crowd and the hero. If you show your mountains to people, they will start laughing and insulting, but it is worthwhile to appear strong and self-confident - and the same mockers" will be called friends. "Need to believe" Soul Forces , yes, mighty shoulders, "and not" walk with the need for someone else's people. "The same ideal in the poem" Way", in the speeches of the merchant, hero" Khututor", in " Song."I am convincing a" share "-" to rise that the forces "and wave with wings ... And all this is not a celebrating declamination of the raised mood, - a strong figure of the author, who crazy to deal in the steppe, was involuntarily painted in the steppe, with honor with a terrible misfortune - Lost the beloved girl, if you take a walk and among the depressing prose of the Meshchansky life, to preserve the pure and bright spark of the Divine Fire. Before us, the nature is strong, passionate, fond of selflessness and knows how to pay for their hobbies. Love poems K. The only in Russian poetry - by simplicity Forms and power of content. There is no idyllic mortgage, eloquent outpouring, - the mood and feeling are discussed by two and three words, but these words shook like zigzags of lightning. K. Can merge two concepts in one and the reader unprecedented bright image. IN Song."If I meet with you" - a date is described, first a simple meeting ("thrill-fire will be broken in the soul"), then look cute, her speech, kisses, - and for each moment the poet is enough one or two lines, but they are forever imprinted in Memory. K. Unknown Love Romantic Tomorrow. He knows only a formidable obstacle passion. His favorite expressions - "Fire of Love", "Love-Fire", "Love-Tosca". Such love pertures the entire moral world of man, transforms life and nature. In love with the pretty winter seems to be in summer, grief-non-grief, night - a clear day, and without it there is no joy and in the May morning and in the dawn, and in the Dubrava Green - Parce Silkova (" Parting", Song "Winds blowing"). The same burning features are expressed by despair of well done, which changed the narrowed

Paw sadness is heavy

On a cracked head;

Tormenting the soul of flour-mortal

Vaughn from the body of the soul asks.

The same motive and in the same original form repeated poems " My friend, my angel cute", "Heat", "Star"And the earliest one Song "After losing what was before was." But, as already mentioned, the fiery passion is found here with a mighty nature, and not only does not enslave it, but excites new energy. The moral meaning of love, according to the Koltsovsky concept, is brighter expressed in the following words:

Without loved you

In the villages was well done

And with you my friend

Cities Nipoch!

(Song "Today at night to myself").

Happy love makes a hero of the hero, unhappy, or treason is cute - it raises the entire fire of an offended feeling from the bottom of the soul, - and then there is no strength equal to His "Soul Forces" and "Mighty Shoulders". "With a grief in a feast to be with a fun face," the favorite image of the Koltsovsky muse, illuminated by all glitter, is all the passion of her inspiration. For us there can be no question about the meaning of famous " Songs Likhach Kudryavich". Likhach Kudryavich - the hero of the lowest breed, in the eyes of K. - the creature is comic and contempt. In times, good luck is a frivolous walk, a self-confident baloveman, blindly believes in his curls and eyebrows, in the attacks - a pitiful, tearful coward, helplessly in the authority of fate, hopelessly intimidated and crabmed by people and cases ... nothing could be antipatically for K. -It and man than such a big boys. The common motives of poetry K. are inextricably linked to the Russian folk life, which created and the eagues of the poet. K. And in the songs of the people, and in his life I met the features of Likhach Kudryavich, the worship of blind happiness, weak fatalism and opposite properties - the fire of non-dying moral energy, the conscious "soul forces". The experience has raised in K. faith in personal forces, and she remained his ideal to the end. Among the household works, K. should be noted above all poet for rustic labor. These are not idylls, but a strict truthful image of severe reality, imbued with the sympathy of a worker-poet. In a few words, K. is able to outlines different moments of peasant labor life: sowing, cleaning bread, hay, hay, retell all this in one poem - a kind of a whole poem of rural labor and rural joy (" Yield"), and on the same scene, sketch a kind of romance rustic girl (" Young jince"), the drama of a young guy who has loved the daughter of the rich (" Mower"), in an unusually attractive light to present a peasant employee (" Song Pahar"), to say a simple, but the harsh word of TUNYADSE (" What do you sleep a peasant?"), Call a deep sympathy for lonely worker, absorbed by the only concern - to escape from" bitter needs "(" Messel Selyanin"). And all the same faith in the" Soul Forces "reigns over all these paintings and images, turning often into a religious feeling. Even a seventy-year-old old old man, a bobbish, reflections on his long-suffering life cums in words:

Docoule and power

Decocate the soul in the body

I will work ...

and the results of such a solution - moral satisfaction and honest piece of bread (" Reflection of selinine"). The poet did not forget the defenseless victims of rustic adversity. He first of the Russian poets heard poetic notes in complaints Jizza Penetrated in a simple, but highly touching, true-dramatic psychology of the ordinary rustic heroine-girl, forcibly issued married old man (song " Ah why did I betray me? ... ", Song:" Crazy without mind"), without loud phrases and sensitive effects - depicted selflessness of a frequency loving heart, ready to sacrifice the happiness of cute with his fate (song:" I told me a friend saying goodbye") And all these phenomena everydays, barely noticeable, but overflowing folk life - are transferred to an amazing language that merges the artistic simplicity and musical harmony with a popular warehouse, folk simplicity and incessia, universal and Russian people, inseparably merging into the content and form of ring poetry, Make it with the property of true-artistic literature. In some only poems, K. changed its genius. All of them belong to the so-called things. Where the poet does not leave the natural sources of its inspiration - nature and folk life, there and the "Duma" breathe him to the truth and poetry. Duma " Forest"- a wonderful picture on such a favorite poets of riddles -" What is the noise of pine forest ", the Duma -" Mogila"- A number of touching motives from native life. But only the poet begin to seduce the distracted or even philosophical questions - its poems turn into a volatory and ammable set of words. And the reason is not in the lack of talent, but in the themes themselves. There are few dooms: obviously, personal The feeling of the poet himself was poorly resurrected with poetic resonance, and wonderful, at the end of life the poet is still thinking about the thought. In 1840, only one thought was written - "Poet", next year - two, and in the year of death - not one. But the same Years are rich in autobiographical, unusually hot and sincere poems, eg: " Crossroads", Almost literally coinciding with the letters to K. Belinsky about the" close "life in the house of the Father," Calculation with life", "Cry of suffering", "Sterling Serebryansky"And finally, the death" On new 1842 year". Death, obviously, inspired the poet in the very precious poetic strength ... But what managed to make the poet, forever approved one of the first places in the history of Russian poetry and the Russian public. He is the first, as the son and pet of people's life , showed a real national life, a real peasant with his deprivation and joys, managed to open glimpses of poetry in this life, and in the soul of the eternal worker - to show a loved one, the human native. On the artistic image and significance of the content of Poetry K. - Direct Predecessor of Peopic Activities of Writers -Ralists who prepared the consciousness of Russian society to the peasant reform. According to ideal tasks, this poetry is the embodiment of the noblest properties of the Russian spirit, are the properties that the life of the K. - carrier of light among the semi-wiring society - and the lives of all true workers of Russian thought and enlightenment.

Literature. V. G. Belinsky, "On the life and writings K." (article to the edition of Overactions K., 1846); "A. V. Koltsov" (Art. M. S.) and "Several additional words to the characteristic K.", M. H. Katkova ("Russian Bulletin", 1856, VI, 146, 169); Valeryan Mikekov, "Critical Experiences" (SPb., 1891), M. de Pula, "A. V. Koltsov in its everyday and literary life and in a family setting" (SPB., 1878); "A. V. Koltsov, his life and writings" ("reading for youth", 1858; anonymous essay of H. A. Dobrolyubova); V. Oharkov, "A. V. Koltsov, his life and literary activity" (in ed. Pavlenova, "Life wonderful people"); V. P. Ostrogorsk," Artist of the Russian Song "(" Mir of God ", 1892, October); P. Vladimirov," A. V. Koltsov, as a person and as a poet "(Kiev, 1894, from" readings in the historical society of Nestor's Chronicler "). Until 1892, the poems of K. Supleed several publications (K. T. Soldatenkova). With the expiration of literary property, appeared At the same time, several editions, mostly as a premium to illustrated journals. The best of them ARS. Introduced (ed. "Niva") and A. I. Lyashchenko (ed. "North", many unfastened letters K.). Poems K. Excellent translated In German F. F. Fidler (Leipzig, 1887, in "Universal Bibliothek" Reclam "a). Later, I also came out a good and accurate translation of M. I. Michelson (SPb., 1889).

Yves. Ivanov.

(Brockauz)

Koltsov, Alexey Vasilyevich

(Polovtsov)

Koltsov, Alexey Vasilyevich

Poet. Son of the wealthy Voronezh prasol, who was engaged in his father himself. Education K. was limited to home learning literacy and a short stay in the county school, from the second class of which the poet was taken by the Father in half the school year. The first leaders of K. in poetic creativity were Voronezh Knikovskar D. A. Kashkin, who gave the young man for free to enjoy books from his library, and a seminarist, subsequently a student of the Medical Academy, A. P. Srebryansky, who corrected his first poetic experiments. In 1831, the Father's Affairs was in Moscow, where, thanks to N. V. Stankevich, he met some writers, by the way with Belinsky. In 1836, 1838 and 1840 K., Moscow and St. Petersburg visits again, and these trips give him the opportunity to strengthen and expand their lite-lies. In St. Petersburg, in Prasol Prasol, V. Oroevsky, Pushkin, Zhukovsky, Vyazemsky, etc. This communication with the most outstanding representatives of the noble intelligentsia had a certain influence on the craving for classes of literature, history and philosophy, but an extremely scarce education of the poet represented For him, an irresistible barrier on this path, which was painful and K. "The subject and the object I know a little bit, and the absolute is neither a tiny ...", naively complains eg. Poet in a letter to Belinsky from 28 / x 1836. The whole life of K. was held between two poles, one of which was determined by his literary classes and passionate thirst "to be with a century of along", and the other - regular concerns about trade affairs and participation in petty gossip Signing the poet of the Meshchansky environment.

Poetry K. is the most developed expression of the literary style of the city bourgeoismanship (small and medium urban bourgeoisie) of the first third of the XIX century. Early poetic experiments K. are imitated by the poems of Dmitriev, Zhukovsky, Pushkin, Kozlov and other poets; In these works, the poet only fastens its own art manner, his own style. But among them there are already such poems, in which it is impossible not to see the future Creator of the songs. Such for example. "If I meet with you," "The Tale of My Love" and the "Soviet of the Elder". On the other hand, attempts to write in the spirit of book poetry are observed in K. until the death of death, ahead with songs, and among the last, some closer to book forms than that of the specific manner in which the features of the ring-style can be seen. As for the other genre K. - His Dum, they are in most cases homogeneous with songs, and in content represent a kind of poetic philosophy. Having become a glimpse with philosophical disputes of metropolitan friends, ch. arr. In the club of Belinsky, Pohed-Prasol is trying to understand world problems in the minds.

The highest point of art achievements K. are his songs. Gusts for the will, the image of a deal, failed life, longing for youth, love in various experiences, peasant work and contentment as a result of this work is the main topics of koltsovsky songs. All these works are imbued with cheerfulness, disappointing energy, willingness to beat with life difficulties and dangers. The majority of the mood of the Koltsovsky lyrics is the result of the lift that is experiencing in the first third of the XIX century. Bourgeoisie. This public class feels on the rise, is experiencing a famous takeoff. But at the same time, the bourgeoisie also carries the entire oppression of patriarchhood: the gusts of the young class to culture are constantly faced with the environment, with its practicism and conservatism. The inconsistency was especially noticeable in the development of small and medium urban bourgeoisie, which had not yet broken connections with the peasantry. The poetic expression of difficult, but persistent takeoffs of urban bobes in the struggle for their well-being, primarily the economic, in the work of K. is the image of a falcon trying to break the binding of his way ("Duma of Sokol", "longing in the will", "Star" song "," Song of the robber "," in bad weather wind "," Forest "," Bezing "). Psychoideological content of this image - Falcon, Udalza ("How healthy yes young", "in the field of the wind buzz", "The first song of Likhach Kudryavi", "Flight", "delets") or in love ("Speaking a friend saying goodbye", " Shumi you, rye "," your own talen "," kosar "," last kiss "," Marriage Paul ", etc.) - is repulsed from the sad reality and in the gusts to a different life, to" free violence ", and The meaning of this antithesis is quite clear: its main rod is the achievement of material benefits.

The same ideal of satiety and material well-being penetrates both the songs of K. about the peasant labor and rest ("Pahar Song", "Vintage", "Folding of the village", "Peasant Pirushka", etc.). As a representative of the wealthy urban meshness, the poet has not yet completely broke with the peasant soil, from which the small and medium urban bourgeoisie grew up. But more "power of the earth" is not over it, K. is no longer a plower, but an extraneous observer of the wealthy village, whining from the serfdom.

All peasant works in K. are presented as one solid holiday. Even the sorrowful "Folding of the village", the deep old man, who was frowning on the eighth tens of five years, "and all the" change is not ", returns everything to the same rural labor and finds joyful soothing. When the harvest in the peasant is planted, the feast is covered, "Gate Tests" is widely disclosed for numerous guests. There is something to treat "called":

"On the tables of chickens, geese

A lot of fried

Pies, ham

Full dishes ... "

There is also the "Bowl of Gorky", and "Braga Khmel", which the owner is driving relatives from the buckets of cutting ", and" filthy honey ". And not in the housewan and noodles" Young wife Chernobrovy "takes guests, but appears in front of them" fringe, Kisey is unfolded "(" Peasant Parish "). To explain the peasant poverty, the poet does not find another reason, except for the laziness (" What do you sleep, a peasant? "). No wonder that K. None of the word has not mentioned fastened right: for urban Meshchema The latter was the step of social existence already passed.

And on the maintenance and on the part of the design of the creativity of K. Represents the synthesis of elements of book poetry and peasant folklore.

K. songs, having often much in common with the works of peasant oral poetry, sometimes differ from the latest complexity of their composition. Let us give here only the "Tee of Love". This poem consists of three paintings united by one of those "breathing Char" of spring, which produces such a magical effect in the sense of nucleation, further development and strengthening a sense of love. The first picture represents the effect of spring on the heart of the girl, the second is lovers of the great experience, and the third is the synthesis of experiences of both in a mutual sense of love. In this complexity, the composition affected the undoubtedly book-literary learning K., as can be noted in the wide use of the poet with pictures of nature. The compositional role of the landscape of K. is much more important than in the peasant folklore. The peasant song addresses nature as to the medium for its symbolism, to build psychological parallelism, plants for creating a background on which those or other experiences are deployed. However, nowhere in the oral poetry of the village we will not find such weathered and wide paintings of nature as eg. In the Koltsovsky "harvest", or such a natural symbol, at which a whole work would be built, similar to the memory of Pushkin's poem by the Rolzov "Forest". Psychological parallelism in K. is not at all occurring, and natural symbolism usually has a different psychoidological content than what we find in the peasant oral lyrics.

The same synthesis of elements of book poetry and peasant song folklore is also observed in the poetic yaz. K. Poet very often uses epithets, but along with such epithets, like a red girl, dismayed well done, Yellow Wax, Cute Friend, Tables Oak, Cheese Earth, Good Horse, Volga-Mother, Sun Red, Clear Falcon, Curl Break often languid gaze, distance magic, midnight dead, feelings are hot, maiden, the joy of the soul, the fatal fire, midnight, deaf, happiness, the golden age of the girl, the steppe-grass - a brocade Silk, night - the wizard, the night of graceful dreams , Dreams Magic, songs wonderful, youth foggy, etc., who are completely alien to peasant oral poetry and testify to the jet of sentimental noble literature in the songs K. The favorite stylistic reception in the peasant song folklore is a comparison in different types of peasant song. K. Comparison is also one of the common techniques, but its negative form, most characteristic of peasant oral creativity, is extremely rare at the poet. Songs K. Especially rich in comparisons, expressed by means of a certificate case ("Khmel Kudri wound", "orply bread costs", etc.). It is often resorted to K. and to repeat the repetition, but the repetition of the verse or part of it, representing the most specific property of the peasant folklore, in K. is completely absent, and the repetition through the use of epithet is very rare. A number of stylistic techniques are already directly related to the songs of K. with the poetics of modern book literature, mainly noble sentimental lyrics. This requires the use of all kinds of exclamation particles (alas, oh, ah), a rhetorical question:

"Thu him road,

Thunderwoods,

How to come to heart

The eyes are blue! .. "(" in the field the wind blows "),

the default or a sharp transition from one thought to the other as stylistic tools for giving a dramatic nature of this or another experience:

"Do not go, wait! Give me time

Strangle sadness, sadness to smell;

On you, on clear falcon ... "

"It took up the spirit - the word froze" ... ("separation").

"There is no hope in the shower ...

You scatter

Gold tear,

Milova's memory! .. "(" Ring ").

The vocabulary of Koltsovsky songs represents the permanent alignment of the words of the peasant Yaz., Of which many are local character (crate, treasury, the crust, the Intro, Into, to be sacrificed, playing songs, manitory, sacred, still, without wake, forest, etc.), And words of lithing (lobsanya, delight, expression, luxurious, moments, faster, gloss, spell, fatal, cherish, etc.). As for the syntax of K., here it should be noted as elements close to the syntax of the peasant oral-poetic speech, almost a complete lack of communication in the method of submission, the predominance of speech, fierce and consumption in the brief form of adjectives facing the role of definition (Dellek, evil trouble, clear eyes). But the above rhetorical issues or defaults approach the poem K. to book poetry. Versification of poems K. - Book, with a properly pronounced metric. The impression of the proximity of the Koltsovsky verse to the verse of peasant songs is explained by the fact that in the works of K. there is no correct alternation of rhythm-strong and weak syllables, and the screens account goes according to the "prosecutic periods", i.e. according to groups of words combined by the general stress on one of them.

Bibliography: I. Full Camp. Sochi A. V. Koltsova, ed. and with notes. A. I. Lyashchenka, ed. "The discharge of the elegant verbost of Acad. Sciences", ed. 3rd, St. Petersburg, 1911 (the best ed.). Wheeame, see an overview of other publications.

II. Neverov Ya. M., Poem Aleksey Koltsov, "ZHMNP", Part 9, 1836, p. 653-658; His poet-prasol A. V. Koltsov, "Son of the Fatherland", part 176, p. 259-272 and 309-324 (about the peasant nature of creativity K.); Danilov V. V., Essays of poetry Koltsov, "Russian. Philologist. Vestnik", 1910, No. 1, p. 19-45 (not informed to the end of an attempt to associate the poet with the middle of the urban meshness). On the relationship of creativity K. To Folklore, see: Nekrasov A. Ya., Koltsov and People's Lyrics, "Izv. Dep. Russian. Jaz. And words. Acad. Sciences", t. XVI, KN. 2, 1911; Olminsky M. S., on literature issues, L., 1925.

III. Detailed bibliography, see Academy. ed. K., SPb., 1911; Vladislavlev I. V., Russian writers, ed. 4th, Giz, L., 1924; His literature of the Great Decade, t. I, Giz, M., 1928.

The famous folk poet. Born on October 3, 1809, in the wealthy Meshchansky family of Voronezh. His father was Prasol, who traded the cattle is smart, energetic, Czech. Mother Koltsova was a good woman, but completely uneducated, even ... Biographical Dictionary

- (1809 42), Rus. poet. With con. 30 xs., Along with L., one of the land. Authors "OZ". According to the testimony of contemporaries, K. and L. did not meet, although there were an extensive circle of common acquaintances (V. G. Belinsky, A. A. Kraevsky, V. F. Odoyevsky, P. A. Vyazemsky, in ... Lermontov encyclopedia

Russian poet. Born in the family of Voronezh Bezanin, a cattle merchant. From childhood, he took part in the affairs of the Father - distilled her herd in the steppes, bought and sold cattle in the village bazaars. ... ... Great Soviet Encyclopedia

- (1809-1842), poet. In St. Petersburg, he came in 1836, 1838 and 1840. Among his St. Petersburg acquaintances - V. A. Zhukovsky, V. F. Odoevsky, P. A. Vyazemsky, A. A. Kraevsky, I. A. Krylov, I. S. Turgenev, A. G. Venetsian and others unforgettable for ... ... Encyclopedic Directory "St. Petersburg"

Date of Birth:
Place of Birth:	Voronezh, Russian Empire
Date of death:
Place of death:	Voronezh, Russian Empire
	Russian empire
Occupation:	Poet, merchant
Years of creativity:

Education

Creation

Death of poet

Creation

Mogila A. V. Koltsova

Monuments A. V. Koltsov

Addresses in Voronezh

Addresses in St. Petersburg

Biography

A family

Alexey Vasilyevich Koltsov was born in Voronezh in the family of Vasily Petrovich Koltsova (1775-1852) - the buyer and merchant cattle (prasol), which in the whole district of the honest partner and strict household. The man of steep gear, passionate and fondant, the father of the poet, not limited to Prasolism, rented land for sowing bread, scooped the forest under the log house, traded firewood, was engaged in cattle breeding.

Alexey's mother was kind, but not educated, not even by literacy. In the family of peers did not have: the sister was much older, and the brother and other sisters are very younger.

Education

From 9 years old, Koltsov suffered a diploma at home, showing such the abilities that in 1820 he was able to enter a two-year county school, bypassing parish. Vissarion Belinsky on the level of his education wrote the following:

We do not know how he was translated into the second class, and in general, he learned about this school, because no matter how briefly, we knew Koltsov personally, but did not notice any signs of elementary education in it.

After a year and four months (second grade) in the school, Alexey was reckoned with his father. Vasily Petrovich believed that his son would be enough to become his assistant to become his assistant. Alexey's work was to run away and selling livestock.

In the school, Alexey loved reading, the first book reads were fairy tales, for example, about bov, about Etrica Lazarevich. He bought these books to the money received at delicacies and toys from parents. Later, Alexey began to read various novels, who took from his comrade - Vintar, the same as the son of the merchant. A particularly future poet liked the works of "Thousand and One Night" and "Cadm and Harmony" Heraskov. After death in 1824, Vintina Alexey Koltsov was inherited by his library - about 70 volumes. In 1825, injecting poems by I. I. Dmitriev, especially "Ermacom".

Creation

In 1825, at the age of 16, he wrote his first poem - "Three Visions", which subsequently destroyed. The poem was written in the imitation of the favorite poet Kolzov, Ivan Dmitriev.

The first mentor Koltsov in poetic creativity was the Voronezh book-selling seller Dmitry Kashkin, who gave the young man with the opportunity to use books from his library for free. Cashkin was straight, smart and honest, for which he was loved by the youth of the city. Cashkin's book shop was a kind of club for them. Cashkin was interested in Russian literature, read a lot and wrote poems himself. Apparently, the rings showed his first experiments. For 5 years, Koltsov used free of charge by his library.

Somewhere in his youth, the future poet survived a deep drama - he was separated from a serf girl who wanted to marry. This affected, in particular, in his poems "Song" (1827), "You do not sing, Nightingale" (1832) and a number of others.

In 1827, he met the seminarist Andrei Srebryansky, who later became his close friend and mentor. It was Srebryinsky who instilled in interest in philosophy.

The first publications in the young poet were anonymous - 4 poems in 1830. Under his name, Alexey Koltsov published poems in 1831, when N. V. Stankevich, a well-known poet, a publicist and a thinker, with whom Koltsov met in 1830, published his poems with a short preface in the "literary newspaper". In 1835, the exit of the first and only poet of the poet of the "poem of Alexei Koltsov". According to the father's affairs, he traveled to St. Petersburg and Moscow, where thanks to Stankevich met V. G. Belinsky, who had a great influence on him, with Zhukovsky, Vyazemsky, Vladimir Odoevsky and Pushkin, who published a poem of Koltsov in his magazine "contemporary" Vintage. "

After the release of the poems "Young jacia", "Personal Love" and "Last Kiss" Koltsov became interested in Mikhail Saltykov-Shchedrin. He called the main feature These poems "burning personality feeling."

Driving around the trading cases of the Father, Koltsov met with different people, collected folk folklore. His lyrics chased ordinary peasants, their work and their lives. Many poems became words to music M. A. Balakirev, A. S. Dargomyzhsky, M. P. Mussorgsky, N. A. Rimsky-Korsakov and many others.

Death of poet

• Alexei Koltsov often had a quarrel with her father (especially in recent years of life); The latter negatively belonged to the literary creativity of the Son.
• As a result of depression and long-term consumers, Koltsov died at the age of thirty-three years in 1842.
• V. G. Belinsky wrote:

• The poet was buried at the Mitrophansky cemetery in Voronezh.

In 1846, the famous Russian actor of the Romantic Epoch, P. S. Mochalov, who knew A. V. Koltsov, published his verses in the journal "Repertoire and Pantheon"

I came, low
bowed
With deep sigh
and a tear
Looked at the cross
and prayed
Your souls for rest.
So here Koltsova
Skoronili -
With you high dreams.
But believe - not all of you
forgot -
Boyana Russian and you
Stayed to live in the hearts
of people
Beautiful song of your.

Creation

Early poetic experiments, Alexey Koltsov, represent the imitation of the poems of Dmitriev, Zhukovsky, Pushkin, Kozlov, Heraskov and other poets; In these works, the poet only fastens its own art manner. But among them there are already such poems, in which it is impossible not to see the future Creator of the songs. On the other hand, attempts to write in the spirit of book poetry are observed by Koltsov to death, ahead of the songs, and among the last, some closer to book forms than that specific manner in which you can see the features of the koltsovsky style. Another genre of Koltsov - Duma, which in shape similar to his songs, and in content represent a kind of poetic philosophy. Having become a glimpse with philosophical disputes of metropolitan friends, mainly in the mug of Belinsky, rings tries to understand world problems in the minds.

Criticism

• In 1856, the article N. G. Chernyshevsky was published in the fifth issue of the magazine "Sovrevnik", dedicated to the work of A. V. Koltsov
• According to the literary criticism of Yu. I. Ayhenwald

Memory

Mogila A. V. Koltsova

The grave A. V. Koltsov remains in the literary necropolis not far from the Voronezh circus. On the tombstone, the death date of Alexei Vasilyevich is mistakenly given. In fact, he died not 19, and on October 29.

Monuments A. V. Koltsov

In the Koltsovsky Square in 1868 there is a bust of the poet. The monument to the poet is also established on the Soviet Square of Voronezh.

Voronezh State Academic Theater of the Drama named after A. V. Koltsov

In 1959, the decree of the Presidium of the Supreme Council of the RSFSR, the Name of Alexey Vasilyevich Koltsova, was awarded the name of the Voronezh State Drama Theater. A year before that, the main director of the theater Firs Efimovich Shishigin put the play "Alexey Koltsov" according to the same story V. A. Coblerova. The premiere took place in May 1958. Voronezh Writer and journalist Valentin Yushchenko wrote at that time:

On June 19, 1958, within the framework of the decade of the professional and amateur art of the Voronezh region in Moscow, the play "Alexey Koltsov" was shown on the scene of the Wall Theater. Mayakovsky. Many actors after that were awarded honorary titles.

Currently, a repair is completed in the old building of the theater.

In philately, numismatics, sigillia, etc.

• The name of A. V. Koltsov also named Square, Gymnasium, Library and Street in Voronezh.
• In 1959, the Soviet historical and biographical feature film "Song about Koltsov" came out.
• In 1997, the film "At the dawn of foggy youth", dedicated to Alexey Koltsov, was released on the screens.
• The Voronezh Confectionery Factory produces candy "Koltsov songs" since 1958. Until now, they only had a fruit and jelly filling. Recently, a study was conducted in the development of market development, as a result of which the company's specialists developed a new taste for candy of this brand. Now it will be possible to purchase and try "Koltsov's songs" not only with jelly, but also with nuts.
• By the 200th anniversary of the birth of A. V. Koltsov, the Bank of Russia issued a silver coin the dignity of 2 rubles.
• In 2011, the 425th anniversary of Voronezh Russian Post of Russia released an envelope depicting a monument to the poet in the Koltsovsky Square.

Addresses

Addresses in Voronezh

• Ul. Big Streletskaya, 53 - Allegedly at this place stood a house in which Alexey Vasilyevich was born. In 1984, during the celebration of the 175th anniversary of the poet's birthday on the wall of the house, a memorial plaque was hanged with the following content:

• Ilyinsky temple - the temple in which Alexey Vasilyevich was baptized. Metric record reads:

• Devicheskaya ul. (now ul. Sakko and Vanzheti), 72 - At this place there was a county school in which A. V. Koltsov studied. Now here is built by one of the buildings of the Voronezh Technological Academy.
• Ul. Big Noblest (now the prospectus of the revolution), 22 - the former residence of Voronezh governors, on the wall of which the memorial plan hangs:

• Ul. Large noble (now the prospectus of the revolution), 46 is a house in which A. V. Koltsov lived. On the wall of the house hangs a memorial plaque with an erroneous content:

Addresses in St. Petersburg

1840 - Apartment V. G. Belinsky in Alekseev's income house - V. O., 6th line, d. 53.

Creative activity of Alexei Vasilyevich Koltsova (1809-1842) is one of the brightest manifestations of what is happening in the 1830 E. Democratization of writing rows, which, as Pushkin noted, was supposed to have "important consequences."
In the poetry Koltsov for the first time revealed from the inside the spiritual world of the peasant, his deep and genuine humanity, filled with serfdom. Thus, the creativity of Koltsov, as it were, he appeared that after the death of the poet was still forced to prove and defend Belinsky, saying: "Isn't a man who is a man? - But what could be interesting in a rough, uneducated person? - Like what? "His soul, mind, heart, passion, tendency - in a word, all the same as in an educated person."
Becoming the first in the history of Russian poetry poet peasant Mira, The rings thus expanded the social boundaries of the artisticly displayed reality. His creativity was a new and significant step forward in the path of further convergence of art with the people.
And before Koltsova were poets who wrote about the man. Back in the first decades of the XIX century. - The symptom is very noteworthy - a number of so-called peasant poets of self-tech (F. Slepushkin, E. Alipanov, M. Sukhanov, and others) appear. But in their verses, the nationality was, by definition of Belinsky, purely decorative (4, 160). Drawing idyllic paintings of the "rural life", they did not go further than the constrains of the book poetry of the time.
The poetic creativity of Koltsov was directly related to the advanced currents of Russian public thought and literature of those years. Mastering people's song traditions and relying on the achievements of contemporary writers, Koltsov managed to find his own voice, his techniques of poetic skill. No wonder, speaking about Koltsov as an original artist of the word and determining its place among poets of the 30s - early 40s., Belinsky argued that "After the name Lermontov, the most brilliant poetic name of modern Russian poetry is the name Koltsov" (4, 179). Later, the same high assessment of Koltsov will give and Chernyshevsky. Characterizing the aftermushkinsky period in the development of Russian poetry, he wrote: "The rings and Lermontov appeared. All previous celebrities fought in front of these new "; And for the advanced people of the Chernyshev era, it really was so.
The creative appearance of Koltsova is inextricably linked with the features of his biography. It is only a little to see only a particular case, the personal drama of the artist, forced to obey adversely established everyday circumstances. In the bitter fate of Koltsov, the common tragedy of the modern folk life was dugged.
From the adheral of the years, Koltsov learned the burden of life. His father, Voronezh Bezanan Prasol, sought to raise children in his image and likeness. Man is rude and domineering, he took the future poet from the second class of the county school and turned into his clerk. All his short life of the rings was forced by the will of the Father to engage in its commercial affairs.
The relatives for Koltsova became the native Povenenegian nature. He spent the major half of the year in endless trips to the riding. The chernozem steppe with its expanses and villages taught the poet to think widely and freely, to see in people the rod, deep beginning. The steppe was truly a poetic cradle of Koltsov.
An important role in the biography of Koltsova was played by N. V. Stankevich. Possessing a highly developed aesthetic taste, he immediately caught the original nature of koltsovsky dating. A meeting with V. A. Zhukovich, V. F. Odoyevsky, P. A. Vyazemsky, and others were tied up with V. A. Zhukovsky, and others. At one of the literary "Saturday" at Zhukovsky at the beginning of 1836, Koltsov met with Pushkin.
It is difficult to overestimate the role of the criticism of the Democrat Belinsky in the fate of Koltsov. Meeting in 1831, and then rapprochement and, finally, the close friendship with him, who lasted until the last day of the poet, largely determined the meaning and content of the whole creative life of Koltsov.
Belinsky for many years was the first reader, the connoisseur and editor of the Koltsov works. He participated in preparing for the publication of the first collection of Koltsov poems (1835). He was the initiator and the compiler of the subsequent publication of the works of the poet, already posthumous (1846), providing him with an extensive entry "On the life and writings of Koltsov". This is the first final article on the activities of the Prasol poet and its first thorough biography.
Belinsky was not just a personal friend for Koltsov, but ideological leaders. They were brought primarily social and spiritual relationship. We have the right to consider both as predecessors of the Pleiads of "New People" of the 1860s. Koltsov appeared in light, as if responding to the passionate appeals of Belinsky to the nationality in the literature.
The young poet has a certain impact of Delvig, Vyazemsky, F. Glinka. High evaluates rings creativity Venerevitinova. In eight-grade dedicated to Venevitinov (1830), Koltsov expressed a hot sympathy to the young poet in his hidden melancholy on "good" and "high." Close koltsov and fishing. The rows of the poem of Koltsov "Earthly Happiness" (1830) are painted in those civilian patriotic tones, which were characteristic of the "Thies" of Ryleev. Even the nature of the chief of social injustices, not to mention the direct use of intonation, rhythm and the usual consumption, makes you remember some poems from the Duma "Volynsky".
And yet, in the formation of the Koltsov poet, the determining role belongs to Pushkin.
The attraction of the young Koltsov to Pushkin Poetry, to the deeply expressed in it, by defining Belinsky, the "inner beauty of a person and the clergy soul of humanity" (7, 339) was noticeably manifested in the poem "Nightingale" (1831). Reproduction of not only themes, but also sounding and the general style and metric system of the Pushkin poem "Nightingale and Rosa", the author wanted to emphasize his dependence on the creativity of the beloved and great poet. However, the romance already detects that actually Koltsovsky sincere Lorism, that special musicality, which will be characteristic of mature skill of the poet. It is not surprising that the poem of "nightingale" was laid on music A. Glazunov, N. Roman Korsakov, A. Rubinstein, A. Gurilev and many other composers. V. V. Stasov counted him to "striking on the beauty and poetry" Romance.
The development of Pushkin poetry helps Koltsov more seriously and independently work on the style of their works. Getting rid of romance phraseology, elegic formulas, which filled his early poems ("I was at her", "come to me", 1829; "To what you, a gentle heart ...", 1830, etc.), rings seeks ease and clarity of poetic speech.
Artistic sympathies of Koltsov are extremely constant. It is equally related to the content, and to the poetics of his works. If you exclude the first experiments on which there is a seal of late sentimentalism, and the poems "in case", then everything else is clearly disintegrating into two inconsistent parts. One is reflections on the eternal problems of human being, the other is the image of the peasant soul. Accordingly, genres are also selected - "Duma" and a song.
Appeal to the philosophical theme of Koltsova may seem artificial. But it was the spontaneous desire to touch the secrets to which the merchant Meshchansky circle was indifferent, pushing Prasola's poet into the world of distracted ideas. We also do not forget that under the conditions of the 30s. The passion for philosophy, mainly German, acquired the character of a hidden public protest: after all, thought is free, it is impossible to impose a ban on it!
In the Koltsovsky "Things" there is no special claim for philosophicity. They are not attenuated by the depth of penetration into the essence of fundamental ideological issues, not "mentality", but by contrast, even some naivety. Here is the "man" Duma (1836). We rather spilled out from the depths of the soul of emotions than strictly reasoning about the contradictory nature of human actions. In the "kingdom of thought" (1837) we meet with a purely artistic attempt to state one of the most common provisions in the German metaphysics on the existence of a certain absolute - the infinite spiritual primacy of the universe.
The artist clearly suppressed in the philosopher rings. "Duma" is now more historical interest - as evidence of the tense intellectual quest for the author of Kosary, as a peculiar monument of socially aesthetic life of the 1830s.
The top of the creative achievements of Koltsov are songs created by him. The poems written in the imitation of Russian folk songs arise in Russian poetry in the XVIII century. and get widespread in the first third of the XIX century. At this time, "Russian Songs" Merzlyakov, Deligova, N. Ibrahimova, Salikova, Glebova, Tsyganov, Ododovsky, Alexander Korsaka, and others are printed and included in the mass repertoire.
Merzlyak, Delvig, Gypsies and other nearest predecessors of Koltsov played a undoubted and positive role in the development of the genre of the book Russian song. Compared to poets sentimentalists of the end of the XVIII century. They achieved more significant results in the transfer of mental experiences of the hero, and in the development of stylistic, intonational and rhythmic features of oral folk poetry. However, the creativity of even prominent masters of the Russian song did not follow the external borrowing of the motives already developed in folklore, images, stylistic funds. And this could not not lead to artificiality, imitativeness, which is felt in the very language of the songs of them. Some of them became folk, but their authors were alien to the prose of people's labor life, they said "only about feelings, and feelings of predominantly gentle and sad."
The exceptional penetration into the most depths of the People's Spirit and People's Psychology allowed Koltsov, as Belinsky said about him, to reveal in his songs "Everything is good and beautiful that, like a german, as an opportunity, lives in Nature of Russian Selyanin" (9, 532).
Koltsov opened the domestic literature of her real hero - a modest pea whose shoulders held all Russia. Not invented, and a natural peasant finally took a full place in the gallery of poetic characters. It turned out that the soul of a simple person in a moral sense is not a dead desert, as it was thought earlier, that it is capable of not only on fuss, low passions, but also on the sublime feelings. The serf peasant is shown Koltsov not like a cooler and an impersonal instrument of production, but as valuable in an ethical and aesthetic plan.
The lyric hero of the poems of Koltsov was the forerunner of Turgenev peasants from the "Hunter's Notes". Without it, it would be impossible to appear the accusatory Nekrasov Poetry.
The true nation of Koltsov's creativity is most brightly manifested in his songs about the peasant agricultural labor. The innovation of the poet affected his ability to express a popular view of the work on the source of life, spiritual greatness, joy. Hero "Pahar songs" (1831) "Fun" gets the harrow and housing. In the poem "Harvest" (1835), the creaking of the ages at the time of the harvest is likened to music, and the skirds on the gum - princes.
The way the physical and moral beauty is determined by the physical and moral beauty, which shells of Koltsovsky peasants, such as the hero of "Kosary" (1836):
I have a shoulder -
Shird Dedova;
High breasts -
My mother.
On my face
Father's blood
In the milk chagging
Rushing red.
In force, Snorzka, passionateness by the work itself ("Circle, shoulder! Shed, hand!") The "poetry of labor" is revealed, in which Gleb Uspensky saw one of the most characteristic features of Koltsov's creativity. It is with difficulty "Koltsov's lyric hero associates the concept of ethical and beautiful, thus discovering the essential aspects of the people's life and popular self-consciousness.
In most cases, Koltsovsky men are not as much a practical result as the labor process itself, its inner beauty, the possibility of manifesting his "I" in it. Heavy physical work, which was tricted by the formed estates as a pitiful and slave - or, at best, caused compassion for Paragraph, - under the pen Koltsov songnik acquired a completely new property. He became the part of the people's life, where the exit, a trembling traction of the farmer to spiritual activity. Not the principle of direct "benefits" explains the willingness of a man to open its everyday classes and the formidable forces of nature. Here they were given themselves to know the original artistic, artistic deposits of the peasant soul.
The innovation of Koltsova is clearly detected in those of its songs in which the peasant's severe life conditions narrates. The poet managed to talk about the poor man with such spiritual sorrow, with such sympathy, like none of his predecessors. Moreover, in a number of Koltsovsky poems on this topic, those trends are already scheduled to be characteristic of democrats of 60s. Especially remarkable in this respect of the song Koltsov "bitter share" (1837), "Mysterities of Selyanin" (1837), "The second song of Likhach Kudryavich" (1837), "Crossroads" (1840), "The Share of the Poor" (1841) and others. The lyrical voice of the author, warmed by warm and sincere participation to the disadvantaged person, hears in the poem "Rustic Bed" (1838), ending with expressive lines:
Since then, I'm with grief well? Well
On foreign corners I wrap up
For the daily piece I work,
I wash my blood then ...
(p. 162)
At the same time, the poor thing in the Koltsov songs not only complains and complains about his bitter fate. He knows how to throw her and a bold challenge, boldly goes towards any adversity. Hero of the poem "Treason" (1838), shocked what happened, goes down:
Mount to bow, live life,
With the evil share of the ...
(p. 156)
Hero Koltsova, being an expressive of essential traits of Russian character, patient, racks, bent. If he was postgraded, he, on the thought of Belinsky, is not intended to be broken into sadness, do not fall "under the burden of despair himself ... And if you already fall, then calmly, with the full consciousness of my fall, without resorting to false consolations, not seeking salvation in The fact that he did not need to be in his best days "(9, 533). That is why, despite all the troubles and thunderstorms, the Koltsov's lyrical hero, the basic tone of his poetry remains deeply optimistic, life-affirming:
And so that with grief in the feast
Be with a fun face;
To go to death -
Sitting Salovy!
(p. 176)
It is characteristic that in these words from the poem "Path" (1839), the Soviet poet Pavel Antickolsky saw the "central nerve" of the talent of Koltsov.
The theme of the will is one of the original topics of people's poetry - it took a prominent place in the work of Prasol's poet. Characteristic in this regard is the poem "Stenka Razin" (1838). It is in organic communication with the song Rinic folklore. Here and the appeal of good well done to the "Volga Mother Volga" who spawned him, and the swallowed delete of the freedom-loving hero:
Zabushui, uncrowder,
Fish, Volga Mother!
You take my twist,
Placing a wave of barychka ...
(p. 169)
Already the selection of the rates theme itself to a certain extent characterizes the public, and the aesthetic views of Koltsov.
According to Shchedrin, in the merit of Koltsov, that he managed to reveal in the Russian mocking peasant deeply aware of the person's dignity, notice the "burning sense of person", which "reveals all the external obstacles and, as the river out of the banks, dries, destroys and He takes everything found on the way. "
The portrait of the people with a "slanty thought", Koltsov believes that the best proportion of people's people is only "to the pore, until time to a stone in the water fell", and it is important that these hopes feed on faith in the mighty forces melting in the people. In the poem "in bad weather, the wind ..." (1839) the poet calls the people:
Lift - that power
Wings scope:
Maybe our joy
Lives at the mountain!
(p. 178)
The requirements of the "life of the other" are imbued with the lines of the famous song Koltsov "so the soul ..." (1840). Hot desire for the will The poet invests in the romantic "Duma of Sokol" (1840), where the sublime dream about the freedom of the poet itself merges with the aspirations of the fixed masses:
Il at Sokol
Wings are associated
Il path to Him
All ordered?
(p. 192)
It is not surprising that the "Duma Sokol" was perceived by many generations of advanced people as a song calling for the struggle for a decent life. Noteworthy is the wide response, which verses of this song in artistic literature: in the works of I. S. Turgenev, I. S. Nikitin, L. N. Trefolava, F. V. Gladkov, etc.
The image of a bold and independent bird, akin to the legendary Gorky falcon, arises in a number of poems of Koltsov. Yes, and he himself enters our consciousness as "Falcon of Russian poetry, whose free flight was a" prize proud to freedom, to the light. "
About the gusts awakened in the people, the Koltsov often said only by the hint, but quite transparent in the context of the era. For example, in the song "I have a lot ..." (1840):
But I know what
Magic herbs looking for;
But I know what
He himself with some sad ...
(p. 207)
In some songs of the poet, the features of the well-known limitations characteristic of the consciousness of the patriarchal peasantry are appeared. But - and this is the most important thing - with all doubts and quite complicated ideologically moral quest Koltsov in the best poems, it is quite bold, by that time, protest against the modern "dirty" and "coarse" reality. Lifting up to awareness of the need to deal with her, the poet calls on the "Epistle" dedicated to Belinsky (1839), to rebel in the name of the "Celebration" new thought", Truth, mind and honor.
It is possible without exaggeration to say that at that time no one, except Lermontov, did not express me with such an artistic power of hatred for serfdom, like rings. Even tears, burning, poisonous tears of anger, despair, longing, relate here to Koltsova with Lermontov. Speaking against the life based on displacement and slavery, the rings declares in the "Calculation of Life" (1840):
If God gave the power -
I would break you!
(p. 208)
But Parallel "Lermontov - Koltsov" requires a deeper consideration. Being contemporaries, both poet with different points Vision (but similar in the main thing - the rejection of modern social reality) reflected contradictions with their bitter era.
Lermontov brighter than others witnessed the dissatisfaction of their generation by the Nikolaev regime. His work is focused on the image of the gloomy of life. Skepticism, deepening for the psyche reflection, poison of self-analysis - all these "internal diseases" struck the best part of the noble class during the years of the Nikolaev reaction.
Koltsov, on the contrary, expressed healthy, the powerful forces of the nation, the People's Spirit, who did not even break the overall political oppression. What, in fact, changed in the usual text of the multimillion masses of the peasantry from the next change in the Russian throne? Under Nicolas I, everything remained in the village, as before: an hopeless poverty, exacerbated by the resulting stratification of a rural community, the increasing power of the Golden Casna.
Lermontov in the "Duma" with sadness looks at his generation, the coming is drawn to the author in the most gloomy paints ("... Il is empty, il dark ..."). It is very different, it seems rings. The embodiment of the inexhaustible faith of the village of the worker in the final happiness of a man, this energic folk optimism, the rings exclaims in the "Last Fight" (1838):
Don't throat you mischievous
Do not call, fate, on the fight:
I am ready to fight with you
But you do not speak with me!
(p. 167)
Flame rings sounded sharp dissonance against the background of the poetry of his era. In the lyrics of despair, despair and longing suddenly invade new motifs. The bright color of the Koltsovsky poems is born and influenced by their specific artistic form. The song poetic becomes unusually informative. What kind of sad things mentioned in the work, the swiftness of intonation, the special mission, the peculiarity of the melodic pattern, as it were, soften drama.
High civilian pathos, deep sorrows caused by the death of Pushkin, the poem "Forest" (1837) was painted. This in the widespread sense of the word political performance can safely be delivered alongside such an accusatory work as the Lermontov "Poet's death". It is enough to recall the Koltsov comparison of those gloomy years with the "autumn black" and "night silent" or honor, for example, in such a storm:
Warred, silent ...
Only in non-weather
Wear a complaint
On a straight ...
(p. 148)
- To feel all the courage of the call of official government Russia. It is noteworthy by its accuracy, the characteristic and those low intrigues, which were the direct cause of the death of the Great Poet:
From the Bogatyr shoulders
Removed the head -
Not a big mountain
And straw ...
(p. 149)
Special attention deserved in the work of Koltsov family household songs. With great sincerity, the inner world of a simple Russian woman was revealed, her position in the patriarchal peasant medium was truthfully. Realistic content determined and artistic features These songs, their close relationship with the folklore, in particular with family household folk lyrics. With a special force, this connection manifested itself in the development of a rings of an undermineum life with a "caught" husband. The poet recreates a truly tragic image of a young peasant, issued married against her will. The heroine of the poem "crazy, without reason ..." (1839) gives a new and tragic tint to the traditional saying "waiting - will be excluded":
Well, to make up
Consider
And with your youth
Compare without calculation!
(p. 189)
Equally deeply exciting, as Belinsky wrote, "the soul, a gentle female soul, convicted of hopeless suffering" (9, 535), hears in the song "Ah, why me ..." (1838):
Do not grow grass
After autumn;
Do not bloom in colors
Winter in the snow!
(p. 158)
For family household songs, Koltsov is characterized by their social orientation. Expressing the high ideals of folk morality, they contained the requirement of human spiritual liberty. The thirst for love, independence, will especially pronounced in the song "Fiashide" (1838), in which the right to mutual love, was connected to personal happiness with the liberation aspirations of the sanctified people.
Koltsova's love Lyrics is the poetry of earthly joy, enthusiastic worship before spiritual and physical beauty. The admiration for his beloved causes and wonderful comparison in their artistry in the song "Last Kiss" (1838):
Let the face burns
As in the morning dawn ...
Like spring, good
You, my bride!
(p. 159-160)
Surprisingly beautiful and bright feeling with rolling. Heroes of his songs love from the bottom of his heart. In the most difficult days, great love illuminates the life of disadvantaged people, gives them strength in the fight against severe reality. I will borrow from the song "In the field, the wind blows ..." (1838) is not terrible
Nonhuman share
When he loves
She is young!
(p. 166)
It is not by chance that the collection of poems Koltsova Chernyshevsky called the book "Love clean", a book in which "love is a source of strength and activity."
Radzov's love songs stand out and their special sincere lyrism, deep sincerity, and sometimes amazing in vitality to reproduce intimate human feelings. Such works of the poet as "time of love" (1837), "sadness girls" (1840), "separation" (1840), "I will not tell anyone ..." (1840) were truly a new word in love lyrics of those years. To this it is necessary to add that, the soul beauty of people from the people, the beauty of the dedicated and offended in a serfdom, Koltsov was able to become a kind of expressive of the liberation aspirations of his time.
The nation of poetry Koltsov finds an expression not only in the truthful show of real life, but also in the development of the relevant artistic means. Koltsov's songs, wrote Belinsky, "are an amazing wealth of the most luxurious, the most original images in the highest degree of Russian poetry. From this side, the language of it is as much amazing, how much and inimitate "(9, 536).
Using aesthetic techniques that have long established in oral tradition, the poet enriches them with its own inventions. He seeks to work out such a system of poetic funds, which would allow in "optimal mode" to transfer the overall pathos of his creativity. The possibility of synthetic genre alloy is the possibility of a synthetic genre alloy - a semi-limit semi-spool "Russian song". Symbols, rhythms planned by the people, special speech turns under the ring Koltsov acquired exceptional expressiveness.
One of the bright manifestations of the skill of Koltsov should recognize his ability to dramatize the lyrical theme. Penetrated deeply into folk characters, the poet shows feelings, experiences ordinary people through their exterior signs (face, movement, intonation, gesture), which contributes to Russian literature new poetic paints. Such, for example, an image of the inner state of the girl during its parting with his beloved in the song "Slinding" (1840). The deep emotion of the girl is transferred with the utmost fullness:
There is everything flashed fire with fire
White snow overlap ...
(p. 199)
The heart torque of the heroine affected the very intermittentness of speech ("Do not go, wait! Give me a time ..."), and in shortness ("on you, on a clear falcon ..."), and in the visible disclosure of her sincere grief ("Growing the Spirit - The word froze ... ").
Sometimes the skill of the poet of the songwriter is manifested in extremely compressed portrait sketches. So, in a deep intimate lyrical song "Not Shumi you, rye ..." (1834), remembering about the beloved "Device's soul", rings focuses only on her eyes:
Sweet was me
Look into the eyes of her;
In the eyes full
Fully dum!
(p. 112)
Before us clearly arises the exciting image, filled with a deep feeling. In the stream of surpassed memories, thoughts, the poet's thoughts finds it essential, the main thing that was especially imprinted, became the most expensive.
Not given a regular portrait and in the song "It's time" (1837):
She stands, thought,
Shernya Char Owan ...
(p. 145)
But we are well presenting the youth, the beauty of the girl through the external manifestation of her mental movement:
White breast is worried
That river is deep ...
(ibid)
The artistic peculiarity of Koltsov with a special force is found in his landscape painting. In his poems, nature is inseparable from people and from their work, from everyday human worries, joys, seals and a doom. According to Saltykova, Shchedrin, the fact and the "Great Koltsov, the powerful talent of him that he never is tied to nature for nature, and everywhere he sees a man, over her soaring."
Created by Koltsovy pattern of native land fresh and new. "The beauty of the dawn in the sky caught fire" ("Pakhary's Song"), and a concerning rye "Day Merry smiles" ("Vintage"). In the poem "What are you sleeping, a peasant? .." (1839) Koltsov finds unique paints to describe late autumn:
After all, autumn on the yard
Through it stuck ...
(p. 186)
- and Russian rustic winter:
Following the winter
In warm fur coat goes
The way in the snow is chosen,
Under the sleigh crunches.
(ibid)
Koltsov knows how to say to his own and about the driving Russian steppe. Reading the poem "Cosar" (1836), it seems you see all its abstract shirre, breathing the smell of her herbs and colors. For the Koltsovsky kosary, it is not only spacious, but also as it is especially joyful and light:
Oh, you, my steppe,
Steppe suspended
Widely you, steppe
Spified ...
(p. 123)
In the poem "Vintage" (1835), a slowly impending cloud darkens, growing, "heels thunder, rude, fire, lightning," and immediately, as if after a minute clutch she
Raised -
And expanded
And hit
And shed,
The tear is large ...
(p. 114)
In this stubborn, consisting almost from alone verbs, the rhythm and selection of sounds (first of all the angry consonants "p" and "l"), many contribute to the image of powerful raskats of thunder and fucked rain. Especially greater dynamism, latitude, the strength gives the verb standing in front of them the sound "and".
One of the features of the poetic mastery of Koltsov is accuracy, concreteness, the almost visual significance of the image with the exceptional economy, the laconicity of artistic agents. Organically perceiving the people's song speech, the poet has developed his responding style, his imagery, its own special voice.
Koltsov achieves fresh and accurate words (in the sense of the transfer of a certain psychological condition), comparisons and metaphors, the very spirit of people's song creativity. This feature of the realistic poetics of Koltsov is clearly manifested in the song "The Poor Poor" (1841), where the author managed simply and at the same time, to completely convey the hidden from the eyes of people.
Soul
Joy breaks out -
Angry mockery
VMIG will poison.
(p. 215)
Speech elements that directly go from the folklore ("and sit, you look, smile; and in the soul, you swear a bit of bitter!"), The poet is natural and artistic justified.
Original skill we see both in tools, melody, metric and rhythmics of koltsovsky poems. Widely used rings with dactilic endings, internal rhymes, reacts and alliterations give it verses marked already above semantic expressiveness and musicality. And when you read, for example, in the song "Not Shumi you, rye ...", you can clearly see that even the very size of it is very suitable for this incessant mood, which is performed by this poem:
Hard mountains
Dark midnight
Lit on? a heart
Duma black!
(p. 112)
No less expressive and such a ring song as the "last kiss". The first and second lines are drawn to her tool, where the sounds of "L", "P" ("Kiss, Fall, Click"), the third and fourth - with the sound of "P" standing in them ("Once again, Quick, kiss hot "). There are also repetitions of words and internal rhymes ("do not grow, do not burn, from the eyes of tears do not"). All this gives the lyrical intonation of Koltsov songs The musicality that M. Balakirev, which wrote his famous romance for this poem to the words of this poem. According to the reviews of C. A. Kyui, the romance represents the most perfect sample of merge music with text to one harmonious whole.
In general, it should be noted that the rings played an exceptional role in the development of domestic musical culture. His lines were inspired to create wonderful creations of such composers as Glinka, Varlamov, Gurilev, Dargomyzhsky, Balakirev, Roman Korsakov, Mussorgsky, Rubinstein, Rachmaninov, Grechanins, glazunov, etc.
Koltsov enriched our poetry of the undisputed Russian speech. Avoiding any deliberate "beautiful", he contributes to the verses of ordinary words taken from a living folk language, giving them a special poetic flavor. By definition of Belinsky, in the song Koltsov "boldly entered both lapties and ribbon cafts, and disheveled beards, and old onuchi - and all this dirt turned into a pure gold of poetry" (9, 534).
Using the spoken speech of the peasants, the rings carefully selects the most typical thing in it, which helps him brighter to express feelings and thoughts of the people, truthfully show the life of commoners. In the "second song of Likhach Kudryavich" (1837) read:
Katthanishka Rvanaya
On the shoulders stretch,
Speaken beard
Hacking cap
Sticky Stan
For other people's shoulders ...
(p. 153)
For Koltsov, the frequent use of diminishingly mascal river forms is extremely characteristic, which mostly correspond to the folk style:
Paw sadness solar
On a clever head ...
(p. 156)
You take my twist ...
(p. 169)
Typical for songs Koltsova proverbs and sayings, organically inteckled in his speech of his lyrical hero. For example, in "Gorky Dol" (1837):
Without love, without happiness
The world wander:
During the misfortune -
I will meet with grief!
(p. 137)
The value of Koltsov in the history of domestic literature is determined by a non-historical connection with his people, which, according to Belinsky, has found a vivid expression in the artistic reproduction of the poet of the peasant life and characteristics of character, the warehouse of thoughts and feelings of ordinary Russian people. It was these most important parties to koltsovsky creativity that had the most fruitful impact on Russian poetry.
Based on the literary aesthetic concept of Belinsky, revolutionary democrats of the 60s. Considered the poetic heritage of Koltsov in accordance with the newly advanced era and increased demands of the comprehensive display of life in its essential manifestations.
Dobrolyubov in the first statements about Koltsov (1858) defines it as a poet, which at the very essence of his dating was close to the people. At the same time, the critic directly and, perhaps, even excessively strictly pointed out the insufficient connection of koltsovsky works with social political issues. According to Dobrolyubov, "Koltsov lived a folk life, understood her grief and joy, knew how to express them. But his poetry lacks the comprehensivity of the view; The simple class of the people is in his privacy from common interests ... ".
Dobrolyubov was able to allocate and highly appreciate the "real healthy" side of the poems of Koltsov, which, according to criticism, it was necessary to "continue and expand". Dobrolyubov emphasized the undisturbing relationship of advanced Russian poetry with Koltsovsky traditions. Saltykov Shchedrin wrote about the importance of these traditions for Russian literature: "The whole range of modern writers who devoted their work to the fruitful development of the phenomena of Russian life, there are a number of continuers of the Rolzowa case."
The artistic legacy of Koltsov was particularly expensive N. A. Nekrasov. Speaking about Koltsov as a truly distinctive poet, he put it in one row with the greatest poets - Pushkin, Lermontov, Zhukovsky, Krylov.
In the work of Nekrasov, there was a further continuation of the work of labor introduced into the poetry of Koltsov. Nekrasov gave her the political acute as the rings was lacking. Nekrasov was undoubtedly close in the songs of Koltsov a folk view of the physical and spiritual beauty of workers of people.
The Koltsov experience was largely prepared and the appeal of Nekrasov to Folklore, to the living spoken Speech peasants. Nekrasov to some extent can be considered the Koltsov successor and in the field of renovation. The poem "Who in Russia live is well" is very important, in which the Rovtsova coming from the Rovkov is widely used with dactilic endings.
The tradition of Koltsov is tangible in the work of the poet of Nekrasovsky camp I. S. Nikitin. Relying on the artistic experience of their predecessors and, above all, Koltsova, he turned directly to a common life, screamed themes and images in it. In Nikitin's poems ("Zarel, I was walking around ...", "Boblya's song", "Legacy", "I was driving from the Fair of Ucharya merchant ...", "Castle, longing ..." and others) Environmental orientation on a People's Song Start, which is so fully represented Koltsova.
The Creativity of the Poet of Democrat I. Z. Surikov also develops in line with Koltsov's traditions. The impact of the author "Kosary" is felt in such well-known works, like "Eh, you, share ...", "Whether you are head, head ...", "in the steppe" and others. Surikovsky poem "In the Garden Solovushka ..." is the development of poetic The motive of the female share developed by Koltsov in his song "Ah, why me ...".
Traces of the influence of Koltsov also noticeable in the work of Songnikov poets S. F. Ryskin (1860-1895), E. A. Raishenova (1819-1891), N. A. Panova (1861-1906) and others. Problems and poetics of the poems Koltsov found Further development in the creative practice of S. D. Yezhzhin: The theme of peasant labor reflected in his verses is genetically dates back to the "Pahar song" and "harvest".
Koltsov had a particularly large and fruitful influence on the artistic formation of Sergey Yesenin. In the poem "Oh, Rus, waving wings ..." The poet directly writes about himself as a follower of Koltsov. Lyrical motifs and images of the Russian songwriter have a direct Ozvuk in verses M. Isakovsky, A. Tvardovsky, N. Rynkova and other Soviet poets whose creativity is deeply and organically connected with the folk song.
The artist of an innovative warehouse, A. V. Koltsov managed to create such original, deeply national samples of democratic poetry, that his name was taken by one of the first places in a number of wonderful Russian poets.