Nekrasov. Skatov N.N.

M.: Young Guard, 1994. - 412 p. (Series "Life of Remarkable People")

Nikolai Alekseevich Nekrasov 12/10/1821 - 01/08/1878

The book by the famous literary critic Nikolai Skatov is dedicated to the biography of N.A. Nekrasov, remarkable not only for his poetic creativity, but also for the contribution that he made to Russian culture, being the editor of major literary and journalistic magazines. Nekrasov appears in the book as a “Russian historical type,” as Dostoevsky put it, in all the splendor of his rich and controversial culture. Nekrasov is not only a great poet, but also a great player and hunter; he just as passionately loves all the pleasures that wealth gives a person, as passionately as he desires to alleviate the difficult lot of an oppressed and oppressed people.

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CONTENT
“I WAS BORN IN...” ............................... 5
“EVERYTHING STARTS HERE...” ....................... 22
“THE LITERARY TRAMP...”................................. 42
"FROM LITERARY VAG TO NOBLEMAN..." ..... 60
“THE MERCHANT SPREADED THE GOODS...” .................................... 85
“...TO THIS PATH—THE JOURNAL PATH...” ....... 102
“...TOGETHER WITH ONE EMPLOYEE” .................................... 123
AGAIN ON GRESHNEVSKAYA LAND.................... 147
“OH Rus'!..” ...............161
YOURSELF AMONGST STRANGERS, STRANGERS AMONG YOURSELF........ 210
“BUT ALL HIS SYMPATHIES WERE ON THE SIDE...” ... 226
“WITH THIS STAMP I WILL DIE...” .................................... 249
“LONELY, LOST...” .................................... 268
“OX, IT’S FULL, THE BOX IS FULL...” ............ 282
“NOTHING WILL HAPPEN...” .................................... 299
“WILL TAKE EVERYTHING...” .................................... 329
"WIDE ROAD..." ....................... 347
“DECAPTIVE WORLD ON THE FATAL PATH” ....... 367
FEKLA ANISIMOVNA VIKTOROVA, AKA ZINAIDA NIKOLAEVNA NEKRASOVA. ...... 389
“...AND ONLY SEEING HIS CORPSE...” ........ 400

Nikolai Nikolaevich Skatov was born on May 2, 1931 in Kostroma. Graduated from the Kostroma Pedagogical Institute and graduate school at the Moscow State Pedagogical Institute. Since 1962, he worked at the Department of Russian Literature of the Leningrad Pedagogical Institute named after A. I. Herzen. In 1987-2005 - Director of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences. From 2005 to the present - Advisor to the Russian Academy of Sciences.

N. N. Skatov - Doctor of Philology, Corresponding Member of the Russian Academy of Sciences. He is a major expert in the field of the history of Russian literature, the author of more than 300 scientific and literary critical works, including 23 books.

He is the author and editor of school and university textbooks. N. N. Skatov is a member of the editorial board and editorial councils of a number of literary and scientific publications: “University Book”, “Literature at School”, “Aurora”, “Our Heritage” and others.

He has been for many years a member of the pardon commission under the governor of St. Petersburg.

In 1999, by decision of the board of directors of the Russian Bibliographic Institute, in the category “Culture” in 2000, he was awarded the title “Person of the Year”. In 2001, by decision of the Academic Council of the Russian State Pedagogical University on March 29, he was awarded the title “Honorary Professor of the Russian State Pedagogical University named after A. I. Herzen.”

Currently, he is a lecturer at the Department of Fundamentals of Public Administration, a member of the Academic Council of the Faculty of Law of the St. Petersburg State University of Water Communications.

He is married to Rufina Nikolaevna Skatova, whom he met in Kostroma. He has a daughter, Natalya Skatova, and a granddaughter, Tatyana Chernova, who graduated from the Faculty of International Relations of St. Petersburg State University.

Awards

State awards:

• Medal "For Labor Distinction"
• Pushkin Medal
• Order of Honor
• Order of Friendship of Peoples
• “Great Literary Prize of Russia” from the Union of Writers of Russia (2001) for the book “Pushkin. Russian genius"

Church awards:

• Order of the Holy Blessed Prince Daniel of Moscow, III and IV degrees.

Nikolai Nikolaevich Skatov was born in 1931 in Kostroma. He graduated from the Kostroma Pedagogical Institute and graduate school at the Moscow City Pedagogical Institute named after V.P. Potemkin. Doctor of Philological Sciences, Professor. Since 1962 he has been working at the Department of Russian Literature of the Leningrad Pedagogical Institute named after A.I. Herzen. Author of the books "Poets of the Nekrasov School" (1968), "Nekrasov. Contemporaries and Successors" (1973), "The Poetry of Alexei Koltsov" (1977), "Far and Close" (1981), "Koltsov" (1983) and others. Member of the USSR Writers' Union.

Library "Ogonyok". N° 17 1984

Nikolay Skatov
Russian genius

Only Pushkin is a real Russian.

Fedor Dostoevsky.

No one will replace Pushkin. Only once is it possible for a country to reproduce a person who combines such different qualities to such a high degree.

Adam Mickiewicz.

The beginning of all beginnings

Pushkin! A word that has long ceased to be for us just the name of a writer, even a great one, but has become a designation of something without which our very life cannot be imagined. Why?

There are writers and poets who come and go to us and sometimes come again, replacing each other. From the first verses heard in preschool, not yet memorized, but already memorized: “There is a green oak tree by the seashore...”, “Wind, wind, you are mighty...” - Pushkin is the only one who is with us forever, until later the blessings of his grandchildren : “And he will remember me.” For life. Why?

Miracle of Pushkin. Already Pushkin’s contemporaries, people who knew him personally, communicated with Pushkin the man, would be the first after the poet’s death to utter words about Pushkin as a grandiose, spontaneous and unconditional phenomenon. "The Sun of Our Poetry" - The Sun! - Russia will forever remember Odoevsky’s words.

And Belinsky will later compare Pushkin with the Volga, which feeds millions of people in Rus'. Why?

“At the name of Pushkin,” said Gogol, “the thought of a Russian national poet immediately dawns on me... In fact, none of our poets is higher than him and can no longer be called national; this right decisively belongs to him... this is a Russian man in its development, in which it may appear in two hundred years. In it, Russian nature, Russian soul, Russian language, Russian character were reflected in the same purity, in such purified beauty as the landscape is reflected on the convex surface of optical glass.

His very life is completely Russian."

In Pushkin, the Russian man appeared as a program and prototype of the future. That is why, referring to Gogol’s word that Pushkin is the only and extraordinary manifestation of the Russian spirit, Dostoevsky added: and prophetic. “Yes, in his appearance there is something undeniably prophetic for all of us Russians. Pushkin comes precisely at the very beginning of our correct self-awareness, which has barely begun and emerged in our society after a whole century since Peter’s reform...” “Correct,” that is, our national self-awareness really came after Russia declared itself to be Pushkin. Pushkin actually became its ideal expression.

But the origins of such a phenomenon as Pushkin are deeply rooted and, indeed, have been especially clearly identified since the time of Peter the Great. Herzen said that Russia responded to the challenge posed by Peter a hundred years later with the “enormous phenomenon of Pushkin.” Herzen, thus, directly connected the phenomenon of Pushkin with the case of Peter, considering Pushkin as a direct consequence of such a case, as evidence of a national identity that had taken shape and clearly manifested itself on a new basis, as a confirmation of its highest maturity and greatness, acquiring world-historical significance. One could say that in the formation of Russian culture, the development of national self-awareness and the formation of national character, Pushkin turned out to be a kind of Peter. However, this is exactly how the matter was understood even then by outstanding figures of Russian literature, inclined and capable of large-scale comprehension and generalizations. Evgeny Baratynsky, in a letter to Pushkin himself back in 1825, directly compared his creative work with the creative activity of Peter: “Go, complete what you started, you, in whom the genius has settled! Raise Russian poetry to that level between the poetry of all nations, to which Peter the Great raised Russia between powers. Do one, what he did alone; and our task is gratitude and surprise." It is not for nothing that Pushkin himself invariably returned to the era of Peter, seeing in it the node of the entire history of the new Russia, which so clearly declared itself in 1812. The year 1812 stands behind Pushkin’s poems of 1831 - a rebuke to European attacks on Russia:

They fell into the abyss
We are the idol that gravitates over the kingdoms
And redeemed with our blood
Europe freedom, honor and peace...

After 1812, truly national Russian literature arose and our first national poet appeared. In a brief but urgent recommendation for compiling a dictionary of the “classical Russian language”, V.I. Lenin indicated the starting point: from Pushkin...

Everything in new Russian literature comes from Pushkin. Creator of the Russian literary language. The founder of Russian realism. The first true artist-historian. First... First... First. But this also happened because it was the last, the end of all ends, the completion of a great era - the 18th century. Pushkin's word "Liberty" followed "after Radishchev." The famous line “I have erected a monument to myself...” is a repetition of Derzhavin’s.

In the middle of the last century, critic Nikolai Strakhov, although not without polemical purposes, even argued that Pushkin was not an innovator, that first of all he turned to what had already been created by others, and he titled sections of his “Notes on Pushkin”: “No innovations,” “ Repetitiveness", "Imitations"...

Pushkin, like perhaps none of the great poets, is traditional in the sense that his works are full of reminiscences, borrowings, direct and hidden quotes from Lomonosov and Muravyov, Bogdanovich and Kapnist, Ryleev and Dmitriev... Many words, images, sayings , which we adopted from Pushkin, were created by his predecessors. Already they all strive for generalization, for formulaicity, for results, albeit still partial. This, by the way, also explains the fact that the general line of development of Russian literature before Pushkin comes in poetry. And Pushkin himself was first and foremost a poet.

Zhukovsky, of course, could lay claim to authorship of one of the most amazing formulas of Russian poetry, which we know as Pushkin’s - “the genius of pure beauty”: after all, having created it, he twice before Pushkin - in the poems “Lalla Ruk” and “I am the Muse” young, it happened" - he took advantage of her.

Pushkin's famous appeal "What's in my name for you?" belongs to the elegiac Salarev.

Introduction to "Collapse"

Crushing against the dark rocks.
The shafts are noisy and foaming...

there is a paraphrase of V. Filimonov’s poems “To Leokonoe”.

“Tavrida, or my summer day in Tauride Chersonese, a lyric-epic song composed by captain Semyon Bobrov,” almost three hundred pages in blank verse, forever entered Russian poetry with two or three lines of “The Bakhchisarai Fountain” and “Onegin.”

Already at the beginning of our century, the critic M. Gershenzon, speaking about Pushkin’s numerous French borrowings, said: “He drew incomparably more abundantly from his Russian predecessors and even contemporaries, and we are still far from a correct idea of ​​​​the extent of this practice - the quantity and unceremoniousness of his borrowings ". M. Gershenzon's work was called "Plagiarities of Pushkin." In England, however, the work "Byron's Plagiarism" was also published. Perhaps only two types of artists - writers and poets - answer such accusations to such an extent: completely second- and third-rate ones and those of genius. Talent is usually quite original. “In art,” Goethe once remarked in a conversation with Eckermann, “continuity plays almost the dominant role. When you see a great master, you discover that he used the best features of his predecessors and that this is what made him great.”

Only in relation to Pushkin can one understand everything or much, both previous and subsequent, in our literature: Batyushkov, and Zhukovsky, and Krylov, and Griboyedov. And the point is not only that they all, so to speak, contributed to the Pushkin collection. Each of them is already trying to become Pushkin. And therefore, even working in a very narrow and relatively peripheral sphere, in a fable, for example, or in a poetic comedy, he expands this very sphere in a way unprecedented either before or since. And what various Pushkin principles are conveyed by, say, Zhukovsky’s poetry. She prepares not only Pushkin, but also the post-Pushkin poetry of Nekrasov, Tyutchev, and Blok, completely in Pushkin’s style. Not without reason, regarding Zhukovsky’s translation of “The Prisoner of Chillon” by Byron, Belinsky remarked: “It’s a strange thing! - our Russian singer of quiet sorrow and dull suffering found in his soul a strong and powerful word to express the terrible underground torments of despair, drawn with the lightning-fast brush of the titanic poet of England.”

Nikolay Skatov

Russian genius

Only Pushkin is a real Russian.

Fedor Dostoevsky.

No one will replace Pushkin. Only once is it possible for a country to reproduce a person who combines such different qualities to such a high degree.

Adam Mickiewicz.

The beginning of all beginnings

Pushkin! A word that has long ceased to be for us just the name of a writer, even a great one, but has become a designation of something without which our very life cannot be imagined. Why?

There are writers and poets who come and go to us and sometimes come again, replacing each other. From the first verses heard in preschool, not yet memorized, but already memorized: “By the Lukomorye there is a green oak tree...”, “Wind, wind, you are mighty...” - Pushkin is the only one who is with us forever, until later the blessings of his grandchildren : “And he will remember me.” For life. Why?

Miracle of Pushkin. Already Pushkin’s contemporaries, people who knew him personally, communicated with Pushkin the man, would be the first after the poet’s death to utter words about Pushkin as a grandiose, spontaneous and unconditional phenomenon. “The Sun of Our Poetry” - The Sun! - Russia will forever remember Odoevsky’s words.

And Belinsky will later compare Pushkin with the Volga, which feeds millions of people in Rus'. Why?

“At the name of Pushkin,” said Gogol, “the thought of a Russian national poet immediately dawns on me... In fact, none of our poets is higher than him and can no longer be called national; this right decisively belongs to him... this is the Russian man in his development, in which he may appear in two hundred years. In it, Russian nature, Russian soul, Russian language, Russian character were reflected in the same purity, in such purified beauty, in which the landscape is reflected on the convex surface of optical glass.

His very life is completely Russian.”

In Pushkin, the Russian man appeared as a program and prototype of the future. That is why, referring to Gogol’s word that Pushkin is the only and extraordinary manifestation of the Russian spirit, Dostoevsky added: and prophetic. “Yes, his appearance contains something undeniably prophetic for all of us Russians. Pushkin just comes at the very beginning of our correct self-awareness, which had just begun and arose in our society after a whole century from Peter’s reform...” “Correct,” that is, our national self-awareness really came after Russia declared itself Pushkin. Pushkin actually became its ideal expression.

But the origins of such a phenomenon as Pushkin are deeply rooted and, indeed, have been especially clearly identified since the time of Peter the Great. Herzen said that Russia responded to the challenge posed by Peter a hundred years later with “the enormous phenomenon of Pushkin.” Herzen, thus, directly connected the phenomenon of Pushkin with the case of Peter, considering Pushkin as a direct consequence of such a case, as evidence of a national identity that had taken shape and clearly manifested itself on a new basis, as a confirmation of its highest maturity and greatness, acquiring world-historical significance. One could say that in the formation of Russian culture, the development of national self-awareness and the formation of national character, Pushkin turned out to be a kind of Peter. However, this is exactly how the matter was understood even then by outstanding figures of Russian literature, inclined and capable of large-scale comprehension and generalizations. Evgeny Baratynsky, in a letter to Pushkin himself back in 1825, directly compared his creative work with the creative activity of Peter: “Go, finish what you started, you, in whom genius has settled! Elevate Russian poetry to that level between the poetry of all nations, to which Peter the Great elevated Russia among the powers. Do one that he did alone; and our business is gratitude and surprise.” It is not for nothing that Pushkin himself invariably returned to the era of Peter, seeing in it the node of the entire history of the new Russia, which so clearly declared itself in 1812. The year 1812 stands behind Pushkin’s poems of 1831 - a rebuke to European attacks on Russia:

They fell into the abyss
We are the idol that gravitates over the kingdoms
And redeemed with our blood
Europe freedom, honor and peace...

After 1812, truly national Russian literature arose and our first national poet appeared. In a brief but urgent recommendation for compiling a dictionary of the “classical Russian language”, V.I. Lenin indicated the starting point: from Pushkin...

Everything in new Russian literature comes from Pushkin. Creator of the Russian literary language. The founder of Russian realism. The first true artist-historian. First... First... First. But this also happened because it was the last, the end of all ends, the completion of a great era - the 18th century. Pushkin’s word “Liberty” followed “after Radishchev.” The famous line “I erected a monument to myself...” is a repetition of Derzhavin’s.

In the middle of the last century, critic Nikolai Strakhov, although not without polemical purposes, even argued that Pushkin was not an innovator, that first of all he turned to what had already been created by others, and he titled the sections of his “Notes on Pushkin”: “No innovations,” “ Repetitiveness", "Imitations"...

Pushkin, like perhaps none of the great poets, is traditional in the sense that his works are full of reminiscences, borrowings, direct and hidden quotes from Lomonosov and Muravyov, Bogdanovich and Kapnist, Ryleev and Dmitriev... Many words, images, sayings , which we adopted from Pushkin, were created by his predecessors. Already they all strive for generalization, for formulaicity, for results, albeit still partial. This, by the way, also explains the fact that the general line of development of Russian literature before Pushkin comes in poetry. And Pushkin himself was first and foremost a poet.

Zhukovsky, of course, could lay claim to authorship of one of the most amazing formulas of Russian poetry, which we know as Pushkin’s - “the genius of pure beauty”: after all, having created it, he twice before Pushkin - in the poems “Lalla Ruk” and “I am the Muse” young, it happened” - he took advantage of her.

Pushkin’s famous appeal “What’s in my name for you?” belongs to the elegiac Salarev.

Introduction to "Collapse"

Crushing against the dark rocks.
The shafts are noisy and foaming...

there is a paraphrase of V. Filimonov’s poems “To Leokonoe”.

“Tavrida, or my summer day in Tauride Chersonese, a lyric-epic song composed by captain Semyon Bobrov,” almost three hundred pages in blank verse, forever entered Russian poetry with two or three lines of “The Bakhchisarai Fountain” and “Onegin.”

Already at the beginning of our century, critic M. Gershenzon, speaking about Pushkin’s numerous French borrowings, said: “He drew incomparably more abundantly from his Russian predecessors and even contemporaries, and we are still far from a correct idea of ​​​​the extent of this practice - the quantity and unceremoniousness of his borrowings " M. Gershenzon’s work was called “Plagiarities of Pushkin.” In England, however, the work “Byron’s Plagiarism” was also published. Perhaps only two types of artists - writers and poets - answer such accusations to such an extent: completely second- and third-rate ones and those of genius. Talent is usually quite original. “In art,” Goethe once remarked in a conversation with Eckermann, “continuity plays almost the dominant role. When you see a great master, you discover that he used the best features of his predecessors and that this is what made him great.”

Only in relation to Pushkin can one understand everything or much, both previous and subsequent, in our literature: Batyushkov, and Zhukovsky, and Krylov, and Griboedov. And the point is not only that they all, so to speak, contributed to the Pushkin collection. Each of them is already trying to become Pushkin. And therefore, even working in a very narrow and relatively peripheral sphere, in a fable, for example, or in a poetic comedy, he expands this very sphere in a way unprecedented either before or since. And what various Pushkin principles are conveyed by, say, Zhukovsky’s poetry. She prepares not only Pushkin, but also the post-Pushkin poetry of Nekrasov, Tyutchev, and Blok, completely in Pushkin’s style. Not without reason, regarding Zhukovsky’s translation of Byron’s “The Prisoner of Chillon,” Belinsky remarked: “It’s a strange thing! - our Russian singer of quiet sorrow and sad suffering found in his soul a strong and powerful word to express the terrible underground torments of despair, drawn with the lightning brush of the titanic poet of England.”

But if you see in Zhukovsky not just a singer of quiet sorrow and dull suffering, but a poet breaking through to play a role that only Pushkin will play in full, then the matter will not seem so strange.

Osip Mandelstam, a poet and critic who thought a lot about the fate of Konstantin Nikolaevich Batyushkov, who wrote about Batyushkov in prose and poetry, once called his work the notebook of the unborn Pushkin. It is traditionally believed that Pushkin brought together many different principles of previous poetry, say, the elegiac, psychological romanticism of Zhukovsky and the very plastic, cheerful creativity of Batyushkov, and that the same Batyushkov preceded the young, young Pushkin. Batyushkov indeed preceded, but not the early Pushkin, but everything Pushkin. His “light” poetry, but also his Byronism, and his “Rusalka” (Batiushkov had a plan for his “Rusalka”). Yes! Already carry all of Pushkin within yourself and remain in his youth. This alone can drive you crazy. And Pushkin himself, perhaps only in his tragic thirties, would truly think about the fate of Batyushkov, who was already crazy by that time, and write the terrible poems “God forbid I go crazy.”

Nikolai Nikolaevich Skatov(born May 2, 1931, Kostroma) - Russian philologist and literary critic. Doctor of Philology, Corresponding Member of the Russian Academy of Sciences.

Biography

Nikolai Nikolaevich Skatov was born on May 2, 1931 in Kostroma. Graduated from the Kostroma Pedagogical Institute and graduate school at the Moscow State Pedagogical Institute. Since 1962, he worked at the Department of Russian Literature of the Leningrad Pedagogical Institute named after A. I. Herzen. In 1987-2005 - Director of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences. From 2005 to the present - Advisor to the Russian Academy of Sciences.

N. N. Skatov - Doctor of Philology, Corresponding Member of the Russian Academy of Sciences. He is a major expert in the field of the history of Russian literature, the author of more than 300 scientific and literary critical works, including 23 books.

He is the author and editor of school and university textbooks. N. N. Skatov is a member of the editorial board and editorial councils of a number of literary and scientific publications: “University Book”, “Literature at School”, “Aurora”, “Our Heritage” and others.

He has been for many years a member of the pardon commission under the governor of St. Petersburg.

In 1999, by decision of the board of directors of the Russian Bibliographic Institute, in the category “Culture” in 2000, he was awarded the title “Person of the Year”. In 2001, by decision of the Academic Council of the Russian State Pedagogical University on March 29, he was awarded the title “Honorary Professor of the Russian State Pedagogical University named after A. I. Herzen.”

Currently, he is a lecturer at the Department of Fundamentals of Public Administration, a member of the Academic Council of the Faculty of Law of the St. Petersburg State University of Water Communications.

He is married to Rufina Nikolaevna Skatova, whom he met in Kostroma. He also has a daughter, Natalya Skatova, and a granddaughter, Tatyana Chernova, who graduated from the Faculty of International Relations of St. Petersburg State University.

Awards

Awarded state awards:

• Medal "For Labor Distinction"
• Pushkin Medal
• Order of Honor
• Order of Friendship of Peoples
• “Great Literary Prize of Russia” from the Union of Writers of Russia (2001) for the book “Pushkin. Russian genius"

Church awards:

• Order of the Holy Blessed Prince Daniel of Moscow, III and IV degrees.

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