Aksakov, Sergey Timofeevich. Aksakov Sergey Timofeevich - a brief biography "Scarlet flower" and other works for children

The famous Russian writer-Slavophil Sergey Timofeevich Aksakov (born in Ufa on September 20, 1791, died on April 30, 1859) came from an old nobleman. Under the influence of the mother, a woman, by that time, very educated, Sergey Aksakov, from an early age, reread everything available to him, what could be taken in Ufa, then he was given to the Kazan gymnasium, where, by the way, the teaching was interrupted for a year due to the boyguank at home. In 1805, Sergey was translated into a newly founded Kazan University (up to 1808). The success of his teachings was hampered, by the way, the hobbies of Aksakov hunting all sorts (grazing wolves and foxes, rifle hunting, cool fish and fishing fishing) and addiction to the theater. The first attracted him with nature, the second - took his mind theatrical affairs and at the then state of the theater fascinated on the false road "sublime" literature. Acquaintance S. Shishkov Sergey Timofeevich Aksakova sent to the path of the Slavomism, who prepared and subsequent Slavophilism.

From 1812, Aksakov settled in Moscow, leaving the service, and came up with a circle of Moscow theatrons, under the influence of which translated Buoy, Moliere and Lagarpa and hotly stood for the old, pompous direction of literature (fierce controversy with N. Polevoy). In 1820, Aksakov married Ol. Sem Patch and left for the Zavolzhskaya Votchin of his father, the village of Znamensky or Novo-Aksakovo, in 1826 finally moved to Moscow, where he entered the Cancer Committee. In 1834 - 1839, Aksakov served in the Mezhdia School (later Konstantinovsky Meeting Institute) first by the inspector, then director. In 1837 Sergey Timofeevich received a large inheritance from his father, which allowed him to live in a private person widely and hospitably. Aksakov possessed a strong, healthy and strong physique, but from the middle of the 1840s. started silent (eyes); In recent years, the disease has taken a painful nature.

Portrait of Sergey Timofeevich Aksakov. Artist I. Kramskaya, 1878

The literary activities of Aksakov began early. In 1806, he started with A. Panayev and the "Journal of our classes", where she spent the ideas of Shishkov. Such were the artistic tendencies of Aksakov until the beginning of the 1830s, when under the influence of his son, Konstantin Sergeevich Aksakov, Pavlova, Pusher and Nadepida The tastes of Sergey Timofeevich take another direction. Acquaintance and intimacy with Gogol (from 1832) had a decisive effect on the fracture in the views of Aksakov. The first fruit of his essay "Buran" (Almanac "Dennica" Maximovich 1834). The essay had a great success, and Aksakov had no longer condensed from the path to which Gogol was pushed. "Notes on fishing" (1847), "Stories and memories of the hunter" (1855) created the glory of Aksakov amazingly a solid and clear attitude towards nature, the design of the syllable and descriptions, and the success of the "Family Chronicle", started in 1840 and the finished In 1856 (passages in the Moscow Collection of 1846, without the author) surpassed all the hopes of the author. Critica both Western and Slavophilic, set Sergey Aksakov near Homer, Shakespeare, V. Scott; But the first (Dobrolyubov) took the dark picture of the despotism of the Russian landowner life from the "Family Chronicle", the second - (hamsters) argued that the Aksakov had a first to look at our lives from a positive point of view. In fact, Sergey Timofeevich painted portraits of people close to him in spirit and blood. "The Children's Years of Bagrov-Grandson" (1858) is weaker, because the author does not apply to such love for the subject of his image and only tries to be direct. Their success was less than "literary and theatrical memories." The last story "Natasha" (Sister of Sister Aksakov for the famous professor of Kartashevsky) remained unfinished.

Perhaps it would be difficult to find another example of the value of theoretical views for artistic creativity than that represents the wonderful and instructive history of the literary activities of Aksakov. Ideas of false classicism, mixed with even more walked ideas of the literary Slavs Schishkov's Slavs, positively dead the artistic granaries of Sergey Timofeevich Aksakova, but the influence of Gogol, who freed him from all rhetorical stilt and destroyed his former literary understanding, awakened long-haired forces already aged when It was more likely to expect their weakening.

Childhood and youth

Sergey Timofeevich Aksakov was born in 1791 in Ufa in the family of the prosecutor of the Zemskiy court Timothy Stepanovich Aksakov (1762-1836 / 1837). Timofey Stepanovich, a leaving of a poor, although an old kind, was married to Mary Nikolaevna Kevkom (1769-1833) - the daughter of the Comrade of the Governor General of the Ufa governorship. Maria Nikolaevna, a smart and powerful woman, who grew up among the highest officials and received a good education, in this time, in his youth conducted a correspondence with the liberal enlightener Nikolai Ivanovich Novikov.

Daughter of a typical "enlightened official" of the eighteenth century<…> Received an advanced education based on moralistic piety and russian sensitivity, and on the same basis built upbringing his son. He grew up in an atmosphere of enormous love and care, he was never rude or harsh. Its sensitivity and intellectual susceptibility developed very early.

Sergey's childhood passed in Ufa and the childbirth of Novo-Aksakovo (Orenburg province). Big influence on his development was provided by the grandfather - Stepan Mikhailovich Aksakov, who dreamed of a grandson who will continue "Schimon's". D. Mirsky so characterizes Stepan Mikhailovich: "The inhabited and energetic landfill is one of the first to organize the settlement of serfs in the Bashkir steppes." From the father of Seryozha inherited love for nature; He also loved the book early, I read freely freely, and at five, Sumarokov and Heraskova recited, retells in fairy tales "thousands and one night."

In 1799, the boy entered the Kazan gymnasium, but Maria Nikolaevna, unable to keep parting with his son, soon took his back; This was also facilitated by the fact that the impressionable seryl, fallen sickness, became developed. Return to the gymnasium took place only in 1801. In 1804, the senior grades of the gymnasium were transformed into the first course of the Kazan University, Aksakov turned out to be one of his students and continued his studies in Him until 1807. During the years of study, Aksakov collaborated in the student handwritten journals "Arkadian Cowrs" (editor Alexander Panayev) and the "Journal of our classes" (where the Aksakov himself was one of the dedicators). In these magazines, his first poetic experiments were posted in sentimental style. Soon he has already experienced the passionate sentimentalism, Aksakov met "the argument about the old and new syllable of the Russian language" A. S. Shishkov, becoming a commitment to his literary and linguistic theory (in the article "Literary Encyclopedia" about the Aksakov itself called "literary testing"), which, However, it practically did not affect his own literary style. Since 1806, Sergey has been in the "society of lovers of domestic literature" at the university; He also became the organizer of the student theater that set, in particular, the play, one of the co-authors of which he himself. Subsequently, the memories of the children's years, along with family legends, was based on Aksakov.

Early period of literary activities

In 1807, Sergey Aksakov, who graduated from the University of 15 and a half years, moved to Moscow, and from there in 1808 - to St. Petersburg, enrolling the translator to the Commission to compile laws. Later he was transferred to the expedition of state income. Aksakov combined the official work with the classroom and declaration. In trying to improve their declamatorship art, he closely came down with the actor tragedy Yakov Shusherin, and also got acquainted with Derzhavin and Shishkov. All Troim he will later devote biographical essays. In 1811, Aksakov moved from St. Petersburg to Moscow, where Shusherin introduced him to the writers S. N. Glinka, N. I. Ilyin, F. F. Kokoshkin, N. P. Nikolev and N. M. Shatrov. Later to the circle of Moscow dating, Aksakov will join the writers of Shakhovskaya, Zagoskin and Pisarev.

Most of the Aksakov articles of the late 1820s and the beginning of the 30s were published under pseudonyms or without signature, which was associated with its simultaneous service in the censorship. It is not known exactly how many reviews and theoretical publications on the theater theatrical topics came out from under his pen. Thus, some historians of literature believe that Aksakov is the author of the reviews of the reviews in "Molve" in 1833-1835, signed by the initials of P. Sh. This attribution is made, in particular, on the basis of the letter N. I. Nerdadin E. V. Sukhovo Mobylina, which states that one of the articles under the pseudonym P. Shv. He was written by the "father Aksakov" (noteworthy, however, that the Aksakov himself attributed the authorship of the publications under this pseudonym is Nadezhdin).

Simple on the form of the article Aksakov are mainly devoted to the game of actors and the correspondence of its style content. However, the scecement science analysis in Articles Aksakov was not limited to the analysis of the acting game: as he wrote one of his opponents, "[H] and the authors, nor translators, nor artists, nor even the scenery avoid his unintentional court." A lot of attention of Aksakov pays to the fight with stamps and outdated stage manner, the declamination of the Narasphev, demanding from theatrical works of "elegant simplicity" and "Naturalness". According to Aksakov-Criticism, the scenic abilities of the actor should be subordinated to the art of expressing characters, and the character language is to comply with its nature. Biogran S. Mashinsky emphasizes in connection with this that Aksakov, who has not yet formed by the 30th year as a realist writer, as a theatrical criticism from the very beginning stood on the position of support for realism.

Literary critics

An important place in the biography of Aksakov as a literary criticism is occupied by his relationship with the publisher of the magazine "Moscow Telegraph" Nikolai Polevoy. Aksakov, in the 1820s and 30s, ideologically adjusted to conservative literary circles (ideologists of which were M. A. Dmitriev and A. I. Pisarev), and the liberal-romantic field was represented in Russian literature and journalism two opposing camps. In 1829, when the field was elected a member of the society of lovers of Russian literature, Aksakov demonstratively left his ranks. Nevertheless, he, as a rule, avoided active participation in this struggle, therefore only a few of its publications, directed against the "Moscow Telegraph": "Reply to Anticritics Mr. V. U." (1829), "Answer Mr. N. Polevoy" (1829) "Talk about the soon yield of Tom" History of the Russian People "" (1830).

As part of the controversy with the Moscow Telegraph, the letter of Aksakova "On the value of Pushkin's poetry" was published and published in 1830 in the Moscow Bulletin. Field, in general, the progressive person for the modern Russia, nevertheless it turned out to be unable to assess the realism of Pushkin's creativity, and his magazine joined the etch of the poet headed by reaction critics. Polymiting from this point of view, asks in 1830 wrote about Pushkin as a great artist, which has "such a dignity, which has not yet had a single Russian poet-poem." He highly appreciated the ability of Pushkin to delve into the subtleties of human psychology and its pictorial talent. When the Roman Faddey Bulgarine "Ivan Lyszhijn" was published in 1829, Aksakov joined his critics, among whom were I. V. Kireevsky and M. P. Pogodin. The Aksakov article, published in the "Aterene" under the pseudonym "Eastom of Romanov", was conceptual in nature, representing the reader the then aesthetic position of Aksakov and his views on the genre of the novel.

In 1830, Aksakov article "On the merits of Prince Shakhovsky in Dramatic Literature" were published in the Moscow Bulletin, "Yury Miloslavsky, or Russians in 1612." These two works by Aksakov themselves were subsequently evaluated as characteristic of his work and were included in the collection of 1858 "Different Works of S. Aksakov". His last work in the field of literary criticism was published in "Molve" in 1857 a note "On the Roman Yu Zhadovskaya" aside from the Big Light ".

Aksakov - Director of the Meeting Institute

After dismissal from the Censored Committee of Aksakov, for some time I tried to earn a living with cooperation in the press (in particular, in "Molve"), but soon I was forced to look for opportunities to return to the service again. The estate and theatrical criticism could not give enough income to the life of a large family. Vladimir Panayev's proposal to climb him at the minister the place manager of the office of theaters in St. Petersburg Aksakov, nevertheless, rejected, not wanting to leave Moscow to the beginning of Prince Gagarin - director of the imperial theaters.

After a long hassle in October 1833, Aksakov managed to take the position of the inspector in the Konstantinovsky Survey School. During his work, he did a lot to develop this school, having prepared his full reorganization. His work was crowned with success, and in May 1835 by the Decree of the Emperor, the School was transformed into, and the Aksakov himself was appointed his director.

To this period, Aksakov includes the rapprochement of it with V. G. Belinsky. Shortly before that, they introduced them to the son of Aksakov Konstantin, who participated together with the future critic in the circle of N. V. Stankevich. Aksakov supported Belinsky financially, in 1837 Sergey Timofeevich promoted the publication of his "grounds of Russian grammar", and in 1838 he provided him as a teacher of the Russian language in the Meeting Institute. Although Aksakov was headed by this institution, the appointment of Belinsky was associated with significant troubles, since he did not have a formal right to teach in the absence of a university diploma. As a result, Belinsky occupied this position for only a few months and quit, deciding to fully focus its activities in the field of journalism. They retained friendly relations with Aksakov, although later found themselves in opposing ideological camps.

After the publication, "Buran" received high evaluations of critics. It is noteworthy in this regard a laudatory note in the "Moscow Telegraph" of the field, who did not suspect that the author of the essay is his ideological opponent of Aksakov. The description of Burana rated himself and Pushkin himself - S. Moskinsky points to the similarity of the paintings of the blizzard from Aksakov and in the second chapter of the "Captain daughter" Pushkin, written later. Twenty years later, the Lion Tolstoy in his story will turn to the experience of Aksakovsky Description of Burana. This noted the Aksakov himself in his letter to I. S. Turgenev:

"Notes" about fishing and hunting

In the late 1830s, a new period of life Aksakov begins. He fired from civil service, becoming, as he dreamed, "a free person" and almost completely focused on the conduct of economic and family affairs. After the death of his father Timofeya Stepanovich in 1837, he inherited rather large estates - several thousand tents of the Earth and 850 serfs - and in 1843 he acquired the Abramtsevo dam in 50 and versts from Moscow. In the early 1840s, however, he began to worsen his health - at first one eye began to weaken, then the second, and, in the end, he lost his ability to write independently, dictating instead his writings of his daughter faith.

In the 40s, indigenous changes are subject to the subject of Creativity Aksakov. He began writing a "family chronicle", and in 1845 I caught fire with a new idea - to write a book about fishing. Working on the book, in the form of the selection of essays of the experienced fisherman, ended in 1846, and the next year she saw the light called "Notes on Cool". Critics accepted a book with unanimous approval, in 1854 it came out as "notes about fishing tense" its second edition, recycled and substantially complemented, and another two years - the third lifetime edition; After death - the 4th edition.

Positive feedback Critics inspired Aksakov in 1849 to begin in the continuation of "notes about fishing" a new book - this time about the hunt. The book called the "Notes of the Ruge Hunter of the Orenburg province" was printed after a three-year work, in 1852. According to her style, she resembled the previous one - each chapter was a finished essay. This book also quickly became popular, its entire circulation was instantly sold out. "Notes of a rifle hunter" received enthusiastic reviews of critics. Gogol wrote Aksakov, which would like to see the heroes of the second volume of the "dead souls" as alive as his birds. He erected Turgenev, wrote: "We still have no such book." Chernyshevsky's feedback was both:

Aksakov's books about fishing and hunting distinguished from numerous manuals of his time on these topics a high artistic level of text. Each chapter of the book was essentially an essay - a finished literary product about any element of equipment, the form of fish or birds. These essays included poetic descriptions of nature, accurate and memorable descriptions of fish and bird chants. In these books, Aksakov reader has already attracted the characteristic style of the narrative - intimate, full of personal memories, but at the same time deprived of idle contemplative enthusiasm, deliberate brightness and contrast, discreet and "daubful".

However, preparations for the second edition of the "Notes of the Ruge Hunter" in 1853 suddenly stumbled upon countering censorship, and his publication cost Aksakov was worth a considerable effort. At the same time, the petition of Aksakov in the Moscow Cancer Committee was also rejected on the publication of the annual almanac - "Hunting Collection", whose idea he came in the process of working on this book. The cause of obstacles to the censorship was the worsening attitude of the Aksakov family with the authorities. At the March meeting of the Cancer Committee, where the fate of the "hunting collection" was decided to publish the second volume of the Moscow Collection, which Ivan Aksakov prepared for the publication; Son Sergey Timofeevich The censorship committee deprived "the right to be the editor of any publication", and a number of materials of the collection, including the "passage from the memoirs of youth" Aksakov, the older, was recognized as "reprehensible." In the process of consideration of the Aksakov projects to Sergey Timofeevich, attention was again attracted by the III branch, which was engaged in his case in 1830, and the recommendation on the final ban on the publication of the "hunting collection" gave in September 1853, he was already personally chief III of the Dubelt branch.

While the Cancer Committee considered the Hunting Almanac program, Aksakov managed to write a significant number of essays and small stories about different types of hunting. After refusing to publish the almanac, he formed a collection of "stories and memories of a hunter about different hunting", published in 1855 and stylistically completed the so-called "hunting trilogy". Aksakov, a dedicated hunting amateur, developed this topic and later, almost to the very death. In periodic printing, such essays appeared as "an explanatory note to" Sokolniki path "" (1855), "comments and observations of a hunter to take mushrooms" (1856), "a few words about the early spring and late autumn cock" (1858) and Others.

Memian autobiographical trilogy

Separate episodes of Aksakov's memoirs were published in periodic press as writing. Already in 1846, a small episode was printed in 1846 in the Moscow Literary and Scientist of the Collection. In 1854, the first excerpt of the "Family Chronicle" was published in Moskvatian, followed by the fourth (in 1856 in the "Russian conversation") and the fifth (in 1856 in the Russian Bulletin). In the same 1856, under one cover with the first three passages of the "Family Chronicles", "Memories" were published, in the future, which became a separate, third, book trilogy. The second edition, also published in 1856, included the remaining two disbasion of the "Family Chronicles", thus acquired their final appearance.

The preparation of the "Family Chronicles" to the publication again led to friction with censorship, which was particularly touched by passages "Stepan Mikhailovich Bagrov" and Mikhail Maksimovich Kurolesov. However, more censorship of Aksakov feared the reaction of relatives and neighbors, many of whom were still alive and did not want a public publicity of family secrets and any non-resident pages of the past. To avoid quarrels of Aksaks in the "Family Chronicle", many real names and geographical names changed, and in the prefaces to the first and second editions emphasized that there is nothing in common between "family chronicles" and "memories". This precaution, however, was unsuccessful: after the release of a book in the light of criticism quickly installed all the real prototypes of the characters "Family Chronicle". The fear of gap with relatives also led to the fact that Aksakov did not complete the writing the behavior of Natasha, where he wanted to withdraw his younger sister as the main heroine.

"Family Chronicle", introducing a reader with a wide picture of the provincial landlord life, in its final form includes five "passages", the first of which tells about the life of the Bagrov family (for the name of which Aksakov themselves is derived) after moving from the Symbirian province to Ufa governance, the second He tells about the history of the marriage of Praskovya Ivanovna Baghrov, and further outlines the history of marriage and the first years of the family life of the author's parents. Although the common tone of the narrative in the "Family Chronicle", as well as in her "Children's Bagrova-grandson", smooth and calm, deprived of the indictment pathos, including in the descriptions of landlord self-employment and the lives of serfdom, thanks to writing honesty and objectivity Aksakov Progressive critics (including Dobrolyzov and Shchedrin) saw in these books deniming evidence against the fortress building.

The events described in the "memories" cover the period from 1801 to 1807 - the study of Aksakov in Kazan gymnasium and university. If the "Family Chronicle" is mainly based on family legends and stories of close Aksakov, then "memories" - the work of the autobiographical, almost completely built on the impressions of childhood and adolescence of the author. In this book, a family topic is pushed back to the background of new plot lines associated with the mature of the main character.

After the end of the "Family Chronicle", Aksakov wrote A. I. Panayev: "This is the last act of my life." But his best work was still ahead. From 1854 to 1856, work on the "children's years of Bagrova-grandson" continued. In the process of working on this work Aksakov wrote:

These dreams of the author were embodied in the "Children's years Bagrova-grandson." The book, unlike the "Family Chronicles", was practically not published in parts, going into the world entirely in 1858; Only a small passage was placed in periodic printing a year before. Chronologically the plot of "orphanage" fills the lacunation between the events of the "Family Chronicles" and "Memories", describing the life of Aksakov from 1794 to 1801. "The Children's Years of Bagrova-grandson", in detail showing the change in the spiritual world of the hero as they grow up, they earned a reputation as one of the best artistic works on the development of the child. As an application, Aksakov posted a fairy tale "Scarlet flower. (Tale of the keystone Pelagia). " In the future, this fairy tale, which is the next literary processing of the plot about the beauty and the monster, went to print several times separately, becoming the most published work of Aksakov.

The memoir-biographical trilogy of Aksakov took an important place in the history of Russian literature. She received an enthusiastic reception and from readers, and from critics. The latter noted the novelty of the form of components of the trilogy of works and their role in the future development of genre prose in Russia. Aksakova, along with Gogol and Turgenev, led the Lion Tolstoy in one of the options of the preface to the "war and the world" as an illustration that the Russian artistic thought finds new forms for himself without putting in the traditional framework of the novel. The established descriptive-memoir style was reflected even on Aksakov's correspondence. For example, his letter to V. I. Disober is essentially memories of another famous memoist D. B. Doyago

Aksakov and Gogol

During the confrontation between Slavophiles, to which the Aksakov, and the progressive literary camp, which, in particular, represented Belinsky, between two former friends was the struggle for influence on Gogol. Gogol's death became shocking for Aksakov; Soon he posted a letter to the friends of Gogol (1852) and "a few words about Gogol's biography" (1853), calling for marginal caution in the publication of materials about his life. Aksakov and himself almost immediately began to memoirs about Gogol, but later this work stalled, resumed only after he got acquainted with the "notes about the life of N. V. Gogol" P. A. Kulisha. Memories of Gogol Aksakov wrote the whole balance of life and never managed to bring this job to the end. The written part of the memoirs covers a period of dating from 1832 to 1842. It complements the correspondence of the father and children of Aksakov with Gogol in subsequent years with small comments from Sergei Timofeevich. Excerpts of these materials P. A. Kulish used in his later works, but completely "the history of my acquaintance with Gogol" saw the light only in 1890.

In the memoirs about Gogol, as in the work on the autobiographical trilogy, Aksakov had to take into account censorship and the possible rejection of contemporaries - he mentioned in the preface to them. The most difficult for him was the description of relations with Gogol during the period when he worked on "selected places from correspondence with friends." But despite these difficulties and the need to reckon with a censorship and public opinion, "the history of my acquaintance with Gogol" became one of the most important sources for future biographers and the exemplary work of Russian memoir literature. Although conservative criticism opposed the works of Aksakov "negative views on life", the sample of which was the works of Gogol, Chernyshevsky and Dobrolyubs rejected and this is an imaginary confrontation and generally claim the reactionary camp at Aksakov.

Other prosaic works

The work on the memoir and biographical trilogy inspired Aksakov, which crystallized the idea of \u200b\u200ba new large-scale memoir work, covering now the period of his life in the 1820s and the 30s. I did not have time to realize this work in the life of Aksakov, but during the work on it was created a number of memoir essays. In 1852, the "Memories of M. N. Zagoskin", "Biography M. N. Zagoskin" and "Acquaintance with Derzhavin" were written, in 1854 - Yakov Emelyanovich Shusherin and modern theatrical celebrities ", and in 1856 - "Memories of Alexandra Semenovich Shishkov".

In 1856-1858, Aksakov worked on "literary and theatrical memories", which thematically had to continue memoir essays about G. R. Dervin, Ya. E. Shusherin and A. S. Shishkov. This book was published by parts in the "Russian conversation", and in 1858 it was included in the collection "Different Works S. T. Aksakov". Criticism, including N. A. Dobrolyubov, perceived these memoirs without delight. Aksakov was accused of subjectivity and advocacy towards youth friends.

By 1858, it is written by Aksakov for the Brother's Charitable Collection in favor of the Students of the University of Kazan, the story "Collecting butterflies". Themed, this story adjoins his university memories and saw the light after the death of the author. Four months before the death of Aksakov, "Sketch of the Winter Day" dictated. The "meeting with martinists", printed in 1859 in the Russian conversation, was the last magnificently published work.

Aksakov "Saturdays"

Aksakov occupies a special place in the history of Russian culture not only due to its wonderful literary creativity. Abramtsevsky House Aksakov for many decades was the center of attraction for a large circle of writers, journalists, scientists and theatrical figures.

In the 20s - 30s, M. S. Schepkin, M. N. Zagoskin, M. P. Pogodin, A. A. Shakhovskaya, A. N. Verst, were collected regularly on Saturdays in his house. a lot others.

Gradually, this circle began to be replenished by his children Konstantin and Ivan Slavophila: A. S. Khomyakov, I. V. Kireevsky, Yu. F. Samarin. For decades, Aksakov's house became one of the most important places where Slavophilov moved and developed.

After Aksakov was acquired by Abramtsevo's imbey, frequent visitors were taken there: N. V. Gogol, I. S. Turgenev, S. P. Shevyrev and many, many others.

Sergey Timofeevich Aksakov himself, his wife Olga Semenovna and children Konstantin Sergeevich, Ivan Sergeevich, Vera Sergeyevna Aksakov created and supported in their home, both atmosphere of hospitality and high level of intellectual discussions.

Main editions

• Complete essay collected in 6 volumes. St. Petersburg, ed. Martynova, 1886.
• Full collected works in 9 vol. SPb., Kopeyka, 1914
• Complete essays in 3 volumes. St. Petersburg, ed. Mertz, 1909.
• Collected Works. T. I-Vi. M., ed. Kartseva, 1895-1896
• Collected Works in 6 volumes. SPb., Enlightenment, 1909-1910
• Collected Works in 4 volumes. M., Goslitizdat, 1955-1956
• Collected Works in 5 volumes. M., True, 1966
• Collected Works in 3 volumes. M., Fiction, 1986

A family

In 1816, Aksakov married Olga Semenovna Patch (1793-1878), the daughter of the Suvorov General S. G. Patten and the prisoner Turkish Agel-Sum. Four sons and seven daughters were born in marriage:

Pediatnik S. T. Aksakova, Alexander Nikolaevich (1832-1903), received international fame as a spirit and medium.

Memory about Aksakov

• There are several museums S. T. Aksakov (see the Aksakov Museum).
• In addition to the Abramtsevo Museum near Moscow, the memory of the writer was immortalized in the village of Novo-Aksakovo, where in 1998 the museum exposition was opened in a newly rebuilt building of the Aksakov estate. In Ufa, there is a house-museum S. T. Aksakova.
• In his honor, one of the parks of Ufa is named.
• The name Aksakov is assigned to the streets of Ufa, Kaliningrad, Orenburg, Sterlitamak, Beloretsk, Kumertau, Nizhny Novgorod, Irkutsk, Meleuz, October and other settlements.
• The name of Aksakova from 1959 to 1994 was wary of Philippovsky alley in the center of Moscow.
• The Pushkin Theater is the performance of the "Scarlet Flower" on the work of S. T. Aksakova. The formulation is included in the book of Records of Russia as "the longest walking children's performance."
• Sanatorium. S. T. Aksakova in the village of Aksakovo (Bashkiria).
• The name of Sergei Aksakova in 2012 is called a crater on Mercury.
• Aksakovsky Historical and Cultural Center "Nadedino" was opened in the village of Nadezhdino Belebean District of the Republic of Bashkortostan. The center includes the Dmitrievsky Temple and the Manor House of Aksakov, in which the Museum of the Aksakov family has been created.
• Aksakovsky People's House (-, the largest in the Urals, Architect P. P. Rudavsky, is completed -). The building is located Bashkir State Opera and Ballet Theater (inaccessible link).

Picture gallery in Balakovo presents "Portrait of a writer S.T. Aksakova »Brushes of the famous artist V.G. Perov.

Sergey Timofeevich Aksakov (1791-1859) - one of the hedlemen of the Russian autobiographical prose, the author of the tales "Scarlet flower", the beloved children of many generations. The leaving of the poor noble family, he became a writer quite late. Prior to that, he changed several professional fields, combining the official work with the literature: was a translator, inspector and censor, was engaged in theatrical criticism. In 1843 acquired the estate of Abramtsevo near Moscow, where his numerous and friendly family moved for the summer, often extinguished in winter. Aksakova had 10 children who were reading "sweat" and loved the mother who upgraded their devotion to the family and public temperament. According to contemporaries, his house was "a bright, heating focus, where all the gifted figures were flocked." Here were writers N.V. Gogol, I.S. Turgenev, critic V.G. Belinsky, famous actor M.S. Shchepkin and many others.

In 1840-1850, Aksakov wrote "Memoirs in the form of a novel", where with "warm objectivity" recreated the cute heart of the images and events of the distant past. By poetizing the life of the local nobility, Aksakov reflected a reliable life material, modestly calling itself the "transmitter" of events: "I can only write standing on the soil of reality, going for the thread of a true event." Especially loved critics and readers of the "Children's Years of Bagrova-grandson", which became along with the trilogy L.N. Tolstoy one of the best works of memoir prose, in the center of which is a hero-child.

According to the noble culture, Aksakov existed a family portrait gallery, including, mainly the work of unknown artists of the late XVIII - early XIX centuries, as well as the granddaughter of the writer Vera Sergeyevna, who was painting. From the early portraits of Aksakov, only two watercolor drawings of the 1830s have been preserved. In family albums among Abramtsevsky landscapes and memorable records, the writer is depicted in the household charts: sitting in a home cap with his wife on a sofa, on another sheet - in a chair with a low shovel visor who protect sick eyes. Among them is a portrait of a writer at the table, drawn by the granddaughter of deer.

Poet F.I. Tyutchev, who visited Aksakov in 1857, describes it: "This is a pretty old man, despite the strange look, probably due to a long gray beard closing the chest, and alongside, making it similar on the old retired deacon." The patriarchalness of the lifefriend of the family, a love attitude towards the Russian village, the peasant life created in the house of the Aksakov atmosphere of the "family" Slavophilms, while the writer called himself a man, "alien to all exceptional directions." His son Konstantin was one of the ideologues of this doctrine, and Ivan came to the Slavic Committee, whose members at the turn of the 1860-1870s were also the brothers of the Tretyakov. It is at this time that P.M. Tretyakov, who conceived the gallery of the "best people," ordered portraits of cultural figures close to comprehension. Vasily Grigorievich Perov (1833-1882) was one of the first artists, to whom the famous collector addressed to create portraits of "persons dear nation." Among them are dominated by the writers, the role of which in determining the moral landmarks of society was unusually large.

The widespread viewer of the artist is known, first of all, the works of a topical sound - "rural procession on Easter" (1861, GTG), "Tea drinking in Mytishchi" (1861, GTG), Troika (1866, GTG) and others. At the turn of the 1860-1870s, the plots were replaced by paintings, filled with everyday joys "Russian people who peacefully living at different angles of Russia" (V.V. Stasov). His heroes were awaited by fish, told hunting bikes, caught birds, drove pigeons. In these, at first glance, unratasious, sometimes the anecdical images of Perov showed the nuances of the emotional state of a person who experienced the moments of unity with nature.

The shift towards the positive phenomena of life in the work of the artist was expressed not only in changing the pole of genre works, but also in the appearance of interest in the portrait genre. For the Tretyakov Gallery Perov were written portraits of writer F.M. Dostoevsky, Dramaturgorga A.N. Ostrovsky, Poet A.N. Majkova, compiler of an intelligent dictionary of the Russian language V.I. Daly and others. They carried the characteristic features of a moving portrait: the multi-faceted psychological characteristics, the wealth of the spiritual appearance of a person, the complexity of character, the depth of thought.

Creating a picturesque image of S.T. Aksakova, Perov relied on the photographic portrait of 1856, made in Atelier A. Bergner in Moscow. In the second half of the XIX century, the photo had a rather serious effect on the visual arts. Artists often used it to create picturesque works. The contradictory attitude to a new image of the image paradoxically expressed F.M. Dostoevsky: "Photographic pictures are extremely rarely similar, and this is understandable: the original itself, that is, each of us is extremely rarely similar to itself."

In this case, Perov used a photo forced - S.T. Aksakova in 1872 was no longer alive. The artist masterfully conveyed external similarity: soft features, a calm look of light gray eyes, but the impossibility of the author's personal contact with the model did not give deep penetration into the psychology of the depicted. The neutrality of the image, the lack of emotional promise, apparently, did not satisfy the customer, and the portrait did not find the place among the best peroving portraits of Russian writers. A few years later, Tretyakov instructed I.N. Kramsky: "Aksakov was an artist in the soul, passionately loved nature, literature, music, theater; Preserved before old age love for all this; He loved and knew how to use everything that the world of God gives us, to use without harm to the neighbor ... ".

In 1901, the portrait was donated to the meeting of the Radishvsky Museum of the Museum of the artist E.E. Pern.

Sergey Aksakov - Russian writer, poet, critic. "Scarlet flower" is a fairy tale known to all since childhood. The biography of Aksakov is studied at school casual. This writer takes a very modest place in the general education program. Most of his works are familiar only by literary waters. Who was the creator of the "Scarlet Flower"? What artistic works he wrote, besides the famous fairy tale? The biography of Aksakov Sergey Timofeevich is the topic of the article.

early years

The future writer was born at the end of the eighteenth century, in Ufa. His father was a prosecutor. The mother took place from the old nobleman, whose representatives in the eighteenth century were completely officials and people of advanced looks. The biography of Sergey Aksakov began in an atmosphere of love and attention. Books he loved since childhood. Sergey declared poems and retell the fairy tales, four years already read freely and, moreover, possessed amazing observation. In a word, he had every chance of becoming an outstanding writer.

Gymnasium

Sergey Aksakov's biography contains severe years of illness. With the mother in adolescence, he could be infreed. At the nine-year-old, the boy was sent to the gymnasium, but soon returned to his home. The fact is that the writer since childhood suffered from epilepsy. The mother did not want to be separated for a long time with his son, and the attacks of Paduchi from Sergey finally strengthened it in a decision to translate him to a home education.

Two years later, Aksakov still returned to the gymnasium. There was this institution in Kazan and later reformed to the university. Here, the future writer subsequently continued his studies.

Loveman literature

To write in his student years began Sergey Aksakov. His biography testifies to the pursuit of writing that manifested at a young age. He wrote essays and notes for the student newspaper. During the years of study, began to compose poems. The early works of Aksenov were created under the influence of sentimental poets. The hero of today's narration was almost sixteen, when he joined the Society of Literature Lovers and took part in the organization of the student theater.

Aksakov's brief biography is set out in this article. The same, who is interested in the theme of the life and creativity of the Russian writer, it is worth reading one of his books. The biography of Aksakov is not better set out in the "Family Chronicle", the work on which the author began in rather mature age.

Start of creativity

After graduating from the university, he went to Moscow. A year later - to St. Petersburg. There have been a familiarity with the famous writers of Aksaki, the writer of Aksakov. Biography is a genre that always interested him. Therefore, many of their comrades the writer devoted essays. So, from under the pen, Aksakov came out the lives of the actor Yakova Shusherin and the poet Gabriel Derzhavin, which was famous in the nineteenth century.

During the war years

In 1811, the writer came to Moscow, but a year later, for obvious reasons, he was forced to leave the capital. More than fifteen years Sergey Aksakov spent in the Orenburg province. He visited the capital only by the departures. During this period, Aksakov seriously carried away by the translation of classical prose. I was interested in it as modern literature and antique. Aksakov translated the tragedy of sofokla, a few works of Moliere and buoy.

A family

The wife of the writer Aksakova was Olga Semenovna Patten - the daughter of General who served under the leadership of Suvorov. A year after the wedding, the firstborn Konstantin appeared. There were ten children in this marriage. Some of them went at the footsteps of the Father and became outstanding literary critics. Aksakov with his family lived for several years in the village under Orenburg. But he failed to conduct an independently economy. And because Aksakov moved to Moscow. Here the writer entered the civil service.

Again in the capital

In Moscow, Aksakov took the position of censor, but was soon fired. In the thirties, an event occurred, which had a negative impact on the fate of the writer. In the Moscow Bulletin, the essay was published, the content of which caused the negative emotor emotions. In this regard, the investigation. Arrested the censor who missed Faken. The danger hung over the chief editor of the magazine. Suddenly, the author of a dangerous essay appeared to the police. And it was no one else like Sergey Aksakov. A criminal case was instituted for the writer, and only dating with high-ranking officials was removed from his arrest.

Subsequent years, the writer experienced serious material difficulties. For a long time he could not return to the service. Wine everything was that ill-fated feuethon. When Aksakov was restored in the position of censor, new problems began.

The writer supervised the magazine "Moscow Telegraph" and other publications. In some of them, he was listed, as they would say, a freelance officer would say. In order to avoid accusations in binding, he published most of the essays under the pseudonym.

Theatre

At the beginning of the twenties, the nineteenth century, of course, there was such a concept as "literary criticism." As for theatrical art, there could not be anything about any assessment. The actors playing the scene of the imperial theaters were "in the service of His Majesty", and therefore their work could not be criticized.

In the middle of the twenties, there was some weakening of censorship, after which there were relatively bold articles dedicated to news in the world in periodicals from time to time. Aksakov became one of the first theatrical observers in Moscow. Most of his articles were still published under the pseudonym. Therefore, today it is not known how many reviews and essays belong to Peru of the Russian writer.

Gogol.

This writer Aksakov devoted one of his books. Meeting with Gogol occurred in 1832. This event has become a turning point in the biography of Sergei Aksakov. He admired the talent of Gogol, but soon there was a disorder between them. It is known that the writing of the poem "Dead Souls" led to the fact that Russian critics were divided into two camps, one of which belonged to Belinsky. The second part of this work, who missed today, caused a stormy controversy in literary circles. Mostly, Gogol's contemporaries reacted negatively. Perhaps this is the cause of the label between the author of the "Dead Souls" and Aksakov.

When after the death of Gogol, the hero of this article wrote about him in his autobiographical trilogy, he had to take into account censorship and the possible rejection of contemporaries. Despite this, the book "The history of my acquaintance with Gogol" became the most important source for biographers and a model of Russian memoir prose.

Late works of Aksakov tell about nature, hunting and fishing. The main thoughts of the creativity of this writer are the healing force of nature, the morality of the patriarchal lifestyle. The writer left life aged 67 years. In May 1859, the biography of Aksakov ended in Moscow.

"Scarlet flower" and other works for children

The most famous books created by Aksakov for young readers:

1. "The Children's Years of Bagrova grandson."
2. "Notes of the Ruge Hunter of the Orenburg province."
3. "The Scarlet Flower"

"The Children's Years of Bagrova-grandson" entered the autobiographical trilogy. This work according to the genre can be attributed to the educational novel. What is this book about?

The main character is a painful and impressionable boy. Mother undertakes all sorts of steps in order to heal her son from severe ailment. But when the boy's health is growing, falls and she. Doctors suspect CHAKHOTKU. Sergey is sent to the generic estate where he is happy to be loyal. Books gives him a neighbor anichkov.

When the mother recovers, the father acquires a huge land plot under Ufa from Bashkir. Here Seryozha holds an unforgettable summer. Together with his relative, he hunts on quail, catches butterflies.

This work, according to the author himself, is his childhood story. "Children's Years" are deprived of artistic fiction. They contain only actually existing faces. The author changed the names, since his relatives objected to the publicity of the shadow side of family life.

Other books

The article describes the description of significant periods in the work of such an outstanding prose as Sergey Timofeevich Aksakov. Biography for children is based on the data on the early period of the famous personality. Young readers are of little interest, with which of the Russian critics of Aksakov drove friendship, for which he hardly went to prison and what position was occupied. As for adults, they are to learn more about the personality of the Russian classic, it is worth reading the following autobiographical works:

1. "Literary and theatrical memories."
2. "Family Chronicle".

Other works of Aksakov: "Collecting butterflies", "Marfa and Avgar", "Woman-Lunatic", "My Story of My Dating with Gogol", "New Paris".