Fedor Sologub is a bright representative of poetry symbolism. Fedor Sologub - a brief biography, creativity Fedor Sologub, a brief biography. Childhood

I allow myself to refer our conversation several brief entrance comments.
Issues of art, as we all know, often retreat to the background before the issues of practical life, so, for example, to argue about the laws of printing, of course, much more interesting and easier than about the press, than about the literature itself.
Meanwhile, if there is some value on Earth, really necessary for a person, then this is, of course, art, or, expressing a more general term, creativity. Other things are engaged in a person, if necessary, because of the considerations of practical life, much does forced, with reluctance, almost with disgust; It comes to art only because his art comforts him and pleases; Always comes free, nothing is persecuted. Yes, and it is impossible to approach the art if the soul is owned by dark and heavy passions and feelings. All his soul invests a person in art, and therefore the spiritual world of man does not be indisposed in the way as in art, "what people are alive." When we want to make a judgment about a person of one or another era, then only the art of this race, this time, or more precisely, the attitude of these people to art is served as the only reliable leadership.
Therefore, it would be strange to look at art, only as a way to beautifully or expressively depict the chosen moment of life. Art is not only a mirror put in front of the chance of life, it does not want to be such a mirror. It is not interesting for him, boring. The boring occupation is to reflect the randomness of life, retelling minority anecdotes, in which it is impossible to put the live soul. The living soul of man always craves the living work, living creativity, so much to create in itself the world, similar to the world of external items, but the world of valid, created. The living life of the soul flows not only in the observation of objects and in the timing of the names, but also in a constant desire to understand their living link and put everything that is our consciousness in some universal worldwide drawing.
Thus, for the consciousness of our items are not separate random existences, but in a common relationship among themselves. And, here, as the complications in our consciousness of the relationship of relationships, everything difficult to visit the world is reduced to a smaller number of general ones, and each item is comprehended by its attitude towards the most common thing that can be conceived. Here, with this respect, all items become only an intelligible mirror of some common relations, only a diverse manifestation of some young-based communion. Life itself ceases to seem a number of accidents, jokes, is conscious, as part of the global process sent by the Unified Will. All similarities and disabilities of phenomena are replied by the disclosure of diverse opportunities, the carrier of which the world becomes. The self-sufficient value does not have any objects of subject matter. Everything in the world is relatively as it is recognized in our days with science regarding times and spaces.
Symbolic worldity, however, abolishes this general relativity of phenomena so that, taking this relativity of items and phenomena in the world of items, at the same time, it recognizes something unity, to which all items and all phenomena are related to. In relation to this one, everything is, everything that exists in the subject world only receives its meaning. And, here, only this world content to real times has always gave the basis of high large art. When art does not remain on the degree of idle fun, it is always an expression of the most common world content of this time. Art only seems to appeal to a concrete, private, only seems to be scattered with pinsy clutches of random jokes; Essentially, art is always expressed by the most profound and common doomes of modernity, the Dum, aimed at the universe by a person in society. The most imagery inherent in the creatures of high art is due to the fact that for art on its high degrees, the objects of the objective world only pierce the window in infinity, the essence of one of the methods of worldity. The high external perfection of images in art corresponds to their purpose, always sublime and significant. Therefore, in high art, the image seeks to become a symbol, that is, it seeks to accommodate meaningful content, seeks to ensure that it is the content of the image in the process of perception by its viewer, the reader has been able to reveal more and more in its in-depth.
In this ability, the image towards an infinite disclosure only lies the mystery of the infinite existence of high works of art. Artwork, to the bottom interpreted, to the depths clarified, immediately dies; There is nothing to live on and there is no need to live. It performed his little temporary appointment and fed, went out. So the useful fires of fires come out when they performed what they were meant for, and the stars of the high sky continue to glow further.
In order to be able to give a symbol to deal with the forever window in infinity, the image must have double accuracy. He must also be an accurate image, so as not to become random and idle, it will not open any depths for idle fabrications. In addition, the image must be taken in accurately with its other objects of the objective world, should be put in the world's drawings on its proper place. Only then will it contribute to the expression of the most common world-upping at this time. From this it follows, of course, the most legitimate form of symbolic art is realism, and indeed, so almost always.
If we even take fairy tales folded by the people, then we will distinguish, on the one hand, the expression of the most general world content of the people who are created, on the other hand, the amazing accuracy of everyday and domestic details woven with fantastic fabrics. The fairy tale is not, of course, the mechanical image of life, it combines its component elements according to the arbitrariness, remains art in this sense, but it will not deceive who, without deeing to her mythological importance, want to look for only images of people's life.
This property of symbolic art has been manifested in our time repeatedly. Those who do not like new art, said that it is constantly distracted by life and disgusts people from life. Of course, this is a mistake! We will not find anything like this with a close acquaintance with new art. If we take the romance of such a persistently denied poet, like mittens, novel "Iron Rod", then we will not find mistakes against life. The same accurate image of life and life we \u200b\u200bsee in the novels of Andrei White, in the ones and stories, both from modern life and historical, Valery Brysov and others. The figures of new poetry.
Otherwise, of course, it can not be. The art of symbolic is not a tendentious, not interested in any kind to depict anyway, is only interested in saying its truth about the world. Such art has no motivation to the inaccurate use with its models, which are all objects of the objective world for him. It happens in the history of literature that realism forgets its true purpose to serve as a form of that art, which expresses symbolic world content, - then art refers to simple copying of reality, and sometimes this copy is given a jurisdiction of a journalistic nature. Then realism - art is high and beautiful - degenerates and falls to the degree of naive naturalism. In this naive naturalism, which replaced the high creativity of Pushkin, Lermontov, Turgenev, Lion Tolstoy, was Russian literature almost until the end of the XIX century.
Then, 20 years ago, there was a literary movement, which was encouraged so disapproving, so unfriendly, the one that was called "Decadence", "modernism", perhaps, and some other other names. Representatives of this new current differed quite differed and vary with each other, and do not represent one literary school, but all of them are united by the desire to return the poetry of its true purpose, to be an expressive of the most common world content, i.e., all these poets are typical of the desire to restore the rights of symbolism, and, On the other hand, to revive realism, as the legitimate form of symbolic art. This was done in the last 20 years, made with such a force and power that in our days the return of art to naive naturalism seems very incredible. Itself, of course, that throughout this last period, hugging about 20 years 20, the new art did not stand in one place. The general law of replaceability touched it.
Three stages can be distinguished in this move, but it should be noted that there is no accurate chronological sequence, and the boundaries of these stages would be mixed, which I would mark: 1) Space symbolism; 2) individualistic symbolism, and 3) democratic symbolism.
The first stage of symbolic art represents meditation about the world, about the meaning of global life and about the dominant single will, if it is recognized, or on the world dominating in the world if several managers of the world of deities are recognized. On the way of these sublime inspirations, our great poet Tyutchev was our predecessor. From modern poets to rightly indicate Vyacheslav Ivanov, the author of excellent poems and deep theoretical articles. Perhaps, not believing in a solid will, because wisdom does not always agree with faith, this poet is the expressive of the most profound Duma about the universe.
A sharp fracture in literary life was, however, not this cosmic desire for symbolism. The individualistic verses of Russian modernists seemed especially unpleasant Russian criticism and brought the most complaints. The individualism of Russian modernists was interpreted as the trend is universal, which, of course, is wrong. Individualism never and anywhere could not have the meaning of the opposite phenomenon. The public itself has a price only when it relies on the pronounced consciousness of individual personalities. After all, it is only for that and it is necessary to connect with other people to keep my own face, your soul, your right to life. No wonder the covenant of the ultimate public is the words: "My house is my fortress." In particular, the individualism of Russian modernists addressed his sting not against the public, but completely in the other direction. We went to ourselves, in our desert, so that, in the world of external, in the great kingdom of a single will find our place. If the Unified Will forms the world, then what? My will is my will? If the whole world lies in the chains of necessity, then what? Is my freedom? After all, I feel my freedom, too, as the necessary law of my being, and I can't live without freedom.
Not a rebellion against the public was our individualism, but an uprising against mechanical need. In our individualism, we were looking for non-egoistic separation from other people, but liberation, self-affirmation on the Ecstasy paths, a miracle quest, or on some other ways. We had the question of what a person is, and what is his attitude to a single will. If everything in the world is associated with the chains of necessity, then on themselves I carried out and everyone carries the whole severity of perfect ever evil and all the triumph of the paid good if anyone and anyone. Each of us will subsequently subsequently the culprit of each of his act. On me and for each of us imposed on our weak shoulders of the crime of comprehensive responsibility for the sinfulness of the whole world. This gives together the opportunity to find their will, as a mighty poetic, will be worldwide.
And through the supreme solipsism and egocentrism, this mood of the soul led us to the sublime concept of God. The merger with the united will of our individualism was the basis of the religious and philosophical desire of Russian poetry of recent times. By itself, this individualism was only a transition to the third moment of the movement of art, into a democratic symbolism, thirsty of catholicity and collegiality.
In this last stage and is Russian symbolism at present. Here he meets with the requirement that in previous centuries has never been presented with a life, neither the art, a requirement that sounds strange and does not like many. This requirement is to love life. Apparently, this is not worth it, for anyone else to love himself, his little separate life, in which there are so many small and great joys. But in our age, when direct loyalty is so weakened, this requirement gets special tragic. We demand to love life as if we feel in yourself the inability to love. Meanwhile, what does the requirement to love life mean? There is a lot of beautiful in life, but there is a lot of ugly, disgusting that you need to hate all the power of the soul. Love life, in general, life, life, whatever, of course, it is ridiculous because it is meaning to love the executioner and love the victim. It is necessary, of course, choose, love one and hate others. Do not love life as it is, because in general, its current life is not at all worth it. Life requires a transformation in a creative will. In this thirst for transformation, art should go ahead of life, because it points out the lifestyles of the wonderful ideals for which life has to be transformed if she wants it; And if it does not want - it will tight (Prolonged applause).

Notes:
- The article represents the transcript of Sologub's speech on the public "dispute about modern literature", which took place January 1914 in St. Petersburg. In addition to Sologuba (speaking first), Vyach participated in the dispute. Ivanov, Khulkov, E. Anichkov and others. Modernists.
- Of course, the theory of relativity of the German scientist Albert Einstein (1879-1955), presented in 1905.

Fedor Sologub (real name of Fedor Kuzmich's Teternikov; 1863-1927) - Russian poet, writer, playwright, publicist. One of the most prominent representatives of symbolism and the silver century.
Fedor Solodogub was born in St. Petersburg in the family of a tailor, the former peasant of the Poltava province of Kuzma Afanasyevich Teternikov. Two years later, the sister of the writer, Olga, was born. The childhood of Fedor Teternikov passed where many heroes of his beloved Dostoevsky were treated - at the very bottom of life. Father is the illegal son of the Poltava landowner and serf. After the cancellation of the serfdom of the Tennikov, Donkey in St. Petersburg and took up a tailoring craft, but his life in 1867 climbed the Chakhotka. Fedor's mother, staying with two children in her arms, entered the service. Fedor and his sister were almost pupils in a family early by the college assessor, where it was customary to read, musitizing, visit theaters. At the same time, the children of the maid were strictly needed to know their place. Mother worked in the sweat of the face, watching fatigue and irritation on the children. Therefore, the lyrical hero of the very first poems of Teternikov is a barefoot porous boy. Poroli and beat him in school, and at home, although it was not for what - he studied well and performed all the predetermined work on the economy.
From the very first experiments, a prosaic attitude towards a lyrical plot, scenes or reasoning, more familiar to realistic stories or novel, attention to household details, not distinguished by poetry, transparent simple comparisons. These are stories in verses, gloomy and hard, in something close to Chekhov, non-electronic descriptions and feelings.
Drunkenness, glossing, gossip, dirty ties - everything that is accepted as entertainment in a provincial city does not bypass by Fedor. But with this fruitless life, he manages to combine and literary creativity. In 1884, it was possible to publish the poem "Fox and Yozh" in the St. Petersburg magazine "Spring". He dreamed of literary earnings, about writing an innovative textbook on mathematics, how he will breathe light and love into the souls. However, a gloomy life from all sides is observed by a provincial dreamer. The feeling of gravity and irresponsibility of life - "Sick Days", "Bosnozhost", "Unforgettable Need", "Colorless Living" - in the end transformed in the poems of the late 80s. In semi-spilore fantastic vision - "Loaho Nevinich", "the evil Maru" (this is a Slavic witch, sucking the blood from sleeping). Death motives appear, but this is not a transition to the best world, but the desire to hide, hide from this world.
The turning point in the fate of Teternikov can be considered to be 1891, when he met Nikolai Maksimovich Minsk - philosopher and a poet-symbolist who became interested in his work seriously. At the same time, serious changes occurred in the life of Fedor: in 1892 he became a teacher of mathematics of the Christmas city school in St. Petersburg, then he moved to the Andreev school, where he later became an inspector. Now it is finished with a vile province: a grave life experience will overpare in prose (first of all it will be a novel "Heavy dreams", 1883-1894). Teternikov becomes an employee of the Northern Bulletin, Minsk introduces it to the "senior symbolists" circle.
Now the literary fate of Teternikov is forever connected with the names 3. Hippius, K. Balmont, D. Merezhkovsky. There he was invented by the pseudonym "Sologub", which became the new name of the poet. Mandelstam was surprised by Sologuba, who replaced the "real and" similar to him "the names of Teternikov on a ridiculous and pretentious pseudonym." Of course, Mandelstam, who did not take up his bohemian poverty, was difficult to understand the bare cook son, finally, who had finally had the county name (albeit with one "l" - to be different).
The lyrical hero of Sologuba Poetry is largely a small man of Gogol, Pushkin, Dostoevsky and Chekhov. Its poetry easily find hysterical poverty, an eternal fear of life, love-hatred, one's own little, humiliation, mournfulness. There are images directly borrowed from Dostoevsky: So, in the poem "every day, per hour of grain ..." (1894) is captured by Nastasya Filippovna.
The 90s begin. XIX century - the whole Russian intelligentsia of Credit Schopenhawer. A contemptive attitude towards life becomes a fiction factor of Sologub's creativity. It leads him to a cult of death, disappearance; Life is more and more submitted by suffering.
Completed in 1894 Roman "heavy dreams" amazingly combines the leading traditions of Russian literature (a teacher of the gymnasium - an autobiographical image - opposed to the vile provincial society) and the motives of decades: the desire to care from life, the perception of life as a disgusting inclusion that does not have any Objectives, no sense, which, if and brings joy, in perverted painful forms.
The eternal school of Russian literature has always been extremely close to Sologuba, because in his household life it remained in many ways a gymnasic teacher - strict, ulcer, happily ... (teaching was given 25 years of life). Many memoirists celebrate His failure, arrogance (the origins of which are in provincial shyness), hypnotic impact on others, permanent desire (and skill) to read the notation.
Despite the sarcastic attitude to the idea of \u200b\u200bchanging life for the better through any activity, in Sologub, sometimes the desire to teach his characteristic of his nature to teach, insisted, impose his point of view, which often led him to participate in social activities (which he was absolutely alien as philosopher). So, in 1903, becoming a staff member of the news and stock exchange newspaper, Sologub a lot of articles devoted to school themes, the problems of improving education in Russia.
One of the most serious topics of his prosaic creativity is intolerable for him, as well as for Dostoevsky, children's suffering. Children in Sologuba prose, as a rule, are innocent victims of perverted torment, and the executioners are adults, often teachers (for example, a "worm" story).
Roman "Small Dev" (1892-1902), published in the magazine "Questions of Life", brought Sologomba All-Russian Fame. The hero of the novel of the Pozameov (Naturally, the teacher of the provincial gymnasium) and the terrible deportation of his patient of fantasy - the uncomfortable - became the favorite characters of literary criticism. In the article "Navia, Small Besa", K. Chukovsky noticed about the subordation: "His, like Sologuba, as Gogol's Once, is sick of peace," - using the word "nausea" in relation to life 24 years before "nausea" Sartre, Roman who has become an artistic presentation of the globility of existentialism.
Life, so unflattering outstanding a sologub in the novel, hurried to take revenge on him. In 1907, his sister Olga Kuzmichnna dies, which he extremely loved and read from which he never parted. At the same time, the writer was proposed to resign. A new metaphor of life appears in the poems of this period - "Scratch swings" (the name of the famous poem 1907). The alternation of dark and bright periods of life causes the Sologub desire to leave, hide, hide. It is no longer about the wonderful life of others, but about the waiting for the hour when it is possible to get away from the auditory circles in a different, as a non-smart insidency.
In 1908, a collection of poems "Fire Circle" comes out, embodied the entire mathematical symbolism of the Sologub, his desire to see in everything sign, drawing, design. The poet said that he began to start a life path since the beginning, it would be a specialist in mathematics or theoretical physics.
The collection "Flame circle" is even more than the previous one ("Zmiy", 1907) expresses the philosophical concept of the author in symbolic images. It consists of several plot cycles expressing the "eternal return" of the philosophy of Schopenhauer and "Eternal Teaching", inherent Sologuba - the disciple of Chekhov, Dostoevsky, Gogol. He shares with the reader with his life experience, his squeamishness and nausea and explains how to endure it, how to go through it ... the names of the cycles express the stages of the spiritual life of an existential Solnogubovsky man: "License of experiences" - "earth imprisonment" - "Death Network" - "Smoky Ladan" - "Transfiguration" - "Quiet Valley" - "Unified Will" - "Last consolation".
Meanwhile, in the same 1908, the life of Fyodor Kuzmich again entered the bright lane - he was happily married Anastasia Yakovlevna Chebotarevskaya. This is a highly educated woman, writer, literary critic, Meterlinka translator, Standal, Moopassana, Moble. Sologub changed the apartment, appearance (shaved), lifestyle (Chebotarevskaya - Mistress of the secular salon - visits, evenings, boiling public life). Together with her husband, Chebotarev wrote the play, they published the magazine "Writers' diaries", they traveled, rushed with various plans, had a wide range of dating.
The Roman-Trilogy of Sologuba "Navia Chary" appeared in the Almana "Roshovnik" (1907-1909). Criticism with suspicion reacted to this version of "demons".
In 1911, Anastasia Chebotarevskaya issued a loved collection of articles "On Fedor Sologube", where Ivanov-Obesenik, L. Shelets appeared among the authors, 3. Hippius, I. Annensky, M. Gershenzon, M. Voloshin, Andrei White, Stockhkov et al. Active public and literary activities, journalism and speeches, trips around Russia, traveling abroad together with his wife, committed in 1914, - All this filled the life of Sologub to Kraim.
After the October Revolution (which he, unlike February, perceived quite skeptical), the situation has changed. Material difficulties appeared, it became a little to print, and the writer turned almost entirely to transfers. The wife developed a mental illness - she did not stand the sharp change that happened to the outside world.
In 1920, Sologub asked Lenin permission to travel abroad, but did not receive it. In September 1921, tragedy occurred: Anastasia committed suicide, drowned in the river, and only after months, the corpse was found. Many poems of 1921 are devoted to the death of his wife ("I carried my soul ...", "no one looks in the mirror ...", "the insane shine of being ..." and others). Oddly enough, Sologub with her almost love attitude to death was not going to follow his wife, he intended to pull the cautious catguard. He still learned to enjoy the suffering.
At the end of the life of Sologub engaged in public activities at the Union of Leningrad Writers, even became the Chairman of the Board. It is printed again, the 40th anniversary of the literary activity is widely noted. Soon, the exhausting disease made his business, on December 5, 1927, this singer "dead and forever tired of the worlds" died, as I. Erenburg said about him.

F. Sologub (1863 - 1927) refers to the number of mysterious figures in the literature of the Silver Age. The leitmotif of all the memories of him is the thought of the complete impermeability of his personality and at the same time - about the immutability and spiritual, and even the appearance of the writer for decades. The unchanged remained not only by his cold look and the finished still face "no age," but also the main motives of his creativity, so one of the leading researchers of poetry symbolism D. E. Maximov already in the 1970s. Sologuba accurately defined as an artist "Positions", and not "paths" - i.e., the artist who retained the world's permanent over the world, his poetic, its motive-thematic repertoire. More expressed such a lack of artistic and ideological evolution in Sologuba designated his contemporary philosopher lion of the poles: "All his poetry is fixed, although terribly tense contemplation of one point".

This "point", that is, the dominant of creativity of SOLOGUB can be determined as follows: Evil's fascinability, constant, almost manic immersion of the artist in the element of evil, research in verses and prose of evil principle in the world and in human nature. By Sologuba, it was the evil will dominant over the world (in the programmatic poem of 1907. "Damn swing" such a vision of life was captured in the unfolded metaphor of living-swing, which squeaks the hell, so that the person who turned out on these swings is doomed to the very death of being literally in his hands Devil), therefore, life itself is a continuous chain of deceptions and torment ("Debel Babyshe Life", requiring permanent human victims), where "man is a man - the Devil," and the salvation brings only the death of the "liberator".

Although Sologov himself sought his work to be perceived as self-sufficient, not caused by biographical factors, it is obvious that his artistic worldview and his poetic personality are formed not only and not so much influenced by the newest "decadent" phenomena in art, but under the influence of childhood circumstances And youth writer. Therefore, the right thing is the first critics of Sologub's creativity, who focused on the origin of the naturalness of the decadent world of the decadent world: "The decadence of Sologuba from his early weight steps in the literary path was ... a living internal process" (A. Volynsky). Moreover, the indisputable fact is the constant presence of the autobiographical component in the works of the writer (its aphorism is known: "Inexhaustible theme - about yourself"). Consequently, to understand his artistic world, it is necessary to familiarize with the main milestones of his biography.

F. K. Teternikov (Sologub pseudonym instead of a very common name will come up in 1893 N. Minsk and A. Volynsky, in the editorial office of the Northern Bulletin, when the 30-year-old writer has already served in the seal since 1881 Included in the circle of this very influential magazine of new literature) was born in St. Petersburg in the family of a tailor, a leaving of the fortress peasants-Ukrainians (initially his surname was Tyutyunnikov). Father died from tuberculosis in 1867, leaving the widow with two children - 4-year-old Fedor and 2-year-old Olga. Mother, after the death of her husband received a servant to Agapov's house, where the future writer will grow as a "Kukolakin Son", adhered to the toughest pedagogical rules (according to the famous proverb: "What kind of tenderness with our poverty", she believed that only the repressive methods could be impossible to children and vitality, and solid principles that will help them correctly build their lives). Therefore, the leitmotifs of childhood and youth of SOLOGUB are infinite spanking by rods even for a small propulsion (delay in the execution of orders, blurred clothing) and walking the barefoot from early spring to deep autumn (not only from savings, but also for quenching, and more - to produce humility ). In 1893, in the article "On the bodily punishments", Sologub will write about this: "Body punishment is one of the hardening facilities. Release from false shame. This also includes the mandatory walking barefoot. I myself have always been barefoot until 26 years old, even when students came; And the first three years of teaches, with permission (or rather, orders at the request of the mother) director, in the lessons in the school was constantly barely. At first it was ashamed, but soon I got used. " The inevitability and constancy of punishments obviously contributed to the development in the nature of the Salogub of the Sadomazochist component, forced to strive for pain and humiliation and experience sincerely thanks to the mother for "science" after punishment. At the same time, the world of his childhood Sologub sees a penetrated evil, tying him even not so much with maternal cruelty, as with the image of the old Agapova, in which he sees the "live corpse", spreading around himself "darkness of anger, superstition, spiritual weakness and fear" . About Agapova and the whole family is known that, on the one hand, these were people ordinary, the old woman Agapova was distinguished by incontinence and withdrawal, painfully reflected on those who depended on it - primarily on children of servants; But on the other hand, Agapov appear in the memories of loved ones as kindly, even intelligent people: Little Fedor Teternikov, they often took with them to opera, allowed him to unlimited her library, so from 6 years ago the future writer discovered the world of books As an excellent alternative to cruel reality. It is no coincidence of his beloved book since childhood and for the whole life was "Don Quixote", and, like the "helicid Hidalgo", Sologub in his artistic mythology will also form two poles of the world painting - Pole evil, reigning in the real life of people, and pole dreams, fantasies where you can hide from horror of life. In his lyrics, the space of the ideal will be figuratively embodied in the "star Mair" and "Earth Oil", where good, beauty and harmony reign; And in prose the space of the embodied dream will receive the name "Classified Legends" - in the novel trilogy of the same name 1907 - 1913. (In the cycle "Cottoryami Legend" will include novels "Navia Chara", "Queen of Ortron", "Smoke and ash"), dedicated to the utopian dream "On the transformation of life by force of creative art, about life, creatible by proud will."

And yet, the main theme of the SOLOGUB will be not a wonderful "creative legend," and the world evil, and his most famous hero is not a noble "converter" of the life of George Trodov from the "Create Legend", but a pitiful and disgusting madman The demon, "fairly considered the peak of the writer's creativity.

Getting Started on "Small Demis" in 1892, Sologub has already had enough life and literary experience to create its main book. Life experience consisted not only from family, but also from professional impressions. In 1882, the Sologub graduated from the teacher's institute in St. Petersburg, at the end of which 10 years worked as a teacher in deaf provincial towns (the sackers of the Novgorod province, the great bows of the Pskov lips., Vytegra Olonetskaya lips.). School routine, wildness and cruelty of educational customs both in families and school, intrigues of colleagues and the cosiness of the authorities - all this not only complicated his career of a young teacher, but also gave him a rich material for the future novel about the inhabitants of the Russian silence, where "the usual becomes terrible, and terrible - ordinary "(Sologub).

During this period (1880s), the writer is fond of French naturalism, sharing the principles of the "experimental novel": the actual reliability and objectivity in the image of reality, seeking scientific accuracy in reality, the image of a person in its conditional factors of the environment and heredity, etc. . In accordance with these principles and based on real facts, Sologub creates a novel "Heavy Dreams" (1883 - 1894), which can be considered the first Sologubov sample of artistic studies in the prose of the atmosphere and the painful nature of the person FIN DE SIèCLE.

But at the beginning of the 1890s. There are a number of important changes in life and in the artistic views of SOLOGUB, thanks to which already in "heavy dreams", and then especially in the "small demons" he will be able to reach the level of creating a new myth of modernity, about grinding the foundations of life, about the modern appearance of evil and About modern man as his hostage. In 1892, Sologub moves to Petersburg, where he quickly comes closer with senior symbolists - D. Merezhkovsky, Z. Gippius, N. Minsk, A. Dobrolyubov, and others. Complete acceptance and understanding, he finds the editorial board He became for the writer a real literary school who introduced him to the newest aesthetic doctrines, and with modern Western modernism. The new literary environment cultivated and the new reading of Russian classics - and the Sologub begins to see in the texts of Pushkin, Gogol, Dostoevsky "Sources of new creativity, like ancient myths" (from the letter Sologuba A. Izmailov, 1912). "Small demon" (1892 - 1902) and becomes such a neomophologic narration that discloses the meaning of the paintings of the world created in it with a support for a wide range of pretexts - from Folklore to the classics of the XIX century.

What is determined by Sologuk, "Ordinary Horror" of modern reality? What makes you think that beauty in the modern world is predetermined to be "dedicated and obtganny", and the law of life is petty, and therefore all-permissive informination? What turns modern life into a meaningless and painful nightmare, a phantom, in which the sense of solid soil under legs is lost? It seems that the main sense-forming idea acting in the Sologuba novel as a means of conceptualization of the painting of the world is rethought in a specific Sologubovsky "Decadent" spirit, the idea of \u200b\u200bexcessancy evil: who does not have its own substance, their own appearance, evil is powered by fiction and deceptions, and the more they are in Modern life, the greater the power of evil. The loss of durable value grounds in modern life is turning to the total domination in it all sorts of manifestations of the "demonskie" element of lies and chaos. Such a concept of reality and implementation of the myth of modernity as a world in which the start of good "is raised", and their space is captured by evil phantoms, traced on the motive-shaped and plot, and on the spatial-temporal, and on the stylistic levels.

The narrative opens the extremely generalized characteristic of the life and the emotional atmosphere of the provincial city, in which there is an action (its typical is emphasized by the lack of titles), and one of the key motives of the novel, implementing the concept of evil, is the motif of the image, "cable": "Everyone is united by "The holiday, looked at each other a friendly, and it seemed that in this city live peacefully and friendly. And even fun. But all this just seemed. " Matching, phantoms, lies make up the main content of life at closer looks not only gradually immersed in the insanity of the hero - the teacher of the verbost of Ponerov, but also all the inhabitants of the "this city". In the "official-business" spheres, the influence is thrive here (it is noteworthy that none of the high-ranking officials who came alone was not surprised by his complaints about the possibility of denunciations on him, and none of the presets of his own information); In the sphere of human relations - gossip (and denunciations, and gossip, naturally, are concrete forms of manifestation of evil as lies). False motifs or lied behavioral strategies are distinguished and most of the basic characters of the novel. With the help of a lie, it seeks to the goal of Barbara (made in the request of sublated letters from the half-phyphic "princess" with promises for the place of the inspector, if he marries her, in the end, make the hero decide to marry). In the role of a false friend, there are always ready to laugh at him with rutiles. False care in friendship with the "future inspector" drives Volodyina - and leads it to death. False gradually fills out the increasing space in the life of Lyudmila Rutilovoy and Sasha Pootyov, and it is the motif of viciousness that turns out to be the deep motive that unites this pair of young and seemingly embodying the beauty and love of heroes with the ugly-evil world of "expanded", although initially These heroes and their feelings would have to make him an alternative. Symbolically, the motif of the alley was transmitted in Lyudmila and Sasha's line in a constantly repeating situation of disguise, the masquerade, which is first implemented in the form of an ambiguous-innocent game, and then in the literal episode of the masquerade, on which Sasha, disguised as Japanese, wins the main prize. Thus, as it were, the absurd Mouture of Paronov is confirmed comically "confirmed that Sasha is disguised" Girl ". The paradoxic similarity of lying and truth in this storyline "Metamorphosis" Sasha emphasizes the thought of evil as an inepalined or distorted good good, which does not have its own nature, separate from the nature of good.

But why the love of young and beautiful heroes is not in the novel counterweight evil, is not good? As it is clear from the key descriptions of the nature of this feeling, this love is also "damage," is dissipated. Namely, the misunderstanding often turns the "positive" manifestations of life in the novel in their own opposite, in the image of evil. For example, the "good" prompting of Volodin put a candle for the health of the young lady adamenko based not on generosity, but in the thirst for revenge: "And I'm going to church in the church, I will put a candle for her health, pray: God forbid that her husband got a drunkard, So that he kicked her, so that he dreamed and put it in the world. But she will remel about me, it will be too late. " The sympathetic attitude of the sisters to the hobby of Lyudmila by the boy-gymnasium is implicated on the benefit: "They lived very together. Yes, they are also in hand, "Lyudmila will be engaged in the boy, they will leave the real grooms." What is the damage, "insufficiency" of love Lyudmila, bringing it into the space of "small informancy", evil? The "pagan" -Ludmila recognizes only one - the bodily shape of beauty: "The gentleman I, a sinner. I would be born in ancient Athens. I love flowers, perfume, bright clothes, naked body. They say there is a soul, I do not know, I have not seen. And what is she for me? Let it die completely like a mermaid like a tucker under the sun melt. I love my body, strong, clever, naked, which can enjoy. " Therefore, her love is developing as a worship of bodily beauty, so that her beloved turns into something like a adorable doll, which "Lyudmilochka" constantly puts on his knees, sprinkles spirits and dresses or exposes. It is this defense of love that the lack of spiritual and spiritual measurement turns it into the "temptation", in the false larva of a genuine feeling, the unusability of which manifests itself to the final of the novel is already obviously, forming a parallel to the ugly relations of Paronov and Barbara. Just as the allements, Introducing my fears and displeasure to life at Varvar, humiliated and beat her, Sasha, too, as soon as they made themselves to know the first problems associated with their relationship, "the annoyance was forged on Lyudmile himself. Already he often called her by Lyudmilka, fucked, Oslice Siloamia, hesitated her. And Lyudmila just laughed on all this. " Note that in the reaction of Lyudmila to the insults applied by Sasha, the resemblance to the behavior of the barbarium, which, too, all the ugly anticipation of Paronov tried to turn into a joke.

Evil as a distorted, unfallenized good reigns even in landscape, portrait, interior details of the "small demon." So, describing the appearance of barbarians, pear, vertex, the Sologub focuses on the reader's attention on the fact that in each of them traces of beauty, which is now distorted, Zamaran, "Popran and Lagan". The grina is still young, her face "is not devoid of pleasantness", but the teeth are "dirty and black", "under the nails", "and generally emphasizes that she" had somehow prematurely dropped outdoor "; In the appearance of the vertex, dark paints are focused ("a black woman, all in black, black, black-eyed"), as well as fast, lightweight, almost elusive gesticulation, explicitly echoing with the "prison" Zyboko "and with the ug of the width of the Posyonovsky" Demon "of unhappiness; Finally, the appearance of the Barbara itself is the monstrous combination of the wonderful body of "gentle nymph" with the "Head of Fading Bludnica." Even the Miloids of the sisters of Rutilovy give involvement in the sphere of unnecessary existence - all four sisters were "on one person."

Among the plants in the novel, weighter or poisonous are most often mentioned (see, for example, a pear garden, or an expressive episode with a whitewash, which is rubbing between the fingers and compares with the barbury of rutilov, or attempts to barbarians, on the evil council of the Keeping To pop). In general, the descriptions of the city emphasize the dilapidation, launching, neglence of houses and streets; The leitmotive detail of the description of the city landscape is dust (we recall that the surname of Sasha - Anthers - as if it testifies that he is the flesh from the flesh of this disgraced evil of the world). In the interiors, it is also often emphasized by the details that violate the harmony: the cute heart of the passing of the serving of the serving in the House of the Prosecutor of Avinovitsky, or, on the contrary, deliberate, "exaggered-excessive" novelty of many things in the house of the leader of the Nobility of Verigi; Low, gulling ceilings and as if pressed to the walls of the Furniture in the House of Corps, etc. But the most memorable episode in which the interior plays a key role is, of course, the scene should be recognized by the scene of vandalism in the house of Perevoov himself: "Suddenly the departures splashed the remainder of coffee from the glass on the wallpaper. Volodin pinched his lamb eyes and looked at the surprise. Wallpaper were stained, isolated. Volodin asked:

- What is your wallpaper? - Ladies and Barbara stumbled.

- called the hostess, said Barbara. - We will soon leave. Only you do not chat.

- Well! - shouted Volodin and happily walked.

The forens came to the wall and began to bump on her soles. Volodin, according to his example, also laid the wall. Lands said:

- We are always when we eat, the pains of the wall, - let him remember.

- What Lepch put out! Volodin exclaimed with delight.

"Irishka - as she walked," said Barbara with dry and evil laughter.

And all three, standing in front of the wall, spoiled on her, prayed wallpaper and pounded them with boots. Then, tired and satisfied, moved. " In this fragment, no wonder twice is referred to the evil ("called the hostess" and the "evil" laughter of the barbarian), because we are talking about his direct manifestation. At the same time, the final of the finale of the reduced passage is attracted: "Then, tired and satisfied, moved away." The formula "Tired and Satisfied", as you know, is a language cliché, which is used when it comes to the completion of any important and time-consuming work, that is, about some creative activities, as a result of which efforts spent are justified due to the result achieved. Here, this formula is spread to a destructive effect and thereby emphasized that the destruction, like any evil, has no natural nature, and is "creating on the contrary", "antisosidation", for which even a special language cliché does not exist.

Finally, the famous deformity was completed by the symbolic embodiment of the evil as an unfinished goodness, which first arose in the Sologube poem of the Sologube, and became the "calling card" of the Solnogubovsky artistic world. Gray, Yurkaya, reminiscent of some animal, he doesn't seem terrible in itself, but her appearance causes the novel's Hero a panic sense of insecurity in reality. And the more often this hallucination arises before the gaze, the illusory it becomes the whole world around him, the rapidly hero moves to the edge of his madness and to the crime. A small evil in the novel turns out, therefore, the total, omnipresent, floating everything around, "leaking" through all the "braces" of life, its "emptiness", in which they are not embodied to the end of truth-good-beauty.

But the novel, drawing modern and "time hero" in such a dark colors, is distinguished by the lack of traditionally accusatory pathos. Sologub does not expose and does not refuse, not the "beat of satire" of the imperfection of modernity - because it does not separate himself from their heroes, insisting that evil and lies, the tricks of his heroes, are rooted in the soul of every person, and in the author's soul including (from here - the abundance of autobiographical details in the image and in the lifefield of Paronov). The denying evil of life, the Sologff man always treats how the sacrifice of this evil, postulating compassion even to such heroes as the alleged. All people, from Sologuba are helpless and weak children who are given in the full power of the "Debian Babis" of life - from here the significance of the images of children in his work. Not only children in the "fine demons", but also in his other novels and especially in themenestics ("shadows", "worm", "consolation", "Elakich", "earth" "to the stars", etc.) - This is "eternal, tireless vessels of God's joy over the earth", carriers of good, inevitably doomed to death. The fragility of beauty, defenselessness of good, vulnerability and the fragility of everything beautiful in the earthly life is embodied for Sologub in the images of children, and the traditional "tears of the child" motif receives a tragic metaphysical sound in the works of the Writer.

But no less significant than the tragic, is in the work of Sologuba Pafos Irony. The Irony of Sologub considered the only adequate way to reflect the "fatal contradiction and ambiguity of the world", paradoxical coexistence of the coarse Aldownes and tender Dulcinea as two equal genuine appearance of life itself. And both of these appearance should be taken, both are truth both in them, and the acceptance of the "inevitable duality" of being, the "identities of the perfect opposites" and gives the pathos of mystical irony, which are not only penetrated by the prose, but, above all, Sologube Poetry. The specificity of the Irony of Sologub is mostly manifested in the subject of its poetry. As S. N. Broitman notes, "the poet does not have a distant look at any phenomenon in the world, he refuses to look from the part of anything (even for evil and death), hardly does not cancel, - but At itself, "I", he looks not only from the inside, but also from the side - a special tragic-ironic look "(Rail of the batch of centuries ... - P. 896). It is this subject feature that forms the unique artistic world of such software verses of SOLOGUB, as "when I sailed in a stormy sea ...", "Damn swing", "I created captive ...", "I love my silence ...", "Zmiy, reigning over the universe ... "," I admire the human beauty ... "," I love to wander over the bog ... "," I raise sleepless eyes ... "and others. The final status for a mature period of the Sologub's poetic creativity acquires the book" Fire Circle "(1908), where With the greatest sequence and completeness, the paradoxical compound of lyrics and irony was reflected, embodied in a special kind of "creative creativity" (that is, creativity in which the poet does not directly expresses his experiences, but creates the concept and surrounding reality, and the lyrical "I", rooted in her).

But both in the lyrics, and in drama (tragedy "victory of death", "the gift of wise bees", the comedy "Vanka-Klyuchika and Pazhan"), and in prose, another permanent motif of Sologub is embodied - the motive of the transformation of life. The cycle of life and death leads to overcoming the uniqueness of "our poor life", to the transformation of the "coarse and poor" reality in the "creatible legend". And the main one's theme of the transformation of earthly reality will force the Creator man becomes in the novel "Custommable Legend", with his main character "Wonderworker" by George Truryodov, who, however, tolerate defeat, demonstrating its experience inevitable limited human capabilities and the erroneous illusion of literal, " practical "transfiguration of life.

The last period of creativity Sologuba - 1914 - 1927. - noted by a tangible democratization of its aesthetic installations. Sologub declares at this time "democratic symbolism", built on the principles of overcoming individualism and the approval of the "Council and Collegiance", as well as mergers with realism. These new landmarks affect, first of all, on the style of the late prose SOLOGYUB, is now openly connecting high stylistics with a rough-lobby letter (collections of stories "Yellow Year", "blind butterfly", Roman "Snake Change").

On a new level in late years (the end of the 1910s - 1920s), the lyrics of Sologuba, the flourishing of which during this period, celebrate all researchers of his work (the books "War", "Fimiams", "One Love", "Road Bonfire" , "Charity bowl", etc.). On the one hand, in the late lyrics of the writer there was a rapprochement with the latest flows - expressionism and futurism, and the other was the new level, the return to the early principles of Solnogubovskaya poetics (everyday specific specificity of the details, speaking intonation, direct reflection of reality). The researchers and the strengthening of the philosophical sound of the late verses of Sologub, the position of mystical irony is replaced by the "clarity and absence of heroic hopelessness" (S. N. Broitman). The tragedy look at life in recent years is promoted not only by historical shocks and disasters of world and civil wars and revolution, but also the events of the personal life of SOLOGUB. In 1921, Sologub submits a request for departure with his wife - A.N. Chebotarevskaya - abroad. At the same time, the troubles about the departure of A. Bloka. The authorities were allowed to leave the Sologube with his wife and did not release the block, and then the People's Commissar of A. V. Lunacharsky in the rustling of indignations did careless words that, in his opinion, treatment abroad should be organized as soon as the author of the "twelve" than the author " Small Besa " The solution was changed - the departure unit was allowed, and Sologuba was banned. The unit was no longer able to take advantage of this "blessing", because he died in August 1921, and Chebotarevskaya, not to withstand all the unrest, expectations and collapse of hopes for departure, rushed to the Neva and died. It could not be found for a long time, and half a year of Sologub waited daily to his wife, covering a table for two to the dinner until the spring corpse of Chebotarev was thrown ashore. After the death of his wife froze and the life of Sologuba, as if turning into the waiting for the care of a different world, and this care occurred in October 5, 1927 - in a month that Sologub always considered it deepening (he even said that he had a special illness - "Decembrites ", Manifested in the December decline of vitality) and which in 1913, in 1913, the poet focused:

Every year I am sick in December,

I do not know how to live without the sun.

I'm tired of burning unseno

And tend to death in December, -

Mature spikes, in the demon

Daring abandoned among mezh.

Darkness will destroy me in December,

In December, I will stop living.

Therefore, he acquainted the public with the events of his life and even in old age on the proposal of K. Chukovsky to start writing memoirs: "Memoirs? I already thought about it. But in the life of each person there are such moments that, being set forth in the biographies, seem fantastic, false. ... It is best to die without a biography ... "

On the role of intertextual ties and rethinking the classics in the "fine demons", see Vic. Yerofeyev "On the verge of a break (" small demon "F. Sologuba and Russian realism)."

Fedor Sologub, whose biography is provided in this article - the famous Russian writer, poet, publicist and playwright. He worked at the turn of the XIX-XX centuries. It was one of the largest representatives of symbolism in its generation.

Biography writer

Born in 1863 Fedor Sologub. The biography of the writer takes the beginning in St. Petersburg. Here he spent almost all his life. Its real name at birth is Fyodor Kuzmich Namennikov.

His father is a former peasant who worked in St. Petersburg tailor. The family lived very poorly. The situation worsened in 1867, when the father died. Mother was forced to go to the servant for the St. Petersburg nobles.

Writing poems began still in early childhood Sologub. The biography will not be complete, if you do not remember the texts created by the young 14-year-old poet. By that time he was already studying in the city school in Vladimir, in 1879 he successfully entered the teacher's institute in St. Petersburg. There he holds four years in full board, which, of course, has become a great relief for his family.

Having received a higher education, it goes to work as a teacher to the northern provinces along with the sister and mother. Works in the Novgorod region, then in Pskov and Vologda. A total of about 10 years in the province.

Work teacher

In the sacrals of the Novgorod region began his teacher career Fyodor Sologub. The biography of the future writer for three years is associated with the people's school in this small town. In parallel, he writes poems and a novel, which later received the name "Heavy Dreams".

In 1884, the first publication of the young Writer Sologuba comes out. The author's biography began with the fable "Fox and Hedgehog", which saw the light in the magazine for children called "Spring". Under the work of Sologub signed as "Te Rnikniki".

For ten years of work in the province, he dreams of returning to St. Petersburg. But only in 1892 it receives an appointment to the Christmas City School, located in the historic district of the city on the Neva - on the sands.

Career in Petersburg

The magazine "Northern Vestnik" played a big role in the life of Sologuba Fedor Kuzmich. The biography of the writer became actively replenished by publications in this edition, starting from the 1890s. Moreover, it was not only poems, but also reviews, translations, stories and even a novel. At the insistence of a familiar Writer-mystic Nikolai Minsk appeared and alias.

He came up with a literary critic Akim Volynsky. It was a hint of the noble genus of the Slogubov, to which the famous Belletist belonged. To appear in the difference, the pseudonym removed one of the letters "L".

So readers learned Fedor Sologuba. In a brief biography of the author, it is necessary to mention the first novel, released in 1896. He was called "heavy dreams." This is a realistic product in which household printing of the provinces are combined with a semi-mounted atmosphere, which turns out to be heroes. In addition, they are constantly overwhelming erotic dreams and attacks of the inexplicable panic.

Symbol of death

The death symbol often appears in the works of SOLOGUB in the first five years of the XX century. Fedor Sogolub, a biography and creativity of which during this period are enriched with new symbols and images, in the future applies them for self-expression in their own creative system.

Often in the works of these years you can meet a way of death that brings comfort. For example, it is often used in the collection of sting of death. Chief characters are increasingly teenagers or children at all. Moreover, the common madness, which was in previous collections, is replaced by consolation before the probable death.

The author begins to contact Satan, in which he sees not a terrible curse, denying God, but only the opposite of good, which is necessary in the world. With the philosophy of the author of that period, it is best to get acquainted in the essay "I. Book of perfect self-affirmation."

During the 1905 revolution, it becomes extremely popular Sologub. A brief biography and creativity of the writer were replenished with political fairy tales. They are willing to print revolutionary magazines.

This is a special genre created by Sologub. These "fairy tales" are bright, short, with an imperious plot, sometimes it is a poem in prose. Despite the fact that adult topics are illuminated in them, the author actively uses vocabulary and receptions of children's fairy tales. The best of them Sologub united in 1905 in the "Book of Fairy Tales".

The most famous novel of SOLOGUB

In 1902 he finishes his most famous Roman Sologub. In the biographies and works of the writer, there is always a great place for the "small demon." He worked on him for 10 years. Initially refused to print it, considering it too strange and risky.

Only in 1905 the novel went out in the magazine "Questions of Life". True, the magazine soon closed, the novel did not have time to preprint. Finally, in 1907, when the "small demon" published a separate book, readers and critics drew attention to him. For the next few years, this work has become the most popular in Russia.

What is the "small demon"?

In the novel, the "small demon" tells about the well-known theme Fedor Sologub. Biography and creativity (briefly followed in the article) The writer is inextricably linked with the fate of provincial teachers, the author himself was one of them. So the hero of this work is a teacher of the gymnasium in the deaf province of Ardalon alone.

It is noticeable that the author refers to his hero with disregard. His feelings, he calls stupid, and the mind is crushing. Everything that comes to his consciousness is drawn to dirt and abomination. In the subjects it is pleasing to the fault, and he could only steal people.

The main features of the hero - sadism, egoism and envy. And they brought to the limit. The embodiment of his darkness and horror the way is becoming an image of a non-luck, which is consistent with the subroad.

Experiments in Dramaturgia

After writing a "small demon" focused on strawberry drama. A brief biography of the hero, set forth in our article, mentions that it is this kind of literature that he prefers from 1907 to 1912.

In his plays, the philosophical views of the author are pronounced. The first experiments for the scene were Mystery "Liturgy to me" and a play "Gift Wise Bees". In 1907, he writes the tragedy of the "victory of death", in which the legend is described in detail about the origin of Karl the Great, and love becomes a tool for a special "magical" will. It is noteworthy that the original play was called the "victory of love". Replacing love for death for SOLOGUS The proof of internal identity, for him love and death is one.

Especially brightly, this idea is manifested in the grotesque performance "Vanka-Kleisnik and Pazhena". At the same time, the Sologub actively transfers the stories from the surrounding reality to the scene. At the same time, the production of Sologuba was rarely successful.

In 1908, he married Anastasia Chebotarev. She was 14 years old with her husband, worked as a translator. Anastasia's ideas and works, Anastasia penetrated so much that he actually became his literary agent. By 1910, she suits the real literary salon in their new apartment on the roadway. Very modern poets were regularly invited here. Guests were there Igor Northerner, Anna Akhmatova, Sergey Yesenin.

In the early 1910s, under the influence of young talents, the Sologff is fond of futurism. Rates with Vasilish Glycedov, Ivan Ignatiev.

Roman "Cuthoris Legend"

Sologub has repeatedly formulated his philosophical ideas in numerous articles and essays. In the fictional form, they found the form in the novel "Custommable Legend". This is the name of the trilogy, which included the works of "blood drops", "Queen of Ortron" and "smoke and ashes".

The main character of the trilogy is a teacher again. This time by the name of Trodov. A children's colony is founded in his estate, in which the so-called "quiet children" live. They allow Trodov to feel the completeness of his life.

Outside the estate, an unthinkable thing is happening, as everywhere at the time in Russia. Cossacks accelerate demonstrations, the intelligentsia converges in disputes not to life, but to death, political parties lead an uncompromising struggle. Trodov, engineer and chemist on education, trying to withstand this reality.

The heroes of past works of Sologuba are the heroes of the past, the former crazy leftover, who became the vice-governor, and even Jesus Christ.

Criticism perceived a novel with bewilderment. Everything was unusual, starting from the genre, ending with incredible mixing of the magical and topical problems of reality.

Revolution 1917

The Sologub received the February revolution with delight, he laughed in her high hopes. In March 1917 he participated in the United States formed by the Union of Artists. Soon his articles and publications take a pronounced anti-Bolshevik character.

Meanwhile, in the Union, he heads the literary group, preparing to convene the cathedral of artists. But in his journalism, at the same time, the feeling of impending trouble is becoming increasingly.

After the October Revolution, the publicist statements of Sologub are devoted to the freedom of speech, he refers to the Bolsheviks with an uncomplicated hostility. All creative people at that time had to be not easy. As critic Lev Kleinboront recalls, the writers turned into lecturers and lived at the expense of solders. Sologub lectures did not read, survived due to the sale of things, without the opportunity to publish, he wrote from the hand several books of his poems a day and sold.

In 1919, he appealed to the Soviet government for the resolution to leave the country. Get good managed only after a year and a half. However, this hard time broke the Writer's wife. Her psyche stunned. In September 1921, she was drowned in the River Zhdanovka, rushing with Tuchkov Bridge.

After the death of his wife, Sologub threw thoughts about emigration.

New Publications

In the period of NEP, the publishing life of Russia came to life. In the Soviet Union, even his new novel was released - "Snake Change". It is a realistic story about the relationship of the workers and their Lord against the background of the Volga expanses, it did not seem to do anything written before.

Sologub released several poems collections, but soon it was stopped printing. He worked a lot, but everything went to the "table." To fill the void in life, he concentrated at work in the Union of Writers of St. Petersburg. Even he was elected his chairman.

In 1924, the 40th anniversary of his literary activity was widely noted. None of the participants in the holiday did not assume that since then, not one of his books will be printed.

Death of writer

At the same time, the strawberry continued to write a lot. In 1927 he worked on the novel in the verses of "Grigory Kazarin", at that time he defeated his serious ailment. Diseases tormented him a long time ago, but before they managed to suppress them. Now they went complications. In the summer he no longer got out of bed.

Perhaps the most complete and adequate idea of \u200b\u200bthe work of Fyodor Sologuba expressed Dmitry Svyatopolk-Mirsky in his work "The history of Russian literature from ancient times to 1925":

"All writers who we talked about in this chapter came out of cultural metropolitan families - from the tops of the middle class, and the best, the most exquisite poet of the first generation of symbolists was the bottom of the bottom, whose strange genius flourished under the most adverse circumstances. Fedor Sologub (Present name - Fyodor Kuzmich's Teternikov) was born in St. Petersburg in 1863. He was a shoemaker, and after the death of his father, the mother went into servants. With the help of her mistress, Sologub received a relatively decent education in the teacher's institute. Having finished the teaching, Sologub received a teacher's place in Over time, he became an inspector of primary schools, in the nineties was finally translated into St. Petersburg. Only after the enormous success of his famous novel, a small demon he was able to leave the pedagogical service and live on literary earnings. Like other symbolists, Sologub was apolitical and, Although in 1905 was revolutionary, in 1917 and later it was coldly alienated from what was happening. In 1921, in the tragic and mysterious circumstances, Sologub's wife died - famous in the literature under the name of Anastasia Chebotarev, - but besides that, in the personal life of Sologub, there were no major events and his biography consists of the history of his work.

He began to write from the eighties, but the first ten years had no connections with the literary world. His first books were published in 1896 - right three: a collection of poems, a collection of stories and romance Heavy dreams, which he worked over ten years. The next collection of poems and the next collection of stories appeared only in 1904. For the best of his novel, a small deva, over which he worked from 1892 to 1902, Sologub could not find a publisher for many years. He finally began to print in 1905 in applications to the magazine, but the magazine closed. And only in 1907, the novel was finally issued in the form of a book and was accepted with a bang. The small deva brought the Sologub to everyone's recognition and all-Russian glory. But in later books, Sologub began to give too much will his moods that did not like the readers; The books of this success no longer had, and after 1910 it was decided that the talent was ascended. Working legend (1908-1912) is a very interesting and strange, a kind of book - was encountered indifferent. The last novel Sologuba - the cmmpeaker - decisively weak, but the verses of the Sologub, which he continues to print, still remain at a high level, although lovers of new products and sensations do not like some of their monotony.

In the work of SOLOGUB, it is necessary to distinguish between two aspects that are not interconnected and independent of each other - this is his Manichaean idealism and a special "complex", which is the result of the suppressed, vicious LIBIDO. There is no doubt that many works of SOLOGUB, especially the last period, would not be written if it were not for the need to satisfy this "complex", expressing it in material form. To explore this issue, you need an experienced psychoanalyst, not a historian of literature. Enjoying the cruelty and humiliation of beauty is one of his main symptoms. The second is the ever repeated detail of "bare feet". It is like obsession. In all novels and stories of Sologuba roam bare heroines. The manikes of SOLOGUB, on the contrary, purely idealistic - in the Platonic sense of the word. There is a world of good, consisting of unity, peace and beauty, and the world of evil, which consists of a breakdown, desires and vulgarity. Our world is the creation of evil. Only inside itself can find the world of unity and peace. The goal of a person is to free themselves from the evil shackles of matter and become a peaceful deity. But a person projects his dreams of heaven for the outside world, - this is the "romantic" irony of life. This Irony of Sologub symbolically depicts two names taken from Don Quixote: Dulcinea and Aldons. The one who we mnille the ideal Dulciny in fact turn out to be a vulgar aldons. Matter and desire - the main expressants of evil, and beauty is the perfect beauty of the naked body - the only embodiment of the highest world of ideals in real life. At this point, the idealism of Sologub meets with his sensuality. His attitude to the carnal beauty is always double: at the same time planenically perfect and perversely sensual. The taste of the Sologubovsky sensuality to many readers is so disgusting, which becomes an obstacle to the enjoyment of his work. But in addition to this perverseness, the Sologuba philosophy itself is to nihilism, close to Satanism. The world and beauty are identified with death, and the Sun is a source of life and activity - becomes a symbol of evil power. In its attitude to the existing religion, Sologub occupies a position opposite to its medieval predecessors - Albaigs: He identifies God with the evil creator of the evil world, and Satan becomes the king of a calm and cool world of beauty and death.

Sologube poetry developed not in the direction that the poetry of other symbolists. His dictionary, its poetic language, its imagery closer to the eclectic poetry of the "Victorians". It enjoys simple size, but sophisticated them to perfection. The Sologuba dictionary is almost as small as Racina, but it enjoys it with almost the same accuracy and accuracy. It is a symbolist in the sense that his words are symbols with a double value, and used in the second - unusual value. But the completion of his philosophical system allows Sologuk to use these words with almost classical accuracy. This applies, however, only to the part of its poetry, which reflects his perfect skies or the desire for them. In other cycles, for example, in underground songs - gloomy and brutally depicts an evil disorder of the world, and the poetic language in them is rougher, colorful and richer. In the underground songs include a strange cycle of experiencing - memories of different forms that took the shower in their previous embodiments. One of them is a complaint of a dog, going to the moon, one of the best and most peculous poems of SOLOGUB. It is useless to try to translate the idealistic lyrics of SOLOGUB - it is only a master of the English verse. Of course, it is the lyrical poetry Sologuba - the best thing he wrote is its classic beauty comes from the elusive properties of the rhythm and meaning. As in all classic poetry, the default of the poet is just as important as his words: what remained underwent, is as important as what was said. These are the most exquisite and subtle poems in all modern Russian poetry.

Although the verses of Sologuba are the most advanced and the rarest flower of his genius, his glory in Russia and especially abroad is more based on his novels. The first Sologuba Roman is heavy dreams - the lyric-autobiographical. The Hero of the novel, the provincial teacher of Login, is pursued by the same perversions and the same ideal visions that fill the Sologuk poetry. This is a history of a person who can achieve ideal in the thick of the world of vulgarity, cruelty, egoism, stupidity and lust. The Russian provincial society is depicted with a distinguishing cruelty resembling Gogol. But this is not realism - in the good old Russian sense of the word - since in the image of the life is symbolized not only Russian latitude. The second Roman Sologuba is a small demon (English translation - The Little Demon is completely not good, French - Le Demon Mesquin is better) - the most famous of all his works can be considered the best Russian novel after Dostoevsky. Like heavy dreams, the small deva is externally realistic, but internally symbolized. The novel goes beyond the framework of realism. Not because the Sologub introduces a mysterious banena to him (he could be explained as the hallucination of Once), and because the goal of SOLOGUB - to describe the life of a non-Russian provincial city, and the life of God as a whole . Satiric drawing of SOLOGUB is delightful, a little more grotesque, and therefore - more poetic than in the previous novel, but the city depicted is a microcosm of life. In the novel, two plans: the life of Paronov - the embodiment of the bladder life evil, and the idyllic love of the boy Sasha Pootyov and Lyudmila Rutilova. Sasha and Lyudmila - Emanation of beauty, but their beauty is not clean, it is infected with a bad touch of life. In the scenes of Sasha's relations with Lyudmila, there is a subtle taste of sensuality, which is introduced not only due to composite and symbolic necessity, but also by the internal needs of the libido poet. The forens became a famous character, the most memorable since the time of the Karamazov brothers, his name became a nominal one in Russia. It means sullen evil, a man who is alien to joy and which is angry that others know this feeling; The most terrible character who could create a poet. Lasting lives, hating everyone and consider that everyone hate him. He loves to hurt and press other people's joy. At the end of the novel, mania persecution fully masters them, he finally goes crazy and committing murder.

The third romance SOLOGYUB is a worn legend (English translator of the first part, Mr. Kurse, successfully noticed that this is "legend in the process of creation") - the longest. It consists of three parts, each of which is a finished novel. In the first part, the action takes place in Russia in 1905. The Hero of the Roman Trodov - Satanist, from those whom Sologub loved so much. Trodov also revolutionary, however, only contemplative. At that time, the Sologub himself was very revolutionary: it is natural that with his philosophical system, the existing order of affairs, the reaction force and conservatism is presented in the novel as an incarnation of evil. The first part is full of terrible and brutal scenes of the suppression of the revolutionary movement - from here its name of blood drops. Trodov is an ideal person who almost approached the calm of death, he creates around himself the atmosphere of peace and coolness, symbolized by his colony of "quiet boys," - a strange vision of the patient's imagination of Sologuba. In the second and third parts (Queen of Ortron and Smoke and ash), the action is transferred to the Kingdom of the United Islands in the Mediterranean. Islands - fictional, volcanic origin. In these books there is a powerful and thin - but some kind of suspicious - charm. Unlike most Russian novels, they are just interested in reading. This is a very tangled plot, with love and political intrigue. The situation is exacerbated by a constant presence of danger - volcano, which finally erupts in the third part. The story is symbolic, as I said, besides symbolism, there is charm in it. At the end of Trilogy, Trodova elects the king of the Republic of the United Islands!

Sologuba stories - a link between poetry and novels. Some of them are short sketches in the style of heavy dreams and a small demon. Others, especially written after 1905, frankly fantastic and symbolic. Sologub gives them complete freedom to their pathological sensory requests. Typical examples are a cute package and translated into the English lady in bonds. And the Miracle of Lina's Miracle is a revolutionary plot in a relative-poetic setting - one of the best samples of modern Russian prose. In general, the suscohuba is beautiful: transparent, clear, balanced, poetic, but with a sense of measure. In the late works, however, irritating manners appears. The mansion is political fairy tales (1905): adorable in the effect of sarcasm and on the transfer of a folk language, rich (as every popular speech) with verbal effects and resembling Grotesque Manera Leskov.

Sologub's plays are incomparably worse than its other works. They have little dramatic advantages. The victory of death and the gift of wise bees - lush spectacles, symbolizing the philosophical concept of the author. They are less sincerity than in his poetry, the beauty of their fakes. The play of a Vanka-Kleisnik and Pazhalan: Funny and ironically told the usual story about a young servant, who seduces the hostess at home, develops in two parallel versions - in medieval France and in Moscow Rus. This is a satire to Russian civilization, with its rudeness and poverty of forms, and at the same time, the symbol of the deep picture of the bad breakdown of life all over the world and in all centuries. "