A. V. Koltsov wrote romances, madrigals, triolets
Then he turned to the genre of literary songs, which were included in his only lifetime poetic collection: Poems (1835).
Among his works, the most famous are: “Oh, don’t show a passionate smile!”, “Betrayal of the Betrothed”, “A.P. Srebryansky", "The Second Song of Likhach Kudryavich" and many others.
From the biography of Alexei Vasilyevich Koltsov:
Alexey Vasilievich Koltsov was born on October 15, 1809 in Voronezh - in the family of a buyer and a hereditary cattle dealer (prasol), who was known throughout the district as a literate person, an honest partner and a strict householder. Mother, on the contrary, was kind in character, but completely uneducated: she could neither read nor write.
There were many children in the Koltsov family, but there were no peers of Alexei: his sisters were either much older or much younger. It is known that the father raised his children rather harshly: he did not allow pranks and was demanding even in small things. The father did not strongly insist on the education of children, however, everyone possessed the basic skills of reading and writing. Information about how many children the Koltsovs had, how they lived, has not been preserved.
Alexei Koltsov received his primary education from the age of 9 at home under the guidance of a seminarian teacher, demonstrating such abilities that in 1820 he was able to enter the two-year Voronezh district school, bypassing the parish. Studying was easy for him, he comprehended many sciences and achieved great success in all subjects.
Alexei failed to complete the course of study: after the first year and 4 months (grade 2), his father decided to take his son out of the school. He motivated this by the fact that without the help of the boy he could not cope with the affairs, and even one year of study was enough. The father began to accustom his only son and heir to trading activities.
Having taken over the family business, Koltsov was successfully engaged in Prasol activities. Alexei's job was to drive and sell livestock. Alexei has been doing this for quite a long time. In parallel with his prasol activities, Koltsov writes poetry, despite the fact that his father forbade him to engage in literary work.
On his father's business, Alexei traveled to St. Petersburg and Moscow, where, thanks to Stankevich, he met V. G. Belinsky, who had a great influence on him, Zhukovsky, Vyazemsky, Vladimir Odoevsky and Pushkin.
Grave of A. V. Koltsov
In 1842, on October 29, as a result of depression and prolonged consumption, the poet dies at the age of thirty-three.
AT last years his life, Alex often quarrels with his father on the basis of his negative attitude towards his work. Although for my short life Alexei Koltsov achieved quite a lot of creative success: he became a famous Russian poet, whose poems everyone knows and loves.
The creative path of A. V. Koltsov:
At the school, Alexey fell in love with reading, the first books he read were fairy tales, about Bova, about Yeruslan Lazarevich and others. He bought these books with the money he received for treats and toys from his parents.
Alyosha especially liked the works "A Thousand and One Nights" and "Cadmus and Harmony" by Kheraskov. Poetry, which by that time the boy had become interested in, was forbidden by his father to engage in: he demanded that he devote all his time and attention to trade.
But regardless of this, Alexei at the age of 16 still wrote his first poem - "Three Visions". However, after a while he destroyed it, because he believed that he was imitating the style of his favorite poet. I wanted to find my own unique style. Around the same time, people appeared in the biography of Alexei Vasilyevich Koltsov who helped the talented poet express his individuality. The first person, mentor, from whom the creative path of the young poet began, was Dmitry Kashkin, a Voronezh bookseller in a shop next door. He allowed Alexei to use books for free, of course, only on condition that he treated them with care.
Kashkin was direct, intelligent and honest, for which he was loved by the youth of the city. Kashkin's bookstore, located on Pushkinskaya Street, on the corner of Shchepnaya Square, was a kind of club for them. Kashkin was interested in Russian literature, read a lot and wrote poetry himself. Koltsov showed him his first works: Kashkin was very well-read and developed and also liked to write poetry. The seller saw himself in the young poet, so he treated him well and helped him in any way he could. Thanks to this, for five years the young poet used books free of charge, studied and developed independently, without giving up helping his father.
The early poetic experiments of Alexei Koltsov represent imitations of the poems of Dmitriev, Zhukovsky, Pushkin, Kozlov, Kheraskov and other poets; in these works, the poet is only still groping for his own artistic style.
After Vargin's death in 1824, Alexey Koltsov inherited his library - about 70 volumes. In 1825 he became interested in the poems of I. I. Dmitriev, especially "Ermak".
In 1825, at the age of 16, Alexei wrote his first poem, Three Visions, which he later destroyed. The poem was written in imitation of Koltsov's favorite poet Ivan Dmitriev.
Thanks to the parting words and advice of the seminarian Srebryansky, a friend and mentor, four poems by Koltsov were published in 1830, although this publication was anonymous.
The main stage of the creative biography of Alexei Vasilyevich Koltsov is his acquaintance with the publicist Nikolai Vladimirovich Stankevich, who drew attention to the poems of the self-taught poet during Koltsov's business trip to Moscow in 1831. The publicist and thinker became interested in the works of the young poet and published his poems in the newspaper. In the same year, Koltsov's first signed poems were published: "A sigh at the grave of Venevitinov", "My friend, my dear angel ..." and others. Stankevich introduced Koltsov to the literary circle, introduced him to V. G. Belinsky. During this period, Koltsov's work was largely imitative - for example, the influence of V. A. Zhukovsky was felt in the elegy "It is not for me to listen to the magic chant" (1830).
After 4 years, Stankevich published the first and only collection during the life of the author: "Poems by Alexei Koltsov." After that, the author became popular even in literary circles.
But, despite his creative breakthrough, Alexey did not stop doing his father's business: he continued to travel to different cities on family matters. And fate also continued to bring him to prominent people. Plus, the poet began to collect local folklore, wrote a lot about the life of ordinary people, peasants and their hard work.
The lyrical hero of Koltsov's songs is a peasant (Song of a plowman, 1831, Reflections of a peasant, 1832, Mower, 1836, etc.). Critics noted the connection of Koltsov's songs with folk songs, which is tangible at the figurative, thematic, linguistic, and other levels. The songs individually combined literary and folklore sizes.
A special place among the songs of Koltsov occupied love lyrics. In the poems The Young Reaper (1836), It's Time for Love (1837), The Last Kiss (1838), Separation (1840) and others, various shades of love experience were subtly described. This distinguished Koltsov's songs from folklore love songs - as a rule, they are less diverse precisely in the description of emotional nuances. individual character Koltsovo songs was noted by many writers.
After the release of the poems "The Young Reaper", "It's Time for Love" and "The Last Kiss", Mikhail Saltykov-Shchedrin became interested in Koltsov. He called main feature of these verses "a burning sense of personality." In his short life, Alexey Koltsov achieved quite great results: he became not only a successful cattle seller, but also a famous Russian poet, whose poems were known to absolutely everyone.
Interesting facts from the life of the poet A. V. Koltsov:
* In 1835 - the release of the first and only collection during the life of the poet: "Poems of Alexei Koltsov."
* In his youth, the poet experienced a deep drama - he was separated from the serf girl whom he wanted to marry. This was reflected, in particular, in his poems "Song" (1827), "You do not sing, nightingale" (1832) and a number of others.
* In the same year, 1827, a seminarian Andrei Srebryansky appeared in his life, who after a while became a close friend and mentor at creative way. Acquaintance with this man helped Alexei survive the break with his beloved.
*It was Srebryansky who instilled in Koltsov an interest in philosophy.
* The magazine "Awakening" in No. 19 in 1909 published Koltsov's poem "Longing for the Sweet" for the 100th anniversary of the poet, indicating the date March 25, 1827, as "first appeared in print", whether it is included in 4 works published anonymously, unknown.
*A turning point in creative development Koltsov was 1836. The circle of his contacts became unusually wide, it included many prominent writers, musicians, artists, artists of Moscow and St. Petersburg: F. Glinka, M. Katkov, M. Pogodin, M. Shchepkin, P. Mochalov, P. Pletnev, A. Venetsianov and others.
* Koltsov was familiar with P. Vyazemsky, V. Odoevsky, V. Zhukovsky.
* His poems were published in the magazines "Telescope", "Son of the Fatherland", "Moscow Observer", etc.
*According to N. Katkov, Koltsov, despite the lack of education, had access to "the most refined feelings, the most complex combinations of spiritual movements."
*His lyrics glorified ordinary peasants, their work and their lives.
* Koltsov's poems were set to music by Russian composers of the 19th century, including: A. S. Dargomyzhsky ("Without mind, without mind", "Do not judge, good people", "I will not tell anyone", "Come to me"), M. A. Balakirev (“Clip, Kiss”, “Furation”, “Song of the Old Man”, “Come to Me”, “I Loved Him”), M. P. Mussorgsky (“Winds are blowing, violent winds”, “Many I have towers and gardens”, “A garden is blooming over the Don”, “Merry hour”), N. A. Rimsky-Korsakov (“Captured by a rose, a nightingale”).
* The grave of A. V. Koltsov is preserved in the Literary Necropolis not far from the Voronezh Circus.
* The date of death of Alexei Vasilyevich is erroneously given on the tombstone. In fact, he died not on October 19, but on October 29.
* But death did not complete creative biography Alexei Vasilievich Koltsov. In 1846, Pavel Stepanovich Mochalov, a Russian actor and acquaintance of Koltsov, published his poems in the newspaper Repertoire and Pantheon, thus perpetuating the memory of his friend.
* In 1856, the popular newspaper Sovremennik published an article on the life and work of Koltsov, written by Nikolai Gavrilovich Chernyshevsky.
* A monument to the poet has been erected on Sovetskaya Square in the city of Voronezh, which has survived to this day.
* A square, a gymnasium, a theater, a library and a street in Voronezh are named after A.V. Koltsov.
Biography
A family
Alexei Vasilyevich Koltsov was born in Voronezh in the family of Vasily Petrovich Koltsov (1775-1852), a buyer and cattle dealer (prasol), who was known throughout the district as an honest partner and a strict householder. A man of strong temper, passionate and addicted, the poet's father, not limited to his forefathers, rented land for sowing grain, bought forests for a log house, traded firewood, and was engaged in cattle breeding.
Alexei's mother is a kind, but not educated woman, she was not even literate. He had no peers in his family: his sister was much older, and his brother and other sisters were much younger.
| Father of A.V. Koltsov - Vasily Petrovich Koltsov | A.V. Koltsov's mother - Praskovya Ivanovna Koltsova (nee Pereslavtseva) |
Education
From the age of 9, Koltsov learned to read and write at home, showing such abilities that in 1820 he was able to enter a two-year district school, bypassing the parish. Vissarion Belinsky wrote the following about the level of his education:
We do not know how he was transferred to the second grade, and in general what he learned in this school, because no matter how briefly we knew Koltsov personally, we did not notice any signs of an elementary education in him.
After a year and four months (second grade) at the school, Alexei was taken by his father. Vasily Petrovich believed that this education would be enough for his son to become his assistant. Alexei's job was to drive and sell livestock.
At the school, Alexey fell in love with reading, the first books he read were fairy tales, for example, about Bova, about Yeruslan Lazarevich. He bought these books with the money he received from his parents for treats and toys. Later, Alexey began to read various novels, which he took from his friend Vargin, who was also the son of a merchant. The future poet especially liked the works "A Thousand and One Nights" and "Kadmus and Harmony" by Kheraskov. After Vargin's death in 1824, Alexey Koltsov inherited his library - about 70 volumes. In 1825, he became interested in the poems of I. I. Dmitriev, especially "Ermak".
Creation
Koltsov's first mentor in poetry was the Voronezh bookseller Dmitry Kashkin, who gave the young man the opportunity to use books from his library for free. Kashkin was direct, intelligent and honest, for which he was loved by the youth of the city. Kashkin's bookstore was a kind of club for them. Kashkin was interested in Russian literature, read a lot and wrote poetry himself. Apparently Koltsov showed him his first experiments. For 5 years, Koltsov used his library free of charge.
Somewhere in his youth, the future poet experienced a deep drama - he was separated from a serf girl whom he wanted to marry. This was reflected, in particular, in his poems "Song" (1827), "You do not sing, nightingale" (1832) and a number of others.
I came low
bowed
With a deep breath
and tear
Looked at the cross
and prayed
Rest your souls.
So here Koltsova
buried -
With you high dreams.
But believe - not all of you
forgot -
Boyana Russian, and you
Left to live in the hearts
of people
Your beautiful song.
Creation
Alexey Koltsov's early poetic experiences represent imitations of poems by Dmitriev, Zhukovsky, Pushkin, Kozlov, Kheraskov, and other poets; in these works, the poet is only still groping for his own artistic style. But even among them there are already such poems in which it is impossible not to see the future songwriter. On the other hand, attempts to write in the spirit of book poetry are observed in Koltsov until his death, interspersed with songs, and even among the latter, some are closer to book forms than to that specific manner in which one can see the features of Koltsov's style. Another genre of Koltsov is thoughts, which are similar in form to his songs, and in content represent a kind of poetic philosophy. Having glimpsed the philosophical disputes of the capital's friends, mainly in Belinsky's circle, Koltsov tries to clarify the world's problems in his thoughts.
Criticism
Koltsov's poetry is the village of our literature. From the city, from the abode of cultural refinements, it leads us into an open field, into the realm of greenery and meadow flowers, and cornflowers, variegated in rye, not sown by anyone, not cultivated by anyone, open up to our eyes. Everything here is direct, sincere, natural, and life is given in its originality and simplicity.
Memory
Grave of A. V. Koltsov
The grave of A. V. Koltsov is preserved in the Literary Necropolis near the Voronezh Circus. On the tombstone, the date of death of Alexei Vasilyevich is erroneously given. In fact, he died not on October 19, but on October 29.
| The first tombstone on the grave of A.V. Koltsova (in late XIX century) |
tombstone on the grave of A.V. Koltsova in 2008 (before reconstruction) |
tombstone on the grave of A.V. Koltsova in 2009 (after reconstruction) |
| The grave of father A. V. Koltsov | The grave of the mother of A. V. Koltsov | tombstone on the grave of A.V. Koltsov's sister |
| Ashes lie here Alexey Vasilyevich Koltsova deceased October 19 1842 at the age of 34 |
Fire in the soul of passion Flared up many times But in fruitless anguish It burned out and went out |
Monuments to A. V. Koltsov
Notes
- http://www.hrono.ru/biograf/kolcov.html
- Koltsov A.V. - Litra.ru - www.litra.ru
- Smirnov-Sokolsky My library . - T. 1. - S. 321.
- Timofeev N. Theater in the life of Alexei Koltsov // Voronezh Courier, October 6, 2009, p. 5
- Pavel Popov City of belated love. Journey through the Koltsovo places // Voronezh Courier, October 15, 2009, p. 6 (Pavel Popov is a historian, author of articles and books on the history of Voronezh; the Voronezh Courier newspaper was established by the administration of the Voronezh Region)
- Mitrofanievskoe cemetery was destroyed in Soviet times. The graves of A. V. Koltsov, his relatives and the grave of the poet Nikitin have been preserved. In their place, a Literary Necropolis was created.
- Literary Encyclopedia
- N. G. Chernyshevsky Poems of Koltsov
- Aikhenvald, Julius Isaevich Silhouettes of Russian writers. - 2nd ed. - M., 1908-1913.
- Today is the 100th anniversary of the birth of Firs Shishigin // "Commune", No. 128 (25165), 08/30/08
- Series: Outstanding personalities of Russia - Poet A. V. Koltsov, on the occasion of the 200th anniversary of his birth
- Pavel Popov City of belated love. Journey through the Koltsovo places // Voronezh Courier, October 15, 2009, p. 7
Literature
| Portal "Personalities" | |
| Alexey Koltsov at Wikiquote | |
| in Wikisource | |
Alexey Vasilievich Koltsov
The father is a prasol. He hunted with herds of rams, as Belinsky later wrote, to deliver material to the fat burning factories. He was rich, owned a large house, kept his family in complete obedience. Koltsov's reading and writing was taught by a random Voronezh seminarian. At the age of nine, the boy went to the Voronezh district school, but already from the second grade his father took him away, because he was in dire need of an assistant. “It goes without saying,” wrote Belinsky, “that with early years he (Koltsov) could not only pick up some moral rules or adopt good habits for himself, but he could not enrich himself with any good impressions, which for a young soul are more important than any suggestions and interpretations. He saw household chores around him, petty trade with its tricks, heard rude and not always decent speeches even from those from whose lips he should have heard only good things. Everyone knows what our family life is like in general, and what it is like especially in the middle class, where muzhik rudeness is devoid of good-natured simplicity and is combined with petty-bourgeois arrogance, wrangling and antics. Fortunately, Koltsov's grace-filled nature was not tainted with dirt, among which he was born and in the bosom of which he was brought up. Traveling around the villages and villages, Koltsov bought and sold cattle, conducted business and litigation with peasants and merchants. “He loved the evening fire, on which the steppe porridge was cooked,” Belinsky later recalled, “he loved lodging for the night under a clear sky, on green grass; sometimes he liked not to get off his horse for whole days, driving herds from one place to another. Having also fallen in love with reading, he never parted with books in the steppe. Voronezh bookseller D. A. Kashkin allowed the young prasol to use books from his store for free, explained unknown words to him. Koltsov and A.P. Serebryansky, the author of the famous song “Fast as waves, are the days of our life ...” helped Koltsov in the first poetic experiments.
In 1830, while in Voronezh, a well-known figure in the capital's philosophical circle, N. V. Stankevich, heard from his valet that a certain local young prasol was composing amazing songs, unlike anything else. At the same time, the valet quoted some lines that he remembered, and Stankevich became interested in them. He met with Koltsov and the following year published the songs he liked in the St. Petersburg Literaturnaya Gazeta.
In 1828 Koltsov fell in love with a serf girl. “It’s a well-known fact,” Belinsky later wrote, who was close friends with the poet, “that in this estate the first sincere desire of a father is to quickly marry his son to some kind of blockhead painted with white, rouge and antimony with black teeth and a good, respectively, condition of the groom's family, dowry. Koltsov's connection (with the serf) was dangerous for these philistine plans, not to mention the fact that in the eyes of wild ignoramuses, ingenuously and rudely alien to any poetry of life, it seemed reprehensible and immoral. I had to break it no matter what. To do this, they took advantage of Koltsov’s absence to the steppe, and when he returned home, he no longer found her there. This misfortune struck him so severely that he seized a strong fever. Having recovered from his illness and having borrowed some money from relatives and friends, he rushed, like a madman, into the steppe to inquire about the unfortunate woman. As much as he could, he traveled far himself, sending people who were devoted to him for money even farther. We do not know how long these searches continued; only the result of them was the news that the unfortunate victim of the barbarian calculation, having fallen into the Don steppes, in the Cossack village, soon withered and died in anguish and in the throes of cruel treatment. These details,” Belinsky added, “we heard from Koltsov himself in 1838. Despite the fact that he recalled the grief that befell him more than ten years ago, his face was pale, words came out of his mouth with difficulty and slowly, and, speaking, he looked to the side and down. Only once did he speak to us about it. and we never dared to ask him more about this story in order to know it in all its details: this would mean opening the wound of the heart, which had never fully closed anyway ... "
In 1835, with the help of Stankevich and Belinsky, a small collection was published - Poems of Alexei Koltsov. “Prasol on horseback,” wrote Belinsky, “driving cattle from one field to another, knee-deep in blood, present at the cutting, or, rather, at the slaughter of cattle; a clerk standing in the bazaar by carts of lard, dreaming of love, friendship, the inner poetic movements of the soul, nature, the fate of man, the secrets of life and death, tormented by the sorrows of a torn heart and mental doubts, and, in at the same time, an active member of reality, in the midst of which he is placed, a smart and lively Russian merchant who sells, buys, scolds and befriends God knows with whom, bargains out of a penny and sets in motion all the springs of petty trading, which he internally abhors as an abomination: what an abomination painting! What fate, what a man!
At the same time, the poet was completely dependent on his father.
“He was quick-witted, practical, his father gradually handed over all the affairs to him,” Veresaev wrote, “but he kept his son in a tight grip, demanded strict accountability; Koltsov never had any money of his own; any hired clerk was more independent and richer than this master's son. On behalf of Koltsov, it happened to travel to the capitals - to sell herds of cattle, to file court cases, of which the old man had an uncountable number, especially with peasants on land lease. Here for the first time the old man felt that the trifling rhymes that the eccentric son sprinkled were not without profit. The poems brought his son acquaintance with dignitaries, very useful in the conduct of court cases. At the request of his son, Zhukovsky, Prince. Vyazemsky, Prince. Odoevsky wrote letters to the Voronezh authorities and to the courts, and thus greatly contributed to the successful outcome of a number of Koltsovo trials. However, there were so many of these processes, it was necessary to ask for patrons so often that even the benevolent Zhukovsky finally began to receive Koltsov coldly and avoid meeting with him.
I. S. Turgenev, who met Koltsov in St. Petersburg at Pletnev’s apartment, wrote: “... There was another person in the room. Dressed in a long-brimmed double-breasted frock coat, a short waistcoat with a blue beaded watch chain, and a neckerchief with a bow, he sat in a corner, modestly tucking his legs up, and from time to time coughed, hurriedly raising his hand to his lips. This man looked around not without shyness, listened attentively, an extraordinary mind shone in his eyes, but his face was the simplest Russian.
Being engaged in self-education, Koltsov was far from always able to correctly understand the essence of the subjects being mastered. “I still understand subject and object a little bit,” he wrote to Belinsky, suddenly taking up philosophy, “but not a crumb of the absolute.” Claims for great knowledge, of course, caused ridicule among the people around the poet. "What am I? he complained to Belinsky. - A man without a face, without a word, without just anything. A miserable creature, an unfortunate creature that is good for only one thing: to carry water and carry firewood ... A merchant, a kopeck man, a scoundrel ... This is my meaning, these are the layers in which I can be president ... "-" Only in 1841 gray life Koltsova suddenly lit up with bright happiness, - wrote Veresaev. - He fell in love with the visiting merchant widow Varvara Grigorievna Lebedeva. She treated his love favorably. "Miracle! Koltsov wrote to Belinsky. “A brunette, incredibly slender, damn good, smart, decently educated, read a lot, thought, suffered, seethed with passions.” But happiness lasted only two months. The beauty turned out to be a lady of very light morals. Having rewarded Koltsov with syphilis, she left him and left Voronezh with an officer.
By this time, Koltsov's relationship with his father was almost interrupted.
“At the end of September,” he wrote to V.P. Botkin, “I had inflammation in the kidneys, but leeches, poultices, and coolant brought me back to life. Father, in spite of everything, did not stop torturing me and very indifferently told me that if I die, he will be glad, and if I live, he warns me in advance that I should not expect or hope for anything; that he is at home and will never give me anything; that if he does not have time to live during his lifetime, he will burn it. And he spoke like that when I didn’t say a word to him about anything like that and didn’t demand anything from him. My mother is a simple but kind woman; wanted to help me, but I turned it down and supported myself with a loan. The inflammation went away, and I started to get better again a little. Autumn. The mezzanine is cold, fit together by necessity. He occupied the room on the aisle; it was not more convenient; it was, - but the old people lived in it, they did not give it. Well, nothing, I live. They marry their sister. A wedding began, everything began to walk, run through my room; floors are washed every now and then, and dampness is deadly for me. Incense pipes are smoked every day; for my frustrated lungs, all this is bad. I again developed inflammation, first in the right side, then in the left against the heart, quite dangerous and painful. And this is where I got really pissed off. For several days life hung in the balance. My doctor, despite the fact that I paid him little, came three times a day. And at the same time we have parties every day - noise, screams, running around; the doors in my room do not stand on their hinges until midnight. Please do not smoke - they smoke more; I ask you not to incense - more; I ask you not to wash the floors, they are washing. On motley only the wedding ended. Noise off your shoulders. On the third day after the end of the wedding, my father comes to me. He tells me to go to his room. I refused: it is damp in winter, and this is the most harmful thing for me. He said, “Don't you want to? Well, go where you want, or go out of the yard. And he talked a lot about it.
But you ask, why did my father and sister become so bad towards me? Koltsov wrote further. - My father is by nature with a strong physical nature a man, lived as a clerk, acquired something, became a master, amassed 70,000 rubles for capital three times and lived them again, lived for the last time - and he had a lot to do. He somehow extinguished them, but there was nothing to end with. They fell on me; at the age of eight I settled them, and this business, for which I lived in Moscow, was the last. It ended well for a while, now he does not have them, he is calm. He built a house, brings in up to 6,000 a year, and we also have nine rooms behind us. Besides, he had up to twenty thousand left. He is proud, a braggart, stubborn, a braggart without a conscience. He does not like to live with others in a human house, but loves that everything trembles before him, fears, reveres and slaves. And I endured and endured all this, but as I had a special room, I will go into it and rest. I did not think about myself, but only about business. But, having accepted things, settled them. And as Zhukovsky was (in Voronezh), he gave me great weight, and the old man, for the sake of business, out of necessity, gave me freedom more than he wanted. It bored him. He wanted to beat me first, insisting on getting married. I did not want. This infuriated him. Get married - then he would break the fast over me. My sister aroused him even more against me. She interpreted all my fantasies that I told her in her own way, and ended up saying that I came here to rob the old man, and even to St. Petersburg. She also sold me out of her hands to marry and enter the courtyard and take possession of everything.
Died 29 (10. XI) October 1842.
Gleb Uspensky said wonderful things about Koltsov.
“In Russian literature there is a writer who cannot be called otherwise than a poet of agricultural labor - exclusively. This is Koltsov. No one, not excluding Pushkin himself, touched such poetic strings of the people's worldview, brought up exclusively in the conditions of agricultural labor, as we find in Koltsov. We ask, what could even inspire Pushkin at the sight of a plowing peasant, his plow and nags? Pushkin could only grieve about this worker, "dragging along the reins", about the yoke that he carries, etc. Would it occur to him that this slave, dragging along the reins, walking barefoot behind his nag, so that he could feel anything at the moment of this hard work, except for the consciousness of its gravity? And the peasant portrayed by Koltsov, although dragging along the reins, finds the opportunity to speak to his horse such speeches: “Fun in the arable land, I myself am a friend with you, a servant and a master. I have fun tidying up the harrow and the plow.” And the mower of the same Koltsov, who, receiving 50 kopecks on his grubs. per day, finds the opportunity to speak such speeches: “Oh, you are my steppe, free steppe! I didn’t come to visit you alone, I came myself, a friend with a scythe. I have been walking for a long time(this is for 50 kopecks per day!) on the grass of the steppe, far and wide, I wanted to be with her. Raise your shoulder, swing your arm, smell the wind in your face from noon, refresh, excite the spacious steppe, buzz, braid, sparkle all around! Every word here is the secret of the peasant worldview: all these are charms, inaccessible to anyone except the peasant.
This text is an introductory piece.Alexey Vasilievich Koltsov born October 3 (15), 1809 in Voronezh. Russian poet from the middle class, the son of a hereditary prasol (cattle merchant).
In 1821 he graduated from one class of a two-year Voronezh district school, after which his father attracted him to his enterprise, in whose affairs Koltsov was engaged until the end of his life.
Early addicted to reading mid 1820s began to compose poetry, having found support among the Voronezh intelligentsia (bookseller D.A. Kashkin, seminarian-poet writer A.P. Serebryansky). In 1830 The first (anonymous) publication of 4 poems by Koltsov took place in Moscow. In the same year, he met N.V. Stankevich, who introduced Koltsov to literary circles. Since 1831 began to be published in the capital's publications. In 1835 through the efforts of Stankevich and V.G. Belinsky, who became the main popularizer of Koltsov's work, the first collection of his poems was published. In 1836, 1838 and 1840 Koltsov visited Moscow and St. Petersburg on trade matters, where he was favorably received by A.S. Pushkin, V.A. Zhukovsky and others. The move to St. Petersburg planned by Koltsov did not take place due to his illness and financial difficulties in the family. Alexey Vasilyevich Koltsov died October 29 (November 10), 1842 in Voronezh.
Posthumous edition of Koltsov's poems ( 1846) was prepared by Belinsky, who preceded it with a large article "On the Life and Works of Koltsov", which outlines the first, partly mythologized biography of the poet.
In Koltsov's poetry, the most significant are his songs, created at the junction of folk-poetic and literary (stylizations of folk songs by A.F. Merzlyakov, A.A. Delvig, etc.) traditions. Folklore devices are characteristic (permanent epithets, stable formulas, personifications, psychological parallelism, etc.), which Koltsov resorts to in intimate, psychologically complicated lyrics. So, in love songs, complex range of experiences, up to the most painful and dramatic: "Betrayal Betrothed" (1838); “Russian Song” (“A friend told me, say goodbye ...”, 1839); "Separation" ("At the dawn of a foggy youth ...", 1840).
In a number of early songs, Koltsov recreated harmonious picture of peasant life with its holidays, prayers and agricultural work, introducing a person to nature ("Rural Feast", 1830; "Song of the Plowman", 1831; "Harvest", 1835; "Mower", 1836). In later songs Koltsov is dominated by motives of loneliness, need, bondage, valiant strength wasted on “strangers”, etc. (“Meditation of a Peasant”, 1837; “A Bitter Share”, 1837; “What are you sleeping, little man? ..”, 1839 and others); social and family conflicts are sharpened (“The Second Song of Likhach Kudryavich”, 1837; “ village talk", 1838; “To each his own talent”, 1840), the “robber” theme appears (“The Daredevil”, 1833; “Khutorok”, 1839), the line of spiritual poetry continues (“Before the Image of the Savior”, 1839). Genuine tragedy is inherent in poems on the death of Pushkin "Forest" (1837).
Another significant section of Koltsov's lyrics is "thoughts" which are deliberately unsophisticated discussions on philosophical and religious topics: about the mystery of the universe and the Creator's plan, about the limits of human knowledge ("God's World", 1837; "Forest", 1839; "Poet", 1840). Unlike Koltsov's poems in traditional literary genres (messages, elegies, madrigals, etc.), his songs and "thoughts" are a unique phenomenon in Russian poetry. Elements of Koltsov's poetics were perceived by A.N. Nekrasov, I.Z. Surikov, S.D. Drozhzhin, S.A. Yesenin and others. Music for Koltsov's songs was written by A.S. Dargomyzhsky, N.A. Rimsky-Korsakov, M.P. Mussorgsky, M.A. Balakirev and others.
Keywords: Alexei Koltsov, detailed biography of Koltsov, criticism, download biography, free download, abstract, Russian literature of the 19th century, poets of the 19th century
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For dear, sincere friends,
For the memory of bygone days.
Alexey VasilyevichKoltsovborn October 15, 1809 in Voronezh. His father, Vasily Petrovich, belonged to a respectable petty-bourgeois family; Distinguished by his intelligence and practical talents, he could hardly read and write; his mother, Paraskovya Ivanovna, was illiterate. Of the many brothers and sisters of particular importancefor AlexeyIt hasyounger sister, Anisya. The family lived in the old, patriarchal way. When his son was nine years old, his father invited a seminarian to teach him to read and write. The boy obviously showed good abilities, he was able to enter directly into the district school, bypassing the parish. His father did not allow him to stay here for a long time. One year and 4 months later,when KOltsovwas 12 years oldhe,missed two gradesbecame father's assistant. A short stay at school was reflected in the future. Until the end of his life, Koltsov waged a struggle with Russian spelling, mastered prosaic speech with great difficulty, and at every step felt his ignorance with deep pain.
Even at school, Alexei Vasilyevich developed a passion for reading. One of the comrades, the son of a merchant, supplied him with fairy tales and novels from his father's library. The young reader was especially carried away by Arabian fairy tales and Kheraskov's work Cadmus and Harmony. According to Belinsky, the poem "A peer" remained a monument to his gratitude to his comrade. Next to the reading were the Prasol classes of the young Koltsov. An embassy presented many dangers and hardships, but it also had its own attractive sides. Cattle were bought up in the southern steppes, in the Don region, the buyers had to live in the steppe for weeks, stay on horseback for days, spend the night in the open. Aleksey Koltsov had to deal with all sorts of people, get along with them, while away his leisure time - in the villages during the stop, at lodging for the night in the boundless steppe. The poet could come close to folk life and the soul of the people, to listen to the folk song, to be imbued with its original warehouse and its motives. Not without, of course, and without "strong feelings" during this acquaintance. So, one day, Koltsov was in danger of being slaughtered in the steppe. One of the workers or clerks became angry with him, and the owner had to tame his anger with a joint drinking party. But the steppe generously rewarded the future poet for all his worries - with wonderful, powerful beauty, inexhaustible poetry. In moments of inspiration, pictures of the steppe wanderings will rise before his imagination and evoke songs full of deep, strong feelings..
In 1825, Koltsov bought a collection of poems by I. I. Dmitriev at the market and experienced a deep shock when he got acquainted with the “Russian songs” “The blue dove is moaning”, “Ah, if only I had known before”. He ran into the garden and began to sing these verses alone, convinced that all verses are songs, that they are all sung, not read. A desire arose to write poetry himself, and Koltsov put into rhymed lines the story of a comrade about a dream repeated three times. The result was the poem "Three Visions", which he later destroyed.By this time, Koltsov met the bookseller D. A. Kashkin, an educated and intelligent man who loved Russian literature. Kashkin encouraged the young poet, provided him with a guide to composing poetry "Russian Prosody", gave advice, corrected his poetic experiments, but most importantly, allowed him to use his library. In Kashkin's shop, Koltsov got acquainted with the poetry of M. V. Lomonosov, G. R. Derzhavin, I. F. Bogdanovich, and then A. F. Merzlyakov, A. A. Delvig, A. S. Pushkin. Koltsov's youthful experiences ("Reassurance", "Lament", both - 1829; "Earthly Happiness", 1830) are literary, secondary, written in imitation of popular sentimental-romantic poetry. However, glimpses of original talent are palpable in "The Wayfarer" and "Overnight Chumaks" (1828).
By the beginning of the 1830s, Koltsov became known in the cultural circle of Voronezh as a "petty-bourgeois poet", "prasol poet". He approachesthe son of a country priestA.P. Serebryansky, a student of the Voronezh Seminary, a poet, a talented performer of his own and other people's poems, the author of the article "Thoughts about Music" and the once popular student song "Fast as waves are the days of our life." Serebryansky takes his friend seriously, helps him in word and deed. “Together with him we grew up, read Shakespeare together, thought, argued,” Koltsov recalled. Serebryansky instills in a friend a taste for philosophical thinking, introduces professors of the seminary P. I. Stavrov and A. D. Velyaminov. Appear, harbingers of future "dooms" -poetry « Great Mystery”,“ God’s world ”,“ Prayer ”.
In 1827, "at the dawn of a misty youth," Koltsov experienced a heavy heartfelt drama. In the father's house lived a serf servant, the maid Dunyasha, a girl of rare beauty and sensitivity. The young poet fell in love with her passionately, but his father considered it humiliating to be related to a maid and, during his son's departure for the steppe, sold Dunyasha to a Don landowner in a remote Cossack village. Koltsov fell ill with a fever and nearly died. Having recovered from his illness, he set off into the steppe for unsuccessfulsearch for a bride. Koltsov expressed his inconsolable grief in the poems “First Love” (1830), “Betrayal of the Betrothed”, “The Last Struggle” (both - 1838) and especially in the heartfelt “Separation” (1840), set to music by A. L. Gurilev, she became popular romance.
Parting
At the dawn of a misty youth
With all my heart I loved dear:
She had a heavenly light in her eyes,
A fire of love burned on his face.
What are you before her, May morning,
You, oak-mother green,
Steppe-grass - silk brocade,
Dawn-evening, night-sorceress!
You are good - when she is not there,
When you share your sadness,
And with her you - at least not there;
With her, winter is spring, night is a clear day!
Do not forget me, like the last time
I told her: I'm sorry, honey!
So, to know, God ordered - we will part,
But see you sometime...
All of a sudden, the face flared up with fire,
Covered with white snow,
And crying like crazy
It hung on my chest.
Don't go, stop! give me time
Suffocate sadness, cry out sadness,
On you, on the clear falcon ...
The spirit was busy - the word froze ...
In 1830, Koltsov's poems first appeared in print. The aspiring poet V. I. Sukhachev, who stopped at Kashkin’s on his way from Odessa to Moscow, met Koltsov and placed his works in the collection “Letters from notebook Vasily Sukhachev "(1830) among his own poems, without the name of the author ("Do not listen to me", "Come to me", "Vengeance"). And in 1831, Koltsov entered the great literature with the help of N. V. Stankevich, who met the poet in Voronezh and drew attention to his outstanding talent. On the recommendation of Stankevich, one of the first “Russian songs” “The Ring” was published in Literaturnaya Gazeta (1831), and in 1835, with the money collected by subscription from Moscow friends, Stankevich published the first poetry collection “Poems of Alexei Koltsov”.
Acquaintance with Stankevich gave the Voronezh poet access to Moscow and St. Petersburg literary salons. In 1831 he came to Moscow on his father's business affairs and met with members of Stankevich's philosophical circle, students of Moscow University, and with Belinsky. In 1836, through Belinsky, he met the Moscow writers N.I. Nadezhdin and F.N. Odoevsky, I. A. Krylov. He is friends with the artist A. G. Venetsianov, appears on literary evenings at prof. P. A. Pletnev. Koltsov is particularly impressed by the acquaintanceand conversationswith A. S. Pushkin. Shocked by the untimely death of the poet, Koltsov dedicates to his memory the poem "Forest" (1837), in which, through the epic image of Russian nature, he conveys the heroic power and national greatness of Pushkin's poetic genius.
In the summer of 1937, Zhukovsky visited Koltsov in Voronezh, accompanying the heir to the throne on a trip to Russia. This visit elevates the poet in the eyes of his father, who is cool about his son's literary works, but appreciates connections with high-ranking people, recommending using them to successfully resolve legal and commercial cases. In 1838, he willingly let his son go to Moscow and St. Petersburg, where Alexei Koltsov visited theaters, was fond of music and philosophy, and became close to Belinsky. Under the influence of a critic, he turns to philosophical poetry, creating his "thoughts" one after another. The provincial merchant life of Voronezh begins to burden Koltsov: “My circle is small, my world is dirty; it is bitter for me to live in it; and I don't know how I haven't been lost in it for a long time."
SONG OF THE OLD MAN
I will saddle a horse, a fast horse,
I will rush, I will fly Lighter than a falcon.
Through the fields, across the seas, to the far side
- I'll catch up, I'm turning back My youth!
I'll clean up and be a former young man,
And I will like the Red Maidens again!
But, alas, there are no roads To the irrevocable!
The sun will never rise from the west!
In September 1840, Koltsov made his last trip to the capital to finish 2 litigations and sell 2 herds of bulls. But trading zeal leaves him: "there is no voice in the soul to be a merchant." In St. Petersburg, he stops at Belinsky, evoking sincere admiration from the critic for the depth of talent, sharp mind and generosity of nature: “Koltsov lives with me - my relationship with him is easy, I came to life a little from his presence. What a rich and noble nature! .. I just found myself in the company of several wonderful people. Koltsov awakens a desire to move to St. Petersburg.
But this dream remains unfulfilled. Having unprofitably completed trading business, having lived the proceeds, Koltsov returns to his angry father. The cooling of the son to household chores causes reproaches of "literacy" and "scribbler". Quarrels begin, which become even more bitter after Koltsov falls in love with a woman "rejected" by Voronezh society. The family conflict grows, Anisya, who is so close to the poet and beloved by him, is drawn into it. The drama is completed by consumption: it lasts about a year and brings Koltsov to the grave at the age of 33.
In 1846, the first posthumous edition of Koltsov's poems was published. "Russian Song" madeKoltsovafamous. The genre of "Russian song" arose in late XVIII century and gained particular popularity in the 20-30s of the XIX century, in the era of an exceptional rise in Russian national identity after Patriotic War 1812. This genre was born on the unity of book poetry and oral folk art, but neither among its predecessors, norand atcontemporariesToOltsov, he did not rise above the level of elegant stylization. Koltsov went to the literary song from the "soil", from oral folk poetry, which he felt more organically, deeply and directly.
In the Russian songs of Koltsov withthe national basis is kept. Good fellows, red girls,plowmen, mowers,scorcher-curly- the characters of the all-Russian scale. In his "Russian songs" the soul of the creator, who lives one life with the people, is tangible. Reading Koltsov, you join the nationwide feeling. Koltsov penetrates into the very essence, the core of the national spirit, into the poetry of agricultural labor ("The Plowman's Song", 1831; "Harvest", 1835; "Mower", 1836).In "The Song of the Ploughman" mother-cheese earth is felt as a living organism, through the eyes of a peasant poet, the whole labor process is perceived in its creative aspects. As in a folk song, there is no detail and concretization here: we are not talking about a narrow allotment of land, not about a meager strip, but about “the whole earth”, about the whole “white world”. And in “Harvest”: “Red frying pan / Dawn flared up; / On the face of the earth / Fog creeps. The cosmic perception of “white light”, “mother earth”, akin to the peasant worldview that has not yet separated from nature, gives the image of the plowman the universal features of the epic hero Mikula Selyaninovich. The work of the peasant is inextricably merged with the creativity of nature, the man-plowman is the friend and brother of the horse-plowman.
The circumstance noticed by D. S. Merezhkovsky is also remarkable: “In worries about daily bread, about the harvest, about the full bins of this practical person, a real prasol who has studied everyday life, the point of view is not at all utilitarian, economic, like many intelligent writers who mourn about the people, but, on the contrary, the most sublime, ideal, even, if you like, mystical, which, by the way, does not interfere with practical common sense. When the poet enumerates the peaceful spring thoughts of rural people, the third thought turns out to be so sacred that he does not dare to speak about it. And he only reverently remarks: “As they planned the third thought, they prayed to God the Lord.”
Koltsov's love is a whole, strong, fresh feeling, without halftones, without romantic sophistication. It transforms the souls of those who love and the world around so that winter turns into summer, grief - not grief, and night - a clear day. Love elevates spiritual and physical strength, turning the good of a young man into a hero-hero: “Not loving you, / In the villages I was a fine fellow, / And with you, my friend, / The cities are nothing!” (“This night to myself ...”, 1842). Not only in joy, but also in grief, and in misfortune, the heroes of Koltsov retain their fortitude, triumphing over fate, preferring "to be with a cheerful face in a feast with grief."
The breadth and scale of natural images in Koltsov's poetry are merged with human prowess and heroism. The boundless steppe in “Kosar” is also a definition of the latitude of a person who came to this steppe as a master, crossing it “along and across”. Natural strength, power and scope are palpable both in the hero himself and in the poetic language, full of dynamism and internal energy: “spreads out”, “spread out”, “moved forward”.
Mower
. . . . . . ...
Do I have a shoulder Wider grandfather,
Chest high - My mother.
My father's blood is on my face
She lit the red Zorya in milk.
Black curls Lie in a bracket;
What I work - Everything argues for me!
Yes, on an unlucky day In an untalented hour
Without a shirt, I was born into the world!
Last autumn I am for Grunyushka,
Daughter of the headman, Long wooed;
And he, the old horseradish, Stubborn!
For whom will he issue Grunyushka?
I will not understand, I will not invent ...
I'm chasing after
that her father Reputed to be rich?
Let his house - The bowl is full!
I want her, I crash on her:
White face - scarlet dawn,
Cheeks full, eyes dark
They brought the young man out of his mind...
Oh, yesterday You cried for me so much;
Flatly the old man Refused yesterday...
Oh, do not get used to this sorrow...
I'll buy myself a new Scythe;
I'll beat her, I'll sharpen her, -
And sorry, goodbye, Village r "one!
... ... ... ...
steppe
Far around Lies wide
feather grass It spreads!..
Oh, my steppe, free steppe,
You are wide, steppe, Spread out,
Moved towards the Black Sea!
I didn't come alone to visit you:
I came myself-friend With an oblique line;
I've been walking for a long time On the grass of the steppe
Along and across With her I wanted ...
Cheer up, shoulder! Wave your hand!
You smell in your face, Wind from the afternoon!
Refresh, excite the spacious Steppe!
Buzz, scythe, Like a swarm of bees!
Lightning, braid, Shine all around!
Noise, grass, Podkosh "enaya;
Bow down, flowers, with your head to the ground!
... ... ... ...
(1836)
The songlike, cosmic-natural view of the world is transformed and complicated in philosophical "thoughts". In them, Koltsov appears as an original poet, reflecting on the secrets of life and death, on the meaning of existence ("The Great Mystery", 1833; "Unsolved Truth", 1836; "Question", 1837), on the high purpose of the human person ("Man", 1836 ), about the role of art ("The Poet", 1840). Koltsov's poetry had a great influence on Russian literature. In the 1850s, A. A. Fet was under the spell of his “fresh”, “unbroken” song, N. A. Nekrasov and the poets of the “Nekrasov school” developed Koltsov’s folk-peasant motifs in his work, G. I. Uspensky was inspired by comprehension Koltsov's poetry, working on the classic essays "The Peasant and Peasant Labor" and "The Power of the Land". In the twentieth century the song traditions of Koltsov were picked up by M. V. Isakovsky, A. T. Tvardovsky.
LIFE.
With the mind it is easy for us to embrace the light;
In it, with a free thought, we fly:
What is not given to us to understand -
We seem to understand everything.
And we judge everything harshly
For centuries, without removing the cover;
It came - that people do not care
Say: this is the secret of the world.
How the light stands, so far
We've been through a lot:
Passions we saw pressure;
The kingdom was buried behind the kingdom.
Living, penetrated deep
In the secret place of miraculous nature;
Some knowledge we took easily,
Others - by force of stubborn ...
But still our success is small.
What about legends? - We do not know.
What will happen next - who penetrated?
What are we now? - we won't figure it out.
Experience alone says
That before us people lived here -
And we live and will live.
That's what all of ours were like!..
Lebedev Y. Site materials used Big Encyclopedia Russian people - http://www.rusinst.ru
