Salons of the Pushkin era. With the help of a media presentation, music and poetry, it was possible to create an atmosphere that inspired the great writers, poets, artists and musicians of the Pushkin era
The Karamzin Salon was unique both in terms of its long existence (from the end of the 1820s until the death of Katerina Andreevna Karamzina in 1851), and in its composition, which collected names that were significant for Russian culture.
"Karamzin read us his story"
One of the remarkable forms of cultural life of Russian society at the turn of the XVIII-XIX centuries. there were salons. Appearing at the end of the XVIII century. (like the salon of G.R. Derzhavin) and focusing on the Parisian salons of the pre-revolutionary period, Russian salons especially flourished in the 1820-1830s. 1 Literary, musical, political, and more often harmoniously uniting the discussion of novelties of domestic and foreign writers, and playing music in living rooms, and a dispute about the latest political news with foreign envoys, maintaining a friendly, relaxed, playful atmosphere, salons became a significant fact of national culture, giving rise to new values, forming the historical, political, aesthetic consciousness of its participants 2 . As S.S. wrote Uvarov, "private, so to speak, domestic societies, consisting of people interconnected by free vocation and personal talents ... had and have, not only here, but everywhere, a tangible, although in some way invisible influence on contemporaries" 3.
The Karamzin Salon occupied a special place in the cultural life of the capital. Established during the life of the historiographer, the salon finally took shape under his widow Katerina Andreevna from the end of the 1820s. and especially in the 1830s-1840s, attracting the entire color of St. Petersburg society. In the first half of the 1820s. he was a circle united by the interests of literature and history and grouped around N.M. Karamzin, who "was some kind of life-giving, radiant focus" 4 for his young friends.
“At least our literary society,” the already mentioned S.S. Uvarov recalled, “consisted of Dashkov, Bludov, Karamzin, Zhukovsky, Batyushkov and me. Karamzin read his story to us. We were still young, but so educated, so that he listens to our remarks and uses them" 5 . The future Minister of Education knowingly mentioned the moderates in their political views"senior Arzamas" 6: right above the living room of the Karamzins, who then lived with Katerina Fedorovna Muravyova at No. 25 on the Fontanka, the Decembrist youth gathered in the office of her son Nikita Muravyov, talking about the same thing, but from positions directly opposite. "The young Jacobins were indignant" at Karamzin's "History": "several individual reflections in favor of the autocracy... seemed to them the height of barbarism and humiliation" 7 . The historiographer looked at the youth with the smile of condescension of a man wise in life 8 and "never, in the most heated debate, did he cross the boundaries of polite objection" 9 . Only once, angry, did he allow himself a sharp phrase: "Those who cry out against autocracy more than others, carry it in their blood and lymph."
The traditions of the salon were supported by the widow
After Karamzin's death in 1826, the traditions established by him were supported by the historiographer's widow, Katerina Andreevna. As Prince A.V. Meshchersky, "being in this sweet and hospitable family, I immediately found myself in the most intelligent environment of St. Petersburg society, in which the memory of the unforgettable Nikolai Mikhailovich was still so fresh and where, according to legend, both the former friends of the late historiographer and young poets, writers and scientists gathered new generation" 11 - "the spirit of Karamzin seemed to group them around his family" 12 . Among the well-known figures of Russian culture who visited the Karamzins' salon at different times, one can mention A.S. Pushkin, V.A. Zhukovsky, P.A. Vyazemsky, A.I. Turgenev, E.A. Baratynsky, M.Yu. Lermontov, F.N. Glinka, V.F. Odoevsky, N.V. Gogol, F.I. Tyutcheva, A.S. Khomyakova, Yu.F. Samarina, P.A. Pletneva, S.A. Sobolevsky, V.A. Sollogub, E.P. Rostopchin, A.O. Smirnov-Rosset.
The Karamzin Salon was unique both in terms of its long existence (from the end of the 1820s until the death of Katerina Andreevna Karamzina in 1851), and in its composition, which collected names that were significant for Russian culture. As V.A. Sollogub, everyone "that had a well-known name in Russia in art, diligently visited this hospitable, sweet, highly aesthetic house" 13 . Sollogub was echoed by A.F. Tyutcheva: "it so happened that for more than twenty years the most cultured and educated part of Russian society gathered in the modest salon of E.A. Karamzina" 14 . About the same, but with a feeling of obvious disapproval, I.I. Panaev, who accused the salon of the Karamzins and the writers who were part of it of "literary aristocracy": "In order to gain literary fame in the high society circle, it was necessary to get into the salon of Ms. Karamzina, the widow of a historiographer. Diplomas for literary talents were issued there" 15.
There Pushkin "shunned the panache of speeches"
In the review of I.I. Panaev, the responses of the disputes of 1830-1831 are heard. around the Literaturnaya Gazeta, in which A.S. Pushkin, P.A. Vyazemsky, A.A. Delvig was accused by their opponents of "literary aristocracy", and this general formula meant completely different things: N.A. Polevoy, the publisher of the Moscow Telegraph, saw in "aristocratism" a rejection of romantic rebellion and love of freedom, N.I. Nadezhdin, on the contrary, meant by "aristocratism" aristocratic dissatisfaction with reality and disregard for the life of the people, and F.V. Bulgarin represented the Literaturnaya Gazeta employees almost as aristocratic conspirators against the existing order 16 .
A.S. Pushkin and P.A. Vyazemsky vigorously objected to his opponents. “Referring to the biographical dictionaries of Novikov and Grech, we will point out,” wrote Prince P.A. Vyazemsky in Literaturnaya Gazeta, “that most of our writers belonged to the aristocracy, that is, a title that enjoys the benefits bestowed on the nobility: therefore, in Russia the expression the literary aristocracy can in no way be a reproach, but on the contrary, it is a commendable and, even better, a fair denunciation. Our drawing rooms of the nobility are also not dens of darkness and ignorance: they connect us with educated Europe; Russian and foreign books are read in them; travelers such as: Humboldt, Mrs. Stahl, Statfordt Kaning, Count Segur find sympathy and conformity to their concepts; echoes of European enlightenment are heard in them, in them, and not in the houses of merchants, not in the residences of the burghers, our artisans "17.
The rough stanzas of the eighth chapter of "Eugene Onegin", designated in the white manuscript of the novel as XXVI and XXVII, are connected with the controversy around the "literary aristocracy", in which A.S. Pushkin portrayed Tatiana's Petersburg living room as "truly noble":
In the living room of a truly noble
The panache of speeches was alienated
And petty-bourgeois ticklishness
Magazine stiff judges
[In the secular and free living room
The common syllable was adopted
And did not frighten anyone's ears
With its living strangeness...] 18
The prototype of this draft sketch was, most likely, the Karamzins' salon, in which, according to the unanimous reviews of contemporaries, a homely, patriarchal tone was adopted, which was alien to the "panache of speeches", and the Russian, "common" language for conversations, as evidenced by the notes of A. AND. Kosheleva ("these evenings were the only ones in St. Petersburg where they did not play cards and where they spoke Russian ...") 19 and poetic lines of E.P. Rostopchina:
They speak and think in Russian,
There hearts are imbued with a sense of homeland;
There ceremonial fashionable with its narrow chain
Does not choke, does not crowd ... 20
Pushkin's expression "in a truly noble living room" sounded like praise, 21 like a reflection of those best qualities that were inherent in the old Russian nobility: a sense of honor and dignity, noble noble pride, an honorary pedigree, adorned with the names of ancestors who became famous in the service of the Fatherland.
Disputes about the "literary aristocracy" continued after Pushkin's death. “Make peace with Shevyrev for the sake of his excellent article about the black side of our literature, which he published in the first book of The Moskvityanin for this year,” Prince P.A. Vyazemsky wrote to A.I. Turgenev in 1842. “Fyodorov read it to us the other day at the Karamzins' 22 . In this article, S.P. Shevyrev, in particular, argued that the best representatives of Russian literature "in idle apathy give way to the main roles of industrialists - and that's why our modern literature has become rich in money and bankrupt in thought" 23.
Here public opinion was formed
The problems of literature were the main, but not the only, subject of conversation in the Karamzins' salon. In addition to them, political and diplomatic issues were discussed, there were disputes on topical topics: “Literature, Russian and foreign, important events in our country and in Europe, especially the actions of the then great statesmen of England, Canning and Huskisson, most often made up the content of our lively conversations,” recalled about the atmosphere in the salon at the turn of the 1820-1830s. A.I. Koshelev 24 .
Interest in politics and diplomacy, characteristic of the Karamzin salon, does not allow it to be classified as a purely literary salon, the discussion of current political problems turned the salon into an important factor in the formation public opinion in the capital. According to Prince A.V. Meshchersky, "Karamzin's house was the only one in St. Petersburg, in the living room of which society gathered not for secular gossip and gossip, but exclusively for conversation and the exchange of thoughts" 25 . "Nobles, diplomats, writers, secular lions, artists - all met amicably on this common ground: here one could always find out the latest political news, hear an interesting discussion of the issue of the day or a book that had just appeared," 26 testified to A.F. Tyutchev.
What contributed to the attraction of the Karamzin salon among the intellectual elite of St. Petersburg society in the 1830s-1840s? "Where did that charm come from, thanks to which the guest, having crossed the threshold of the Karamzins' salon, felt freer and livelier, his thoughts became bolder, his conversation livelier and more witty" 27? The answer, most likely, lies in the sounded word "freedom". P.A. wrote about this. Pletnev Ya.K. Grotu: "In the society of the Karamzins there is something that is almost non-existent anywhere else: freedom, and consequently, life" 28 . Freedom from the narrow framework of high society rules and conventions, which the Karamzin salon gave its visitors, was especially acutely felt in the 30s and 40s. XIX century., No wonder A.S. Khomyakov called it "a green oasis" "among the ruinous sands" and "granite desert" 29 of Petersburg. In this salon, one could observe the following picture: "After tea, the youth played burners, and there they started dancing" 30 . According to A.I. Koshelev, evenings at the Karamzins' "refreshed and nourished our souls and minds, which was especially useful for us in the stuffy atmosphere of St. Petersburg at that time" 31 .
Tea with tarts - an indispensable ritual
In addition to freedom, Karamzin's salon was especially attractive due to its emphatically homely character: "they accepted it simply, as a family" 32 . The regulars of the salon had their own language, in a playful way reflecting the features home life Karamzins, for example, "the habit of calling pantaloons chronicles." The fact is that the old servant of the Karamzins, Luka, often sat "in the pose of a Turk" and cut his pantaloons, to which V.A. Zhukovsky came up with an anecdote: "Karamzin," said Zhukovsky, "saw something white and thought they were chronicles." After that, the youth of the Karamzin salon began to call pantaloons chronicles 33 .
The Karamzins changed their place of residence several times, but the atmosphere of their receptions remained unchanged: in the center of the living room there was an oval table with a large samovar, at which Katerina Andreevna or the daughter of the historiographer Sofya Nikolaevna poured tea for the guests and treated them to thin tarts of bread and butter - "and all the guests found that nothing could be tastier than tea, cream and tarts from the Karamzin salon" 34 . According to the poetic recognition of E.P. Rostopchina,
At the same time, the spectacle in our hearts comes to life,
At the round table, by the bright fire,
Cold winter, secular cold it will forget
And, touched, suddenly comprehends
The poetry of home life... 35
Most likely, the comfort of home attracted the young Pushkin to the Karamzins: "without family life, he was always looking for her from others, and he felt comfortable at the Karamzins' 36, wrote A.O. Smirnova-Rosset. Pushkin's tragedy 37 that Dantes was received and treated kindly by the Karamzins, about whom Sofya Nikolaevna wrote warm and sympathetic lines to her brother, but understanding of Pushkin's state and awareness of the catastrophe came only with the death of the poet.
After Pushkin's death, V.A. Zhukovsky was introduced by M.Yu. Lermontov, who became good friend Sofia Nikolaevna. "Sophie Karamzin is crazy about his talent" 38 - reported Ya.K. Grotu P.A. Pletnev. In the spring of 1840, before the second exile to the Caucasus, Lermontov wrote his famous poem "Clouds" ("Clouds of heaven, eternal wanderers!") in the Karamzin salon. The autograph of the poem has not been preserved, but there is a copy made by Sofya Nikolaevna 40 .
Sofya Nikolaevna, eldest daughter N.M. Karamzin from his first marriage to E.I. Protasova, set the tone in the Karamzins' salon. According to A.V. Meshchersky, "Sofya Nikolaevna was truly the driving force, guiding and enlivening the conversation, both in general and in private conversation. She had an amazing talent for welcoming everyone, seating and grouping guests according to their tastes and sympathies, finding forever new topics for conversation and showing the most lively and unconstrained participation in everything ... In this case, she resembled the famous Madame Recamier "41. In a similar way, the role of Sofya Nikolaevna and A.F. Tyutcheva: “Poor and dear Sophie, as I now see how she, like an industrious bee, flutters from one group of guests to another, connecting some, separating others, picking up a witty word, an anecdote, noting an elegant toilet ... entering into a conversation with some lonely lady, encouraging a shy and modest debutante, in a word, bringing the ability to get along in society to the degree of art and almost virtue "42.
As Yu.M. Lotman, “the picture described in Tyutcheva’s memoirs is so reminiscent of a scene from Tolstoy’s War and Peace that it is difficult to abandon the idea that Tyutcheva’s then-unpublished memoirs were available to Tolstoy. The emotional assessment in Tolstoy’s novel is directly opposite, but this is all the more emphasizes the similarity of the picture itself" 43 . This testified to the rebirth of the late Karamzins' salon into a "machine of faceless secular communication."
At the time of its heyday, the Karamzin salon was a remarkable phenomenon of Russian culture and socio-political thought. On the one hand, it was a significant fact in the history of Russian literature, associated with the names of A.S. Pushkin, M.Yu. Lermontova, N.V. Gogol and other representatives of the golden age of Russian culture, who read their works here. On the other hand, it is important for the history of social and political thought as one of the factors in the formation of public opinion in St. Petersburg. In both cases, the main thing seems to be that the Karamzins' salon created a special intellectual and emotional atmosphere of dialogue, a free exchange of thoughts and feelings, which is a necessary condition for any creativity.
Notes
1. Muravieva I.A. Salons of Pushkin's time: Essays on literary and secular life St. Petersburg. SPb., 2008. S. 7.
2. Vatsuro V.E. S.D.P. From the history of the literary life of Pushkin's time. M., 1989. S. 256.
3. Uvarov S.S. Literary memories // "Arzamas": Collection. In 2 books. Book 1. memoir evidence; On the eve of "Arzamas"; Arzamas documents. M., 1994. S. 41.
4. Vyazemsky P.A. Notebooks// Karamzin: Pro et contra. Comp. L.A. Sapchenko. SPb., 2006. S. 456.
5. Quoted. Quoted from: Aronson M.I. Mugs and salons // Aronson M., Racer S. Literary circles and salons. M., 2001. S. 67.
6. The Arzamas Society (1815-1818) united supporters of the Karamzin trend in literature.
7. Pushkin A.S. Karamzin // Collection. op. in 6 volumes. T. 6. M., 1969. S. 384.
8. For example, Karamzin spoke of N.I. Turgenev: "He is a terrible liberalist, but kind, although sometimes he looks askance at me, because I declared myself a non-liberalist" (Letters from N.M. Karamzin to I.I. Dmitriev. St. Petersburg, 1866, p. 253) .
9. Dmitriev M.A. Chapters from the memories of my life. M., 1998. S. 100.
10. Vyazemsky P.A. Notebooks (1813-1848). M., 1963. S. 24.
11. From my antiquity. Memories of Prince A.V. Meshchersky. 1841 // Russian archive. 1901. N 1. S. 101.
12. Smirnova A.O. Autobiographical notes // Smirnova-Rosset A.O. Diary. Memories. Ed. S.V. Zhytomyr. M., 1989. S. 192.
13. Memoirs of Count V.A. Sollogub // Literary salons and mugs. First half of the 19th century. M.-L., 1930. S. 214.
14. Tyutcheva A.F. Memories. At the court of two emperors. M., 2008. S. 18.
15. Panaev I.I. Literary memories // Aronson M., Racer S. Literary circles and salons. M., 2001. S. 206.
16. Lotman Yu.M. Alexander Sergeevich Pushkin. Biography of the writer // Lotman Yu.M. Pushkin. SPb., 1995. S. 134-136.
17. Vyazemsky P.A. An explanation of some modern literary questions. Article I. About the spirit of the parties; about the literary aristocracy // Vyazemsky P.A. Favorites / P.A. Vyazemsky. Comp., author intro. Art. and comment. P.V. Akulshin. M., 2010. S. 138-139.
18. Lotman Yu.M. A.S. Pushkin's novel "Eugene Onegin". Comment // Lotman Yu.M. Pushkin. SPb., 1995. S. 711; Izmailov N.V. Pushkin and the Karamzin family // Pushkin in the letters of the Karamzins 1836-1837. M.-L., 1960. S. 24-25.
19. Koshelev A.I. Notes // Aronson M., Racer S. Literary circles and salons. M., 2001. S. 209.
20. Rostopchina E.P. Where I feel good 1838 // Aronson M., Racer S. Literary circles and salons. M., 2001. S. 208.
21. Izmailov N.V. Pushkin and the Karamzin family...S. 25-26.
22. Op. Cited from: Aronson M., Racer S. Literary circles and salons. M., 2001. S. 214.
23. Ibid. S. 213.
24. Koshelev A.I. My memories of A.S. Khomyakov // Koshelev A.I. Selected writings/ A.I. Koshelev; Comp., authors intro. Art. and comment. P.V. Akulshin, V.A. Gornov. M., 2010. S. 324.
25. From my antiquity. Memories of Prince A.V. Meshchersky. 1841... S. 101.
26. Tyutcheva A.F. Memories. At the court of two emperors... P.19.
27. Ibid. P.19.
28. Correspondence of Ya.K. Grotto with P.A. Pletnev. T. 1. St. Petersburg, 1896. S. 647.
29. Khomyakov A.S. In the album S.N. Karamzina // Aronson M., Racer S. Literary circles and salons. M., 2001. S. 215.
30. Correspondence of Ya.K. Grotto with P.A. Pletnev. T. 1 ... S. 260.
31. Koshelev A.I. My memories of A.S. Khomyakov... S. 324.
32. From my antiquity. Memories of Prince A.V. Meshchersky. 1841... S. 101.
33. Smirnova A.O. Autobiographical notes ... S. 179.
34. Tyutcheva A.F. Memories. At the court of two emperors... S. 22.
35. Rostopchina E.P. Where I feel good ... S. 208.
36. Smirnova A.O. Autobiographical notes ... S. 179.
37. Muravieva I.A. Salons of Pushkin's time: Essays on the literary and social life of St. Petersburg. SPb., 2008. S. 359-360.
38. Correspondence of Ya.K. Grotto with P.A. Pletnev. T. 1. St. Petersburg, 1896. S. 158.
39. Izmailov N.V. Pushkin and the Karamzin family... S. 27.
40. Muravieva I.A. Salons of the Pushkin era ... S. 383.
41. From my antiquity. Memories of Prince A.V. Meshchersky. 1841...S. 102.
42. Tyutcheva A.F. Memories. At the court of two emperors... S. 19.
43. Lotman Yu.M. Culture and Explosion // Lotman Yu.M. Semiosphere. SPb., 2004. S. 96.
Delvig Batyushkov Zhukovsky Vyazemsky Küchelbeker Baratynsky Languages Davydov
Salon of Zinaida Volkonskaya 2
The House of Zinaida Volkonskaya The Moscow house on Tverskaya Street belonged to Princess ZA Volkonskaya in the early 19th century. Zinaida Volkonskaya inherited this house from her father, Prince Alexander Mikhailovich Beloselsky-Belozersky. He was a Muscovite, was friends with N.M. Karamzin and had the nickname "Moscow Apollo". Prince A.M. Beloselsky-Belozersky was one of the most educated people of his time. He wrote poetry in Russian and French, was fond of theater, and collected works of art. 3
Zinaida Volkonskaya Princess Zinaida Alexandrovna Volkonskaya (1792 - 1862) writer, daughter of Prince A. M. Beloselsky-Belozersky. Since 1808, she was a maid of honor, and soon married Prince Nikita Grigorievich Volkonsky, brother of the famous Decembrist Sergei Grigorievich Volkonsky. From 1813 to 1817, Zinaida Aleksandrovna lived abroad, rotating in the highest high-society salons. Upon returning to St. Petersburg, she took up literary activities. Since 1824 she lived in Moscow, on Tverskaya street, at 14. 4
Mondays at Volkonskaya The house of Zinaida Volkonskaya became the most famous salon, which was usually visited on Mondays by Pushkin, Zhukovsky, Vyazemsky, Odoevsky, Baratynsky, Venevitinov. The wives of the Decembrists, who decided to follow their husbands to Siberia, stayed in her house. In July 1826, Princess E.I. Trubetskaya was received here, and in December, Maria Nikolaevna, the wife of Sergei Volkonsky, the brother of her husband Zinaida Alexandrovna. 5
6 Batyushkov Konstantin Nikolaevich
7 Batyushkov K.N. K. N. Batyushkov was born on May 18, 1787 in a noble family. He was brought up in St. Petersburg, in private boarding schools, where he studied foreign languages well, thoroughly got acquainted with literature and began to write poetry himself. According to the memoirs of contemporaries, the appearance of Batyushkov exactly corresponded to the ideas of people at the beginning of the 19th century. about what a poet should be. Pale face, Blue eyes, thoughtful look. He recited poetry in a low, soft voice, inspiration shone in his eyes.
Batyushkov - the artist At the very end of 1809, Batyushkov arrived in Moscow and soon, thanks to his talent, bright mind and kind heart, he found good friends in the best areas of the then Moscow society. Of the local writers, he became closest to Vasily Lvovich Pushkin (Pushkin's uncle), V. A. Zhukovsky, P. A. Vyazemsky and N. M. Karamzin. 8
"My genius" Oh, the memory of the heart! You are stronger than the mind of sad memory And often with your sweetness you captivate me in a distant land. I remember the voice of sweet words, I remember blue eyes, I remember golden curls Carelessly curly hair. Of my incomparable shepherdess I remember all the simple attire, And the dear, unforgettable image, Wanders with me everywhere. Keeper, my genius - love In the joy of separation he is given; Will I fall asleep? - will stick to the headboard And sweeten the sad dream. 9
“Terrible thunder rumbles everywhere” Terrible thunder rumbles everywhere, The sea is swollen to the sky in mountains, The elements are furious in dispute, And the distant sun’s debt is extinguished, And the stars fall in rows. They are calm at the tables, They are calm. There is a pen, there is Paper and - all good! They do not see and do not hear And they all write with a goose pen! 10
“There is pleasure…” There is pleasure in the wildness of the forests, There is joy on the seashore, And there is harmony in this dialect of the ramparts, Crushing in the desert run. I love my neighbor, but you, Mother Nature, are dearest to my heart! With you, mistress, I used to Forget And what I was, how I was younger, And what I have now become under the cold of years. I come to life with you in feelings: Their soul does not know harmonious words to express, And I don’t know how to be silent about them. eleven
12 Vyazemsky Petr Andreevich
Prince Vyazemsky Descended from the ancient princely family of the Vyazemskys. Vyazemsky received an excellent education at home, in 1805-06. studied at the St. Petersburg Jesuit boarding school and boarding school at the Pedagogical Institute. Early began to try the pen. Pyotr Vyazemsky from an early age entered the environment of the Moscow writers of the Karamzin circle. 13
Poetic fame He became widely known in Russia as a poet in 1818-19. Vyazemsky quickly developed his own style of writing, which struck contemporaries with "Voltaire's sharpness and strength" (A.F. Voeikov) and at the same time evoked associations with a "live and witty girl" (K.N. Batyushkov). 14
"Black Eyes" Southern Stars! Black eyes! Alien lights in the sky! Do my eyes meet you In the cold, pale midnight sky? The constellation of the South! The heart is zenith! The heart, admiring you, Southern bliss, southern dreams Beats, languishes, boils. My heart is seized with secret delight, In your burning fire; Deaf tunes! There is no song in the heart, alas! The southern eyes of the northern maiden, Tender and passionate, like you! 15
"Evening Star" My evening star, My last love! On the darkened years, You shed a welcoming ray again! Among young, intemperate years We love the brilliance and ardor of fire; But half-joy, half-light Now is more comforting for me. 16
"Why are you, days?.." "Why are you, days?" - said the poet. And I'll ask: "What are you, nights for?" Oh, how I would hate sleep! But my treasure, on the shrine in it I would see an encroacher. A lucky man - a dream? He steals from him Hours of bliss, And on the fly, and without that He counts them so little. A lucky man's dream is a break with everything That the heart breathed with joy: Like a dead man, he is blind, deaf and dumb, It was as if his soul had never happened. Death is called eternal sleep, And in this place we are temporarily dead.
Baratynsky Evgeny Abramovich 18
19 Baratynsky E.A. “Reading Baratynsky’s poems, you cannot deny him your sympathy, because this person, feeling strongly, thought a lot, therefore, he lived, as not everyone can live,” V.G. wrote about Baratynsky. Belinsky.
Yevgeny Baratynsky Descended from the Polish noble family of the Boratynskys, who emigrated to Russia at the end of the 17th century. As a child, Baratynsky's uncle was the Italian Borghese, so the boy got acquainted with the Italian language early. He also spoke French, adopted in the Baratynskys' house. In 1808, Baratynsky was sent to a private German boarding school in St. Petersburg - there he learned German. From the German boarding school, Baratynsky moved to the Corps of Pages of His Imperial Majesty. 20
In 1819, Baratynsky entered the Life Guards Jaeger Regiment as a private. In St. Petersburg, he avoids old acquaintances, but finds new ones: here he meets Delvig. As a nobleman, Baratynsky had more freedom than simple lower ranks. Outside of service, he wore a tailcoat, he did not live in a common barracks. With Delvig, they rented a small apartment and together they composed a poem: Where the Semyonovsky regiment, in the fifth company, in a low house, The poet Boratynsky lived with Delvig, also a poet. They lived quietly, they paid little for the apartment, They owed money to the shop, they seldom dined at home... 21
Baratynsky retired on January 31, 1826, having moved to Moscow. In Moscow, Baratynsky met with a circle of Moscow writers Ivan Kireevsky, Nikolai Yazykov, Alexei Khomyakov, Sergei Sobolevsky. Baratynsky's fame as a poet began after the publication in 1826 of his poems "Eda" and "Feasts" and in 1827 the first collection of lyric poems 22
Delvig early began to write poetry, and already in 1814 they appeared in print, in the "Bulletin of Europe" ("On the capture of Paris" - signed Russian). He finished the course with the first graduation of the Lyceum, in 1817, and by the time of graduation he wrote the poem "Six Years", which was printed, set to music and repeatedly sung by lyceum students. He published his poems in the "Rossky Museum", "News of Literature", and almanacs of the 1820s. In 1825, Delvig married Sofya Mikhailovna Saltykova, and their house became one of the literary salons of St. Petersburg. 47
"Love" What is love? Incoherent dream. Clutch charms! And you, in the arms of dreams, That you publish a dull moan, That you doze off in a sweet rapture, Throw your hands behind a dream And leave the dream With a sick, heavy head. 48
"To friends" I rarely sang, but fun, friends! My soul spilled freely. O Royal Garden, shall I forget you? With your magical beauty, my naughty fantasy lived, And the string echoed with the string, Merging into a consonant ring at hand, - And you, friends, loved my voice. You songs as a gift from a rural poet! Love them for at least being mine. God knows where you will rush off in the noise of light All you, friends, all my joys! And, perhaps, the dreams of my Lilet There will be a torment of love for me; And the gift of a singer, only dear to you in the desert, Like a cornflower, does not bloom dull. 49
50 Zhukovsky Vasily Andreevich
Born on January 29 (February 9), 1783 in the village of Mishenskoye, Tula province. The illegitimate son of the landowner Afanasy Ivanovich Bunin and the captive Turkish woman Salkha (in baptism - Elizaveta Dementievna Turchaninova 51
To obtain the nobility, the child was fictitiously enlisted in the Astrakhan hussar regiment, receiving the rank of ensign, which gave the right to personal nobility. In 1797, 14-year-old Zhukovsky entered the Moscow University noble boarding school and studied there for four years. 52
In 1816, Zhukovsky became a reader under the Dowager Empress Maria Feodorovna. In 1817, he became a teacher of Russian to Princess Charlotte, the future Empress Alexandra Feodorovna, and in the autumn of 1826 he was appointed to the position of "mentor" to the heir to the throne, the future Emperor Alexander II 53
54 More than half of all written by Zhukovsky are translations. Zhukovsky opened to the Russian reader Goethe, Schiller, Byron, Walter Scott, Grimm, Jung and many others.
"Svetlana" Once on Epiphany evening The girls wondered: Out of the gate slipper, Taking off from his feet, threw; Weed the snow; under the window Listened; fed counting chicken grain; Burning wax was drowned; In a bowl of pure water They put a golden ring, Emerald earrings; They spread a white cloth And over the bowl they sang in harmony The songs are singed. The moon shines dimly In the dusk of fog - Silent and sad Dear Svetlana. "What, my friend, is the matter with you? Say a word; Listen to the circular song; Take out a ring for yourself. Sing, beauty: "Blacksmith, Forge me gold and a new crown, Forge a golden ring; I shall be married with that crown, Be engaged with that ring At the holy altar." 55
56 Yazykov Nikolai Mikhailovich
Biography Born into a landowner's family in Simbirsk. In the 12th year, he was sent to the Institute of Mining Engineers in St. Petersburg, and after completing the course, he entered the engineering corps; but not feeling a vocation for mathematics and being carried away by poetry, he decided, on the advice of the professor of literature at Dorpat University, the famous writer A.F. Voeikov, to transfer to this university (1820). In 1819 he made his debut in print 57
58 Yazykov N.M. From the very beginning of his poetic career, Languages was preparing for glory and triumphs. “The time will come when I will have many, many new things, and when my poems will be a hundred times more worthy...” “Only God bless me, and I will do miracles in the literary world ... everything will go uphill for me, time will dance according to my tune ...” In letters to his native Languages, he is completely focused on his talents and successes in the present and future.
59 Yazykov N.M. Yazykov's love of freedom is also a property of nature. Yazykov was close here not to the tradition of Byron, who created the first freedom-loving character in European literature, but to Denis Davydov. Davydov and Yazykov - this is their originality - do not draw a general romantic type of "exceptional" personality, but a "national character", fanned by the romance of daring and strong passions. Yazykov did this consciously and stubbornly. All properties of "nature" are presented in his poems as properties of the Russian national character.
DV Davydov Life is a happy minion, You deserve two wreaths; To know, Suvorov rightly Crossed your chest: He was not mistaken in a child, You grew up and flew, Full of all grace, Under the banner of the Russian rati, Proud and joyful and bold. Your chest burns with stars, You heroically got them In hot battles with enemies, In fatal battles; Warrior, famously young, You were still under the Swede And on Finnish granites Your steed with sonorous hooves Glitter and clatter lifted up. 60
61 Davydov Denis Vasilyevich
D.Davydov Representative of the old noble family of the Davydovs. Born in the family of brigadier Vasily Denisovich Davydov, who served under the command of A. V. Suvorov, in Moscow. In 1801, Davydov entered the service in the guards cavalry regiment, located in St. Petersburg. In September 1802, Davydov was promoted to cornet, in November 1803 - to lieutenant. At the same time, he began to write poetry and fables, and in fables he began to ridicule the first persons of the state very caustically. 62
63 Davydov D.V. Davydov created only about fifteen "hussar" songs and messages. The volume of his work is generally small, but the trace he left in Russian poetry is indelible. Davydov's manner has always remained exceptional due to its straightforwardness.
"Don't Awaken..." 64
"I Love You" 65
The salon is closed! See you again! 66
67 Poets of Pushkin's time With their creative work contributed to the development of national literature. They improved versification, introduced many new themes - social, historical, personal -, brought poetry closer to the people. But their main merit is that they sensitively responded to the needs and interests of their people, promoted the ideas of patriotism, and advocated for the rights and dignity of man. And their poems are close to us today by the sincerity of their feelings.
“Only a very enlightened woman can run a salon”
\ Prince P.A. Vyazemsky \
"And a provincial novice
The hostess was not embarrassed by arrogance:
She was the same for everyone.
Effortless and sweet"
\ A.S. Pushkin \
Pushkin's time ... This is now what we call the 20-30s of the 19th century ... And then the golden age of Russian literature was just beginning ... And it was in demand all the way national history... The era of reforms and enlightenment has borne fruit: a narrow layer of highly educated people has appeared ... And among them are amazing women ...
Today we will remember them - those who were muses and the first listeners... Thanks to whom the future great men of Russian literature could gather under one roof...
Reindeer House
Fontanka, 101... This house survived the centuries unchanged. In it, at the director of the Public Library Alexei Olenin, the young Poet began to receive immediately after graduating from the Lyceum. The owner himself designed the title page of the first edition of Ruslan and Lyudmila. Here Pushkin first met Zhukovsky and Gnedich, Krylov and Batyushkov.
It was the center of noble culture, where "opinions were formed on questions of literature and art." Literary salons met the needs of mutual communication, exchange of opinions ... They knew how to have fun there (unlike our virtual)))))).
In the summer, the meetings took place in the country estate of Priyutino. It is now well restored: the house has been preserved, and even the oaks planted by Olenin in memory of his sons ...
After exile in 1827, Pushkin returned to St. Petersburg. This time in Anna Olenina's album he left the following dedication:
"A confession of love frightens you,
You will tear the letter of love,
But a poetic message
With a gentle smile you will read ... "
Then there will be many others, more serious, with the hope of a reciprocal feeling ... And, finally, the last: “I loved you ...”
Salon of the Karamzins
Contemporaries recognized Karamzin's wife, Ekaterina Andreevna, as one of the most prominent women of the era. “Possessing her feelings, her mind, she shone with perfection,” Pushkin sang about her in poetry. After the death of her husband in 1826, she completed and published the last (12th) volume of The History of the Russian State, continuing to expand Karamzin's literary merits. Later, Salon was helped to keep the daughters of the historiographer - Sophia and Ekaterina.
Salon Karamzins mentioned in the sketches for " Eugene Onegin»,
“In the living room, truly noble,
The panache of speeches was alienated
. . . . . . . . . . . .. . . . .
Mistress secular and free
The common syllable was adopted ... "
This was the circle where they communicated in their native language and where ladies also took part in the discussion of new literature. Pushkin visited here with Natalie. Before last days The poet idolized Ekaterina Andreevna.
Voeikov and Ponomareva
Pushkin did not manage to attend these St. Petersburg Salons - he was serving a southern exile. But his lyceum and literary friends were their regulars. These mistresses were very different characters and never met each other.
Alexandra Voeikova - Zhukovsky's niece (the ballad "Svetlana" is dedicated to her) - a gentle sublime creature, a painter and a musician ... Her mansion was located next to the Anichkov Bridge. Yevgeny Boratynsky wrote about her: "... And with you, the soul is full of sacred silence." K. Ryleev dedicated the poem "Rogneda" to her. She was the muse of I. Kozlov and N. Yazykov. And she herself was fond of the poems of the young Pushkin, writing them down in her album.
Sofia Ponomareva... Cheerful, groovy and flirtatious. She composed poetry, knew 4 languages, selected music. With the consent of her husband, she created the Salon "S.D.P." - "The estate of friends of enlightenment", where Masonic rituals were performed and playful nicknames were assigned. Everything revolved around the owner. And all ... former lyceum students: M. Yakovlev, Kyukhlya and madly in love A. Illichevsky and A. Delvig. It is believed that the famous poem is also dedicated to her: "Love's days are short,\ But I can't see her cold...\"
Sonechka died on the threshold of her 30th birthday, leaving a bright mark on the souls of many poets...
"Princess nocturne"
In the late evenings, the windows in the mansion of Princess Evdokia Golitsyna on Millionnaya Street, near the Winter Palace shone brightly ... Guests gathered here in carriages, and among them 18-year-old Pushkin. He met the mistress of the Karamzins. The whole atmosphere of the palace was something mysterious ... Starting with the fact that the princess received only at night. Not very happy in her personal life, she prioritized spiritual communication at the highest level.
A rare beauty and a true patriot of Russia immediately captivated the Poet. In the same year, he dedicated a wonderful verse to Golitsyna (one of my favorites):
"The edges of strangers inexperienced lover
. . . . . . . . . . . . . . .. .
I said: in my own country
Where is the true mind, where is the genius we will find?
Where is a woman - not with a cold beauty,
But with fiery, captivating, lively?
. . . . . . . . . . . . . . . . . . . . ..
I almost hated the fatherland -
But yesterday I saw Golitsyna
And reconciled with my fatherland.
The literary tastes of the "Princess of the Night" were very progressive: all her closest friends were in "Arzamas" ... The poet visited Golitsyna every day, and in 1818 he sent her Ode "Liberty" - with a dedication.
From his first exile in May 1820, he writes Al. Turgenev:
“Away from the fireplace, Prince. Golitsyna will freeze under the sky of Italy ... And in 1823, already from Odessa: "What does the poetic, unforgettable, constitutional, anti-Polish, heavenly princess Golitsyna do?" (The princess was indignant that Poland was given a constitution, but Russia was not).
Returning to St. Petersburg, Pushkin most often visits Delvig.
Among their
On Saturdays, a circle of writers gathered at V.A. Zhukovsky - not far from the Nikolsky Cathedral, and on Wednesdays and Sundays - at the Delvigs, near the Vladimir Church (the house was defended in the 90s of the 20th century). Anton had already published "Northern Flowers" and was happily married to Sofya Saltykova. Pushkin, Kuchelbecker, A. Bestuzhev, K. Ryleev and others tumbled here.
While visiting a friend, the Poet often saw Anna Kern (she lived either with the Delvigs or with Pushkin's sister - at the other end of the same Kuznechny Lane), but now they were connected only by friendship. In 1828, Pushkin read "Poltava" here... In 1830, Delvig began publishing Literaturnaya Gazeta, but in January of the following year his life was cut short. Alexander could not find a place for himself from grief.
"Beauties of the Ages"
So the brilliant women of that time were called Bella Akhmadulina. The first in this series, without a doubt, Zinaida Volkonskaya ... Refined, romantic and gifted with talents:
singers, musicians, writers, and most importantly: the ability to support any conversation.
She opened her famous Salon in Moscow, on Tverskaya. We all remember the picture, which captures the moment of the meeting there between Pushkin and Mickiewicz...
"Queen of muses and beauty,
You hold with a gentle hand
Magic scepter of inspiration..."
This is an offering from Pushkin. But most of the poems were dedicated to her by the enamored Dmitry Venevitinov, who died early. The salon brought together D. Davydov and P. Chaadaev, Khomyakov and Zagoskin and other Moscow writers. It was in it that Pushkin presented "Boris Godunov" and recent chapters"Eugene Onegin" ... Living later in Rome, the Princess hosted Zhukovsky and Gogol, encouraged Russian artists, created the "Patriotic Conversation" society.
The granddaughter of Kutuzov, Countess Ficquelmont, also kept the high-society Salon ... As the wife of the Austrian ambassador, she lived in Saltykov's house - near the Summer Garden. Pushkin most often visited here in the 30s. These walls were the first to hear his new creations... In a letter from Moscow, the Poet is distressed that "he has been removed from the salon." Calls the countess "the most brilliant of noble ladies." And she regrets that "God made her saltier" - she dreams of a simpler life.
In 1832, after her marriage in St. Petersburg on Liteiny, the Salon was opened by a good friend of Pushkin and Gogol, the independent and original Alexandra Rosset.
She was fond of all kinds of arts and philosophy ... Let us recall the famous lines of the Poet about her:
"... And how kind the child was,
Laughed at the absurd crowd,
I judged sanely and lightly,
And the blackest jokes of anger
She wrote straight out."
Her friends called her "Donna Sol". This is what Vyazemsky emphasized in the verse:
"You are Donna Sol, sometimes Donna Pepper!
. . . . . . . . . .
Oh Donna Sahar! Donna Honey!"
After the death of Pushkin in the same year at the Karamzins, Smirnova-Rosset met Lermontov, who dedicated beautiful poems to her:
"I can't occupy your mind...
All this would be funny
If only it wasn't so sad..."
She loved Russian poetry selflessly. And after the death of two great poets, she continued to serve her faithfully ... Zhukovsky called her "Dearest of the darlings, smart of the smart, adorable of the adorable." She even captivated Gogol, Belinsky and Aksakov - only later.
End of an era
In the middle of the 19th century, the Salons gradually "came to naught" ... along with Russian poetry. A well-known connoisseur of light, Prince Pyotr Vyazemsky, noted: "That type of woman has disappeared. This ruler, this queen of secular sociability is no more."
Sosnovskaya Natalya Nikolaevna, Deputy Director for Science and Museum Activities;
Sebina Elena Nikolaevna, teacher of the Russian language and literature of the classical Orthodox gymnasium "Radonezh";
Cheltsov Kirill Yuryevich, teacher of the history of the classical Orthodox gymnasium "Radonezh";
Zhdanova Elena Viktorovna, methodologist for museum and educational work.
Methodological support:
Irina Valerievna Gusenko.
Age range of the lesson:
The studied elements of the content of education:
The golden age of Russian poetry, N. Karamzin "History of the Russian State", salon culture of the first half of the 19th century, prototypes of the heroes of the novel "Eugene Onegin"; personalities: Alexander Pushkin, Nikolai Karamzin, Pyotr Vyazemsky, Evgeny Boratynsky, Dmitry Venevitinov, Sergei Sobolevsky.
For the lesson you need:
a camera or mobile phone for photographing museum objects, printed worksheets, tablets for schoolchildren, pens.
Location of the lesson:
State Museum-Cultural Center "Integration" named after N. A. Ostrovsky. The exposition of the museum, the first hall "The Salon of Princess Z. A. Volkonskaya, or "The Theater of the Age of Aristocrats"".
Address: st. Tverskaya, 14.
Website:
Memorable dates:
Lesson format:
lesson with elements of search and research activities.
Image gallery:
Free lesson description:
The exposition of the museum created the atmosphere of a salon of the first third of the 19th century. Schoolchildren will become guests of the salon, where on the announced day, without a special invitation, a group of people gather to talk, exchange opinions, and play music. Fragments of the novel by A. S. Pushkin "Eugene Onegin", items "with history", a game of charades will allow you to beat a special interest in the history of Russia in the salon of Princess Zinaida Volkonskaya.
The result of the lesson will be a presentation using photographs taken by schoolchildren on their own while completing assignments for the exposition.
On November 10 and 11, students of the 6th and 6th grades of school No. 1 became guests of the literary and musical lounge "Salons of the Pushkin era" .
An employee of the city library named after E.R. Dashkova Irina Karpova told the children about most interesting phenomenon Russian cultural life of the first half of the 19th century - secular salons.
With the help of a media presentation, music and poetry, it was possible to create an atmosphere that inspired the great writers, poets, artists and musicians of the Pushkin era.
Schoolchildren "visited" the living rooms of Zinaida Volkonskaya, Anton Delvig and Ekaterina Karamzina. We learned how these salons attracted Pushkin, Zhukovsky, Baratynsky, Gogol, Glinka and other people gifted with various talents. We “saw” them in a relaxed, friendly and creative atmosphere, discerned new, significant touches in already familiar portraits.
At the end of the event, the children were asked to share their impressions. One of the comments I would like to quote: 
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