Alexey Plescheyev: Biography. Years of life poet Plescheev

Alexey Nikolayevich Plescheev (1825 - 1893) - Russian poet, writer, translator, critic. The works of Plescheyev entered the advantages of Russian poetry, prose, children's literature and became the basis of about a hundred romances of Russian composers.

Childhood and youth

Alexey Plescheev came from the noble family, which by the time of the birth of the future poet in 1825 he was depleted. The boy, being the only son of his parents, was born in Kostroma and held his childhood in Nizhny Novgorod. Initial education received at home, knew three languages.

In 1843, Plescheev enters the University of St. Petersburg at the Faculty of Eastern Languages. In St. Petersburg, there is a circle of its communication: Dostoevsky, Goncharov, Saltykov-Shchedrin, brothers of Mikikov. By 1845, the acquaintance of Plescheyev to a circle of Petrashevtsev who profess the ideas of socialism.

The first collection of poet poems came out in 1846 and was permeated with revolutionary aspirations. Published in it verse "Forward! Without fear and doubts, "youth perceived as" Russian Marselase ". The poems of the early period of the early period are the first Russian response to the events of the French revolution, some of them were banned by censorship before the beginning of the twentieth century.

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A Petrashevsky circle, whose active participant was Plescheyev, was covered by the police in the spring of 1849. Plescheev and other members of the circle were concluded in the Peter and Paul Fortress. The result of the investigation was the death sentence for 21 of 23 prisoners, involving the execution.

On December 22, the execution of execution took place, at the last moment of which the imperial decree was read about the pardon and the reference of the convicts. Plescheyev was sent as an ordinary to South Ural, near Orenburg. The poet's military service lasted 7 years, the first years he didn't write anything.

For courage shown during the Turkestan campaigns and the siege of Ak-Mosque, Plescheev was raised in the rank and resigned. In 1859, he returned to Moscow, and from 1872 he lived in St. Petersburg.

Creativity after reference

The second collection of poet poems was published in 1858 with the words of Heine "I could not sing ...". Upon returning to Moscow, Plescheev actively collaborated with the magazine "Contemporary", published poems in various publications of Moscow. By this time refers to prose. Created a story ("Inheritance", "Father and Daughter", "Pashintsev", "Two Careers", etc.).

In 1859-66 Plescheev joined the group of the leaders of the Moscow Bulletin, sending him towards liberalism. Many critics considered a bold political act of the Publications of Plescheyev and autobiography T. Shevchenko, with whom the poet met in the link. The politicized was both poetic creativity, for example, the poem "Moluba", "honest people, dear thorns ...", "to youth", "false teachers" and others.

In the 1960s, Plescheev flows into a depressive state. Its comrades go, magazines are closed, where he printed. The names of the poems created during this period are eloquently talk about the change of the inner state of the poet: "Without hopes and expectations," "I quietly went on the street deserted."

In 1872, Plescheev returned to Petersburg and headed the Magazine "Public Notes", and then "Northern Bulletin". Return to the circle of like-minded people contributed to a new creative impulse.

In the last years of life, the poet wrote a lot for children: collections "Snowdrop", "Grandfather Songs".

Peru Plescheyev belongs to the translations of poems and prose a number of foreign authors. Significant work of the poet in dramaturgia. His plays "Happy Chet", "No Huda without Good", "Commander" is successfully put in theaters.

Alexey Plescheyev died on September 26, 1893 in Paris, being there passing to Nice for treatment. Buried in Moscow.

And entered the St. Petersburg University on the category of Eastern languages. Here began to develop a circle of acquaintances Plescheyev: Rector of the University P. A. Plentnev, A. A. Kraevsky, Mikikova, F. M. Dostoevsky, I. A. Goncharov, D. V. Grigorovich, M. E. Saltykov-Shchedrin.

Gradually, Plescheyev had dating in literary circles (the established, mainly on the dating evenings in the house of A. Kraevsky). He sent his very first selection of poems of Plescheev, the Rector of the St. Petersburg University and the publisher of the contemporary magazine. In a letter Ya. K. Grota last wrote:

Have you seen in Contemporary Poems with signature A. P-V? I found out that this is our student another 1st year, Plescheev. He is visible talent. I called him to myself and looked at him. He goes along the Eastern Department, lives with his mother, who has the only son ...: 9

In the summer of 1845, Plescheev left the university due to the constrained material situation and dissatisfaction with the process itself. Coming out of the university, he dedicated himself exclusively literary activities, but did not leave hope for hope, it was noted to prepare the entire university course and hand out its external: 9. At the same time, he did not interrupt contacts with the participants of the circle; Petrashevtsy often met him at home; Plescheev was perceived as "a poet-wrestler, his Andre Shhenie."

In 1846, the first collection of poet poems was published, which included popular poems "at the call of friends" (1845), as well as "forward! without fear and doubt ... "(called" Russian Marselease ") and" By the feelings of the brothers we are with you "; Both poems became anthems of revolutionary youth. The slogans of the Plescheevsky hymn, subsequently lost the sharpness, for peers and like-minded people had a completely concrete content: "love teaching" was decrypted as the teaching of the French Socialists-utopian; "The Gerbal Service" meant call for public service, etc. N. G. Chernyshevsky later called the poem "Beautiful Anthem", N. A. Dobrolyubov described him as a "brave call, full of such faith in herself, faith in people, faith For better future. " The poem of Plescheyev had a wide public resonance: he was "began to perceive as a fighter poet."

Poems to the Virgin and the Moon ended forever. Another era comes: in the course of doubt and endless flour doubts, suffering from universal issues, bitter crying for the shortcomings and disasters of mankind, on the unpleasurness of society, complaints of a trifle of modern characters and solemn recognition of their insignificance and powerlessness, imbued with lyrical pathos to the truth ... The situation in which our poetry is with the death of Lermontov, Mr Svechev - Undoubtedly our poet at present ... He, as seen from his poems, took up the point of the poet by calling, he strongly sympathizes issues of his time, suffers from all the anesses of the century, painfully tormenting the imperfections of society ...

Plescheyev's poetry turned out to be in fact the first literary response in Russia for events in France. In many ways, it is why his creativity so appreciated Petrashevtsy, who made their direct goal of the transfer of revolutionary ideas on the domestic soil. Subsequently, Plescheev himself in a letter to A. P. Chekhov wrote:

The poem "New Year" ("Looks - Congratulations ..."), who came out with the "conspiracy" subtitle "Cantata from Italian" was a direct response to the French revolution. Written at the end of 1848, it could not deceive the vigilance of censorship and was published only in 1861: 240.

In the second half of the 1840s, Plescheev began to be published both as a prose: his stories "Rota fur coat. The story is not without morality "(1847)," Papiroska. True incident "(1848)," Protection. The History of Everything "(1848) was noticed by criticism, which discovered in them the influence of N. V. Gogol and attributed to the" Genuine School. " At the same years, the poet wrote the story "prank" (1848) and "Friendly Tips" (1849); In the second one, some motives dedicated to Plescheyev, F. M. Dostoevsky, were developed.

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In the winter of 1848-1849, Plescheev arranged the meetings of Petrashevtsev at home. They were F. M. Dostoevsky, M. M. Dostoevsky, S. F. Durov, A. I. Palm, N. A. Speshnev, A. P. Milyukov, N. A. Mombielli, N. Ya. Danilevsky (Future conservative author of the work "Russia and Europe"), P. I. Lamansky. Plescheev referred to a more moderate part of Petrashevtsev. He was left indifferent performances of other radical speakers, which the idea of \u200b\u200bpersonal god replaced the "truth in nature", rejected the institution of family and marriage and professing republicanism. He was alien to the extremes and his thoughts and feelings sought to harmonize. Forky passion for new socialist beliefs was not accompanied by a decisive refusal of its former faith and only merged the religion of socialism and the Christian doctrine of the truth and love of the neighbor in a single whole. No wonder with his epigraph to the poem "Sleep" he took the words of Lamenne: "The Earth is sad and desired, but it sees again. The breath of the evil will not be thrown over her as a scorching blow. " .

In 1849, being in Moscow (house number 44 on the 3rd Meshchanskaya Street, now Schepkin Street), Plescheev sent F. M. Dostoevsky copy of the letter of Belinsky to Gogol. Police intercepted the message. On April 8, according to the bonuse of the provocateur P. D. Antonelly, the poet was arrested in Moscow, he was sent to St. Petersburg in custody and spent eight months in the Peter and Paul Fortress. 21 people (from 23 convicts) were sentenced to execution; Among them was Plescheev.

"The rite of execution on the Semenov Place." Figure B. Pokrovsky, 1849

On December 22, together with the rest of the convicted Petrashevshev, A. Plesev was brought to Semenov Platz to a special scaffold of the civil execution. The stage was followed by F. Dostoevsky in detail in the novel "Idiot", after which the Decree of the Emperor Nicholas I was read, according to which the death penalty was replaced by various terms referenced to Katorga or in the artantic companies: 11. A. Pleshcheyev was first sentenced to four years of cortic, then transferred to Uralsk in Uralsk to a separate Orenburg Corps.

"Before leaving"
The poem of Plescheyev 1853, published with the dedication "L. Z. D., was addressed to the love of Zharvan Dundeville, the wife of Lieutenant Colonel Dandeville.
Spring again! Again a distant way!
In the soul of my alarming doubt;
Silver fear of my chest compresses:
Will it light up the exemption?
Whether God deviates to rest
Il fatal, destructive lead
Put all aspirations to the end?
The coming answer does not give ...
And I'm going, Compact Will Rock
Where my star is leading me.
In the desert edge, under the heavens of the East!
And just pray, so that I was remembered
A little to whom I loved here ...
Oh, believe me, you are the first of them ...
The poet sent him to the addressee before leaving to the operating army, at the storming of the Ak-Mosque fortress: 241.

In the winter of 1850, in Uralsk, Plescheev met with Sigismund Serekovsky and his circle; They met and subsequently, in ak-mosque, where both served. In the circle of Serekovsky Plescheyev, the same socio-political issues that worried him in St. Petersburg was again in the atmosphere of a tense discussion. "One exile supported the other. Higher happiness was staying in the circle of their comrades. After Mashtra, friendly interviews were collected. Letters from homeland, news brought by newspapers were the subject of infinite discussion. None lost the courage and hope for a return ... "," his participant of the BR said about the circle. Zalessky. Biographers clarified that the circle discussed "Questions related to the liberation of peasants and the endowment of their land, as well as the abolition of corporal punishment in the army."

Renewal of literary activities

Already in the years of the links, A. Plesev again resumed literary activities, although it was forced to have been forced to act. The poem of Plescheyev began to be printed in 1856 in the "Russian Bulletin" under the characteristic title: "Old songs on a new way." Plescheev of the 1840s was, according to the observation of M. L. Mikhailov, prone to romanticism; In poems of the reference period, romantic trends have survived, but criticism noted that the inner world of man became deeper, "dedicated himself to the struggle for popular happiness."

In 1857, a few more poems were published in the Russian Bulletin. For researchers of creativity, the poet remained unclear which of them were valid new, and which references treated for years. It was assumed that the translation of the city of Heine "Life Way" (at Plescheyev - "and laughter, and the songs and the sun shine! .."), printed in 1858, refers to the number of latter. The same line of "loyalty to ideals" continued the poem "in the steppe" ("but let my days are going without joy ..."). The expression of the general sentiments of Orenburg exile revolutionaries was a poem "after reading newspapers", the main idea of \u200b\u200bwhich is the condemnation of the Crimean War - was consonant with the sentiments of Polish and Ukrainian exiles.

A. N. Plesev, 1850s

In 1858, after an almost ten-year break, the second collection of Pleesheyev poems was released. Epigraph to Him, the words of Heine: "I could not sing ...", indirectly indicated that the poet was almost not engaged in creative activity. The poems dated 1849-1851 was not preserved at all, and the Svecheev himself in 1853 confessed that a long time to write. The main topic of the collection of 1858 was "pain for the enslaved homeland and faith in the right point of their case", the spiritual insight of a person who refuses from a thoughtless and contemplative attitude towards life. The collection was opened by the poem "Dedication", in many respects echoing with the poem "and laughter and songs and the sun shine! ..". Among those who sympathetically appreciated the second collection of Plescheyev, was N. A. Dobrolyubov. He pointed to the socio-historical conditionality of dying intonations of the circumstances of life, which "loosely molded the most noble and strong personalities ...". "In this regard, the same seal of the Gorky consciousness of his powerlessness for the fate, the same colors of the" painful longing and irreparable doom, followed by dusting, proud dreams of adolescence, was the same for the talent of Plescheyev.

At the end of the 1850s, A. Plesev turned to prose, first - to the genre of the story, then published several stakeholders, in particular, "inheritance" and "father and daughter" (both - 1857), partly autobiographical "budnery" (1858) , "Pashintsev" and "Two Careers" (both - 1859). The main target of Satreyev-Prosaika was pseudoliberal accusation and romantic epigalism, as well as the principles of "pure art" in the literature (the story "Literary Evening"). Dobrolyubov about the story of "Pashintsev" (printed in the "Russian Bulletin" 1859, No. 11 and 12) wrote: "The element of the public penetrates them constantly and it distinguishes from many colorless stories of the thirties and the fifties ... In the history of each hero, the Hangcheev, you see how He is associated with his environment, like this world about him over it with his requirements and relationships - in a word, you see the creature of public, and not solitary. "

"Moscow Bulletin"

In November 1859, Plescheev became a shareholder of the Moscow Bulletin newspaper, in which I. S. Turgenev, A. N. Ostrovsky, M. E. Saltykov-Shchedrin, I. I. Lazhchchnikov, L. N. Tolstoy and N. G. Chernyshevsky. Plescheev vigorously invited to the participation of Nekrasov and Dobrolyubov and led the struggle for the displacement of the political orientation of the newspaper sharply left. The task of the publication was determined as follows: "Every arms to the side. We must beat the serfs under the mask of Liberals. "

Publication in the "Moscow Bulletin" translated Sleshcheyev "Sleep" T. G. Shevchenko (published under the heading "Jince"), as well as the Poet's autobiography was many (in particular, Chernyshevsky and Dobrolyubov) are regarded as a brave political act. "Moscow Bulletin" under the leadership of Plescheyev became a political newspaper supporting the position of the "contemporary". In turn, the "contemporary" in the "notes of the new poet" (I. I. Panayev) positively assessed the direction of the newspaper Plescheyev, directly recommending his reader to pay attention to transfers from Shevchenko.

1860s

Cooperation with the "contemporary" continued until its very closure in 1866. The poet has repeatedly stated its unconditional sympathy of the Nekrasov magazine program, articles of Chernyshevsky and Dobrolyubov. "I never worked so much with such love, as at that time, when all my literary activities were given exclusively to that journal who was led by Nikolai Gavrilovich and the ideals of which were and forever remained my ideals," the poet later recalled.

In Moscow, Nekrasov, Turgenev, Tolstoy, A. F. Pisemsky, A. G. Rubinstein, P. I. Tchaikovsky, Actors of the Small Theater were in the House of Literary and Musical Evenings. Plescheev was a member and was elected the elder "artistic mug."

In 1861, Plescheev decided to create a new magazine, "Foreign Review", and proposed participation in him M. L. Mikhailov. A year later, with Saltykov, A. M. Unkovsky, A. F. Golovachev, A. I. Europe and B. I. Duck, he developed a project of the Russian True magazine, but in May 1862 received a refusal to resolve the magazine. At the same time there was an unfulfilled plan for the purchase of the "Century" newspaper.

The position of Plescheyev regarding the reforms of 1861 has changed over time. First, the news about them he took him with hope (evidence of this - the poem "worked poor you, a rest without knowing ..."). Already in 1860, the poet rethought his attitude towards the liberation of peasants - in many respects under the influence of Chernyshevsky and Dobrolyubov. In letters to E. I. Baranovsky Plescheev, I noticed: the "bureaucratic and plantative" party is ready to give a "poor man to sacrifice to the official robbery", renewing from the previous hopes that the man "will free from the heavy landlord."

Period of political activity

The poetic work of Plescheyev began the early 1860s was noted by the predominance of socio-political, citizen topics and motives. The poet tried to turn to a wide democratically configured audience; His poetic works appeared campaign notes. He finally stopped cooperation with the Russian Bulletin and personal communication with M. N. Katkov, moreover, it began to openly criticize the direction headed by the latter. "The damned questions of reality are the true content of poetry," said the poet in one of his critical articles, calling for politicization of publications in which he participated.

The poems characteristic in this sense were "Moluba" (a kind of reaction to the arrest of M. L. Mikhailov), dedicated to Nekrasov, the "New Year" poem, in which (as well as in "the heap of anger boiled ...") Liberals were criticized with their rhetoric. One of the central in the poetry of Plescheyev began the early 1860s the topic of a soldier citizen, a revolutionary feat. The poet in verses Plescheyev is not the former "prophet", suffering from a misunderstanding of the crowd, but the "warrior of the revolution". Direct political importance had a poem "Honest people expensive thorns ...", dedicated to the process of Chernyshevsky ("Let the wreaths of the wreaths of victorious ...").

The nature of the political speech had and printed in the "contemporary" in 1862, the poem "to adolescence" and "false teachers", related to the events of the fall of 1861, when the arrests of students were met by a complete indifference to the wide masses. From the letter of Plescheyev A. N. Sunetse, who was sent to the transfer of Nekrasov, the poem "to his youth" is that February 25, 1862, Shtcheyev read "to adolescence" on the literary party in favor of twenty students. The poet participated in the collection of money in favor of the affected students. In the poem "to adolescence", Plescheev called for students "not to retreat before the crowd, throwing stones ready." The poem "Families" was the answer to the lecture B. N. Chicherina, read on October 28, 1861 and aimed against the "Anarchy of the Umov" and "Brown rampant's thoughts" of students. In November 1861, Plescheev wrote A. P. Milyukov:

Did you read Chicherin's lecture in the Moscow Vedomosti? No matter how little students think of students who are truly often children, but agree that it is impossible not to regret the poor youth, condemned to listen to such a dery nonsense, such as soldiers' ports, common places and empty doctrine phrases! Is it a living word of science and truth? And this lecture applauded the companions of the honorable doctrine Babst, Kether, Shchepkin and Co.

In the reports of the secret police in these years, A. N. Plescheev still appeared as a "conspirator"; It was written that although Plescheev "behaves very secretly", he is still "suspected of spreading ideas disagree with the kinds of government": 14. There were some foundations for such suspicion.

Honest people, dear thorny
To the light running solid stop,
Will with iron, conscience pure
Are you afraid of human malice!
Let him not goss out wreaths to you victorious
Grief crushed, sleeping people, -
Your works will not die without a trace;
Good seed will give the fruit ...
The poem written in 1863 on the court over Chernyshevsky was not printed until 1905. Chernyshevsky, with whom Plescheyev connected the generality of views and personal friendship, noted the latter as a "writer whose activity is impeccurn and useful."

By the time A. N. Plesev moved to Moscow, the nearest comrades N. G. Chernyshevsky had already prepared the creation of the All-Russian secret revolutionary organization. Many friends of the poet: S. I. Serekovsky, M. L. Mikhailov, I. Stalevich, N. A. Solovievich, N. V. Shelgunov, took an active part in its preparation. For this reason, the police considered Plescheyev as a full participant in the secret organization. In the denunciation of Vsevolod Kostomarova, the poet was called the "conspirator"; It was he who was attributed to the creation of "letters to peasants", the famous proclamation of Chernyshevsky.

Literary activity in the 1860s

In 1860, two volumes of the "Tags and Stories" of Plescheyev were released; In 1861 and 1863, two more collections of Pleshcheev poems. Researchers noted that as the poet Plescheev joined the Nekrasov school; Against the backdrop of the public lift of the 1860s, he created socio-critical, protest-call verses ("On youth, youth, where are you?", "Oh, do not forget that you are a debtor," "boring picture!"). At the same time, by the nature of poetic creativity, he was close in the 1860s to N. P. Ogarev; The creativity of both poets was on the basis of common literary traditions, although it was noted that Plescheyev's poetry is more lyric. Among the contemporaries, the opinion was dominated by the opinion that Plescheyev remained a "man of forties", somewhat romantic and distracted. "Such a mental warehouse did not quite coincide with the character of new people, sober sixties who demanded cases and first of all the case": 13, "N. Bannikov noted, the biographer of the poet.

Researchers noted that he was hard to develop his own position in the new onescheev of the literary situation. "You need to say a new word, where is it?" He wrote Dostoevsky in 1862. Plescheev sympathetically perceived various, sometimes polar social and literary views: so, sharing some ideas of N. G. Chernyshevsky, at the same time supported Moscow Slavophilov, and the program "Time" magazine.

The literary earnings brought a poet a meager income, he led the existence of a "literary proletarian", as such people called (including himself) F. M. Dostoevsky. But, as the contemporaries noted, he had behaved independently, keeping the faithfulness of the "high humanistic Shiller's idealism learned in his youth": 101. As Yu. Zobnin wrote, "Pleshcheyev with a courageous simplicity of the prince-exile endured the permanent need of these years, juts with his numerous family in tiny apartment, but neither Iot did not go to his civil or literary conscience": 101.

Years of disappointment

In 1864, A. Pleneyev was forced to enter the service and received the venue of the Moscow Post Office of the Control Chamber. "Life still felt me. In my summer, fight as a fish about ice and wearing the Vitzmundier, to which he never was prepared, where as hard. ": 14, he complained two years later in a letter to Nekrasov.

There were other reasons that caused a sharp deterioration in the general mood of the poet by the end of the 1860s, the predominance of the feelings of bitterness and depression. The collapse has undergone its hopes for nationwide performances in response to reform; Many of his friends (Dobrolyubov, Shevchenko, Chernyshevsky, Mikhailov, Serno-Solovyovich, Shelgunov) died or were arrested. A severe blow to the poet was the death of his wife on December 3, 1864. After the closure in 1866, the magazines "Contemporary" and "Russian Word" (the magazines of the Dostoevsky "time" and "epoch" brothers) were still discontinued), Plescheyev was among the writers who practically lost the journal tribune. The main theme of his poems of this time was the exposition of betrayal and treason ("if you want, so that peacefully ...", "Apostaten-Marsch", "It's a pity, whose will die ...").

In the 1870s, the revolutionary moods in the work of Plescheyev acquired the character of reminiscence; Characteristic in this sense, considered one of the most significant poems in his work "I quietly walking down the street deserted ..." (1877), dedicated to the memory of V. G. Belinsky. It would seek the line under a long period of disappointment and wrecking the poem "without hopes and expectations ..." (1881), which was a direct response to the state of affairs in the country.

Plescheev in Petersburg

In 1868, N. A. Nekrasov, having become at the head of the journal "Petreaty Notes", invited Plescheyev to move to St. Petersburg and take the post of secretary of the editorial office. Here the poet immediately ended up in a friendly atmosphere, among like-minded people. After the death of Nekrasova, Plescheev took over the leadership of the poetic department and worked in the journal until 1884.

Creativity of the 1880s

With the relocation to the capital, the creative activity of Plescheyev resumed and did not stop almost until the death. In 1870-1880, the poet was mainly engaged in poetic translations from German, French, English and Slavic languages. As researchers noted, it was here that his poetic skill was mostly manifested.

D. S. Merezhkovsky - A. N. Plescheyev

For a new generation of Russian writers of the late XIX century, A. N. Plescheyev was the "living symbol of the knightly Russian literary freedomiff of immemorial pre-reform times": 101.

…You are dear to us, which is not one word,
But with all his soul, you have a poet
And in these sixty heavy, long years -
In the deaf exile, in battle, in labor is severe -
You have been warm in a clean flame everywhere.
But you know the poet who you are all more expensive
Who is the hot all hello to you?
You are the best friend for us, for Russian youth,
For those who called: "Forward, forward!"
His captivating, deep kindness,
As a Patriarch, in the family you united us, -
And so for what we love you all my soul,
And so for that now we raised a glass!

A. Plesev translated and artistic prose; Some works ("Beluto Paris" E. Zola, "Red and Black" Standal) were first published in his translation. The poet also translated scientific articles and monographs. In various magazines, Plescheev published numerous compilation work on Western European history and sociology ("Paul-Louis Courier, his life and writings", 1860; "Life and correspondence of Proudhon", 1873; "Life of Dickens", 1891), monographs on creativity Shakespeare, Standal, A. De Mussse. In his journalistic and literary and critical articles, in many ways following Belinsky, he promoted a democratic aesthetics, called for a search in the People's Heroes capable of self-sacrifice in the name of general happiness.

In 1887, a full assembly of poems A. N. Plesechev was published. The second edition, with some additions, was done after his death of his son, in 1894, later the "Tale and Stories" of Plescheyev were also published.

A. N. Plesev was actively interested in theatrical life, was close to theatrical environment, signs with A. N. Ostrovsky. At various times, he held the post of senior of the artistic mug and chairman of the Society of Scenic figures, actively participated in the activities of the Russian Dramatic Writers' Society and Opera Composers, often spoke with readings.

A. N. Plesev wrote 13 original plays. Mostly it was small in terms of volume and "entertaining" in the plot of lyric and satirical comedies from the provincial-landlord life. Theatrical performances on his dramatic works "Service" and "No Hud without Good" (both - 1860), "Happy Chet", "Commander" (both - 1862) "What often happens" and "brothers" (both - 1864), and others) walked in the leading theaters of the country. At the same years, he recycled for the Russian scene about thirty comedies of foreign playwrights.

Children's literature

An important place in the work of Plescheev of the last decade of his life was occupied by children's poetry and literature. Success had his collections "Snowdrop" (1878) and "Grandfather Songs" (1891). Some poems have become a textbook ("old man", "grandmother and granddaughters"). The poet was actively involved in the publishing case, it was in line with the development of children's literature. In 1861, in conjunction with F. N. Berg, he published a children-book-book collection, in 1873 (with N. A. Alexandrov) - a collection of works for children's reading "for a holiday". Also, thanks to the efforts of Plescheyev, seven school benefits were published under the general heading "geographical essays and paintings".

Researchers of Creativity Plesechev noted that for children's poems, Plescheyev is characterized by the desire for vitality and simplicity; They are filled with free colloquial intonations and real-image, while maintaining the general mood of social discontent ("I rose in the Mother in the hall ...", "boring picture", "beggars", "children", "native", "old men", "Spring "," Childhood "," Old man "," Grandmother and granddaughters ").

Romances on the poems of Plescheev

A. N. Plesev was characterized by specialists as a "poet with a smoothly broken, romance" poetic speech and one of the most "singing poets-lyrics of the second half of the XIX century." About a hundred romances and songs were written on his verses - both contemporaries and composers of the following generations, including N. A. Roman-Korsakov ("Night flew over the world"), M. P. Mussorgsky, Ts A. Kyui , A. T. Grechaninov, S. V. Rakhmaninov.

The poems and children's songs of Plescheev became a source of inspiration and for P. I. Tchaikovsky, who appreciated their "sincere lyrism and the immediacy, excitement and clarity of thought." The interest of Tchaikovsky to the poetry of Plescheyev was largely due to the fact of their personal acquaintance. They met at the end of the 1860s in Moscow in the artistic circle and had a good friendly relationship for life.

Tchaikovsky, who appealing to the poetry of Plescheyev in different periods of his creative life, wrote several romances to poet poets: in 1869 - "Not a word, about my friend ...", in 1872 - "Oh, Sleight the same song ...", in 1884 - "Only you are alone ...", in 1886 - "Oh, if you knew ..." And "we were shining the stars of meek ...". Fourteen Chaikov's songs from the "Sixteen Songs for Children" cycle (1883) were created on poems from the collection of Plescheev "Snowdrop"

"This work is light and very pleasant, for I took the text Snowdrop Plescheyev, where there are many adorable things, "the composer wrote while working on this cycle M. I. Tchaikovsky. In the House-Museum of P. I. Tchaikovsky in the wedge in the library of the composer, a collection of poems of Plescheyev "Snowdrop" was preserved with the poet's graduate inscription: "Peter Ilyich Tchaikovsky in the sign of the location and gratitude for his beautiful music on my bad words. A. N. Plescheev. 1881 February 18th St. Petersburg. "

A. N. Plesev and A. P. Chekhov

Photography, presented by A. N. Plescheyev A. P. Chekhov in 1888.
Awful I like to receive letters from you. It is not in the compliment to you, so much in them is always acknowledged wit, so good all your characteristics and people and things that you read as a talented literary work; and these qualities, in conjunction with the thought, which is remembered and is located to you a good person, make your letters very valuable
From the letter A. N. Plesechev A. P. Chekhov on July 15, 1888.

The admirer of Chekhov Plescheyev became even more familiar with him personally. Memoista Baron N. V. Drisen wrote: "As I see a fraudulent, almost biblical figure of an older - poet A. N. Pleshcheyev, talking to me about the book In twilight, just released suvorin. "When I read this book," said Shtcheyev, "the shadow I. S. Turgenev was invisible in front of me. The same peaceful poetry of the word, the same wonderful description of Nature ... "Especially liked him the story" Holy Night "."

The first acquaintance of Plescheyev with Chekhov took place in December 1887 by St. Petersburg, when the latter together with I. L. Leontiev (Scheglov) visited the poet's house. Schieglov recalled later about this first meeting: "It was not half an hour ago, as Miley, Alexey Nikolayevich was in Chekhov in full" spiritual captivity "and worried in turn, while Chekhov quickly entered their usual philosophical humorous mood. Ploy someone accidentally then to the Cabinet Plescheyev, he probably would have thought that he was talking to a long-standing friends ... ". A month later, an intensive friendly correspondence, which lasted five years began between new friends. In letters to other friends, Czechs often called Plescheyev "Grandfather" and "Padre". At the same time, he himself was not the admirer of Pleshcheev's poetry and did not conceal the irony in relation to those who guarded the poet.

The story "steppe" of Chekhov wrote in January 1888 for the Northern Bulletin; At the same time, he shared in detail in letters with his reflections and doubts ("Roby and I'm afraid that my Steppe Slightly will come out ... Frankly, I squeeze out myself, I will fit and inflated, but still, in general, she does not satisfy me, although there are poems in the prose in beds). Plescheev became the first reader of the story (in the manuscript) and repeatedly expressed in letters delight ("You wrote or almost wrote a big thing. Praise and honor to you! .. I hurt that you wrote so much charming, truly artistic things - and use lesserly fame, than writers, unworthy to unleash the belt at your feet ").

Chekhov first of all send the stories, the story and play "Ivanov" (in the second edition); Shared in the correspondence with the idea of \u200b\u200bthe novel, over which he worked in the late 1880s, he gave him the first chapters. On March 7, 1889, Chekhov wrote Plescheyev: "I will devote my novel ... in dreams and in the plans of my best, my best thing is dedicated." Plescheev, highly appreciated in Chekhov internal independence, and he himself was frank with him: did not hide his sharply negative attitude towards the "New Time" and to the Savorina himself, with whom Chekhov was close.

In 1888, Plescheev visited Chekhov in Sumy, and the latter said this visit in letter to Suvorin:

It<Плещеев> Tugaway and elderly lazy, but it does not interfere with the beautiful floor to roll it on boats, carry the romances to neighboring estates and sing him. Here he depicts the same as in St. Petersburg, that is, an icon, which is praying for the fact that she is old and hung sometime next to the miraculous icons. I personally, besides the fact that it is very good, warm and sincere person, I see a vessel in it, full of traditions, interesting memories and good shared places.

Plescheev criticized Chekhov "Name Day", in particular, its middle part, with which Chekhov agreed ("... I wrote her lazily and carelessly. Accustomed to small stories, consisting only from the beginning and end, I miss and start chewing when I feel that I feel that I feel that I write the middle "), then sharply responded to the story" Leshe "(which the Merezhkovsky and Urusov praised it). On the contrary, his highest assessment was awarded the story of "boring story."

Correspondence began to go to no after Chekhov, having left Tyumen, did not respond to several emissions of the poet, however, after receiving the inheritance, followed by resettlement to Paris Plescheev continued to describe his life, illness and treatment in detail. A total of 60 letters Chekhov and 53 letters of Plescheev are preserved. The first publication of correspondence was prepared by the son of the poet, the writer and journalist Alexander Alekseevich Plescheyev and was published in 1904 by the Petersburg diary.

last years of life

The last three years of the life of Plescheev turned out to be released from worries about earnings. In 1890, he received a huge legacy from the Penza relative Alexei Pavlovich Plescheyev and settled with daughters in the luxurious apartments of the Mirabeau's Parisian hotel, where all his familiar writers and generously gave them large amounts of money. According to memories Z. Gippius, the poet has changed only outwardly (loses of the disease started). Huge wealth, suddenly filled with him "from the sky", he accepted "with noble indifference, remaining the same simple and large-scale owner, as in the small cell on the Preobrazhenskaya Square." "What I have been wealth. That's just the joy that I was able to provide children, well, he sighed a little bit ... before death ": 101, - so he passed his words of the poetess. Plescheyev himself brought guests to the sights of Paris, ordered luxury lunches in restaurants and "Mavel asked" to take the "advance" from him to travel - a thousand rubles: 101.

The poet made a significant amount into the literary fund, established the foundations named after Belinsky and Chernyshevsky to encourage talented writers, began to support the family of Asspensky and C. Nadon, began to finance the magazine N. K. Mikhailovsky and V. G. Korolenko "Russian wealth".

K. D. Balmont. Memory Plescheyev.

His soul was clean, like snow;
There was a shrine man for him;
He was always a singer of good and light;
To the humiliated he was full of love.
Oh, youth! Scroll, bless
Having cooled the dust of the silent poet.

This poem sounded on the day of the funeral over the coffin A. N. Plesechev. : 586.

Plescheev wrote that he was avoided by Beaujda, mentioned among those with whom communication gives him pleasure, only Professor M. Kovalevsky, Zoologist Korothev, Vice-Consul Yurasova, Chet Merezhkovsky.

In 1893, he was already seriously ill, A. N. Plesev once again headed for treatment in Nice and on the way on September 26 (October 8) died from apoplexic strike: 15. The body was transported to Moscow and buried on the cemetery of the Novodevichy Monastery.

The authorities were forbidden to publish whatever the "airborne word" to the death of the poet, but at the farewell ceremony, a huge number of people gathered on a farewell ceremony. At the funeral, as contemporaries testified, there were mainly young people, including many of those still unknown writers, in particular, K. Balmont, pronounced about the coffin: 18.

Reviews of critics and contemporaries

Researchers of the Poet's creativity celebrated a huge resonance, which had one of his first poems, "forward", which laid the foundation of the "public, civilian side of his poetry ...". First of all, the strength of the civil position of Plescheyev, the full compliance of the personal qualities of the ideals proclaimed by them. Peter Weinberg, in particular, wrote:

Plescheev's poetry there is a large expression and reflection of his life. It belongs to the category of poets with a completely definite character, the essence of which is exhausted by any one of the motive that groups their modifications and branching around itself, always preserving, however, without undisturbed main foundation. In the poetry of Plescheev, this motive is humanity in the most extensive and noble meaning of the word. Being applied mainly to the poet's poet phenomena, this humanity naturally had to take an elegic character, but his sadness is always accompanied by an unshakable faith in victory - sooner or later - good over evil ....

Many critics at the same time reservedly evaluated the early works of A. Plescheyev. It was noted that it was "painted by the ideas of socialist utopism"; Traditional romantic motifs of frustration, loneliness, longing "comprehended by him as a response to social disadvantaged", in the context of the theme "Holy suffering" of the lyrical hero ("Sleep", "Wanderer", "on call of friends"). The humanistic pathos Liriki Plescheyev was combined with the prophetic tone characteristic of utopian moods, which was hoping to "see the eternal ideal" ("Poet", 1846). Vera in the possibility of harmonious world order, waiting for fast changes was also expressed in the most famous poem of P., exclusively popular in the circle of Petrashevtsev (as well as among the revolutionary-minded young people of the following generations, "Forward! Without fear and doubts ..." (1846).

N. A. Dobrolyubov about poetry A. N. Plesechev
Speaking about the early poems of Plescheyev, Dobrolyubov noted that "they had a lot of uncertain, weak, immature; But among the same poems was this brave call, full of such faith in herself, faith in people, faith in the better future ":

Friends! Let's give each other hands
And moving forward together,
And let, under the banner of science,
Our union is growing and grows ...
... Let us be a star travel
Holy Truth is burning.
And believe the voice noble
No wonder in the world will sound.

"This pure confidence, so firmly pronounced, this fraternal call to the union is not in the name of ragged pearts and remote feats, namely, under the banner of science ... They were inflated in the author if not wonderful poetic talent, then at least the energetic decision to devote their literary activities on Honest service of public benefits, "the critic recognized.

The writers and critics associated with the Social Democratic Movement often skeptically responded about the pessimistic sentiments that prevailed in poet poetry after his return from the reference. However, the same Dobrolyubov, noting that in verses of Plescheyev heard "some inner heavy mountain, a sad complaint of a defeated fighter, sadness about the unfulfilled hopes of youth", noticed that these sentiments did not have anything in common with the "plaintive moans of fesive pyit time. " Noting that such a transition from the initial elevation of hopes for disappointment is characterized in general for the best representatives of Russian poetry (Pushkin, Koltsov, etc.), the critic wrote that "... sadness of the poet about the failure to fulfill his hopes is not deprived of ... social importance and gives poems of Mr Pvechev The right to mention in the future history of Russian literature, even completely independently of the degree of talent, with which this sadness and these hopes are expressed in them. "

Critics and literators of later generations several otherwise evaluated the minor intonation of the poet, finding their consonant time in which he lived. "He kept Sveta thoughts into a black day. In his soul, sobs sounded. In his stanza, there was a sound of native sorrow, a sad moan of distant villages, calling for freedom, a gentle sigh of the lead and the first beam of the coming dawn ": 330, - wrote K. Balmont in posthumous dedication.

A. N. Plescheev was not an innovator of the form: his poetic system, formed in the direction of Pushkin and Lermontov tradition, relied on stable phrases, established rhythmic syntactic schemes, well-developed image system. One critics seemed to evidence of genuine taste and talent, another - gave reason to call some of his poems "colorless", accuse him of "non-independence" and "monotony". At the same time, contemporaries, for the most part, highly appreciated the "social importance" of Plescheev's poetry, its "noble and clean direction", deep sincerity, calling for "fair service to society."

Plescheyev was often reproached in the passionateness of abstract concepts and high-pass metaphors ("all enemies of the black, rising against the evil," the "sword of the peoples of Obagren", "But the High Definition of Human Victims brought ..."). At the same time, supporters of the poet noted that the doctortism of this kind was the form of Esopovsky speech, an attempt to bypass censorship. M. Mikhailov, at the same time criticized Plescheyev, already in 1861 she wrote that "... One power remained behind Plescheyev - the strength of calling to honest ministry to society and nearby."

Over the years, criticized more attention paid to individual, "special purity and transparency of the poetic language Plescheyev", sincerity and incessia; Softening the tones of its poetic palette, emotional depth of externally extremely simple, infertility lines: 16.

From the historians of the literature of the 20th century, the negative assessment of the creativity of Plescheyev belongs to D. P. Svyatopolk-Misky; He wrote in the preface to poetic anthology, that Plescheyev "introduces us to a genuine Sahara of Poetic Study and Nevability", and in his "History of Russian Literature" notes: "Civilian poetry in the hands of the most significant representatives has become truly realistic, but ordinary citizen bards often There were same eclectics as the poets of "pure art", and in humility conveniences were still surpassed. Such, for example, flat and boring poetry of very cute and respectable A. N. Plesechev. "

Influence

Most often, Plescheyev's poetry critics were attributed to Nekrasov school. Indeed, already in the 1850s, the poet began to appear poems, as if reproducing the satirical and socio-household lines of Nekrasov's poetry ("the children of the century are all sick ...", 1858, etc.). The first comprehensive satirical image of the liberal appeared in the poem of Plescheyev "My Friend" (1858); Critics immediately noted that many attributes of imagery were borrowed from Nekrasov (the father who ruined "on dancers", the provincial career of the hero, etc.). The same accurate line continued in the poem "Lucky" ("slander! Giving different societies member and me. Philanthropips are filled with me every year.") An unusual symbiosis of Nekrasovsky accusability and the Turgenev topics of the "excess hero" manifested itself in the story "she and he "(1862).

The poet wrote a lot about the people's life ("boring picture", "native", "beggars"), about the life of the city grounds - "on the street". Under the impression of the severe fate of N. G. Chernyshevsky, who has been five years old in the Siberian link, it was written a poem "It's a pity to me whose dying force" (1868). The influence of Nekrasov was noticeable in household sketches and in the folk-poems imitation of Plescheyev ("I grew up in the hall in the hall ...", 1860s), in verses for children. Nekrasova Plescheev forever retained the feelings of personal attachment and gratitude. "I love Nekrasov. In it, there are parties who are involuntarily attached to him, and for them you forgive him a lot. In these three or four years i'm here<в Петербурге>I had a chance to spend two or three in the evening with him - such that leave the track for a long time in the shower. Finally, I will say that I personally owe him to many ... "," he wrote to the pearl in 1875. Some contemporaries, in particular, M. L. Mikhailov, paid attention to the fact that Plescheyev failed to create convincing people of people's life; The thrust to the Nekrasov school was for him, rather, unrealized trend.

Lermontov motifs

VN Mikekov was one of the first who counted Plescheyev to the followers of Lermontov. Subsequently, modern researchers were written about this: V. Zhdanov noted that Plescheyev in some sense "took over the baton" from Lermontov, one of the last poems of which was narrated by the fate of the Pushkin prophet, the enters the "seas and land" ("I began to proclaim Love / and Pravda Clean teachings: / I have all the neighbor / threw a mad stone ... "). One of the first published poems of Plescheyev was the "Duma", who was the indifference to the public "to good and evil", consonant with Lermontov theme ("Alas, he rejected! The crowd in his words / teachings of love and truth does not find ...").

The theme of the Prophet's poet, borrowed from Lermontov, became the leitmotif of the Plescheevsky lyrics, expressing "a look at the role of the poet as a leader and teachers, and on art - as a means of reorganizing society." The poem "Sleep", repeated the plot of the Pushkinsky "Prophet" (sleep in the desert, the phenomenon of the goddess, transformation into the Prophet), according to V. Zhdanov, "allows you to say that Plescheev not only repeated the motives of his ingenious predecessors, but tried to give his interpretation Topics. He sought to continue Lermontov as Lermontov continued Pushkin. " Plenechevsky prophet, who is waiting for "stones, chains, prison", inspired by the idea of \u200b\u200btruth, goes to people ("My fallen spirit rebelled ... and the oppressed again / I gave the freedom and love ..."). From Pushkin and Lermontov sources, the topic of personal, family happiness, deployed in Petrashevsky's poetry, and in the work of Plescheyev, received a new interpretation: as a marriage tragedy, breaking love ("Baia"), as a preaching of love "reasonable", based on the similarities of views And beliefs ("We are close to each other ... I know, but alien in spirit ...").

Like-minded people and followers

Critics noted that in the nature and genus of their poetic activity of Plescheev in the 1860s was closest to N. P. Ogarev. In this creative "kinship" insisted and he himself. On January 20, 1883, the poet wrote S. Ya. Naddon, that P. I. Vainberg in the report about him "perfectly approached the topic by connecting me in his characteristic with Ogarev." The landscape and scenery philosophical Lyrics of Plescheyev was considered critics as "interesting", but reasonable and largely secondary, in particular, in relation to the work of A. A. Feta.

Already researchers of the 20th century, it was noted that the exposure to the Liberal press on the Plescheyev, who was about the "poet of the 40s", who survived his time, or the Nekrasov epigion was largely motivated by political intrigues, the desire to impart the authority of a potentially dangerous, opposition author. Biographers N. Bannikov noted that the poetic work of Plescheyev developed; In his late verses, there was less romantic bag, more - on the one hand, contemplation and philosophical reflection, on the other - satirical motives ("My friend", "lucky man"): 15. Completely independent value had such protest works of the poet, as "honest people, dear thorns ...", "It's a pity to me whose will die"; Poems who rose degraded in their passive "opposition" of "extra people" (poetic novel "she and he", the poem "Children of the century all patients ...", 1858).

"Dedication"
Commemorate to you familiar songs sounds,
Friends of my dead young years?
And my fraternal I will hear hello?
All the same you, what were the separation? ...
Perhaps, I have no other!
And those in someone else's distant side -
For a long time forgot about me ...
And there is no one to respond to the songs!
The poem dated 1858 and addressed to Petrashevtsy condaters, found a hot response among the last, which N. S. Cashkin testified. The latter responded to her verse: 241:
Go ahead, do not be sad!
Good and truth on the road
Friends are talking loudly.
Forward without fear and doubts
And if blood cooled in the com
Your live songs
He will break to life again.

Critics noted that Plescheyev's poetry was clearer and more specifically of the civilian lyrics of the 60-70s. Ya. P. Polonsky and A. M. Zhemchuzhnikov, although some lines of creativity of three poets crossed. Polonsky lyrics (as M. Polekov) was alien to Paphos of revolutionary debt; Unlike Plescheyev, who had a blessed revolutionary, he lived with the dream "Rewind time to go to the prophetic dreams" ("Muza"). Closer to the poetic system of Plescheyev Lyrics of "Civil Motives" A. M. Zhemchuzhnikov. But their community has affected the fact that it was (according to revolutionaries-Democrats) the weak side of the poetry of Plescheyev. The similarity with pearls was determined by ideological "blurry" and sentimental didacticism of individual poems of Plescheyev, mainly 1858-1859. They brought together both the motives of civil repentance, the allegorical perception of nature. The liberal position of the pearly pearl (especially the recognition of the latest ideals of "pure poetry") was alien to Plescheyev.

The most clearly and bright follower of Plescheyev was considered S. Ya. Nadson, in the same tones protestered against the "kingdom of Waal", who challenged the shedding of the "righteous blood of the fallen fighters", which used similar didactic style, symbols and signs. The main difference was that the feelings of despair and doomes in Nadon poetry acquired almost grotesque forms. It was noted that Plescheyev's poetry had a noticeable influence on the poem of N. Dobrolyubov 1856-1861 ("When a bright beam of knowledge, through the darkness of ignorance, penetrate ..."), on creativity P. F. Yakubovich, Early N. M. Minsk, I. Z. Surikova, V. G. Bograz. The direct retelling of Plescheyev was the poem of G. A. Machetta "Last Forgiveness!", Quoted Rows of Plescheyev F. V. Volkhovsky ("Friends"), S. S. Sineub ("To Bust Belinsky"), P. L. Lavrov, in His poem "Forward!" Used part of the program poem Plescheyev: 239.

In the 1870s, landscape poetry of Plescheyev developed; The poems were filled with "sparkling overflows of paints", accurate descriptions of the elusive nature of nature ("Ocks of ice, not sparkling waves", "I see the heaven of the transparent blue, huge mountains of gear vertices"), which was interpreted by experts as influence A. A. Feta . The landscape Lyrics of Plescheyev, however, one way or another served as the symbolic interpretation of the motives of public life and ideological quest. At the base, let's say, the cycle "Summer Songs" lay an idea that the harmony of nature is opposed to the world of public contradictions and injustice ("boring picture", "depreciation"). Unlike Feta and Polonsky, Plescheev did not experience the conflict in the division of two topics: landscape and civil.

Criticism from the left

Plescheyev criticized not only liberals, but also - especially in the 1860s - radically customized writers, the ideals of which the poet tried to match. Among the poems, who gave out the critics, sympathy for liberal ideas, noted "the poor you worked, the rest is not knowing ..." (from which he had that the peasants, "submissive fate" patiently carried "their cross, as the righteous carries," but came "It's time for the Holy Rebirth", etc.). This liberal "prayer" caused a sharp response from Dobrolyubov, which in general was always sympathetic to the poet. He also sprocked (in the poem "from the motives of modern Russian poetry") a liberal "praise" of Plescheyev "Tsar-Liberator" However, the parody was printed not from ethical considerations. Dobrolyubov criticized Plescheyev for "abstract didacticity" and the allegority of images, (record in the diary of criticism of February 8, 1858).

Radical authors and publicists criticized Plescheyev and for excessive, in their opinion, "the breadth of views." Often he supported the ideas and currents contradictory, sympathizing only their "opposition"; The latitude of views "wrapped in often the uncertainty of judgments."

N. A. Dobrolyubov about prose Plescheyev

Plescheyev-Prosaika attributed to typical representatives of the "Natural School"; He wrote about the provincial life, swaying bribes, destroyers and intentional power of money (story "Rota fur coat", 1847; "Papiroska", "Protection", 1848; Tale "Prank" and "Friendly Tips", 1849). Critics noticed in his prosaic works of influence N. V. Gogol and N. A. Nekrasov.

N. A. Dobrolyubov, reviewing in 1860 a two-volume member, which included 8 leads by A. N. Plesechev, noticed that they were "... printed in all our best magazines and were read at one time. Then they forgot about them. Says and disputes of the story never excited him in public, nor in literary criticism: no one praised them especially, but no one scolded. The larger part of the story was read and were satisfied; The business ended ... ". Comparing the story and stories of Plescheyev with the works of the writers-contemporaries of the second plan, the critic noted that "... the public element penetrates them constantly and this distinguishes from many colorless stories of the thirties and fifties."

The world of prose Plescheyev is the world of "small officials, teachers, artists, small landlords, half-lifting ladies and a lady." In the history of each hero, the ages of Plescheyev is noticeable, however, communication with the environment, which "is over it with its requirements." This is, according to Dobrolyubov, and there is the main advantage of the stories of Plescheyev, however, the dignity is not a unique, belonging to him "along with very many of modern fiction." The dominant motive of Plescheyev's prose, according to critic, can be reduced to the phrase: "Wednesday is hired by a person." But -

At the fresh and sensible reader when reading ... Age of M. Plescheyev immediately is the question: what exactly do these well-dimensional heroes want, because of what they are killed? .. Here we do not meet anything definite: everything is so foggy, fragmentary, finely, that not you will withdraw a common thought, you will not have the concept of the goal of the life of these Lords ... All that there is a good thing in them, is a desire for anyone to come, pulled them out of the swamp in which they knuckled, wounded on their shoulders and dragged into place Clean and light.

Characterizing the main character of the same story of the same name, Dobrolyubov notes: "This Pashintsev is neither then nor the day, no night, no darkness, no light," like many other heroes of the ages of this kind, "is not at all phenomena; The whole environment that hires it is precisely from the same people. " The cause of the death of Gorodkov, the Hero of the Tale of "Governing" (1859), according to Criticism, "... His own naivety". Ignorance of life, uncertainty in the means and objectives and poverty distinguish both Kostin, the hero of the story "Two Careers" (1859), who dies in Cachotka ("Impeccable heroes in the city of Plescheyev, like the city of Turgenev and others die from exhausting diseases, "the author of the article is ironic)," I have not done anywhere else; But we do not know what he could do in the world, if he had not even been subjected to CHAKHOTE and was not continuously stuck with the medium. " Dobrolyubov notes, however, the fact that the shortcomings of the poet's prose have both the subjective side: "If the city of Plescheev with exaggerated sympathy draws us his bone and towns, so it<следствие того, что> other, more weathered practically types, in the same direction, has not yet been represented by Russian society. "

The meaning of creativity

It is believed that the importance of creativity A. N. Plescheyev for Russian and Eastern European public thought significantly exceeded the scale of his literary and poetic talent. Since 1846, the works of the poet were regarded critics almost exclusively in the criteria of socio-political significance. The poetic collection of A. N. Plescheyev, 1846, became actually a poetic manifesto mug of Petrashevtsev. In his article, Valerian Meskov, explaining what was the poetry of Plescheev for people of the 40s, inspired by socialist ideals, put the latter in the center of modern poetry and was even ready to consider him the immediate successor to M. Yu. Lermontov. "In that pitiful position in which our poetry is with the death of Lermontov, Mr. Plescheev is indisputable our first poet at present ..." he wrote.

Subsequently, it was the revolutionary pathos of early poetry Plescheyev led to its authority in revolutionary circles of Russia. It is known that in 1897, one of the first Social democratic organizations, the "South-Russian Worker Union", used in his leaflet the most famous poem poem.

"Song workers"
In the leaflets interpretation of the "South-Russian Working Union", Plescheevsky anthem looked like this:
Forward without fear and doubt
On the feat of the valiant, friends
It has long been eager for the unity
Workers friendly family!
We will give each other hands,
Connect into a close circle, -
And albeit on torture and flour
Will go for a friend faithful friend!
We want fraternity and freedoms!
May the slavery begins the vile age!
Mother of Nature
Is every person not equal?
Testament us Eternal Marx Dan -
Tom covered:
"Tesne, workers of all countries,
In one Union, reunite! "

Meanwhile, in general, the importance of creativity A. N. Plescheyev was not limited to his contribution to the development of Russian revolutionary poetry. Critics were noted that the poet had conducted a huge work (mainly on the pages of "domestic notes" and "Exchange Vedomosti"), analyzing the development of European literature, accompanying publications with their own translations (Zola, Standal, Gangra Brothers, Alfons Dodé). Plescheevsky poems are recognized by the classic ("on the shore", "old man"). Along with Pushkin and Nekrasov, it is considered one of the founder of Russian poetry for children: 16.

Translations of Plescheev

The influence of Plescheyev on the poetry of the second half of the XIX century was largely due to its translations, which were in addition to artistic and socio-political importance: partly through poetry (Heine, Berance, Barbie, etc.), revolutionary and socialist ideas penetrated into Russia. More than two hundred transfer poems make up almost half of the entire poetic heritage of Plescheyev. Modern criticism saw in it one of the largest masters of the poetic translation. "In our extreme conviction, the Plescheev in translations are even more poet than in the originals," wrote the "time" magazine, noting that "in foreign authors he is looking for her thoughts and takes his good, wherever it is ... " Most of the transfers of Plescheyev made up translations from German and French. Many of his translations, despite the specific liberties, are still considered to be a textbook (from Goethe, Heine, Ryuckeret, Freiligrata).

Plescheev did not hide that he did not see special differences in the method of working on translation and its own, original poem. He recognized that he enjoys the translation as a means of propaganda most important for this period of ideas, and in a letter to Markovich dated December 10, 1870 directly indicated: "I prefer to translate those poets that the universal element takes the top of the people - in which culture affects ! " The poet knew how to find "Democratic motives" even at poets of clearly expressed conservative views (Sumy - the early poems "Blenheim fight" and "Poor Complaints"). Translated Tennison, he emphasized the sympathy of the English poet to the "fighter for an honest case" ("the funeral song"), to the people ("Queen of May").

At the same time, the possibilities of the transfer of Plescheev often interpreted as a field of improvisation, in which it was often separated from the original source. The poet loose freely, reduced or increased the translated work: So, the poem of Robert Rither "Whether you watched the Alps at the time of sunset ..." from the sonnet turned into triple quarters; A large poem of the Square "Pakharist to Lark" ("Oracz Do Skowronku", 1851), consisting of two parts, he retold under an arbitrary name "bird" in a reduction (in the original 24 lines, translated - 18). The genre of poetic translation of the poet considered as a means of propaganda of new ideas. It freely interpreted, in particular, the poetry of Heine, often introducing there its own (or Nekrasovsky) ideas and motives (translating "Countess Gudel von Gudelsfeld"). It is known that in 1849, by visiting Moscow University, the poet spoke to students that "... It would be necessary to awaken self-awareness of the people, and foreign writings to this would be translated into Russian, encroaching into a common speech warehouse, distribute them into manuscripts ... ", and that in St. Petersburg there was already a society for this purpose: 238.

Character and personal qualities

All those who left the memories of Plescheyev, characterized him as a person of high moral qualities. Peter Weinberg wrote about him as a poet, who "... among the hard and frequent jokes of reality, even exhausted under them, ... after all, continued to remain the purest idealist and called others on the same ideal service to humanity," never changed himself, " Nowhere and never (as it was said in the poetic address on the occasion of his forty-year anniversary) is not increasing with good feelings. "

From the posthumous initiation of K. D. Balmont:

He was one of those who were fate
Silicon paths tested.
Who everywhere was the danger of Elevate,
Mockingly thumping exhaustion.
But Life Blizzard, Poverty, Cold, Mist
In it did not kill the burning galance -
Be proud, bold, fight against evil
Wake up in other saints

"The man of forties in the best sense of this concept, an incorrigible idealist,<Плещеев> Invested his live soul, his meek heart into his songs, and because they were so beautiful. ": 16, - wrote P. V. Bulls Publisher. A. Block, reflecting in 1908 on the old Russian poetry, especially the poems of Plescheev, who "walked some asleep strings, caused high and noble feelings to life": 16.

Contemporaries and subsequently researchers of creativity celebrated the extraordinary clarity of the mind, the integrity of nature, kindness and nobility of Plescheev; They characterized him as a person who was "distinguished by an unsuccessful soul purity"; Preserved "Despite all the dashing fan and soldiers' decades ... Children's faith in the purity and nobility of human nature, and has always been inclined to exaggerate the talent of the next poet debutant."

Z. Hippius, which at the first personal meeting "completely fascinated" Plescheyev, so I wrote the first impressions about him:

He is a big, somewhat cargo old man, with smooth, rather thick hair, yellow-white (ask for a blond), and a magnificent, very white beard, which is gently sprinkled along the vest. Correct, slightly blurred features, powdered nose and as if harsh eyebrows ... But in blond eyes - such Russian softness, special, Russian, before scattering, kindness and childhood, that the eyebrows seem to be severe - on purpose: 102.

Mogila Plescheyev in Novodevichy Monastery

Addresses

Work

Poem

During his lifetime, five collections of poems A. N. Plescheyev, the last one of them - in 1887. The most significant of the posthum is the publication, published by P. V. Bykov: "The poem A. N. Plesechev (1844-1891). Fourth, complemented edition. " St. Petersburg, 1905. Poetic works of Plescheyev in Soviet times were published in a large and small series of "Poet Libraries": 237.

1840s Dzentmones "Meanwhile, as the noise of the hands-up ..." Current sadness "I love to strive for a softer ..." Mogila In memory "After thunder, after a storm ..." Farewell song Shuttle Old man for piano "Let's go ashore; There's waves ... " "Goodnight!" - you said…" "When I am in the hall a crowded ..." Love singer At call friends "Again, I'm full thinking ..." Neighbour Wanderer "I hear familiar sounds ..." "Forward! without fear and doubt ... " A meeting Sounds "Why dream about what after will ..." On the motive of one French poet Pumps "For the feelings of the brothers we are with you ..." Poet. sorry "Right we saved you ..." "He suffered in a lot of life, a lot ..." "As a Spanish fly, longing ..." New Year "Another great voice Smallk ..." 1850s Spring Before leaving When sending Raphael Madonna After reading newspapers "Before you lies a wide new way ..." In Steppe Lickest from the diary "Do not say that in vain ..." "Oh, if you know you, friends of my spring ..." Meditation "There are days: no malice, nor love ..." Winter catalysis "When your meek, clear look ..." Prayer S. F. Durovu "You are just clear the days of my ..." "You mile me, it's time for sunset! ..." "It was time: his sons ..." Poison "The children of the century are all patients ..." "Familiar sounds, wonderful sounds! ..." "When I returned to the city of my native ..." "When I will meet the exterruced struggle ..." "Many evil and stupid jokes ..." My acquaintance MY SADIK "Oh no, not all given ..." "He walked a randomly thorn dear ..." Song

Dedication Bird Heart Wanderer Lucky "We worked poor you, rest without knowing ..." "You remember: Founding Willow ..." "You want songs," I don't sing ... " Flower "What a children's head ..." 1860s Lunar at night Empty house Ghosts "I drink for a glorious artist ..." Decembrist "If an hour, when the stars are lit ..." On the street "No rest, my friend, in life ..." "A boring picture! ..." "I have grown in the hall in the hall ..." "Blazers not done ..." Sick Spring "Friends of free art ..." "I envy me to look at the wise men ..." Moluba "Not! better death without refund ... " Nasty New Year "Oh, do not forget that you are a debtor ..." "Oh, youth, youth, where you ..." ("Contemporannik", 1862, April) Clouds Memory K. S. Aksakova "In front of the vessel left ..." Poet. "Pale ray of the moon made his way ..." In the woods. From Heine ("Contemporannik", 1863, January-February) "Total, all my track ..." ("Contemporannik", 1863, January-February) Two expensive "The smell of roses and jasmine ..." "And here is the tent of your blue ..." To youth False teachers "I love the Tropinku Forest ..." "In the heart of the evil boiled ..." "Night flew over the world ..." At night She and he "Rest, sit down in the forest edge ..." Depreciation "Nature-mother! I go ... " Native Tips of the wise men ("Contemporannik", 1863, January-February) "The sun of the mountains of Golden ..." "In court he listened to the sentence ..." Spring "Why with the sounds of these songs ..." Hypochondria Fall Dying "Honest people, dear thorns ..." "What a year, then a new loss ..."

"What have you drooped, green Ivushka? ..." Guests "If you want, so that peacefully ..." "I look at her and admire ..." Apostaten-Marsch. Memory E. A. Plescheva "Snow melts quickly, streaming streams ..." "When I see an unexpected burial ..." Slavic guests "Where are you, it's time for fun meetings ..." "It's a pity for those whose will die ..." "When you silently harsh ..." Clouds Words for music Old men "Heavy, painful Duma ..." 1870s "Ile those days are still far ..." Expectation "Blessed you, who is given ..." Spring night "He is in a white grudge his ..." Toasts In Bury Spring Childhood Winter evening From life Tomb of worker "There is no rest from the latter ..." "Warm day Spring ..." On the shore At night Memory Tomorrow In the country Bad weather Old man "I quietly went on the street deserted ..." Grandmother and granddaughter "I broke up with deceptive dreams ..." "I owe you salvation ..." 1880s "The lights went out in the house ..." Memory Pushkin Song Exile "Without hopes and expectations ..." "Burled a muddy river ..." From old songs "You threw the truth, thirst for light ..." Poison Memory N. A. Nekrasova September 27, 1883 (memory of I. S. Turgenev) ("Patriotic Notes", 1883, October) Last Sereda January 1, 1884 To the portrait of the singe "How often the image is expensive ..." On the Sunset Words for music In the album Anton Rubinstein Anton Pavlovich Chekhov At the funeral of Vsevolod Garshin "So hard, so bitter me and hurt ..." "As in the days of the hails of the sun beam ..." "Who are you, beauties, with flowers field ..." Reproach "This is a fiery sun ..."

Tale (Favorites)

Pieces (Favorites)

Bibliography

• Arseniev K.K. One of the poets of forties. Poem A. N. Plesechev. // European Bulletin, 1887, March, p. 432-437.
• Krasnov P. N. Poetry Plescheyev. // Books of the week, 1893, December, p. 206-216.
, 1988. - 192 p. - (literary criticism and linguistics). - 44,000 copies. (region)
• Pustor L. S. Life and creativity A. N. Plescheyev / T. ed. I. L. Volgin. - m.: Science, 2008. - 344, p. - (scientific and popular literature). - ISBN 978-5-02-034492-1 (in per.)
• A.N. Plescheev and Russian literature: Collection of scientific articles. - Kostroma: KSU them. ON THE. Nekrasova, 2006.

Alexey Nikolaevich Plescheev was born in the family of the provincial official - the poet.

His family belonged to the old nobility name. In 1827, Alexei Nikolayevich's father is translated into service to Nizhny Novgorod, where he spent his childhood and the future poet.

Up to 13 years old, Alexey Nikolayevich studied at home, where he received a good education and knowledge of foreign languages.

In 1839 he was given to the St. Petersburg school of Guards submaroes, where Lermontov had once studied.

In 1843 enters the eastern Faculty of St. Petersburg University. However, the items with which he engaged in "without any love," make him leave the university in order to play "lively" sciences, close to the interests of time, history and political economy.

In 1844, the first poems of Plescheev, which he publishes in the "Contemporary", the "reading library", "literary newspaper".

In 1846 the first compilation was released. The poet called in them to the "Valiant Fense," believed in the "desired hour of liberation" of the people from under the Iga autocracy. He becomes a member of society headed by Petrashevsky.

In 1849, the circle was crushed. Alexey Nikolaevich, together with other members, a mug was sentenced to the death penalty, which at the last minute was replaced by soldier and reference. Delighted "all rights and conditions", given by ordinary in Orenburg linear battalions, he pulled the soldier's strap for almost 10 years.

In the mid-50s. Alexey Nikolaevich renews interrupted literary activities. He is an active employee of the "contemporary", in 1859- 60 unofficially edits the Moscow Bulletin newspaper.

In 1858, 1861 and 1863 collections overlook.

In 1887, 1898 and 1905 - a complete collection of his poems.

In 1860 and 1896-97 - two volumes of the ages and stories.

Plescheev publishes at this time "Tale and Stories" I. S. Turgenev, seven issues of useful benefits for students - "Geographical essays and paintings", literary collections for children. Writes a lot for the theater. The closure of the "contemporary", "Russian Word" put Plescheyev to a difficult situation, he is forced to serve as an auditor of the Moscow Post Office.

From 1867, due to the resumption of non-scam "domestic notes," cooperates with the magazine.

In 1872, Alexey Nikolaevich received permission to enter St. Petersburg and became a permanent secretary of the Nekrasov magazine, an active employee.

Since 1877 - the head of the poetic department. After the closure of "domestic notes", together with the main group of members of the editorial office of this journal, moved to the Northern Bulletin, where from 1884 to 1890 he managed with poetic and fiction departments. Plescheev took care of the success of the magazine and made a lot of strength to improve his literary and art departments. He took an active part in the work of the Literary Fund, was a senior artistic mug in Moscow organized by Ostrovsky, one of the founders of society of Russian dramaturgical writers, chairman of the Society of Scenic Workers, a member of the theater and literary committee, an active member of the Russian Literature Company.

The poems included in the collection of 1846 attracted the attention of readers with their social orientation. Having experienced the strong impact of Pushkin, Lermontov, Ogarev, Alexey Nikolaevich continued the traditions of civil lyrics.

His poem "Forward! without fear and doubt ... " It was software for Petrashevtsev. Nicknamed "Russian Marselease", it sounded on rallies and magicians and became the songs of workers who sang on the eve of the revolution.

No less popular was the poem "For the feelings of the brothers we are with you"that until recently was attributed to Dobrolyubov, then Ryleev. Called to fearlessness, it contributed to the cohesion of advanced people, was the favorite in the family of Ulyanov. The poet poems had a huge impact on both contemporaries of the poet and on the subsequent generations.

Neither the arrest nor the soldier nor the reference broke the beliefs of the poet, a passionate follower of the ideas of Belinsky, his aspiration of honest ministry to his muse. While later in the link, Plescheev closely monitors the activities of Chernyshevsky, Dobrolyubov, Nekrasov. In the first poems written in the mid-50s., The motives of compassion to the sorrow of the people are sounded, to the fate of oppressed. The poet creates a number of poems, where he sounds the call to the young generation to fight in the name of a new life ( "Oh, youth, where are you?"). Through many poems, the poet passes the topic of love to the homeland and the people suffering from the IGA autocracy ( "Beggars", "native", "boring picture", "On the street").

The strongest poem of this cycle is "depreciation", where the bitter life of the blades of poor villages is depicted. The poet dreams of that day when the "hatred of tribes" disappears, when there is no "fraternal blood sword of the peoples of Obagren" ( "Ile the days are still far?").

The realistic trends of Russian literature led to the development of a satirical genre in it. Along with Nekrasov, it is drawn to it in the 50s. and Plescheev, who owns a number of satirical works ( "My friend", "lucky man", "the children of the century are all patients"). The strongest poem of this cycle - "Marsh apostates"Full hatred for renegades and traitors. We find elements of satire in Elegy poems of Plescheyev. The poet never stood aside from public life, he responds to acute questions and political events, addressing young people, to like-minded people, participants of the revolutionary movement. He again, as at the beginning of his path, raises the question of the appointment of the poet and poetry, and the poet appealed not only as a prophet predictoring the formidable rupture, but also as a fighter.

Like Nekrasov, he addresses the images of the great people of his time. It devotes poems Belinsky, Chernyshevsky, Dobrolyubov, in which the characteristic features of the wonderful fighters of revolutionary democracy are embodied. And, despite the fact that in any poem is not marked with the addressee (due to censorship, especially ferocating, when these works were created), contemporaries found out those whose appearance found an incarnation in verses Alexei Nikolayevich.

The defeat movement in the 60s, the death of Dobrolyubov, Mikhailov, the arrest and the link Chernyshevsky shook Alexey Nikolayevich, he was hard to experience these events. The operating conditions were also working on the onset of the reaction, the unusually difficult circumstances of personal life. Plescheev was seriously worried in the 60-70s. What could not say the "New Word" "Fresh Fighters", which he had only to sympathize with the continuing case he gave the best years of youth. The poet was painfully worried about his cutoff from the peasant mass. He was tormented by the consciousness that he could not bring his ideals into life, that is, to take direct participation in the struggle for the freedom of the people, and we find these thirsty in a number of works ( "It's a pity to me whose will die", "old man", "so hard, so bitter me and hurt"). But the lyrical hero of Plescheyev does not oppose people, society, and closely connected with them. The poet never committed compromises with his conscience, remaining faithful to serving the debris.

Great place in the work of Alexey Nikolayevich 70s. It takes a landscape lyrics, characterized by simplicity, incessia ("summer songs"). He gave a lot of strength and energy, creating children's literature, dedicating the smallest readers of beautiful poems, imbued with hot love for them. The poet Humanist sought to introduce a child with life, explaining the world around. He drew beautiful pictures of the native nature "Rodaide Side". These wonderful poems appreciated Varlamov, Mussorgsky, Grechanins, Kyui, Tchaikovsky, who wrote music for them.

Activities of Alexey Nikolayevich as a translator. Translated, he saw the continuation of his original creativity, giving great importance to the choice of the original. Despite the extreme need, which forced him to translate it with the sake of pressing bread, he treated the translation of both a large and important tool in the education of the reader, as high art, as an artistic work. His Peru belongs to the first translations from Standal, Zol, J. Zand, Dodé, Maupassant, Bret Garth; He is one of the first translators of Heine, Petfi, Bairon.

Diversified formed, who possessed a subtle aesthetic aesthetic Face, Alexey Nikolayevich was a prominent, talented criticism, which owns many critical articles, reviews, reviews printed anonymously and under various pseudonyms in many newspapers and magazines.

The critical feedbacks of Plescheyev very valued Dobrolyubov, Nekrasov, Ostrovsky. Articles of revolutionary-democratic critics, as well as editorial reviews of Nekrasov's magazines "Contemporary" and "domestic notes" reflected the attitude of advanced people to the work of Plescheyev, refuted the swelling of the reactionary and liberal criticism, which took place to distort the civilian nature of his poetry. Poems Plescheev A.N. Translated to many European languages.

Died -, Paris.

Nikolai Alekseevich Plescheyev, whose biography will be briefly stated in the article, is a bright representative of the Russian intelligentsia of the XIX century. He was a prose, poet, translator, literary criticism, and revolutionary.

Start of life path

The life of Plescheyev was overflowing with events, rich in memorable facts. A writer was born in a family that belonged to the old nobility. This joyful event occurred at the beginning of the winter of 1825 in Kostroma. From the 1826th family lived in Nizhny Novgorod, where the father of the future poet was translated into public service. However, soon the head of the family dies, and the boy remains at the care of the mother.

In 1839, the future poet of Plescheev, together with her, moves to live in St. Petersburg. Here he decides to devote his life to military service and goes to learn to the school of Guards submaroes and cavalry junkers. But, having studied in an educational institution for two years, the young man understands that this is not his purpose. He leaves his studies and enters the University of St. Petersburg to the Historical and Philosophical Faculty. The subject of his study becomes eastern languages.

The circle of familiar Plescheyev by this time is already very wide, despite his young age. He is familiar with such famous people as Plenev, Grigorovich, Kraevsky, Goncharov, Dostoevsky, Saltykov-Shchedrin.

Social activity

In the middle of the XIX century among noble youth, it was considered prestigious to consist in various social movements, circles, parties. Not left away from modern trends and young Plescheev. The biography of the poet is full of information about his participation in such organizations, including revolutionary. All these hobbies were passionate and had a direct impact on the fate of the poet.
So, for example, being under the influence of Beketov's influence, which led one of the student circles, Shtcheyev cooled to study and left the university in 1845, without graduating. At the same time, he began attending a meeting of the Mug of Petrashevsky. But the special thrust in the young poet was to the circle of Durov, where there were not so much political as literary interests.

Early creativity

Pleshcheyev verses began to appear in print since 1844, mainly in such editions known at that time, like "domestic notes", "Contemporary", "Literary newspaper", "Library for reading". In verses belonging to the early period of creativity, the influence of the works of Mikhail Yurevich Lermontov is clearly felt.

Plescheyev's poetry is inherent in the motives of sadness, loneliness, romance. In the second half of the forties, the poet's lyrics is filled with protest energy, a call to the fight against injustice, oppression. The revolutionary character of the poems of Plescheyev did not remain unnoticed as fans of his talent and the authorities.

Years of Links

In 1849, in Moscow, along with other free-rigs, who belonged to Petrashevs, was arrested and Plescheev. The biography of the poet was replenished with another page of life. After arrest, he was delivered to the Petropavlovsk Fortress of St. Petersburg, where he was in conclusion about eight months. On December 22, an execution was expected at the Semenov Platoz, which at the very last moment was replaced by a four-year-old carriage, deprivation of all rights to the inheritance of the state and military rank.

Plescheyev was sent to the city of Uralsk, in a separate Orenburg building, as ordinary. Since 1852, the service took place in Orenburg, where he was erected for special merits, and in 1856 the officer rank was restored. In 1857, Nikolai Alekseevich Plescheyev returned and the title of nobleman.

Over the years links, the poet comes closer to people close to him in spirit, such as the poet Mikhailov, Polish revolutionaries. Lyrics of the poet change. In verses, sincerity appears, his own look at some sides of life. At the same time, the cycle of poems belonging to love lyrics is born. They were devoted to the future wife of Nikolai Alekseevich.

After reference

The years of life of the poet Plescheev can be divided into two periods - before reference and after it. The time spent in harsh conditions only harden the character of the poet, but did not make it change to progressive ideas.

In 1858, Plescheev arrives in St. Petersburg and gets acquainted here with Dobrolyubov, Chernyshevsky, Nekrasov. In 1859, she moved to Moscow. Here he is actively engaged in literary activities. At the creative evenings, which Plescheev arranged in his home, there were the most famous representatives of the Russian intelligentsia, such as Lion Tolstoy, Nikolai Nekrasov, Ivan Turgenev, Peter Tchaikovsky and many other writers, poets, actors, musicians.

Educational work

Many years of the life of Plescheyev were devoted to educational activities that had a pedagogical orientation. In 1861, together with Berg, they were published a children's book "Children's book", in 1873, when working with Alexandrov, a collection appears for children, where the best works of Russian classical and modern literature are placed. In addition to literary publications, training and educational collections on geography are issued on the initiative of Plescheyev. In total, seven books of different topics were prepared and released.

Proser and translator

In those years of the life of Plescheyev, when he worked as a translator, all his literary talent showed. Many poems from French, German, English, Slavic languages, performed by Nikolai Alekseevich, are still considered the best. Often the poet was taken for works that no one translated into Russian Plescheyev to him belongs to some scientific transfers to historical and sociological topics. Literary criticism was also interested in Nikolai Alekseevich, she was given a special place in his work.

Throughout the creative activity, the poet did not leave work on prose. But I must say that the works created by them did not go beyond the traditions of the traditions. Some of the stories and stories can be called autobiographical.

Speaking that the years of the life of the poet Plescheyev were filled with bright events, meetings, acquaintances, hobbies, it is impossible not to say about the preferences of Nikolai Alekseevich to the theater. Svechev himself was an excellent reader. He understood and loved theatrical art. From under the poet's feather, plays came out, which were raised on the scenes of the country's leading theaters.

Literary heritage

Nikolai Alekseevich Plescheyev, whose biography can only cause the admiration of the descendants, left behind a rich cultural heritage.

Original and transfer verses of Plescheev are fascinated by their melodiousness. That is why they did not remain unnoticed by such great composers as Tchaikovsky, Mussorgsky, Cui, Greekinov, Rachmaninov. More than one hundred poetic works of the poet are put on the music, being samples of art. About 13 original and 30 translated theatrical plays belong to Peru Nikolai Alekseevich. Some of them are entering the repertoire of the theaters of the country.
Hundreds of poetic works of Plescheev are published in collections. Many, becoming classic, are included in the readstatology on literary reading.

The life of Plescheyev broke off on September 26, 1893 in Paris, but Nikolai Alekseevich was buried in Moscow.

And entered the St. Petersburg University on the category of Eastern languages. Here began to develop a circle of acquaintances Plescheyev: Rector of the University P. A. Plentnev, A. A. Kraevsky, Mikikova, F. M. Dostoevsky, I. A. Goncharov, D. V. Grigorovich, M. E. Saltykov-Shchedrin.

Gradually, Plescheyev had dating in literary circles (the established, mainly on the dating evenings in the house of A. Kraevsky). He sent his very first selection of poems of Plescheev, the Rector of the St. Petersburg University and the publisher of the contemporary magazine. In a letter Ya. K. Grota last wrote:

Have you seen in Contemporary Poems with signature A. P-V? I found out that this is our student another 1st year, Plescheev. He is visible talent. I called him to myself and looked at him. He goes along the Eastern Department, lives with his mother, who has the only son ...: 9

In the summer of 1845, Plescheev left the university due to the constrained material situation and dissatisfaction with the process itself. Coming out of the university, he dedicated himself exclusively literary activities, but did not leave hope for hope, it was noted to prepare the entire university course and hand out its external: 9. At the same time, he did not interrupt contacts with the participants of the circle; Petrashevtsy often met him at home; Plescheev was perceived as "a poet-wrestler, his Andre Shhenie."

In 1846, the first collection of poet poems was published, which included popular poems "at the call of friends" (1845), as well as "forward! without fear and doubt ... "(called" Russian Marselease ") and" By the feelings of the brothers we are with you "; Both poems became anthems of revolutionary youth. The slogans of the Plescheevsky hymn, subsequently lost the sharpness, for peers and like-minded people had a completely concrete content: "love teaching" was decrypted as the teaching of the French Socialists-utopian; "The Gerbal Service" meant call for public service, etc. N. G. Chernyshevsky later called the poem "Beautiful Anthem", N. A. Dobrolyubov described him as a "brave call, full of such faith in herself, faith in people, faith For better future. " The poem of Plescheyev had a wide public resonance: he was "began to perceive as a fighter poet."

Poems to the Virgin and the Moon ended forever. Another era comes: in the course of doubt and endless flour doubts, suffering from universal issues, bitter crying for the shortcomings and disasters of mankind, on the unpleasurness of society, complaints of a trifle of modern characters and solemn recognition of their insignificance and powerlessness, imbued with lyrical pathos to the truth ... The situation in which our poetry is with the death of Lermontov, Mr Svechev - Undoubtedly our poet at present ... He, as seen from his poems, took up the point of the poet by calling, he strongly sympathizes issues of his time, suffers from all the anesses of the century, painfully tormenting the imperfections of society ...

Plescheyev's poetry turned out to be in fact the first literary response in Russia for events in France. In many ways, it is why his creativity so appreciated Petrashevtsy, who made their direct goal of the transfer of revolutionary ideas on the domestic soil. Subsequently, Plescheev himself in a letter to A. P. Chekhov wrote:

The poem "New Year" ("Looks - Congratulations ..."), who came out with the "conspiracy" subtitle "Cantata from Italian" was a direct response to the French revolution. Written at the end of 1848, it could not deceive the vigilance of censorship and was published only in 1861: 240.

In the second half of the 1840s, Plescheev began to be published both as a prose: his stories "Rota fur coat. The story is not without morality "(1847)," Papiroska. True incident "(1848)," Protection. The History of Everything "(1848) was noticed by criticism, which discovered in them the influence of N. V. Gogol and attributed to the" Genuine School. " At the same years, the poet wrote the story "prank" (1848) and "Friendly Tips" (1849); In the second one, some motives dedicated to Plescheyev, F. M. Dostoevsky, were developed.

Link

In the winter of 1848-1849, Plescheev arranged the meetings of Petrashevtsev at home. They were F. M. Dostoevsky, M. M. Dostoevsky, S. F. Durov, A. I. Palm, N. A. Speshnev, A. P. Milyukov, N. A. Mombielli, N. Ya. Danilevsky (Future conservative author of the work "Russia and Europe"), P. I. Lamansky. Plescheev referred to a more moderate part of Petrashevtsev. He was left indifferent performances of other radical speakers, which the idea of \u200b\u200bpersonal god replaced the "truth in nature", rejected the institution of family and marriage and professing republicanism. He was alien to the extremes and his thoughts and feelings sought to harmonize. Forky passion for new socialist beliefs was not accompanied by a decisive refusal of its former faith and only merged the religion of socialism and the Christian doctrine of the truth and love of the neighbor in a single whole. No wonder with his epigraph to the poem "Sleep" he took the words of Lamenne: "The Earth is sad and desired, but it sees again. The breath of the evil will not be thrown over her as a scorching blow. " .

In 1849, being in Moscow (house number 44 on the 3rd Meshchanskaya Street, now Schepkin Street), Plescheev sent F. M. Dostoevsky copy of the letter of Belinsky to Gogol. Police intercepted the message. On April 8, according to the bonuse of the provocateur P. D. Antonelly, the poet was arrested in Moscow, he was sent to St. Petersburg in custody and spent eight months in the Peter and Paul Fortress. 21 people (from 23 convicts) were sentenced to execution; Among them was Plescheev.

"The rite of execution on the Semenov Place." Figure B. Pokrovsky, 1849

On December 22, together with the rest of the convicted Petrashevshev, A. Plesev was brought to Semenov Platz to a special scaffold of the civil execution. The stage was followed by F. Dostoevsky in detail in the novel "Idiot", after which the Decree of the Emperor Nicholas I was read, according to which the death penalty was replaced by various terms referenced to Katorga or in the artantic companies: 11. A. Pleshcheyev was first sentenced to four years of cortic, then transferred to Uralsk in Uralsk to a separate Orenburg Corps.

"Before leaving"
The poem of Plescheyev 1853, published with the dedication "L. Z. D., was addressed to the love of Zharvan Dundeville, the wife of Lieutenant Colonel Dandeville.
Spring again! Again a distant way!
In the soul of my alarming doubt;
Silver fear of my chest compresses:
Will it light up the exemption?
Whether God deviates to rest
Il fatal, destructive lead
Put all aspirations to the end?
The coming answer does not give ...
And I'm going, Compact Will Rock
Where my star is leading me.
In the desert edge, under the heavens of the East!
And just pray, so that I was remembered
A little to whom I loved here ...
Oh, believe me, you are the first of them ...
The poet sent him to the addressee before leaving to the operating army, at the storming of the Ak-Mosque fortress: 241.

In the winter of 1850, in Uralsk, Plescheev met with Sigismund Serekovsky and his circle; They met and subsequently, in ak-mosque, where both served. In the circle of Serekovsky Plescheyev, the same socio-political issues that worried him in St. Petersburg was again in the atmosphere of a tense discussion. "One exile supported the other. Higher happiness was staying in the circle of their comrades. After Mashtra, friendly interviews were collected. Letters from homeland, news brought by newspapers were the subject of infinite discussion. None lost the courage and hope for a return ... "," his participant of the BR said about the circle. Zalessky. Biographers clarified that the circle discussed "Questions related to the liberation of peasants and the endowment of their land, as well as the abolition of corporal punishment in the army."

Renewal of literary activities

Already in the years of the links, A. Plesev again resumed literary activities, although it was forced to have been forced to act. The poem of Plescheyev began to be printed in 1856 in the "Russian Bulletin" under the characteristic title: "Old songs on a new way." Plescheev of the 1840s was, according to the observation of M. L. Mikhailov, prone to romanticism; In poems of the reference period, romantic trends have survived, but criticism noted that the inner world of man became deeper, "dedicated himself to the struggle for popular happiness."

In 1857, a few more poems were published in the Russian Bulletin. For researchers of creativity, the poet remained unclear which of them were valid new, and which references treated for years. It was assumed that the translation of the city of Heine "Life Way" (at Plescheyev - "and laughter, and the songs and the sun shine! .."), printed in 1858, refers to the number of latter. The same line of "loyalty to ideals" continued the poem "in the steppe" ("but let my days are going without joy ..."). The expression of the general sentiments of Orenburg exile revolutionaries was a poem "after reading newspapers", the main idea of \u200b\u200bwhich is the condemnation of the Crimean War - was consonant with the sentiments of Polish and Ukrainian exiles.

A. N. Plesev, 1850s

In 1858, after an almost ten-year break, the second collection of Pleesheyev poems was released. Epigraph to Him, the words of Heine: "I could not sing ...", indirectly indicated that the poet was almost not engaged in creative activity. The poems dated 1849-1851 was not preserved at all, and the Svecheev himself in 1853 confessed that a long time to write. The main topic of the collection of 1858 was "pain for the enslaved homeland and faith in the right point of their case", the spiritual insight of a person who refuses from a thoughtless and contemplative attitude towards life. The collection was opened by the poem "Dedication", in many respects echoing with the poem "and laughter and songs and the sun shine! ..". Among those who sympathetically appreciated the second collection of Plescheyev, was N. A. Dobrolyubov. He pointed to the socio-historical conditionality of dying intonations of the circumstances of life, which "loosely molded the most noble and strong personalities ...". "In this regard, the same seal of the Gorky consciousness of his powerlessness for the fate, the same colors of the" painful longing and irreparable doom, followed by dusting, proud dreams of adolescence, was the same for the talent of Plescheyev.

At the end of the 1850s, A. Plesev turned to prose, first - to the genre of the story, then published several stakeholders, in particular, "inheritance" and "father and daughter" (both - 1857), partly autobiographical "budnery" (1858) , "Pashintsev" and "Two Careers" (both - 1859). The main target of Satreyev-Prosaika was pseudoliberal accusation and romantic epigalism, as well as the principles of "pure art" in the literature (the story "Literary Evening"). Dobrolyubov about the story of "Pashintsev" (printed in the "Russian Bulletin" 1859, No. 11 and 12) wrote: "The element of the public penetrates them constantly and it distinguishes from many colorless stories of the thirties and the fifties ... In the history of each hero, the Hangcheev, you see how He is associated with his environment, like this world about him over it with his requirements and relationships - in a word, you see the creature of public, and not solitary. "

"Moscow Bulletin"

In November 1859, Plescheev became a shareholder of the Moscow Bulletin newspaper, in which I. S. Turgenev, A. N. Ostrovsky, M. E. Saltykov-Shchedrin, I. I. Lazhchchnikov, L. N. Tolstoy and N. G. Chernyshevsky. Plescheev vigorously invited to the participation of Nekrasov and Dobrolyubov and led the struggle for the displacement of the political orientation of the newspaper sharply left. The task of the publication was determined as follows: "Every arms to the side. We must beat the serfs under the mask of Liberals. "

Publication in the "Moscow Bulletin" translated Sleshcheyev "Sleep" T. G. Shevchenko (published under the heading "Jince"), as well as the Poet's autobiography was many (in particular, Chernyshevsky and Dobrolyubov) are regarded as a brave political act. "Moscow Bulletin" under the leadership of Plescheyev became a political newspaper supporting the position of the "contemporary". In turn, the "contemporary" in the "notes of the new poet" (I. I. Panayev) positively assessed the direction of the newspaper Plescheyev, directly recommending his reader to pay attention to transfers from Shevchenko.

1860s

Cooperation with the "contemporary" continued until its very closure in 1866. The poet has repeatedly stated its unconditional sympathy of the Nekrasov magazine program, articles of Chernyshevsky and Dobrolyubov. "I never worked so much with such love, as at that time, when all my literary activities were given exclusively to that journal who was led by Nikolai Gavrilovich and the ideals of which were and forever remained my ideals," the poet later recalled.

In Moscow, Nekrasov, Turgenev, Tolstoy, A. F. Pisemsky, A. G. Rubinstein, P. I. Tchaikovsky, Actors of the Small Theater were in the House of Literary and Musical Evenings. Plescheev was a member and was elected the elder "artistic mug."

In 1861, Plescheev decided to create a new magazine, "Foreign Review", and proposed participation in him M. L. Mikhailov. A year later, with Saltykov, A. M. Unkovsky, A. F. Golovachev, A. I. Europe and B. I. Duck, he developed a project of the Russian True magazine, but in May 1862 received a refusal to resolve the magazine. At the same time there was an unfulfilled plan for the purchase of the "Century" newspaper.

The position of Plescheyev regarding the reforms of 1861 has changed over time. First, the news about them he took him with hope (evidence of this - the poem "worked poor you, a rest without knowing ..."). Already in 1860, the poet rethought his attitude towards the liberation of peasants - in many respects under the influence of Chernyshevsky and Dobrolyubov. In letters to E. I. Baranovsky Plescheev, I noticed: the "bureaucratic and plantative" party is ready to give a "poor man to sacrifice to the official robbery", renewing from the previous hopes that the man "will free from the heavy landlord."

Period of political activity

The poetic work of Plescheyev began the early 1860s was noted by the predominance of socio-political, citizen topics and motives. The poet tried to turn to a wide democratically configured audience; His poetic works appeared campaign notes. He finally stopped cooperation with the Russian Bulletin and personal communication with M. N. Katkov, moreover, it began to openly criticize the direction headed by the latter. "The damned questions of reality are the true content of poetry," said the poet in one of his critical articles, calling for politicization of publications in which he participated.

The poems characteristic in this sense were "Moluba" (a kind of reaction to the arrest of M. L. Mikhailov), dedicated to Nekrasov, the "New Year" poem, in which (as well as in "the heap of anger boiled ...") Liberals were criticized with their rhetoric. One of the central in the poetry of Plescheyev began the early 1860s the topic of a soldier citizen, a revolutionary feat. The poet in verses Plescheyev is not the former "prophet", suffering from a misunderstanding of the crowd, but the "warrior of the revolution". Direct political importance had a poem "Honest people expensive thorns ...", dedicated to the process of Chernyshevsky ("Let the wreaths of the wreaths of victorious ...").

The nature of the political speech had and printed in the "contemporary" in 1862, the poem "to adolescence" and "false teachers", related to the events of the fall of 1861, when the arrests of students were met by a complete indifference to the wide masses. From the letter of Plescheyev A. N. Sunetse, who was sent to the transfer of Nekrasov, the poem "to his youth" is that February 25, 1862, Shtcheyev read "to adolescence" on the literary party in favor of twenty students. The poet participated in the collection of money in favor of the affected students. In the poem "to adolescence", Plescheev called for students "not to retreat before the crowd, throwing stones ready." The poem "Families" was the answer to the lecture B. N. Chicherina, read on October 28, 1861 and aimed against the "Anarchy of the Umov" and "Brown rampant's thoughts" of students. In November 1861, Plescheev wrote A. P. Milyukov:

Did you read Chicherin's lecture in the Moscow Vedomosti? No matter how little students think of students who are truly often children, but agree that it is impossible not to regret the poor youth, condemned to listen to such a dery nonsense, such as soldiers' ports, common places and empty doctrine phrases! Is it a living word of science and truth? And this lecture applauded the companions of the honorable doctrine Babst, Kether, Shchepkin and Co.

In the reports of the secret police in these years, A. N. Plescheev still appeared as a "conspirator"; It was written that although Plescheev "behaves very secretly", he is still "suspected of spreading ideas disagree with the kinds of government": 14. There were some foundations for such suspicion.

Honest people, dear thorny
To the light running solid stop,
Will with iron, conscience pure
Are you afraid of human malice!
Let him not goss out wreaths to you victorious
Grief crushed, sleeping people, -
Your works will not die without a trace;
Good seed will give the fruit ...
The poem written in 1863 on the court over Chernyshevsky was not printed until 1905. Chernyshevsky, with whom Plescheyev connected the generality of views and personal friendship, noted the latter as a "writer whose activity is impeccurn and useful."

By the time A. N. Plesev moved to Moscow, the nearest comrades N. G. Chernyshevsky had already prepared the creation of the All-Russian secret revolutionary organization. Many friends of the poet: S. I. Serekovsky, M. L. Mikhailov, I. Stalevich, N. A. Solovievich, N. V. Shelgunov, took an active part in its preparation. For this reason, the police considered Plescheyev as a full participant in the secret organization. In the denunciation of Vsevolod Kostomarova, the poet was called the "conspirator"; It was he who was attributed to the creation of "letters to peasants", the famous proclamation of Chernyshevsky.

Literary activity in the 1860s

In 1860, two volumes of the "Tags and Stories" of Plescheyev were released; In 1861 and 1863, two more collections of Pleshcheev poems. Researchers noted that as the poet Plescheev joined the Nekrasov school; Against the backdrop of the public lift of the 1860s, he created socio-critical, protest-call verses ("On youth, youth, where are you?", "Oh, do not forget that you are a debtor," "boring picture!"). At the same time, by the nature of poetic creativity, he was close in the 1860s to N. P. Ogarev; The creativity of both poets was on the basis of common literary traditions, although it was noted that Plescheyev's poetry is more lyric. Among the contemporaries, the opinion was dominated by the opinion that Plescheyev remained a "man of forties", somewhat romantic and distracted. "Such a mental warehouse did not quite coincide with the character of new people, sober sixties who demanded cases and first of all the case": 13, "N. Bannikov noted, the biographer of the poet.

Researchers noted that he was hard to develop his own position in the new onescheev of the literary situation. "You need to say a new word, where is it?" He wrote Dostoevsky in 1862. Plescheev sympathetically perceived various, sometimes polar social and literary views: so, sharing some ideas of N. G. Chernyshevsky, at the same time supported Moscow Slavophilov, and the program "Time" magazine.

The literary earnings brought a poet a meager income, he led the existence of a "literary proletarian", as such people called (including himself) F. M. Dostoevsky. But, as the contemporaries noted, he had behaved independently, keeping the faithfulness of the "high humanistic Shiller's idealism learned in his youth": 101. As Yu. Zobnin wrote, "Pleshcheyev with a courageous simplicity of the prince-exile endured the permanent need of these years, juts with his numerous family in tiny apartment, but neither Iot did not go to his civil or literary conscience": 101.

Years of disappointment

In 1864, A. Pleneyev was forced to enter the service and received the venue of the Moscow Post Office of the Control Chamber. "Life still felt me. In my summer, fight as a fish about ice and wearing the Vitzmundier, to which he never was prepared, where as hard. ": 14, he complained two years later in a letter to Nekrasov.

There were other reasons that caused a sharp deterioration in the general mood of the poet by the end of the 1860s, the predominance of the feelings of bitterness and depression. The collapse has undergone its hopes for nationwide performances in response to reform; Many of his friends (Dobrolyubov, Shevchenko, Chernyshevsky, Mikhailov, Serno-Solovyovich, Shelgunov) died or were arrested. A severe blow to the poet was the death of his wife on December 3, 1864. After the closure in 1866, the magazines "Contemporary" and "Russian Word" (the magazines of the Dostoevsky "time" and "epoch" brothers) were still discontinued), Plescheyev was among the writers who practically lost the journal tribune. The main theme of his poems of this time was the exposition of betrayal and treason ("if you want, so that peacefully ...", "Apostaten-Marsch", "It's a pity, whose will die ...").

In the 1870s, the revolutionary moods in the work of Plescheyev acquired the character of reminiscence; Characteristic in this sense, considered one of the most significant poems in his work "I quietly walking down the street deserted ..." (1877), dedicated to the memory of V. G. Belinsky. It would seek the line under a long period of disappointment and wrecking the poem "without hopes and expectations ..." (1881), which was a direct response to the state of affairs in the country.

Plescheev in Petersburg

In 1868, N. A. Nekrasov, having become at the head of the journal "Petreaty Notes", invited Plescheyev to move to St. Petersburg and take the post of secretary of the editorial office. Here the poet immediately ended up in a friendly atmosphere, among like-minded people. After the death of Nekrasova, Plescheev took over the leadership of the poetic department and worked in the journal until 1884.

Creativity of the 1880s

With the relocation to the capital, the creative activity of Plescheyev resumed and did not stop almost until the death. In 1870-1880, the poet was mainly engaged in poetic translations from German, French, English and Slavic languages. As researchers noted, it was here that his poetic skill was mostly manifested.

D. S. Merezhkovsky - A. N. Plescheyev

For a new generation of Russian writers of the late XIX century, A. N. Plescheyev was the "living symbol of the knightly Russian literary freedomiff of immemorial pre-reform times": 101.

…You are dear to us, which is not one word,
But with all his soul, you have a poet
And in these sixty heavy, long years -
In the deaf exile, in battle, in labor is severe -
You have been warm in a clean flame everywhere.
But you know the poet who you are all more expensive
Who is the hot all hello to you?
You are the best friend for us, for Russian youth,
For those who called: "Forward, forward!"
His captivating, deep kindness,
As a Patriarch, in the family you united us, -
And so for what we love you all my soul,
And so for that now we raised a glass!

A. Plesev translated and artistic prose; Some works ("Beluto Paris" E. Zola, "Red and Black" Standal) were first published in his translation. The poet also translated scientific articles and monographs. In various magazines, Plescheev published numerous compilation work on Western European history and sociology ("Paul-Louis Courier, his life and writings", 1860; "Life and correspondence of Proudhon", 1873; "Life of Dickens", 1891), monographs on creativity Shakespeare, Standal, A. De Mussse. In his journalistic and literary and critical articles, in many ways following Belinsky, he promoted a democratic aesthetics, called for a search in the People's Heroes capable of self-sacrifice in the name of general happiness.

In 1887, a full assembly of poems A. N. Plesechev was published. The second edition, with some additions, was done after his death of his son, in 1894, later the "Tale and Stories" of Plescheyev were also published.

A. N. Plesev was actively interested in theatrical life, was close to theatrical environment, signs with A. N. Ostrovsky. At various times, he held the post of senior of the artistic mug and chairman of the Society of Scenic figures, actively participated in the activities of the Russian Dramatic Writers' Society and Opera Composers, often spoke with readings.

A. N. Plesev wrote 13 original plays. Mostly it was small in terms of volume and "entertaining" in the plot of lyric and satirical comedies from the provincial-landlord life. Theatrical performances on his dramatic works "Service" and "No Hud without Good" (both - 1860), "Happy Chet", "Commander" (both - 1862) "What often happens" and "brothers" (both - 1864), and others) walked in the leading theaters of the country. At the same years, he recycled for the Russian scene about thirty comedies of foreign playwrights.

Children's literature

An important place in the work of Plescheev of the last decade of his life was occupied by children's poetry and literature. Success had his collections "Snowdrop" (1878) and "Grandfather Songs" (1891). Some poems have become a textbook ("old man", "grandmother and granddaughters"). The poet was actively involved in the publishing case, it was in line with the development of children's literature. In 1861, in conjunction with F. N. Berg, he published a children-book-book collection, in 1873 (with N. A. Alexandrov) - a collection of works for children's reading "for a holiday". Also, thanks to the efforts of Plescheyev, seven school benefits were published under the general heading "geographical essays and paintings".

Researchers of Creativity Plesechev noted that for children's poems, Plescheyev is characterized by the desire for vitality and simplicity; They are filled with free colloquial intonations and real-image, while maintaining the general mood of social discontent ("I rose in the Mother in the hall ...", "boring picture", "beggars", "children", "native", "old men", "Spring "," Childhood "," Old man "," Grandmother and granddaughters ").

Romances on the poems of Plescheev

A. N. Plesev was characterized by specialists as a "poet with a smoothly broken, romance" poetic speech and one of the most "singing poets-lyrics of the second half of the XIX century." About a hundred romances and songs were written on his verses - both contemporaries and composers of the following generations, including N. A. Roman-Korsakov ("Night flew over the world"), M. P. Mussorgsky, Ts A. Kyui , A. T. Grechaninov, S. V. Rakhmaninov.

The poems and children's songs of Plescheev became a source of inspiration and for P. I. Tchaikovsky, who appreciated their "sincere lyrism and the immediacy, excitement and clarity of thought." The interest of Tchaikovsky to the poetry of Plescheyev was largely due to the fact of their personal acquaintance. They met at the end of the 1860s in Moscow in the artistic circle and had a good friendly relationship for life.

Tchaikovsky, who appealing to the poetry of Plescheyev in different periods of his creative life, wrote several romances to poet poets: in 1869 - "Not a word, about my friend ...", in 1872 - "Oh, Sleight the same song ...", in 1884 - "Only you are alone ...", in 1886 - "Oh, if you knew ..." And "we were shining the stars of meek ...". Fourteen Chaikov's songs from the "Sixteen Songs for Children" cycle (1883) were created on poems from the collection of Plescheev "Snowdrop"

"This work is light and very pleasant, for I took the text Snowdrop Plescheyev, where there are many adorable things, "the composer wrote while working on this cycle M. I. Tchaikovsky. In the House-Museum of P. I. Tchaikovsky in the wedge in the library of the composer, a collection of poems of Plescheyev "Snowdrop" was preserved with the poet's graduate inscription: "Peter Ilyich Tchaikovsky in the sign of the location and gratitude for his beautiful music on my bad words. A. N. Plescheev. 1881 February 18th St. Petersburg. "

A. N. Plesev and A. P. Chekhov

Photography, presented by A. N. Plescheyev A. P. Chekhov in 1888.
Awful I like to receive letters from you. It is not in the compliment to you, so much in them is always acknowledged wit, so good all your characteristics and people and things that you read as a talented literary work; and these qualities, in conjunction with the thought, which is remembered and is located to you a good person, make your letters very valuable
From the letter A. N. Plesechev A. P. Chekhov on July 15, 1888.

The admirer of Chekhov Plescheyev became even more familiar with him personally. Memoista Baron N. V. Drisen wrote: "As I see a fraudulent, almost biblical figure of an older - poet A. N. Pleshcheyev, talking to me about the book In twilight, just released suvorin. "When I read this book," said Shtcheyev, "the shadow I. S. Turgenev was invisible in front of me. The same peaceful poetry of the word, the same wonderful description of Nature ... "Especially liked him the story" Holy Night "."

The first acquaintance of Plescheyev with Chekhov took place in December 1887 by St. Petersburg, when the latter together with I. L. Leontiev (Scheglov) visited the poet's house. Schieglov recalled later about this first meeting: "It was not half an hour ago, as Miley, Alexey Nikolayevich was in Chekhov in full" spiritual captivity "and worried in turn, while Chekhov quickly entered their usual philosophical humorous mood. Ploy someone accidentally then to the Cabinet Plescheyev, he probably would have thought that he was talking to a long-standing friends ... ". A month later, an intensive friendly correspondence, which lasted five years began between new friends. In letters to other friends, Czechs often called Plescheyev "Grandfather" and "Padre". At the same time, he himself was not the admirer of Pleshcheev's poetry and did not conceal the irony in relation to those who guarded the poet.

The story "steppe" of Chekhov wrote in January 1888 for the Northern Bulletin; At the same time, he shared in detail in letters with his reflections and doubts ("Roby and I'm afraid that my Steppe Slightly will come out ... Frankly, I squeeze out myself, I will fit and inflated, but still, in general, she does not satisfy me, although there are poems in the prose in beds). Plescheev became the first reader of the story (in the manuscript) and repeatedly expressed in letters delight ("You wrote or almost wrote a big thing. Praise and honor to you! .. I hurt that you wrote so much charming, truly artistic things - and use lesserly fame, than writers, unworthy to unleash the belt at your feet ").

Chekhov first of all send the stories, the story and play "Ivanov" (in the second edition); Shared in the correspondence with the idea of \u200b\u200bthe novel, over which he worked in the late 1880s, he gave him the first chapters. On March 7, 1889, Chekhov wrote Plescheyev: "I will devote my novel ... in dreams and in the plans of my best, my best thing is dedicated." Plescheev, highly appreciated in Chekhov internal independence, and he himself was frank with him: did not hide his sharply negative attitude towards the "New Time" and to the Savorina himself, with whom Chekhov was close.

In 1888, Plescheev visited Chekhov in Sumy, and the latter said this visit in letter to Suvorin:

It<Плещеев> Tugaway and elderly lazy, but it does not interfere with the beautiful floor to roll it on boats, carry the romances to neighboring estates and sing him. Here he depicts the same as in St. Petersburg, that is, an icon, which is praying for the fact that she is old and hung sometime next to the miraculous icons. I personally, besides the fact that it is very good, warm and sincere person, I see a vessel in it, full of traditions, interesting memories and good shared places.

Plescheev criticized Chekhov "Name Day", in particular, its middle part, with which Chekhov agreed ("... I wrote her lazily and carelessly. Accustomed to small stories, consisting only from the beginning and end, I miss and start chewing when I feel that I feel that I feel that I write the middle "), then sharply responded to the story" Leshe "(which the Merezhkovsky and Urusov praised it). On the contrary, his highest assessment was awarded the story of "boring story."

Correspondence began to go to no after Chekhov, having left Tyumen, did not respond to several emissions of the poet, however, after receiving the inheritance, followed by resettlement to Paris Plescheev continued to describe his life, illness and treatment in detail. A total of 60 letters Chekhov and 53 letters of Plescheev are preserved. The first publication of correspondence was prepared by the son of the poet, the writer and journalist Alexander Alekseevich Plescheyev and was published in 1904 by the Petersburg diary.

last years of life

The last three years of the life of Plescheev turned out to be released from worries about earnings. In 1890, he received a huge legacy from the Penza relative Alexei Pavlovich Plescheyev and settled with daughters in the luxurious apartments of the Mirabeau's Parisian hotel, where all his familiar writers and generously gave them large amounts of money. According to memories Z. Gippius, the poet has changed only outwardly (loses of the disease started). Huge wealth, suddenly filled with him "from the sky", he accepted "with noble indifference, remaining the same simple and large-scale owner, as in the small cell on the Preobrazhenskaya Square." "What I have been wealth. That's just the joy that I was able to provide children, well, he sighed a little bit ... before death ": 101, - so he passed his words of the poetess. Plescheyev himself brought guests to the sights of Paris, ordered luxury lunches in restaurants and "Mavel asked" to take the "advance" from him to travel - a thousand rubles: 101.

The poet made a significant amount into the literary fund, established the foundations named after Belinsky and Chernyshevsky to encourage talented writers, began to support the family of Asspensky and C. Nadon, began to finance the magazine N. K. Mikhailovsky and V. G. Korolenko "Russian wealth".

K. D. Balmont. Memory Plescheyev.

His soul was clean, like snow;
There was a shrine man for him;
He was always a singer of good and light;
To the humiliated he was full of love.
Oh, youth! Scroll, bless
Having cooled the dust of the silent poet.

This poem sounded on the day of the funeral over the coffin A. N. Plesechev. : 586.

Plescheev wrote that he was avoided by Beaujda, mentioned among those with whom communication gives him pleasure, only Professor M. Kovalevsky, Zoologist Korothev, Vice-Consul Yurasova, Chet Merezhkovsky.

In 1893, he was already seriously ill, A. N. Plesev once again headed for treatment in Nice and on the way on September 26 (October 8) died from apoplexic strike: 15. The body was transported to Moscow and buried on the cemetery of the Novodevichy Monastery.

The authorities were forbidden to publish whatever the "airborne word" to the death of the poet, but at the farewell ceremony, a huge number of people gathered on a farewell ceremony. At the funeral, as contemporaries testified, there were mainly young people, including many of those still unknown writers, in particular, K. Balmont, pronounced about the coffin: 18.

Reviews of critics and contemporaries

Researchers of the Poet's creativity celebrated a huge resonance, which had one of his first poems, "forward", which laid the foundation of the "public, civilian side of his poetry ...". First of all, the strength of the civil position of Plescheyev, the full compliance of the personal qualities of the ideals proclaimed by them. Peter Weinberg, in particular, wrote:

Plescheev's poetry there is a large expression and reflection of his life. It belongs to the category of poets with a completely definite character, the essence of which is exhausted by any one of the motive that groups their modifications and branching around itself, always preserving, however, without undisturbed main foundation. In the poetry of Plescheev, this motive is humanity in the most extensive and noble meaning of the word. Being applied mainly to the poet's poet phenomena, this humanity naturally had to take an elegic character, but his sadness is always accompanied by an unshakable faith in victory - sooner or later - good over evil ....

Many critics at the same time reservedly evaluated the early works of A. Plescheyev. It was noted that it was "painted by the ideas of socialist utopism"; Traditional romantic motifs of frustration, loneliness, longing "comprehended by him as a response to social disadvantaged", in the context of the theme "Holy suffering" of the lyrical hero ("Sleep", "Wanderer", "on call of friends"). The humanistic pathos Liriki Plescheyev was combined with the prophetic tone characteristic of utopian moods, which was hoping to "see the eternal ideal" ("Poet", 1846). Vera in the possibility of harmonious world order, waiting for fast changes was also expressed in the most famous poem of P., exclusively popular in the circle of Petrashevtsev (as well as among the revolutionary-minded young people of the following generations, "Forward! Without fear and doubts ..." (1846).

N. A. Dobrolyubov about poetry A. N. Plesechev
Speaking about the early poems of Plescheyev, Dobrolyubov noted that "they had a lot of uncertain, weak, immature; But among the same poems was this brave call, full of such faith in herself, faith in people, faith in the better future ":

Friends! Let's give each other hands
And moving forward together,
And let, under the banner of science,
Our union is growing and grows ...
... Let us be a star travel
Holy Truth is burning.
And believe the voice noble
No wonder in the world will sound.

"This pure confidence, so firmly pronounced, this fraternal call to the union is not in the name of ragged pearts and remote feats, namely, under the banner of science ... They were inflated in the author if not wonderful poetic talent, then at least the energetic decision to devote their literary activities on Honest service of public benefits, "the critic recognized.

The writers and critics associated with the Social Democratic Movement often skeptically responded about the pessimistic sentiments that prevailed in poet poetry after his return from the reference. However, the same Dobrolyubov, noting that in verses of Plescheyev heard "some inner heavy mountain, a sad complaint of a defeated fighter, sadness about the unfulfilled hopes of youth", noticed that these sentiments did not have anything in common with the "plaintive moans of fesive pyit time. " Noting that such a transition from the initial elevation of hopes for disappointment is characterized in general for the best representatives of Russian poetry (Pushkin, Koltsov, etc.), the critic wrote that "... sadness of the poet about the failure to fulfill his hopes is not deprived of ... social importance and gives poems of Mr Pvechev The right to mention in the future history of Russian literature, even completely independently of the degree of talent, with which this sadness and these hopes are expressed in them. "

Critics and literators of later generations several otherwise evaluated the minor intonation of the poet, finding their consonant time in which he lived. "He kept Sveta thoughts into a black day. In his soul, sobs sounded. In his stanza, there was a sound of native sorrow, a sad moan of distant villages, calling for freedom, a gentle sigh of the lead and the first beam of the coming dawn ": 330, - wrote K. Balmont in posthumous dedication.

A. N. Plescheev was not an innovator of the form: his poetic system, formed in the direction of Pushkin and Lermontov tradition, relied on stable phrases, established rhythmic syntactic schemes, well-developed image system. One critics seemed to evidence of genuine taste and talent, another - gave reason to call some of his poems "colorless", accuse him of "non-independence" and "monotony". At the same time, contemporaries, for the most part, highly appreciated the "social importance" of Plescheev's poetry, its "noble and clean direction", deep sincerity, calling for "fair service to society."

Plescheyev was often reproached in the passionateness of abstract concepts and high-pass metaphors ("all enemies of the black, rising against the evil," the "sword of the peoples of Obagren", "But the High Definition of Human Victims brought ..."). At the same time, supporters of the poet noted that the doctortism of this kind was the form of Esopovsky speech, an attempt to bypass censorship. M. Mikhailov, at the same time criticized Plescheyev, already in 1861 she wrote that "... One power remained behind Plescheyev - the strength of calling to honest ministry to society and nearby."

Over the years, criticized more attention paid to individual, "special purity and transparency of the poetic language Plescheyev", sincerity and incessia; Softening the tones of its poetic palette, emotional depth of externally extremely simple, infertility lines: 16.

From the historians of the literature of the 20th century, the negative assessment of the creativity of Plescheyev belongs to D. P. Svyatopolk-Misky; He wrote in the preface to poetic anthology, that Plescheyev "introduces us to a genuine Sahara of Poetic Study and Nevability", and in his "History of Russian Literature" notes: "Civilian poetry in the hands of the most significant representatives has become truly realistic, but ordinary citizen bards often There were same eclectics as the poets of "pure art", and in humility conveniences were still surpassed. Such, for example, flat and boring poetry of very cute and respectable A. N. Plesechev. "

Influence

Most often, Plescheyev's poetry critics were attributed to Nekrasov school. Indeed, already in the 1850s, the poet began to appear poems, as if reproducing the satirical and socio-household lines of Nekrasov's poetry ("the children of the century are all sick ...", 1858, etc.). The first comprehensive satirical image of the liberal appeared in the poem of Plescheyev "My Friend" (1858); Critics immediately noted that many attributes of imagery were borrowed from Nekrasov (the father who ruined "on dancers", the provincial career of the hero, etc.). The same accurate line continued in the poem "Lucky" ("slander! Giving different societies member and me. Philanthropips are filled with me every year.") An unusual symbiosis of Nekrasovsky accusability and the Turgenev topics of the "excess hero" manifested itself in the story "she and he "(1862).

The poet wrote a lot about the people's life ("boring picture", "native", "beggars"), about the life of the city grounds - "on the street". Under the impression of the severe fate of N. G. Chernyshevsky, who has been five years old in the Siberian link, it was written a poem "It's a pity to me whose dying force" (1868). The influence of Nekrasov was noticeable in household sketches and in the folk-poems imitation of Plescheyev ("I grew up in the hall in the hall ...", 1860s), in verses for children. Nekrasova Plescheev forever retained the feelings of personal attachment and gratitude. "I love Nekrasov. In it, there are parties who are involuntarily attached to him, and for them you forgive him a lot. In these three or four years i'm here<в Петербурге>I had a chance to spend two or three in the evening with him - such that leave the track for a long time in the shower. Finally, I will say that I personally owe him to many ... "," he wrote to the pearl in 1875. Some contemporaries, in particular, M. L. Mikhailov, paid attention to the fact that Plescheyev failed to create convincing people of people's life; The thrust to the Nekrasov school was for him, rather, unrealized trend.

Lermontov motifs

VN Mikekov was one of the first who counted Plescheyev to the followers of Lermontov. Subsequently, modern researchers were written about this: V. Zhdanov noted that Plescheyev in some sense "took over the baton" from Lermontov, one of the last poems of which was narrated by the fate of the Pushkin prophet, the enters the "seas and land" ("I began to proclaim Love / and Pravda Clean teachings: / I have all the neighbor / threw a mad stone ... "). One of the first published poems of Plescheyev was the "Duma", who was the indifference to the public "to good and evil", consonant with Lermontov theme ("Alas, he rejected! The crowd in his words / teachings of love and truth does not find ...").

The theme of the Prophet's poet, borrowed from Lermontov, became the leitmotif of the Plescheevsky lyrics, expressing "a look at the role of the poet as a leader and teachers, and on art - as a means of reorganizing society." The poem "Sleep", repeated the plot of the Pushkinsky "Prophet" (sleep in the desert, the phenomenon of the goddess, transformation into the Prophet), according to V. Zhdanov, "allows you to say that Plescheev not only repeated the motives of his ingenious predecessors, but tried to give his interpretation Topics. He sought to continue Lermontov as Lermontov continued Pushkin. " Plenechevsky prophet, who is waiting for "stones, chains, prison", inspired by the idea of \u200b\u200btruth, goes to people ("My fallen spirit rebelled ... and the oppressed again / I gave the freedom and love ..."). From Pushkin and Lermontov sources, the topic of personal, family happiness, deployed in Petrashevsky's poetry, and in the work of Plescheyev, received a new interpretation: as a marriage tragedy, breaking love ("Baia"), as a preaching of love "reasonable", based on the similarities of views And beliefs ("We are close to each other ... I know, but alien in spirit ...").

Like-minded people and followers

Critics noted that in the nature and genus of their poetic activity of Plescheev in the 1860s was closest to N. P. Ogarev. In this creative "kinship" insisted and he himself. On January 20, 1883, the poet wrote S. Ya. Naddon, that P. I. Vainberg in the report about him "perfectly approached the topic by connecting me in his characteristic with Ogarev." The landscape and scenery philosophical Lyrics of Plescheyev was considered critics as "interesting", but reasonable and largely secondary, in particular, in relation to the work of A. A. Feta.

Already researchers of the 20th century, it was noted that the exposure to the Liberal press on the Plescheyev, who was about the "poet of the 40s", who survived his time, or the Nekrasov epigion was largely motivated by political intrigues, the desire to impart the authority of a potentially dangerous, opposition author. Biographers N. Bannikov noted that the poetic work of Plescheyev developed; In his late verses, there was less romantic bag, more - on the one hand, contemplation and philosophical reflection, on the other - satirical motives ("My friend", "lucky man"): 15. Completely independent value had such protest works of the poet, as "honest people, dear thorns ...", "It's a pity to me whose will die"; Poems who rose degraded in their passive "opposition" of "extra people" (poetic novel "she and he", the poem "Children of the century all patients ...", 1858).

"Dedication"
Commemorate to you familiar songs sounds,
Friends of my dead young years?
And my fraternal I will hear hello?
All the same you, what were the separation? ...
Perhaps, I have no other!
And those in someone else's distant side -
For a long time forgot about me ...
And there is no one to respond to the songs!
The poem dated 1858 and addressed to Petrashevtsy condaters, found a hot response among the last, which N. S. Cashkin testified. The latter responded to her verse: 241:
Go ahead, do not be sad!
Good and truth on the road
Friends are talking loudly.
Forward without fear and doubts
And if blood cooled in the com
Your live songs
He will break to life again.

Critics noted that Plescheyev's poetry was clearer and more specifically of the civilian lyrics of the 60-70s. Ya. P. Polonsky and A. M. Zhemchuzhnikov, although some lines of creativity of three poets crossed. Polonsky lyrics (as M. Polekov) was alien to Paphos of revolutionary debt; Unlike Plescheyev, who had a blessed revolutionary, he lived with the dream "Rewind time to go to the prophetic dreams" ("Muza"). Closer to the poetic system of Plescheyev Lyrics of "Civil Motives" A. M. Zhemchuzhnikov. But their community has affected the fact that it was (according to revolutionaries-Democrats) the weak side of the poetry of Plescheyev. The similarity with pearls was determined by ideological "blurry" and sentimental didacticism of individual poems of Plescheyev, mainly 1858-1859. They brought together both the motives of civil repentance, the allegorical perception of nature. The liberal position of the pearly pearl (especially the recognition of the latest ideals of "pure poetry") was alien to Plescheyev.

The most clearly and bright follower of Plescheyev was considered S. Ya. Nadson, in the same tones protestered against the "kingdom of Waal", who challenged the shedding of the "righteous blood of the fallen fighters", which used similar didactic style, symbols and signs. The main difference was that the feelings of despair and doomes in Nadon poetry acquired almost grotesque forms. It was noted that Plescheyev's poetry had a noticeable influence on the poem of N. Dobrolyubov 1856-1861 ("When a bright beam of knowledge, through the darkness of ignorance, penetrate ..."), on creativity P. F. Yakubovich, Early N. M. Minsk, I. Z. Surikova, V. G. Bograz. The direct retelling of Plescheyev was the poem of G. A. Machetta "Last Forgiveness!", Quoted Rows of Plescheyev F. V. Volkhovsky ("Friends"), S. S. Sineub ("To Bust Belinsky"), P. L. Lavrov, in His poem "Forward!" Used part of the program poem Plescheyev: 239.

In the 1870s, landscape poetry of Plescheyev developed; The poems were filled with "sparkling overflows of paints", accurate descriptions of the elusive nature of nature ("Ocks of ice, not sparkling waves", "I see the heaven of the transparent blue, huge mountains of gear vertices"), which was interpreted by experts as influence A. A. Feta . The landscape Lyrics of Plescheyev, however, one way or another served as the symbolic interpretation of the motives of public life and ideological quest. At the base, let's say, the cycle "Summer Songs" lay an idea that the harmony of nature is opposed to the world of public contradictions and injustice ("boring picture", "depreciation"). Unlike Feta and Polonsky, Plescheev did not experience the conflict in the division of two topics: landscape and civil.

Criticism from the left

Plescheyev criticized not only liberals, but also - especially in the 1860s - radically customized writers, the ideals of which the poet tried to match. Among the poems, who gave out the critics, sympathy for liberal ideas, noted "the poor you worked, the rest is not knowing ..." (from which he had that the peasants, "submissive fate" patiently carried "their cross, as the righteous carries," but came "It's time for the Holy Rebirth", etc.). This liberal "prayer" caused a sharp response from Dobrolyubov, which in general was always sympathetic to the poet. He also sprocked (in the poem "from the motives of modern Russian poetry") a liberal "praise" of Plescheyev "Tsar-Liberator" However, the parody was printed not from ethical considerations. Dobrolyubov criticized Plescheyev for "abstract didacticity" and the allegority of images, (record in the diary of criticism of February 8, 1858).

Radical authors and publicists criticized Plescheyev and for excessive, in their opinion, "the breadth of views." Often he supported the ideas and currents contradictory, sympathizing only their "opposition"; The latitude of views "wrapped in often the uncertainty of judgments."

N. A. Dobrolyubov about prose Plescheyev

Plescheyev-Prosaika attributed to typical representatives of the "Natural School"; He wrote about the provincial life, swaying bribes, destroyers and intentional power of money (story "Rota fur coat", 1847; "Papiroska", "Protection", 1848; Tale "Prank" and "Friendly Tips", 1849). Critics noticed in his prosaic works of influence N. V. Gogol and N. A. Nekrasov.

N. A. Dobrolyubov, reviewing in 1860 a two-volume member, which included 8 leads by A. N. Plesechev, noticed that they were "... printed in all our best magazines and were read at one time. Then they forgot about them. Says and disputes of the story never excited him in public, nor in literary criticism: no one praised them especially, but no one scolded. The larger part of the story was read and were satisfied; The business ended ... ". Comparing the story and stories of Plescheyev with the works of the writers-contemporaries of the second plan, the critic noted that "... the public element penetrates them constantly and this distinguishes from many colorless stories of the thirties and fifties."

The world of prose Plescheyev is the world of "small officials, teachers, artists, small landlords, half-lifting ladies and a lady." In the history of each hero, the ages of Plescheyev is noticeable, however, communication with the environment, which "is over it with its requirements." This is, according to Dobrolyubov, and there is the main advantage of the stories of Plescheyev, however, the dignity is not a unique, belonging to him "along with very many of modern fiction." The dominant motive of Plescheyev's prose, according to critic, can be reduced to the phrase: "Wednesday is hired by a person." But -

At the fresh and sensible reader when reading ... Age of M. Plescheyev immediately is the question: what exactly do these well-dimensional heroes want, because of what they are killed? .. Here we do not meet anything definite: everything is so foggy, fragmentary, finely, that not you will withdraw a common thought, you will not have the concept of the goal of the life of these Lords ... All that there is a good thing in them, is a desire for anyone to come, pulled them out of the swamp in which they knuckled, wounded on their shoulders and dragged into place Clean and light.

Characterizing the main character of the same story of the same name, Dobrolyubov notes: "This Pashintsev is neither then nor the day, no night, no darkness, no light," like many other heroes of the ages of this kind, "is not at all phenomena; The whole environment that hires it is precisely from the same people. " The cause of the death of Gorodkov, the Hero of the Tale of "Governing" (1859), according to Criticism, "... His own naivety". Ignorance of life, uncertainty in the means and objectives and poverty distinguish both Kostin, the hero of the story "Two Careers" (1859), who dies in Cachotka ("Impeccable heroes in the city of Plescheyev, like the city of Turgenev and others die from exhausting diseases, "the author of the article is ironic)," I have not done anywhere else; But we do not know what he could do in the world, if he had not even been subjected to CHAKHOTE and was not continuously stuck with the medium. " Dobrolyubov notes, however, the fact that the shortcomings of the poet's prose have both the subjective side: "If the city of Plescheev with exaggerated sympathy draws us his bone and towns, so it<следствие того, что> other, more weathered practically types, in the same direction, has not yet been represented by Russian society. "

The meaning of creativity

It is believed that the importance of creativity A. N. Plescheyev for Russian and Eastern European public thought significantly exceeded the scale of his literary and poetic talent. Since 1846, the works of the poet were regarded critics almost exclusively in the criteria of socio-political significance. The poetic collection of A. N. Plescheyev, 1846, became actually a poetic manifesto mug of Petrashevtsev. In his article, Valerian Meskov, explaining what was the poetry of Plescheev for people of the 40s, inspired by socialist ideals, put the latter in the center of modern poetry and was even ready to consider him the immediate successor to M. Yu. Lermontov. "In that pitiful position in which our poetry is with the death of Lermontov, Mr. Plescheev is indisputable our first poet at present ..." he wrote.

Subsequently, it was the revolutionary pathos of early poetry Plescheyev led to its authority in revolutionary circles of Russia. It is known that in 1897, one of the first Social democratic organizations, the "South-Russian Worker Union", used in his leaflet the most famous poem poem.

"Song workers"
In the leaflets interpretation of the "South-Russian Working Union", Plescheevsky anthem looked like this:
Forward without fear and doubt
On the feat of the valiant, friends
It has long been eager for the unity
Workers friendly family!
We will give each other hands,
Connect into a close circle, -
And albeit on torture and flour
Will go for a friend faithful friend!
We want fraternity and freedoms!
May the slavery begins the vile age!
Mother of Nature
Is every person not equal?
Testament us Eternal Marx Dan -
Tom covered:
"Tesne, workers of all countries,
In one Union, reunite! "

Meanwhile, in general, the importance of creativity A. N. Plescheyev was not limited to his contribution to the development of Russian revolutionary poetry. Critics were noted that the poet had conducted a huge work (mainly on the pages of "domestic notes" and "Exchange Vedomosti"), analyzing the development of European literature, accompanying publications with their own translations (Zola, Standal, Gangra Brothers, Alfons Dodé). Plescheevsky poems are recognized by the classic ("on the shore", "old man"). Along with Pushkin and Nekrasov, it is considered one of the founder of Russian poetry for children: 16.

Translations of Plescheev

The influence of Plescheyev on the poetry of the second half of the XIX century was largely due to its translations, which were in addition to artistic and socio-political importance: partly through poetry (Heine, Berance, Barbie, etc.), revolutionary and socialist ideas penetrated into Russia. More than two hundred transfer poems make up almost half of the entire poetic heritage of Plescheyev. Modern criticism saw in it one of the largest masters of the poetic translation. "In our extreme conviction, the Plescheev in translations are even more poet than in the originals," wrote the "time" magazine, noting that "in foreign authors he is looking for her thoughts and takes his good, wherever it is ... " Most of the transfers of Plescheyev made up translations from German and French. Many of his translations, despite the specific liberties, are still considered to be a textbook (from Goethe, Heine, Ryuckeret, Freiligrata).

Plescheev did not hide that he did not see special differences in the method of working on translation and its own, original poem. He recognized that he enjoys the translation as a means of propaganda most important for this period of ideas, and in a letter to Markovich dated December 10, 1870 directly indicated: "I prefer to translate those poets that the universal element takes the top of the people - in which culture affects ! " The poet knew how to find "Democratic motives" even at poets of clearly expressed conservative views (Sumy - the early poems "Blenheim fight" and "Poor Complaints"). Translated Tennison, he emphasized the sympathy of the English poet to the "fighter for an honest case" ("the funeral song"), to the people ("Queen of May").

At the same time, the possibilities of the transfer of Plescheev often interpreted as a field of improvisation, in which it was often separated from the original source. The poet loose freely, reduced or increased the translated work: So, the poem of Robert Rither "Whether you watched the Alps at the time of sunset ..." from the sonnet turned into triple quarters; A large poem of the Square "Pakharist to Lark" ("Oracz Do Skowronku", 1851), consisting of two parts, he retold under an arbitrary name "bird" in a reduction (in the original 24 lines, translated - 18). The genre of poetic translation of the poet considered as a means of propaganda of new ideas. It freely interpreted, in particular, the poetry of Heine, often introducing there its own (or Nekrasovsky) ideas and motives (translating "Countess Gudel von Gudelsfeld"). It is known that in 1849, by visiting Moscow University, the poet spoke to students that "... It would be necessary to awaken self-awareness of the people, and foreign writings to this would be translated into Russian, encroaching into a common speech warehouse, distribute them into manuscripts ... ", and that in St. Petersburg there was already a society for this purpose: 238.

Character and personal qualities

All those who left the memories of Plescheyev, characterized him as a person of high moral qualities. Peter Weinberg wrote about him as a poet, who "... among the hard and frequent jokes of reality, even exhausted under them, ... after all, continued to remain the purest idealist and called others on the same ideal service to humanity," never changed himself, " Nowhere and never (as it was said in the poetic address on the occasion of his forty-year anniversary) is not increasing with good feelings. "

From the posthumous initiation of K. D. Balmont:

He was one of those who were fate
Silicon paths tested.
Who everywhere was the danger of Elevate,
Mockingly thumping exhaustion.
But Life Blizzard, Poverty, Cold, Mist
In it did not kill the burning galance -
Be proud, bold, fight against evil
Wake up in other saints

"The man of forties in the best sense of this concept, an incorrigible idealist,<Плещеев> Invested his live soul, his meek heart into his songs, and because they were so beautiful. ": 16, - wrote P. V. Bulls Publisher. A. Block, reflecting in 1908 on the old Russian poetry, especially the poems of Plescheev, who "walked some asleep strings, caused high and noble feelings to life": 16.

Contemporaries and subsequently researchers of creativity celebrated the extraordinary clarity of the mind, the integrity of nature, kindness and nobility of Plescheev; They characterized him as a person who was "distinguished by an unsuccessful soul purity"; Preserved "Despite all the dashing fan and soldiers' decades ... Children's faith in the purity and nobility of human nature, and has always been inclined to exaggerate the talent of the next poet debutant."

Z. Hippius, which at the first personal meeting "completely fascinated" Plescheyev, so I wrote the first impressions about him:

He is a big, somewhat cargo old man, with smooth, rather thick hair, yellow-white (ask for a blond), and a magnificent, very white beard, which is gently sprinkled along the vest. Correct, slightly blurred features, powdered nose and as if harsh eyebrows ... But in blond eyes - such Russian softness, special, Russian, before scattering, kindness and childhood, that the eyebrows seem to be severe - on purpose: 102.

Mogila Plescheyev in Novodevichy Monastery

Addresses

Work

Poem

During his lifetime, five collections of poems A. N. Plescheyev, the last one of them - in 1887. The most significant of the posthum is the publication, published by P. V. Bykov: "The poem A. N. Plesechev (1844-1891). Fourth, complemented edition. " St. Petersburg, 1905. Poetic works of Plescheyev in Soviet times were published in a large and small series of "Poet Libraries": 237.

1840s Dzentmones "Meanwhile, as the noise of the hands-up ..." Current sadness "I love to strive for a softer ..." Mogila In memory "After thunder, after a storm ..." Farewell song Shuttle Old man for piano "Let's go ashore; There's waves ... " "Goodnight!" - you said…" "When I am in the hall a crowded ..." Love singer At call friends "Again, I'm full thinking ..." Neighbour Wanderer "I hear familiar sounds ..." "Forward! without fear and doubt ... " A meeting Sounds "Why dream about what after will ..." On the motive of one French poet Pumps "For the feelings of the brothers we are with you ..." Poet. sorry "Right we saved you ..." "He suffered in a lot of life, a lot ..." "As a Spanish fly, longing ..." New Year "Another great voice Smallk ..." 1850s Spring Before leaving When sending Raphael Madonna After reading newspapers "Before you lies a wide new way ..." In Steppe Lickest from the diary "Do not say that in vain ..." "Oh, if you know you, friends of my spring ..." Meditation "There are days: no malice, nor love ..." Winter catalysis "When your meek, clear look ..." Prayer S. F. Durovu "You are just clear the days of my ..." "You mile me, it's time for sunset! ..." "It was time: his sons ..." Poison "The children of the century are all patients ..." "Familiar sounds, wonderful sounds! ..." "When I returned to the city of my native ..." "When I will meet the exterruced struggle ..." "Many evil and stupid jokes ..." My acquaintance MY SADIK "Oh no, not all given ..." "He walked a randomly thorn dear ..." Song

Dedication Bird Heart Wanderer Lucky "We worked poor you, rest without knowing ..." "You remember: Founding Willow ..." "You want songs," I don't sing ... " Flower "What a children's head ..." 1860s Lunar at night Empty house Ghosts "I drink for a glorious artist ..." Decembrist "If an hour, when the stars are lit ..." On the street "No rest, my friend, in life ..." "A boring picture! ..." "I have grown in the hall in the hall ..." "Blazers not done ..." Sick Spring "Friends of free art ..." "I envy me to look at the wise men ..." Moluba "Not! better death without refund ... " Nasty New Year "Oh, do not forget that you are a debtor ..." "Oh, youth, youth, where you ..." ("Contemporannik", 1862, April) Clouds Memory K. S. Aksakova "In front of the vessel left ..." Poet. "Pale ray of the moon made his way ..." In the woods. From Heine ("Contemporannik", 1863, January-February) "Total, all my track ..." ("Contemporannik", 1863, January-February) Two expensive "The smell of roses and jasmine ..." "And here is the tent of your blue ..." To youth False teachers "I love the Tropinku Forest ..." "In the heart of the evil boiled ..." "Night flew over the world ..." At night She and he "Rest, sit down in the forest edge ..." Depreciation "Nature-mother! I go ... " Native Tips of the wise men ("Contemporannik", 1863, January-February) "The sun of the mountains of Golden ..." "In court he listened to the sentence ..." Spring "Why with the sounds of these songs ..." Hypochondria Fall Dying "Honest people, dear thorns ..." "What a year, then a new loss ..."

"What have you drooped, green Ivushka? ..." Guests "If you want, so that peacefully ..." "I look at her and admire ..." Apostaten-Marsch. Memory E. A. Plescheva "Snow melts quickly, streaming streams ..." "When I see an unexpected burial ..." Slavic guests "Where are you, it's time for fun meetings ..." "It's a pity for those whose will die ..." "When you silently harsh ..." Clouds Words for music Old men "Heavy, painful Duma ..." 1870s "Ile those days are still far ..." Expectation "Blessed you, who is given ..." Spring night "He is in a white grudge his ..." Toasts In Bury Spring Childhood Winter evening From life Tomb of worker "There is no rest from the latter ..." "Warm day Spring ..." On the shore At night Memory Tomorrow In the country Bad weather Old man "I quietly went on the street deserted ..." Grandmother and granddaughter "I broke up with deceptive dreams ..." "I owe you salvation ..." 1880s "The lights went out in the house ..." Memory Pushkin Song Exile "Without hopes and expectations ..." "Burled a muddy river ..." From old songs "You threw the truth, thirst for light ..." Poison Memory N. A. Nekrasova September 27, 1883 (memory of I. S. Turgenev) ("Patriotic Notes", 1883, October) Last Sereda January 1, 1884 To the portrait of the singe "How often the image is expensive ..." On the Sunset Words for music In the album Anton Rubinstein Anton Pavlovich Chekhov At the funeral of Vsevolod Garshin "So hard, so bitter me and hurt ..." "As in the days of the hails of the sun beam ..." "Who are you, beauties, with flowers field ..." Reproach "This is a fiery sun ..."

Tale (Favorites)

Pieces (Favorites)

Bibliography

• Arseniev K.K. One of the poets of forties. Poem A. N. Plesechev. // European Bulletin, 1887, March, p. 432-437.
• Krasnov P. N. Poetry Plescheyev. // Books of the week, 1893, December, p. 206-216.
, 1988. - 192 p. - (literary criticism and linguistics). - 44,000 copies. (region)
• Pustor L. S. Life and creativity A. N. Plescheyev / T. ed. I. L. Volgin. - m.: Science, 2008. - 344, p. - (scientific and popular literature). - ISBN 978-5-02-034492-1 (in per.)
• A.N. Plescheev and Russian literature: Collection of scientific articles. - Kostroma: KSU them. ON THE. Nekrasova, 2006.