Archive of the blog "IN! Circle of books." Pavlova Karolina Karlovna - an outstanding talented poetess An interesting fact Pavlova Karolina Karlovna

It seemed to Karolina Pavlova, as well as her senior and younger contemporaries in poetry, to combine the incompatible: bequeathed by the "golden age" to the fullness, harmony and universality of worldview with spiritual schism, hopeless contradictoryness and isolation of individual consciousness brought by into Russian life by the "Iron Age." This is the main content of the spiritual life of the era and found its original expression in the poems of Pavlova Russian poets. Anthology of Russian poetry in 6 volumes. - Moscow: Children's Literature, 1996. V. 5. P. 175. Her poetry is characterized by a clash, confrontation of dreams and reality, past hopes and current disappointments, mind and heart, poetry and everyday life:

About the past, about the deceased, about the old

A dumb thought is heavy for the soul;

I've met evil a lot in my life

I spent a lot of feelings for nothing

Many casualties brought out of place.

I walked again after every mistake

Forgetting the cruel lesson

Unarmed in everyday collisions:

Belief in tears, words and smiles

I could not tear my mind out of my heart.

To a certain extent, Pavlova’s path in literature was typical of the post-December generation of Russian poets. Contemporaries of grandiose socio-political explosions, they entered into a duel with life fully armed with encyclopedic knowledge not only in the field of the history of world civilization, the history of the ups and downs of human culture and morality, the unprecedented insights of the human mind, but also stunning with its uniformity and the multiplicity of its delusions - without any clear idea of \u200b\u200bthe state of affairs in the present, and therefore of a historical perspective.

The maiden name of Pavlova was Yanish. She was born in the family of a Russified German, a doctor, a teacher at the Moscow Medical and Surgical Academy. Despite the family's financial constraint, Carolina received a good home education. At an early age, she found an extraordinary talent in everything related to languages \u200b\u200band verbal sciences. She began to write poetry early (first in German and French). The great German scientist and traveler Alexander Humboldt, who met Carolina Janisch in Moscow in 1829, was delighted with both her general knowledge and her early poems. A. Humboldt took the manuscript of her poems and translations with him to show to I. Goethe himself. According to the daughter-in-law of the great poet, her "father-in-law always kept this notebook on his desk."

Young Carolina Yanish got recognition in the Moscow literary circle. The center of cultural life of the ancient capital at that time was the salon of Princess 3. A. Volkonskaya. She had Pushkin, Venevitinov, Baratynsky, Delvig, Pogodin, Shevyrev, Kozlov, Chaadaev and others. Here, nineteen-year-old Carolina met with the outstanding Polish poet Adam Mickiewicz. A man of exceptional talents, a brilliant improviser, a brilliant conversationalist, a citizen in the full sense of the word, and also surrounded by a halo of exile, he made an indelible impression on the girl, turning into love, and soon and for a long time - into deep, strong and even love. Miscavige made her an offer. The father did not interfere with his daughter. However, her rich uncle, on whom the future of the whole family depended, was strongly opposed. The girl herself sacrificed her sense of duty to her family.

In 1837, Karolina Karlovna married the famous Russian novelist N.F. Pavlov. By this time, she had already become rich (an uncle who fatally opposed her marriage with Miscavige died and left her a significant inheritance). Outwardly, everything turned out well: a talented woman decided to connect her fate with a writer who made all of Russia to talk about himself. In 1835, Pavlov's three novels — Name Day, Auction, and Yatagan — came out as a separate publication and brought him fame as the best Russian fiction writer. However, Nikolai Filippovich was not completely disinterested in his feeling for Karolina Karlovna. According to contemporaries, he married by calculation. The gap between them became inevitable. In addition, this small family crack fatally correlated with a large split in the then literary and public life.

The fierce polemic that unfolded between the Slavophiles and the Westerners in the 1840s became one of the acute manifestations of the hidden ferment of minds that made itself felt in the first decade after the December uprising.

The poetess' elitist view of history receives a monumental artistic embodiment in one of her most powerful creations, the program poem Conversation in Trianon (1848). The poetic rhetoric of K. Pavlova, which, according to contemporaries and descendants, left a characteristic imprint on all her work, celebrates her true triumph here. Count Cagliostro, speaking the mouthpiece of her own ideas, speaks with Count Mirabeau (conducted on the eve of the revolution of 1789), expressing thoughts, in particular details, that are acceptable both for the Slavophiles and Westerners, but on the whole strange, even alien, perhaps , and both.

Just as “Conversation in Trianon” became a response to the revolutionary events of 1848, her other program poem, “Conversation in the Kremlin” (1854), was published under the thunderous accompaniment of the Crimean War, which had not only Russian proper, but also the most powerful pan-European resonance. The individualism of Western civilization is opposed here by moral and religious unity, the “catholic” principle of the Russian way of life. Pavlova praises the names and deeds of Princess Olga, Dmitry Donskoy, Kozma Minin, Prokofy Lyapunov, Peter I. But at the time when the Russian shame in the Crimean War became an obvious fact, the poetic eulogy of the great ones had to be built not as a challenge to the West, but as a rebuke modern Russia. The civic principle in this high praise of Pavlova was to prevail over prestigious considerations.

As if feeling that “Conversation in the Kremlin” does not cover the entire complexity of the problems of Russian life, Pavlova in the 1850s plunges into the element of intimate lyrics. Her poems of this period differ not so much emotional or expressive as research penetration and reliability.

We strangely converged. Among the salon circle

In his empty conversation,

We are sneaking, not knowing each other,

His kinship was guessed ...

Pursuing diligently public nonsense,

A joking rumor is a word,

We are suddenly curious, attentive gaze

They looked into each other's faces.

The lyrics became not only a way of artistic expression (as in the early verses) or persuasion (as in “Conversation in Trianon” and in “Conversation in the Kremlin”), but also a way of artistic knowledge of oneself and others. The loving gaze was both “curious” and “attentive.”

Deep psychological analysis is an essential feature of the best examples of love lyrics of the mid-19th century. At that time, when the works of Dostoevsky, Leo Tolstoy, Turgenev, Goncharov formed a Russian socio-psychological novel, Tyutchev, Nekrasov, Apollon Grigoryev, Polonsky, Fet in their love lyrics, like our great prose writers, turned their "curious, attentive gaze" into the inner world of modern man, exploring the entire depth of his heart trouble, showing life tormented by contradictions, and sometimes corrupted spirit in all its terrifying authenticity.

Pavlova has a special place in this series - because of her innate ability to look at her spiritual experience from a distance, as an impassive observer looks.

Yes, I'm healthy in my soul now

There is no trace of her recent thoughts;

As a stranger to me

I remember myself sometimes.

This sad result, which Pavlova came to in her love lyrics, was all the more dramatic because, from the second half of the 1850s, her popularity in literature was declining. Moving abroad in 1856 consolidated what had already happened, in essence, - Pavlova’s loss from literary and public life. Living in Dresden, she translates Russian poets into German and French.

However, she did not cease to monitor what was happening in Russia. The poem "On the Liberation of the Peasants" (1862) was one of Pavlova's last poetic responses to socio-political events. At first it gives the impression of a rhetorical one: in fact, what would seem to be common in the fate of a refined poetess with the fates of Russian men and women? The first stanzas of the poem and the retelling of the ancient Roman tradition are indeed given by recitation.

However, only after reading the ballad to the end, the reader begins to understand that the whole story was started for nothing, that the dangerous and long journey of the Roman slave can be likened to the centuries-old road of the Russian peasant to his liberation. "Roman fun" resumed in Russia. Already the Russian slave goes, being exposed to dangers and inhuman ridicule. The main thing in the finale is the answer to the question: what kind of burden does he try to convey, without dropping or breaking, on the public altar?

Carries, driven, fatal,

The mysterious blessing is he,

He carries the understanding he is holy -

Freedom of the future.

The perverted spectators of the Russian "wide Coliseum", making fun of the hunted slave, are inhuman and godless. But he, keeping intact his moral experience and the concept of freedom, saves not only himself, but also them. At this point, the fate of the refined poetess and merges with the fate of the people. After all, it was so important for herself to carry through the life and literary arena the “fatal, mysterious” burden, “understand the sacred” about the liberation mission of poetry, which she learned in Pushkin’s “golden age”. That is why poetry poems are the most soulful and powerful in all of her legacy. These are, in the full sense of the word, wonderful and ascetic verses:

You who survived in the heart of a beggar

Hello to you, my sad verse!

My light ray over the ashes

My hopes and joys!

One thing and blasphemy

Touch in the temple could not:

My misfortune, my wealth!

My holy craft!

But it’s sad to think that youth was given to us in vain ...

THREE SOULS In our age of longing knowledge, Mercenary affairs Three souls went to the test To the earth’s limit. And they advertise the Lord’s will:    "In that foreign land Each will have a different share And the court is different. Fire inspiration saint I give you; Your delight will be the word And the power of dreams. I’ll fill my breasts with each, In the edge of the earth By the truth, pure thirst Live beam. And if the spirit falls lazy In a worldly battle, - Yes do not blame your false murmur My love. ” And on the cherished calling Then got off Three female souls in exile On the path of the earth. One of them was judged by providence For the first time there to see a dolly world Where, reigning, earthly enlightenment Arranged his Valfazarsky feast2. Her destiny fell to know secular bondage All the fierce and destructive power From the first years she was told her child’s verse At the feet of the crowd lay a humble tribute; Carry your prayers and penalties In the everyday rumble on the crowded hall square, Fun to serve cold laziness Be a victim of meaningless praise. And with the vulgar habitual, inseparable She got in touch and got along Her treasured gift became a sonorous rattle, Holy seeds stalled in it. About good days, about the former clear thought She now does not remember in a dream; And spends life in a crazy secular noise Quite satisfied with her fate. God threw another one far To American forests;

Told her to listen lonely I ordered her to fight need Resist fate Guess everything by itself To conclude everything in itself. In the chest experienced by suffering Keep delight incense; To be faithful in vain hopes And unfulfilled dreams. And with the heavy blessing given to her She went as god judged Fearless will, firm step, To the exhaustion of young forces. And from above, like an angel of faith, Shining in the dusk of the night Star is not our hemisphere Above her grave cross. Third - by the goodness of God She pointed the peaceful way She had many bright thoughts Nested in the young chest. Her proud dreams were clear Sang songs without a number And love her from the cradle I was a true guard. All are given her rapture All blessings are given in full, The life of inner movement Life is external silence. And in the soul now ripe A sad question is heard: In the best half century What did she succeed in the world? What could delight force? What did soul say language? That love accomplished her And what has the impulse achieved? - With a lost past With a formidable secret ahead With useless heart heat With will I celebrate in my chest With a dream vain and persistent, Maybe it was better for her Mad in life is absurd Or fade away among the steppes ... November 1845

Notes:
   For the first time - Sat "Kievan for 1850", ed. M. Maximovich. M., 1850 with a footnote to the title: "This poem refers to three women poets born in the same year." E. Kazanovich suggests that the first part of the poem depicts E.P. Rostopchina. But such an assumption is refuted not only by the discrepancy between the year of birth (1811), but also the birthplace of Rostopchina (Moscow). The heroine of the poem is obviously a Parisian. Poetry cannot be attributed to Moscow: "Where, reigning, earthly enlightenment Has arranged its Valfazarsky feast." In the second part, as E. Kazanovich points out, the early dead American poetess Lucretia Maria Davidson (1808–1825) is depicted. She was devoted to an article in the Literary Newspaper. It says that Davidson promised the “New World talent that could compete with contemporary poets in England.” Pavlova herself is represented in the image of the third soul, to whom “the peaceful path” was indicated.
   Epigraph - from the 8th chapter of "Eugene Onegin."
   2. Valfazar feast - according to biblical legend, the feast of the Babylonian king Belshazzar, who was killed during an orgy by the Persians who conquered his kingdom.

Karolina Pavlova (nee Yanish) was born on July 10, 1807 in the city of Yaroslavl. Her teacher was the famous Baratynsky. In her father’s house, Carolina regularly met with the most outstanding minds of our time: scientists, writers, and the elite of society. Very early Karolina Karlovna drew the attention of the literary society to her talent. In 1929, the first of seven languages \u200b\u200bto her appeared.

In the personal life of Karolina Pavlova, Adam Mickiewicz played a large role, whom she met in 1825 in the salon of Princess Volkonskaya.
In the 1830s, Carolina Yanish married Nikolai Filippovich Pavlov, a well-known writer at that time, she became even closer to people of art, literary circles, who at that time were the bearers of advanced ideas. Members of the circles, Prince Vyazemsky, Count Sollogub, Languages, Dmitriev, Panaev, sang it in their works. Since her marriage, Karolina Pavlova has devoted herself to Russian literature, mainly versification and translations.
  Karolina Karlovna translated poems by Pushkin, Vyazemsky, Baratynsky, Yazykov, already in the sixties she took up Don Juan and Tsar Fedor Ivanovich Alexei Tolstoy. In 1833 her works were published as a separate edition in German.

In the late 30s and early 40s Pavlova created “Das Nordlicht, Proben der neuen russ. Literatur ”,“ Les Preludes ”(Paris, 1839, in the book - translation of Pushkin’s work“ The Leader ”),“ Jeanne d ”Arc, trag. De Schiller, trad. En vers francais” (Paris, 1839). Later, she was engaged in translation from German into Russian and English, she was interested in the works of Ruckert, Heine, Kambel, and most of all Walter Scott. They were published in the Notes of the Fatherland in 1839-1840. Translations of Byron and Schiller were published in the Moskvityanin in 1840-1841. In French language in 1839 was published "Preludes".

Since 1839, poems by Karolina Pavlova appeared in print. In the "Notes of the Fatherland" in 1839-1840 the poem "Unknown Poet" was published,dedicated   Milkeev. In 1840, in the Odessa Almanac, the poem Poet was published, and in The Morning Dawn - The Limit of the Native. In 1843, verses appeared in the Moskvityan   Karolina Karlovna   “Donna Innesilla”, “Recollection”, and in “Contemporary” - “You were inseparable with us”. In 1844, published "Language"   in the Literary Evening,in 1847, in the Moscow Review, “When in contention with oneself,” “In the hours of reflection and doubt,” and in 1848, “Response to the answer.”
In the fifties, Carolina Pavlova continued to translate and write original poems, which were regularly published in various publications. In "Sovremennik" were placed: in 1850, "The wind sings," "Always and everywhere," in 1854, "Explanation of a pseudonym." In Sushkov’s “Route” in 1851, “Liza's Tale” comes out of the novel in verses “Quadrille”, in 1854 - from “Laterna Magica”, “Moscow”, “I converged and dispersed.” In "Moskvityanin" in 1852 - "Garrick in France" (a comedy in 2 acts). The patriotic work of Karolina Pavlova “Conversation in the Kremlin”, published in “The Northern Bee” in 1854, is noteworthy. It became widely known and served as a reason for a long and sharp polemic between Karolina Pavlova and Panayev, editor of Sovremennik. The reason was a critical analysis of “Conversation in the Kremlin”, published in a magazine that took 20 pages and contained all the main moments of the history of three countries (Russia, France, England), it was written in the form of sharp criticism. In the poem “Conversation in the Kremlin”, Pavlova allowed herself to publicize her response to the events of 1854, which showed her sympathy for Slavophilism, which actually caused such an acute reaction.

In 1955, in Fatherland Notes, Pavlova's works Blind from Chenier, The Old Woman, On the Old, Holiday of Rome, When the Great Punisher, On the Past and the Dead, and In the Terrifying Desert were published. In 1956, the dramatic scene "Amphitrion", "I love you, young virgins." In 1859, in the Russian Conversation, they wrote, “They wrote under my dictation.”

From 1856 to 1860, Katkov’s Russky Vestnik published a whole series of poems by Pavlova, which contributed to the growth of her popularity. The stories "Quadrille", "At the Tea Table", "Overnight stay at Vitekind", "Remembering Ivanov" were published - a work dedicated to the famous painter (1858).

In Russia, translations of Karolina Karlovna from German came out - the works of Schiller. In 1867, in the Conversation of the Moscow Society of Lovers of Russian Literature, in which Pavlova was accepted as an honorary member, the Monologue of Thekla from the Wallenstein Camp was published. In 1868, the work “Death of Wallenstein” appeared in the Herald of Europe.

Perhaps, of all that was written by Pavlova, only two works relate to important social issues: “Conversation in Trianon” (1848) and “Conversation in the Kremlin”, they were written by her in response to political events of that time. “Conversation in Trianon” is a poem created in the form of a dialogue about the French Revolution, which is conducted by Mirabeau, a supporter of freedom, and Cagliostro, who has vast experience gained over many years and common sense. The censorship of that time did not allow this work to be published, despite the fact that it read reactionary thoughts. In particular, one of the heroes says that the unrest will subside, people will calm down, and again they will need the old ties destroyed by the revolution. As a supplement to the poem in the same year, the poem “To S. N. K.” was published, which contains comments on it.

The genres used by Pavlova are not so diverse. Most of all she was attracted to the lyrics, especially the messages and elegy. Because of this, in a critical article, Shchedrin called her a supporter of “moth poetry” and accused him of idleness and lies, calling phrases of her verses ghosts without a single living place.

The latest works of Karolina Pavlova, “My Memoirs,” were published in the “Russian Archive” in 1875. Her biography, as well as biographical information about her husband, were published in the publication of S. Poltoratsky “Le comte Theodore Rostoptchine 1765-1826” and H. Gerbel in the publication "Reading Books for All." Reviews and critical articles about Pavlova’s works were published in Belinsky’s Works, and a list of the latest printed books was published in Prince N. Golitsyn’s Bibliographic Dictionary of Russian Writers.
  Karolina Karlovna Pavlova died on December 14, 1893 in Dresden, where she lived in the last years of her life.

pavlova.ouc.ru

“You who survived in the heart of a beggar,

Hello to you, my sad verse! ”

July 22 - 210 years since the birth of the Russian poetess Carolina Pavlova (1807-1893). It is rare for modern readers to know her name, but meanwhile, in the century before last, she was very popular, her name was publicly known. She was the mistress of the most popular poetry salon in Moscow. Back in the late 30s of the nineteenth century, she struck the literary community with a statement: “I am not a poetess, I am a POET!”. Long before Anna Akhmatova and Marina Tsvetaeva, who took turns attributing the primacy of this statement. Igor Severyanin believed that Karolina Pavlova is a small pearl in the crown of Russian poetry. In the poetry choir, Carolina Pavlova has her own note, her own melody, and her song, sonorous and bright, captivates with special intonations, excites the confession of female lyricism. Symbolist poets, once forgotten by contemporaries, were rediscovered at the turn of the century by symbolist poets, and Sophia Parnok saw in it a parallel with her own personal and literary fate: “ But living as a contemporary without rights, Pavlova became our great-grandmother glorious».

Carolina Yanish was born on July 22 (10), 1807 in Yaroslavl, in the family of a Russified German. Father, Karl Ivanovich Janisch, was educated at the University of Leipzig and was a famous doctor. A year later, he was given a place in the department of the Moscow Medical and Surgical Academy, where he taught chemistry and physics, the family moved to Moscow. Carolina's mother, was half Polish, half Russian. On the mother's side, among the ancestors of the girl were the French and English. The father provided his daughter with an excellent home education. He was fond of painting, astronomy, literature. With pleasure he was engaged with his only child. She helped her father in his astronomical research. Carolina already in her youth was fluent in German (the language of home communication) and French (the language of light and culture). She easily mastered English, later learned Spanish. Very capable, she was fluent in six European languages. In these languages \u200b\u200bshe wrote her first poems. Then she began to translate Russian poetry. She was very well-read, she drew well. The discipline of internal labor, the early developed ability to control oneself was distinguished by its character. Carolina began to write poetry and translate early.

Carolina's first impressions of Moscow are connected with the events of 1812. Another girl, only 5 years old, but the conflagration of Moscow, which ruined many, and among her many her family, is vividly remembered. The sight of burnt Moscow left an indelible mark on the girl’s soul. Much later, she devoted to burned Moscow a large beautiful poem:

Moscow! in the days of fear and sorrow

Keeping sacred love

No wonder they gave you

We are our life, we are our blood.

No wonder in the battle of the gigantic

The people came to lay down the chapter

And fell in the plain of Borodino,

Saying: “Have mercy, God, Moscow!

The extraordinary abilities of young Carolina, her deep knowledge of literature distinguished the girl from her peers. Not that she did not like balls and social life, but she was more interesting among poets and musicians. An educated and talented girl attracted the attention of A.P. Elagina, the niece of V.A. Zhukovsky, and she introduced her to the famous literary and musical salon of Zinaida Volkonskaya. There she immediately drew attention to herself and became famous as "a girl gifted with the most diverse and most unusual talents." She not only adorned a respectable society with her presence, but participated in conversations along with venerable writers. Regular visitors of the salon were A. S. Pushkin, E. A. Boratynsky, P. Ya. Chaadaev, P. A. Vyazemsky, D. V. Davydov, D. V. Venevitinov and other remarkable poets, writers, and musicians. The tall, thin, talented Carolina Yanish attracted the attention of Baratynsky, Yazykov, Vyazemsky, Pushkin, they dedicated her poems.

But the main meeting in her fate ended in drama. Once Carolina arrived later than the appointed time. Everyone enthusiastically listened to the improviser. The stranger recited poetry in French. Huge eyes burned with fire on a pale face. “Mickiewicz, the Polish exile,” the stranger was introduced to her. Arrested in 1823 for participating in a secret student organization that fought for the liberation of Poland and spent six months in prison, he was deported to the inner provinces of Russia. Having lived for several months in Odessa and Petersburg, in 1825 he arrived in Moscow. Miscavige made a lasting impression on a romantic girl longing for love. He was nine years older than her, notorious by himself, already famous, not only for his poems, but also for his rebellion, which made him completely irresistible in the eyes of a romantic girl. Carolina fell in love. Biographers write that she showed ingenuity peculiar to lovers, begging her father to invite Miscavige to teach her Polish. Meetings were not limited to lessons. They had a common idol - Schiller. They vied with each other. Miscavige had an unrivaled gift for an improviser. To the quiet accompaniment of his student, Adam inspiredly improvised on a given topic. At that moment he was delightful. When Carolina, who made progress in Polish, could read the poet in the original, Mickiewicz introduced her to his poem Konrad Wallenrod, whose hero sacrifices personal for the common good. Admiration for the poet Mickiewicz, compassion for his exile, the charm of his beautiful appearance nourished Carolina's love. Adam Mickiewicz did not remain indifferent to his student. Admiration for her talents grew into a more romantic feeling: on November 10, 1828, the poet asked for the hands of Carolina Janish.

Father did not mind, but ... was not rich. Her daughter's education, her upbringing, her whole future depended on a wealthy relative, Uncle Carolina. And this rich, childless elderly gentleman, in his own way, understood the happiness of a darling. He was ready to provide for the life of Carolina and her family, but on condition that she did not connect her future with the poor, suspected unknown government poet. Carolina invited her beloved to run together - for his sake, without a doubt, she was ready to sacrifice her family, honor, and familiar comfort! But Miscavige refused - either his love for Carolina was not so all-consuming, or he really felt sorry for the romantically inclined girl ... The girl “decided to do as the sense of duty prompted” (as she explained her act later), and did not accept the offer. Miscavige went to Petersburg.

Circumstances did not allow him to quickly return to Moscow, which he regretfully reports in a letter to her father. With a letter, he sent Carolina two volumes of the Paris edition of his 1823 poems. On the second volume he wrote: “ Carolina Janish is dedicated by her former Polish teacher A. Miscavige. 1828, December 25". On long winter evenings, Carolina read and reread the verses of Adam Mickiewicz, translated the poem “Konrad Wallenrod”. Time passed, hopes melted away. She decided on a letter: " I can no longer endure such a long uncertainty ... Ten months have passed since your departure ... I was convinced that I could not live without thoughts of you, I was convinced that my life would always be just a chain of memories of you, Miscavige! Whatever happens, my soul belongs only to you alone. If I am destined to live not for you, then my life is buried, but even this I will demolish"(February 19, 1829)

He returned a year later. Carolina was still in love with him. Uncle was not so firmly insisting on his prohibition. But Miscavige realized that his feeling for her was not love, but a hobby, and offered her friendship. The day after the explanation, Carolina sent a farewell letter to Miscavige - he was leaving Moscow and soon intended to leave Russia. " Hello to you my dear. Thank you again for everything. For your friendship, for your love ... I am happy now, parting with you, perhaps forever; and even if we were never destined to meet again, I will always be convinced that for the best for both of us ... Whatever happens in the future, life will be pleasant for me: I will often look for precious memories of you in the depths of my heart , I will be happy to sort through them, because for me they are all - a diamond of pure water. Good bye, my friend!"Mickiewicz answered her with the poem" In memory of Panne Yanish ":

When flying birds swirl strings

From winter storms and blizzard, and groaning in the sky,

Do not blame them, friend! birds will return in spring

A familiar path to the desired side.

As soon as hope shines again in my fate

On the wings of joy I rush quickly from the south

Again to the north, again to you!

They never met again. Not corresponded. Carolina closed the door to the past, leaving no hope for herself. Six years later, she found out about the marriage of Miscavige. Carolina always loved him, and thirteen years after their unsuccessful engagement, on November 10, 1840, when she was already married to another, she wrote:

Speaking silently of yours?

How painfully my heart trembled

At least you took your life in you

Is this minute left

Amid the altered whole?

Love K. Pavlova to the Polish poet remained her most cherished memory. Already at the end of her life, when she was over eighty, she drew strength and comfort in the memories of her youth: “ Remembering this love and hitherto is happiness for me. Time, instead of weakening, only strengthened this love. I gratefully recall that blessed day when he asked me if I wanted to be his wife. He always stands in front of me as if alive. For me, he did not stop living. I love him, never stopped loving him all the time". We had to live, be strong. It’s easy, of course, to write about it, but how to survive it ?!

When in discord with himself

My mind is powerlessly submerged

When sometimes lies on it

Sadly idle half asleep

Then suddenly he whispers in stealth

Then it sounds in my chest

Some kind of sad-sweet tip

Distant feelings, distant days.

Karolina Karlovna has changed a lot. I became even more restrained, even more fond of solitude, work. She became famous in literary circles. Shone among the Moscow literary elite. She was familiar with Pushkin and Vyazemsky, was friends with Yazykov and Baratynsky. The poetic talent of K. K. Pavlova develops under the influence of the poetry of Pushkin and the poets of his circle; her poems are approved by one of the most famous poets of that time - E. A. Baratynsky. Later in the letter to him, Pavlova wrote about that important, maybe decisive role, which he played in her literary fate:

You called me a poet

My verse is a careless love

And I, warmed by your light.

Then she believed in herself.

In the 1820s - 1830s K. Pavlova translated the poems of Pushkin, N. M. Yazykov and other modern Russian poets into German and French, her translations are highly appreciated by contemporaries and the authors themselves. " You beat the simple sounds of my strings on golden strings", - wrote to her, thanks to the translation of his poems into German, N. M. Languages. Despite the secular popularity, the girl was threatened with the fate of the old maid. She was not beautiful, with a complex character. But - a rich heiress: the uncle died, bequeathed to her the whole state. The Yanishes gave a large dowry for their daughter, they often got married to her. But Carolina refused everyone. In 1836, Carolina was already twenty-nine years old, she despaired of waiting for Miscavige someday. Having listened to the prayers of her parents, Carolina agreed to marry another seeker of her hand: the writer Nikolai Filippovich Pavlov, hoping to find an understanding friend in him. But her hopes were deceived.

Nikolai Pavlov was primarily not a creative, but a calculating person, a player and a person deeply irresponsible. True, he was respected in society as a man with freedom-loving ideas, the author of a forbidden novel denouncing serfdom. What seemed Carolina very attractive. So at first the relationship of the spouses was quite warm, and if the love between them never happened, then friendship, no doubt, was. They had a son. Although only one, and he was given Carolina too expensive. Doctors recommended that she no longer have children, so as not to jeopardize her life. The husband treated this with understanding, since he did not have uncontrollable passion for Carolina. Since then, they lived under the same roof as friends and spent the night in different bedrooms. Nikolai Pavlov played and wasted his wife’s condition, but for some time the damage was not particularly noticeable, and Carolina did not interfere with her husband’s amusements, and he did not interfere with her and allowed her to do whatever she wanted, that is, write poetry and keep a literary salon .

After the departure of Zinaida Volkonskaya to Italy, the salon of Carolina Pavlova became the largest and most popular in Moscow. They talk about literature, art, politics, there are sharp disputes between Westerners and Slavophiles. Among the regular guests one could meet Herzen with Ogarev, and Granovsky, and Shevyrev, and Khomyakov, and Chaadaev, and then young Fet. Aksakov, Gogol, Grigorovich, Herzen, Baratynsky, Polonsky appeared here. Before the second reference to the Caucasus, Mikhail Lermontov, depressed and sad, visited the salon. In the literary life of Moscow in the 1840s, the salon of K. K. Pavlova was one of the centers of the spiritual life of those years, and the owner of the salon successfully coped with her difficult role. A contemporary describes her like this: “ At the Granovskikhs, I met K.K. Pavlova and heard the reading of her poems, which she had just composed and read by heart during her visit. In the conversation, she constantly inserted stanzas of verses in German from Goethe, from Byron in English, from Dante in Italian, and in Spanish brought some kind of proverb. She spoke more with Granovsky than with us. Pavlova was no longer young and ugly, very thin, but with magnificent manners».

Famous visitors to the salon treated her poetic gift rather mockingly and condescendingly, rather than respectfully and enthusiastically - as she dreamed. But for Carolina, poetry was everything - the purpose and meaning of life: “ My misfortune, my wealth, my holy craft!“She thought a lot about the topic of creativity in general and female creativity in particular. Half of her poems are devoted to these topics. At the same time, the literary reputation of Pavlova was strengthened. Her poems, novels and translations were regularly published in Russian magazines of the 1830-1850s and were successful. Especially great is her merit in the field of translations. She was perhaps the first to start translating the works of Russian writers for distribution abroad. Back in 1831, she translated several poems by Pushkin, Batyushkov and Vyazemsky into German, sent the text to a Berlin magazine, and unexpectedly received a kind letter of encouragement from Germany. The letter was signed: "Johann Wolfgang Goethe."

The peak of the literary work of Karolina Pavlova was the publication of her poems in “Domestic Notes”, which provoked an enthusiastic review of Belinsky, who called Pavlova’s verse “diamond”: “ In addition to two wonderful poems by Mr. Lermontov, in V Ќ Domestic Notes there are four wonderful poems by Ms. Pavlova: “To the Unknown Poet”, original; “The Oath of Moyne” and “Glenara” - Scottish ballads, one by W. Scott, the other from Kambel; “Understand Love” from Rukert. Ms. Pavlova’s amazing talent (nee Yanish) to translate poems from all the languages \u200b\u200bshe knows into all the languages \u200b\u200bshe knows begins to finally gain universal fame. This year, her translations from different languages \u200b\u200binto French, called “Les preludes”, came out, and we could not marvel at how the gifted translator was able to convey noble simplicity, strength, conciseness, and poetic to this poor, antipoetic and phraseological in nature language. the charm of the “Leader” is one of Pushkin’s best poems. But even better (due to language) her translations into Russian; marvel at yourself for this squeeze, for this courageous energy, for the noble simplicity of these diamond verses, diamond and fortress and poetic brilliance».

In 1848, Pavlova’s novel Double Life was published, written in verses and prose, telling about the unfortunate fate of a modern aristocrat who was forced to marry without love and lead a double life. The novel was received with interest, but it was the last success in Carolina's life. Then began a series of failures. Life did not work out. The spouses were very different: judicious Karolina Karlovna and her husband - player and mot. She put up with a lot for her son, but, learning that Nikolai Filippovich has a second family, she decided to leave him. The husband played and drank more and more, practically squandered her entire fortune, and behind her there were more than 1000 souls of serfs and an expensive mansion in a prestigious area of \u200b\u200bMoscow. In response to the reproaches, Pavlov burst into insults and ridicule against his wife, insulted and ridiculed her poetic ambitions. Nikolai Filippovich did not hide his true attitude to his wife. He once admitted that he had done disgust by marrying without love, "for money." And ruthlessly spent them, lost cards, made debts.

Carolina could not stand it and complained to her father. He took advantage of all his connections and punished the unworthy son-in-law. First, Nikolai Pavlovich was put in a debt prison, the so-called “pit”, which was located in the premises of the former royal menagerie. Carolina refused to pay on his debt receipts and filed for divorce. The society was indignant even then: it would seem that it was worth the Yanishes to pay the debts of their son-in-law from their means and not bring the matter to prison and scandal? The famous Moscow wit Sobolevsky even burst into impromptu, which was immediately picked up by many lips and became popular:

Ah, wherever you look

All love is the grave!

Husband mamzel Janisch

I put him in a pit ...

The divorce petition was granted, her former surname, Yanish, returned to Carolina ... When, at the request of Carolina, after her husband’s arrest, her condition and property were revised, it turned out that Nikolay Pavlov had left her practically impoverished: all movable and immovable property was mortgaged and re-mortgaged. Together with the child, she settled with her parents and lived on their means. The military governor of Moscow, Zakrevsky, received a complaint against Pavlov. He was searched, they found the Polar Star. The writer was arrested and exiled to Perm. In Nikolaev times, any person in Russia who had freedom-loving ideas or somehow opposed the authorities was elevated to the rank of martyr. And if for his ideas and speeches he was punished, like Nikolai Pavlov, the “martyr” began to be revered as a national hero, no matter how unseemly acts he committed in his private life. Pavlov, as soon as he was exiled, everyone in society began to sympathize.

Carolina fell upon universal contempt. Just think - played! Crew to the skin! Just think - cheated! If Carolina persuaded her father to pay her husband’s debts, didn’t file for a divorce, Pavlov would not have been arrested, would not have been sent to a debt prison, he would not have found forbidden literature and he would not have been deported. Until recently, no one remembered Pavlov's literary exercises, and now they suddenly remembered. And Carolina with her poems was literally persecuted with caustic criticism. Those who most recently considered it an honor to be invited to her salon, now did not even bow to her at a meeting. Even friends left her. Carolina could not stay in Moscow. Accompanied by her mother and son, the poetess went abroad to Derpt. And here the rumor does not spare her: she left her sick father. Father soon died of cholera.

In the German city of Derpt, Carolina met with Alexei Konstantinovich Tolstoy. They became friends. Tolstoy praised her work - and for Carolina, it became a genuine balm for wounds. She herself literally fell in love with Tolstoy’s work and translated into German many of his poems and ballads, the dramas Tsar Fedor Ioannovich and The Death of John the Terrible. Her efforts in Germany published books by A. K. Tolstoy: “The Death of John the Terrible”, “Tsar Fedor Ioannovich”, the poem “Don Juan”. Karolina Pavlova translated into German two plays by Alexei Konstantinovich Tolstoy, who wanted to stage a theater in Weimar. A. K. Tolstoy considered her translations to be “the peak of perfection” and supported the poetess materially and morally until his death in 1875.

She worked a lot, traveled, hoped to meet her first and only love, with Adam Mickiewicz, who was traveling at that time. I even went to Constantinople when I heard that Miscavige was temporarily settled there. Perhaps she hoped that his old feelings for her were still alive in his heart ... That they two could still be reunited and be happy ... She could not meet with Miscavige, the poet openly avoided his former lover. In Dorpat, Carolina met with Russian law student Boris Utin, who was twenty years younger than her, very far from poetry and romance, but was able to touch the soul and imagination of the poetess. Carolina was not in love with Utin. He worried her. She dedicated poetry to him. And many in the community slandered that Pavlova took herself a young lover like the scandalous George Sand. Most likely, they were just good friends. In her poems to Boris Utin there is not a word about love or passion - unlike her verses to Mickiewicz - but much is said about the kinship of two lonely souls who suddenly met and found each other in the midst of an indifferent light ...

And met in the sky sadly

Among his wanderings,

Two joyless luminaries

And they understood their kinship.

And maybe from the north and from the south

Their secret love leads

In space again to look for each other,

Greet each other again.

Karolina returned several times to Moscow, but it was simply impossible for her to live in Russia: society never forgave her the ill-fated story of Pavlov’s arrest, moreover, her poems were now objectively seen as old-fashioned and irrelevant and had no success. In addition, Carolina wrote several historical poems with loyal moods and supported the Crimean campaign, and the progressive public did not forgive her for this. If literary criticism recalled Pavlova, it was only in a dismissive tone: they say, for whom does this madame write and what is the point of her work if she does not call and does not expose? Carolina answered her critics:

And it is written by him, apparently, in kind

Unnecessary and stupid work;

Myself and others to the trouble.

In 1858, Pavlova briefly returned to Moscow to leave her homeland forever. She is leaving for Dresden. In voluntary exile, she had to live 35 not the easiest years. In 1863, in Moscow, friends publish a collection of her poems, he went almost unnoticed. Pavlova and abroad works a lot. In her work, she acts as a true successor of the literature of the Pushkin era. Carolina does not imitate Pushkin, does not use his artistic means, believing that his style, his “golden weapons”, as she says, are only for him by hand, but she learned his main testament to the writer: to be true to herself and her time. But the image and name of Pushkin are constantly present in her thoughts and works. According to the memoirs of the younger contemporary K.K. Pavlova, she, "living the interests of her youth", loved in the evenings to "take away ... her soul in endless stories about Pushkin, Mickiewicz, Baratynsky, in analyzing their poems." She continues to translate the works of Russian authors into German. Day after day, she expected a happy turn of her destiny, but the next turn again offered her trials. Pavlova closely followed the events in Russia. She responded to the liberation of the peasants in verse, but it was difficult to write away from her homeland, where she had already begun to be forgotten. Parents are dead. The son with whom she never had intimacy, left. She had to survive and Adam Mickiewicz, who died of cholera in 1855 in Constantinople.

1890th. Karolina Karlovna is in her 83rd year. Age spared her: the same slender tall figure, firm gait, the same beautiful eyes. Unless the black curls touched the patina of time. Karolina Karlovna lived in solitude under Dresden. She worked a lot, wrote, was engaged in translations. Almost did not go to Dresden. No one visited her. Lonely, alien to everyone, Pavlova is ruthless in verses:

I look from the terrace. Coastal distance

Everything glows like in golden smoke;

The gray river is full of topaz sparks;

Carries the steamer of the people darkness

The deck is jam-packed to the brim;

You cannot distinguish their faces, and why?

Where I am alien to both people and places

Where I won’t say a warm word

Where I will not give to my soul,

Where far from the edge I’m native,

Where not to be what was there ...

She received a letter from Vladislav Mitskevich asking to send letters from her father. Karolina Karlovna did not immediately decide to answer. She flipped through the albums again and again, re-read the letters, again, as if for the first time, examined the ring that had once been presented to them. What to write?! " We never corresponded. I wrote him only two letters that you know. He never wrote to me ... I have only one letter from him to my father ... I am sending this letter to you ..."The end of the letter was piercing:" The third day, April 18, passed sixty years from the day when I last saw the one who sketched this letter, and he is still alive in my thoughts. Before me is his portrait, and on the table is a small vase of burnt clay, presented to me by him; on my finger I wear the ring that he gave me. For me, he did not stop living. I love him today, as I have loved for so many years of separation. He is mine, as he once was ...»

Loneliness and need became her companions. And the memories. There was practically nothing left of the once significant condition of the parents - mainly through the efforts of her ex-husband ... In the end, there came a time when city life became too expensive for Carolina, she could no longer rent an apartment and buy groceries with an extra charge for the city. I had to move to the village of Khlostervits, where she rented a dilapidated house and hired a maid. Karolina Karlovna Pavlova died on December 2, 1893 in complete oblivion. She was buried at the expense of the local community, having sold all her property to cover expenses. Born during the life of E. Dashkova, Carolina Pavlova lived to the birth of A. Akhmatova and M. Tsvetaeva, and eighty-six years old went into another world. In Russia, her death went unnoticed. The police inspector found in Pavlova’s apartment “a traveling chest containing a lot of papers written in letters of an incomprehensible language, and judging by the appearance, representing verses”. With purely German accuracy, he sent the chest to the Russian consulate. Fortunately, the parcel reached the consulate, and from there to the present day.

At the beginning of the 20th century, interest in her work was again awakened. Valery Bryusov remembered her at the beginning of the twentieth century; he also “discovered” her poems for the Russian reader, having published several collections and returned to Karolina Pavlova some of her former popularity. " Karolina Pavlova is one of our most remarkable poets", - wrote V. Ya. Bryusov about her. One of the poets of the Silver Age, Sophia Parnok, dedicated a very lyrical poem to Carolina Pavlova:

Carolina Pavlova

And again the fields are floating - you don’t see, you don’t see! -

And dandelion is touchingly fluffy.

Stirring the dewdrop - you don’t see, you don’t see! -

A loose leaf staggers.

And the wires sing, - you don’t hear, you don’t hear, -

How wires sing over cornfields, and how

In the distance, they hit hooves - you don’t hear, you don’t hear!

And a late shot wakes a birch tree.

We have July, January, you don’t remember, don’t remember:

You are not a century long day.

So remember old, - you don’t remember, don’t remember

No evening, no wind, no me!

Karolina Pavlova in two volumes of her works is part of the family of Russian writers. For the most part of her poetic practice, she carried out her own theoretical conviction that verse is "a beautiful belt that pulls together thought and gives harmony." Her verses, her thoughts and feelings are beautiful and slender, her words are witty and often sincere, her poetic speeches are figurative - and she keeps a lively and desired originality in her very old-fashionedness.

Carolina Pavlova

What is written by you like an echo

Shudder, invisible grip hand.

How strange it is: two people,

In general, different, but something like that ...

The phrase, alarmed in earnest:

“Faith in smiles, words or tears,

Unreasonable mind ... "

Life poetry, old age prose,

The nineteenth century, the twenty-first century,

Russian woman whether a secular lady,

Loneliness is the highest measure for us.

Life is on hold. Life without Adam.

Lika Gumenskaya

Recall the verses of Carolina Pavlova:

Yes or no

Behind a leaflet tearing a leaf

With a white star field

I whisper to her, entrusting a flower,

What I hide from people.

Superstitious dreaming

Sees an answer in himself

To heart fortune telling -

Will it be me or not?

A lot of heart suddenly wakes up

Forgetful dreams

A lot of breasts will pour

Passionate requests and bitter tears.

But for baby prayer,

For the gusts of turbulent years

Often providence to the heart

He says graciously: no!

Thirsty young;

Maybe whisper again

And unearthly dreams

Both hope and love.

But at the call of the visions of paradise

But for their sweet greetings

Remembering my heart

Shuddering, he says: no!

* * *

The fateful thought was silent,

And I lived half life

Not remembering his secret forces;

And awakened two or three words

In the chest rush experienced again

And on lips a seasoned verse.

Sensitively rushed to the call

All that humbled the power of reason;

And the soul is fighting again

With their nonsense empty;

And for a long time I can’t get along with them,

And do not sleep for long at night.

* * *

We strangely converged. Among the salon circle

In his empty conversation,

We are sneaking, not knowing each other,

The kinship was guessed.

And the resemblance of the soul does not feel like a rush

At random

We spent, but according to thought recall

And a glimpse of inner thoughts.

Pursuing diligently public nonsense,

A joking rumor is a word,

We are suddenly curious, attentive gaze

They looked into each other's faces.

And each of us, chatter and joke

Successfully fooling them all

Overheard in another his arrogant, creepy,

Spartan child laugh.

They didn’t try to find theirs,

The whole evening we talked hard

Keeping your sadness locked up.

Not knowing, I have to see each other again,

Accidentally meeting yesterday

Truthfulness strange, cruel, harsh

We had a feud until the morning,

Familiar all insulting understanding,

Like an enemy merciless with an enemy, -

And silently to each other, and firmly, like brothers,

We shook hands later.

Among the worries and in that crowded desert

Leaving my dreams too,

Have you managed to remember the past now?

Have you forgotten the cherished day?

Have you thought, say, now again

That with faith I’m a child, at that hour,

Ready to take your lot from your hands

Are you doomed forever without fear?

That this moment is holy before God's providence,

When the soul, deeply in love,

With an involuntary conviction

Alien soul: I believe in you!

That this ray sent down from paradise

Whatever fate darling you lead, -

Like a spark sleeping in stone,

In a cold chest will sleep;

What will not destroy grief

In it this mystery is unearthly;

That this seed does not decay

And another will blossom in the country.

Did you remember how I, with the noise of the ball,

Speaking silently of yours?

How painfully my heart trembled

How proudly the fire of eyes flashed?

Rising over all the anxiety of the world

At least you took your life in you

Is this minute left

Amid the altered whole?

Yesterday the sheets of a tattered volume ...

Torn volume sheets yesterday

Caught me, - I looked at them;

The forgotten whispered suddenly familiar,

And I remembered all my spring.

It was you, dear fables,

An affectionate answer to my dreams;

Those were those treasured pages,

Where children's tears I remember a long track.

And I shone through the years of lived shadows

Childish, magnificent world;

The days of high conviction flashed

And my first, my alien idol.

So, therefore, in the life of anxiety

We must go the same sad way

Throwing everything, alas, as an insignificant gift,

That we, as a treasure, put breasts in our own!

And I left my chimeras,

I go forward, I look into the mute distance;

But I feel sorry for that inexhaustible faith

But sometimes I'm sorry for the young enthusiasm!

Who will revive the old dreams in the soul?

Who will give my dreams their charm again?

Who will resurrect in them the face of the Marquis of Pose?

Who will return love to a ghost to me? ..

Laterna Magica

Introduction

Maraya Liszt

Sometimes I think of my poems;

Secular mob, with its cold sense,

Dangerous to us and strict judge.

Like a Roman, you can't sing a meeting with a wolf

Already in our days, or the death of a sparrow.

Centuries passed, and we all wiser

We look more seriously at being;

About the sadness of the soul, about the bright Eden

Only children and Indian women are secretly confirming.

Everything is known, everyone has debased topics,

Whatever you write - all the picture and junk.

So now, one doubt for me

It came to mind: I'm afraid in my stanza

They will find just the taste of “House in Kolomna”

Readers, il “Tales for children”;

But deep down in my vision,

And a lot of things suddenly woke up.

And thoughts, like a frisky choir of mermaids,

It will flicker again, then it will again sink to the bottom;

Dreams are rushing, their talk is deaf and miserable;

I got used to bothering their swarm for a long time.

Here are a number of roofs, overnight rooks and jackdaws,

Here is a gray house, - and I look out the window.

And the woman is visible there young

Through the twilight of a rainy day;

Poor little girl is sitting over a cup of tea

Thoughtfully tilting the head,

And in a whisper, and sighing woefully,

He says to me: “At least you understand me!”

Please; I’ll make a new acquaintance,

I will enter into a kinship with you;

Do you sacrifice love, or treachery,

Or just just my dream

I’ll explain everything: I’m not writing for posterity,

Not for the crowd, but for no one.

To know that it is destined for others from above,

And it is written to them, evidently, in kind,

Betray your priceless summers

Unnecessary and stupid work;

Carry the poet’s insanity

Myself and others to the trouble.

* * *

But sad to think that in vain

Youth was given to us.

In our age of longing knowledge,

Mercenary affairs

Three souls went to the test

To the earth’s limit.

And they advertise the Lord’s will:

"In that foreign land

Each will have a different share

And the court is different.

Fire inspiration saint

I give you;

Your delight will be the word

And the power of dreams.

I’ll fill my breasts with each,

In the edge of the earth

By the truth, pure thirst

Live beam.

And if the spirit falls lazy

In a worldly battle, -

Yes do not blame your false murmur

My love. "

And on the cherished calling

Then got off

Three female souls in exile

On the path of the earth.

One of them was judged by providence

For the first time there to see a dolly world,

Where, reigning, earthly enlightenment

Arranged his Valfazarsky feast.

Her destiny fell to know secular bondage

All the fierce and destructive power

From the first years she was told her child’s verse

At the feet of the crowd lay a humble tribute;

Carry your prayers and penalties

In the everyday rumble on the crowded hall square,

Fun to serve cold laziness

Be a victim of meaningless praise.

And with the vulgar habitual, inseparable

She got in touch and got along

Her treasured gift became a sonorous rattle,

Holy seeds stalled in it.

About good days, about the former clear thought

She now does not remember in a dream;

And spends life in a crazy secular noise

Quite satisfied with her fate.

God threw another one far

To American forests;

Told her to listen lonely

I ordered her to fight need

Resist fate

Guess everything by itself

To conclude everything in itself.

In the chest experienced by suffering

Keep delight incense;

To be faithful in vain hopes

And unfulfilled dreams.

And with the heavy blessing given to her

She went as god judged

Fearless will, firm step,

To the exhaustion of young forces.

And from above, like an angel of faith,

Shining in the dusk of the night

Star is not our hemisphere

Above her grave cross.

Third - by the goodness of God

She pointed the peaceful way

She had many bright thoughts

Nested in the young chest.

Her proud dreams were clear

Sang songs without a number

And love her from the cradle

I was a true guard.

All are given her rapture

All blessings are given in full,

The life of inner movement

Life is external silence.

And in the soul now ripe

A sad question is heard:

In the best half century

What did she succeed in the world?

What could delight force?

What did soul say language?

That love accomplished her

And what has the impulse achieved? -

With a lost past

With a formidable secret ahead

With useless heart heat

With will I celebrate in my chest

With a dream vain and persistent,

Maybe it was better for her

Mad in life is absurd

Or fade away among the steppes ...

Sadly the wind blows ...

Sadly the wind blows.

The sky is blackening

And the moon doesn't dare

Peek out from the clouds;

And I'm alone

The haze is thick around

And not ceasing

Rain rustles like a key.

And the soul is sad

Power was numb

Breast anguish constrained

And it seems to me

Like it's all in vain

What we ask passionately

What is flickering clear

Beckons us in a dream.

Like in the midst of excitement

Raging generations

Pure motives

The fruit will not ripen;

Like everything holy

In a young heart

Like the bottom of the sea

Free fall!

Not time

Not! in this desert of life

Though I lost heart again, -

Not! not yet time now

Quiet with thought and be silent.

Still shine in front of me

The luminaries of truth and goodness;

I’m still not ashamed by my soul;

It’s not time to leave work.

I have enough love in me

To meet earthly evil

To tear everything down, that hurt the heart,

And forget all that hard.

Let me lie tomorrow again

As lied “today” and “yesterday”:

Suffer and tomorrow I am ready;

It’s not time to live anxiously.

No, it's not time! Though a heavy burden

And the steppe of the deaf, and the hard way,

And I want to lie down for a while,

PAVLOVA (Yanish) Karolina Karlovna was born - a Russian poetess.

Born in the family of Karl Ivanovich Yanish, a doctor by profession, trained in Leipzig.

In 1808 he was transferred from the Yaroslavl Demidov Lyceum to Moscow to the post of professor of physics and chemistry at the Moscow Medical and Surgical Academy.

Karolina Karlovna received an excellent home education, led by her father, a man with encyclopedic knowledge and broad scientific and artistic interests. He studied physics, mathematics, chemistry, drawing, art history with his daughter, and invited the best teachers in Moscow to study foreign languages, literature and music. Possessing exceptional abilities, curiosity and memory, she received a versatile education and freely mastered many foreign languages. Her development was greatly influenced by a visit to the salon of A.P. Elagina. It introduced Pavlova into the circle of modern issues of social and cultural life in Russia and the West and allowed to personally meet representatives of Russian thought and literature (Zhukovsky, Vyazemsky, Chaadaev, Baratynsky, Delvig, Yazykov, I. Kireevsky, Pogodin, Shevyrev, Khomyakov, Venevitinov , Herzen, Ogarev and others). Through the Elagins, Pavlova began to visit Princess 3. Volkonskaya’s salon, where she met A. Mitskevich, fell in love with him and received an offer from him. But the marriage did not take place due to the disagreement of her relatives. Miscavige soon went abroad. The meeting with him became a huge fact in the spiritual life of Pavlova. She kept for the rest of her life in soul and creativity her love for A. Mitskevich, about whom she wrote in old age: “Remembering this love and hitherto is happiness for me” (Historical Bulletin, 1897, No. 3, p. 1086) .

The literary activity of Karolina Karlovna began in the 2nd half of the 20s. But from her early original works, only two poems in German dating back to 1827 have been preserved.

Much of what she wrote has been lost, in particular, the translation into German of "Konrad Wallenrod" by Miscavige, sent by the poetess along with the dedication of Goethe, who praised Miscavige about him.

Pavlova’s first printed work was a book of original poems and translations from Russian poets into German (“Das Nordlicht”), published in 1833, which included poems by Pushkin, Baratynsky, Yazykov, Russian songs and its original works.

In 1837 Karolina Karlovna received an inheritance from a wealthy relative and in the same year she married the writer N.F. Pavlov. Although they talked about a marriage of convenience, the first years of her married life were happy. They were connected by literary interests, a common acquaintance with literary circles and views on Russian reality. They sympathized with progress, condemned the autocratic feudal despotism, rudeness and ignorance of the nobility.

In 1839 they had a son. The Pavlovs at that time lived in complete material contentment, which allowed them to give weekly rich literary evenings.

Their salon since the late 30s. and in the 40s. was the most famous and crowded in Moscow. It was Belinsky, Lermontov, Gogol, Aksakov, Kireevsky, Khomyakov, Shevyrev, Samarin, Herzen, Ogarev, Satin, Granovsky, Turgenev, I. Panaev, Grigorovich, N. Berg, Ketcher, N. Melgunov, May, Fet, A Grigoryev. People from the older generation also appeared: Zagoskin, A. I. Turgenev, M. A. Dmitriev, Vyazemsky, Baratynsky and others.

At the meetings of the Pavlovs, issues that worried modern minds were discussed, “rivals appeared fully armed, with opposing views, but with a reserve of knowledge and the charm of eloquence” (B. N. Chicherin, Memoirs, Moscow of the forties, M., 1929, p. . 8).

Many poems of the poetess reflected the debate that took place at their evenings ( "Talk in Trianon", "Prometheus" and others).

But with apparent prosperity, the happiness of Karolina Karlovna turned out to be fragile. The husband’s gambling game led the family to ruin, and the couple divorced. She left Moscow, condemned by the friends of her husband, who was exiled to Perm.

From June 1853 to mid-May 1854, she and her mother and son first lived in Dorpat, and then in St. Petersburg.

In the spring of 1856 she went abroad. Traveling in Europe, visited Constantinople, Rome, Venice, Naples, lived in Interlaken and Dresden.

In 1858 she returned to Russia and, having lived the summer in Moscow, left again and decided to stay in Dresden forever. The decision to leave Russia was a painful event in her life. This was not a voluntary decision, but the result of irreparable circumstances. In addition to the hostile relations of old acquaintances that arose and the persecution of creditors, the reviews of critics (Nekrasov, I. Panayev, Chernyshevsky, Dobrolyubov and others) were not of little importance, in which her name was accompanied by sharp condemnation and ridicule caused by her hostile attitude towards democratic criticism.

In 1859, Karolina Karlovna was pleased with two events. She was elected an honorary member of the Society of lovers of Russian literature at Moscow University. And in the same year, in Dresden, she met A.K. Tolstoy, communication with which turned into friendship and active cooperation. He translated into German his poems, the dramas The Death of John the Terrible and Tsar Fyodor Ioannovich, the poem Don Giovanni.

In 1863, a collection of poems by K. Pavlova was published in Moscow, which provoked negative reviews from critics, including M. E. Saltykov-Shchedrin, who called her poetry “Moth” for her declaration “Moth”.

In 1866 she came to Russia, visited with A. Tolstoy, read excerpts from her translation of Schiller’s tragedy, “The Death of Wallenstein,” in the Society of Russian Literature Lovers in Moscow.

Having left Russia in 1866, the poetess never returned to her, living her lonely old age in the town of Khlostervitz near Dresden, which she left due to a lack of funds for urban life. Here she continued to work tirelessly, despite the onset of eye disease and material deprivation.

She wrote memoirs, of which only an excerpt was printed in the Russian Archive (1875); She was engaged in translations into German and original creativity; at the sunset of her life (1891), she began to prepare for publication a complete collection of her poems, handed over to her grandson D.I. Pavlov, which did not appear in print, and his fate is still unknown. Karolina Karlovna died on the 86th year of life in loneliness and poverty. She was buried, according to contemporaries, at the expense of the local community, selling her meager property to cover expenses.

Creativity Pavlova K. K. is divided into three periods.

The first lasted from the end of the 20s. until the early 40s, when she creates mostly dramatic fantasies and ballads:

Die Geisterstunde

Die Nixe

"Old Woman"

"Fire" ,

"Monk"

The miner,

"Story" and others, the content of which is the plot-lyrical image of the human soul in its internal connections with the surrounding reality.

The essence of one of the early fantasies of Die Geisterstunde (1831-32) is not in the plot, not in the lyrical experience of the heroes, but in the reflection of that mysterious world of nature that bursts into human life and destroys the irretrievable happiness of young people. The drama of the content emerges through external idyllicity, imagination, the author is inherently anxious for the fate of man, disappointed in the ideals of Russoist romanticism. These ideas are further developed in other ballad-fiction works, in which they are already talking about the tragic struggle of passions and inner disharmony in man himself. In them, in contrast to early fantasies, everyday details, vivid psychological characteristics of the characters are introduced, although sparingly, the struggle of passions is reproduced. But even in these ballads the hero is given outside the concrete historical situation, only from the moral and psychological content of it. So, in the ballad “Rudokop” it is shown how the selfish passion to possess wealth replaced the young miner’s sincere love of nature and made the riches of “heaven of God more expensive, brighter than stars, more needed than a day” for him, thereby destroying the harmony of the soul and depriving life of his bright joys.

The powerful power of the poetic image over the soul of a person is revealed in the ballad “The Old Woman”. The image of a beautiful woman created by the old woman’s story acquired an irresistible force of influence on the hero of the ballad because the narrator was able to “put on the image of the gentle” “intimate dreams” of her listener with “naughty words”.

The power of art, according to the poetess, is not in the reflection of reality, but in the expression of the soul of a person, in the embodiment of his dream, transforming life. These thoughts serve as the content of her poems devoted to poetry and poetry, her romantic relationship to them (Sonnet, 1839; Poet, 1839; Moth, 1840, etc.).

The ballads Karolina Karlovna are associated with that particular interest in the inner world of man, which is characteristic of the 30s. Like Moscow wise men, and later members of the Stankevich circle, she solves the issues of personality philosophy in the spirit of Schellingism, seeing the harmony of a person in the subordination of his dark egoistic passions to the power of reason.

Pavlova’s work at this time is rare, but not only the themes of internal contradictions of the personality appear, but also its contradictions with social reality. These include poems on the historical themes of the Sphinx (1831), Jenne d "Arc" (1837), Milkeev (1838), devoted to the social contradictions of Russian life in the 30s.

The story of Pavlova seems to be a tragic combination of good and evil and a terrible mystery, in an effort that generations perish in vain.

In the poem Sphinx, inspired by the suppression of the Polish uprising of 1830, this historical pessimism found the same expression as in Jenne d Arc. to him the patronage of the nobility.

In the second period of creativity (from the beginning of the 40s to the middle of the 50s), the elegy, which she often calls the Duma, becomes the main poetic genre of Karolina Karlovna. The plot works no longer occupy such a place as in the first period, and, compared with the early ballads, gain greater elegance and internal drama. Its thematic range at this time is extremely wide. She writes about poetry, creativity, thoughts about the meaning of life, the young generation, the fate of women, history, revolution, Russia, religion, friendship, love and so on. Her poems are in the nature of an internal dispute with herself, a dispute of doubt with faith, disappointment with hopes, which reflect the drama of the personal fate of the poetess, pessimistically coloring the lyrical content of most poems. Experience and anxieties of reality force Pavlova in the 40-50s. to find out "hopeless meaningless affection and life a strict sentence." Disappointment begins to seem the inevitable companion of human life.

"Who did not stand scared and dumb

Before an idol debunked by his own? ”

Thinking over her lived “better half century”, she comes to a sad and gloomy conclusion

“With a dream of futile and persistent,

Maybe it was better for her

Mad in life is absurd

Or fade away among the steppes. "

But at the same time, no matter how life disappoints, Pavlova never completely lost faith in her and convinced herself that "powerlessness and embarrassment are false in us, that every fallen color will bear fruit to us." One of the great forces that conquers the hardships of life was poetry for Karolina Karlovna, whose joyful hymn escapes from the mouth of the poetess, exhausted by the ordeals of life:

“One thing that sacrilege could not touch in the temple:

My misfortune!

My wealth!

My holy craft! ”

In 1847 a work was written "Double life", which can serve as one of the auto-comments, with particular completeness and clarity expressing the particular worldview of the poetess and the drama of her mature lyrics. The novel depicts a secular society and the fate of a girl who meekly marries an accidental person, dooming herself to a long, joyless life, to the fate of a wingless Psyche, "slaves of noise and vanities." Pavlova convinces with a novel that the inner need for beauty, goodness and truth can revive a person’s soul, which is already powerlessly ruined by an impersonal secular society. This work is exceptional in Russian literature for its artistic identity. Its main feature is that poetry and prose are organically interconnected. Prose acquires rhythm, and then goes into poetry, in which the dreams and dreams of a young girl are revealed. The transition of prosaic speech into poetry was for the first time in our literature a means of revealing the inner world of man. Criticism unanimously noted the merits of the work of P. In Sovremennik (1848, No. 3, pp. 47-60), in the same issue as Belinsky’s last article, “A Look at Russian Literature of 1847,” a positive review appeared to the novel "Double Life".

From the 2nd half of the 40s. Karolina Karlovna is increasingly responding to the most important events of the era. The most significant responses are "Talk in Trianon" (1848), “Conversation in the Kremlin”   (1854) and others. At this time, her interest in history is expressed in the desire to understand her driving forces, the place in her of personality and people. She sees historical progress in the development of ideas, in the internal improvement of man.

She is attracted by the epochs of great turning points, when the power of the spirit over the inertia of an obsolete past is revealed with particular strength. This is evidenced by her poem "Dinner of Polion" (1857), which already refers to the third period of the poet's work, that is, from the mid-50s to the end of the 60s. The creativity of this time coincides with the life-drama experienced by the poet, which was reflected in overcoming the pathetics characteristic of her poetry and, at the same time, rationality, as well as traditionally romantic symbolism. Her poetry has become stylistically simple and humanly sincere. This is evidenced by her poems:

“You, a beggar who has survived in your heart” (1854),

“About the past, about the lost, about the old” (1854),

“It's not time!” (1858),

“Amid the evils of the earth, amid the hustle and bustle of life” (1857),

"Gr. A.K. Tolstoy "   other.

This is evidenced by her memoirs, published and remaining unpublished, which critically depict the life of the Russian nobility.

The work of Pavlova has not lost its significance. It reflected the literary process during the crisis of romantic humanism and the enrichment of Russian poetry with new poetic means of expressing the lyrical content and high culture of the verse that developed on the basis of the development of the poetic traditions of the Pushkin era.

Died -, metro Khlostervits near Dresden (Germany).