O. V. Koltsov. Oleksiy Vasilovich Kіltsiv A v kіltsіv

Oleksiy Vasilovich Koltsov

Batko - prasol. Having traded with herds of rams, as if Belinsky wrote in the past, for the delivery of material to the fattening backwaters. Buv is rich, led by a great budin, a family of trims at the top of the subjugation. Letters of Koltsov, a former Voronezh seminarist. At nine roki, the lad pishov buv at the Voronezka povitovoe school, and then from the other class, the father took yoga, splintering sharply demanding a helper. “It was self-evident,” wrote Belinsky, “that from the early fates of the wines (Koltsov) it was not possible to accumulate not only some moral rules, but to earn good names for oneself, or else not to be rich with good old enemies, like for a young soul navigation. that cloudy. Vіn bachiv navkolo home bugs, drіb'yazkovu trade with її vitіvkami, chuv rude and not zavzhd decent mov navіt іt іt іt hіїh vіst yomu іѕ bіl bіl bіl а garne. It seems to everyone that our family life has taken off, and that it is especially in the middle class, that peasant rudeness is spared good-natured simplicity and tied up with the philistine piha, lamanni and antics. Fortunately, until the fertile nature of Koltsov, the brood did not chop, in the midst of such wines it was born and in the bosom of such a womb. Roz'zhzhayuchi in villages and villages, Koltsov having bought and sold thinness, in the meantime, call the villagers and merchants. “He loved the fire in the evening, on which the steppe porridge was boiled,” Belinsky guessed late, “he loved the night under the clear sky, on the green grass; loving every other day, don’t get off the horse, overtaking turns from one month to the next. Having fallen in love with reading so much, I never parted with books in the steppe. The Voronezsky bookseller D. A. Kashkin, having allowed the young prasol to feast on books from his shop without cost, explaining to him unknown words. Koltsov was supplemented by O.P. Serebryansky, the author of the famous song “Shvidki, like hvili, the days of our life…”

In 1830, being near Voronezh, the son of the capital’s philosophical group N.V. Stankevich felt like his valet, that a young man’s father was writing marvelous songs, but they are not similar to anything. At the same time, the valet, quoting the rows of deacons, remembered them, and Stankevich's stench began to sound. Vіn zustrivsya z Koltsov and offensive fate slandering the songs that they were worthy of you, in the St. Petersburg Literary Gazette.

In 1828, Koltsov’s roci died with a strong girl. “Vidoma on the right,” Belinsky wrote later, who was close friends with the poet, “what in the future, sincerely, the old man pogolyaetsya in order to soon make friends with his son on the one with rose-colored white, rouge and surfactant bovvani with black teeth, apparently the camp of this one, named, posag. The sound of Koltsov (with a krіpak) is unsafe for these philistine plans, not seeming already about those who, in the eyes of wild unspoken, ingenuously and rudely strangers, be like a poetry of life, guilty of being vile and immoral. Required bulo rozіrvati її be-scho. For whom, Koltsov’s day was hurried to the steppe, and if he returned home, he didn’t make it. її there. Tse misfortune so zhorstoko struck yogo, scho vіv having got a strong fever. Having warned about the illness and having received pennies from relatives and friends, I rushed, like a divine one, at the steppe to tell about the unfortunate. Skіlki instant, far їzdiv himself, more gave, having sent vіddanikh yoma for pennies of people. We don't know what the chi rozshuks were saying; only as a result of their bells and whistles, that the unfortunate victim of the barbarian rozrakhunka, caught in the Don steppe, in the Cossack village, withered away without a hitch and died in the throes of that zhorstoy occasion. These details, - adding Belinsky, - mi chuli from Koltsov himself in 1838 roci. Ignorant of those who were guilty of grief, as if spitting it more than ten fates, the denunciation of it was bleak, the words with practice and rightly came out of yoga vust, and, apparently, marveling sideways and down. Only once talking to us about tse. and we didn’t dare to tell more about this story, so that we could recognize it in all the details: it meant to open the wound of the heart, so I didn’t curl up like that ... "

In 1835, roci, for the help of Stankevich and Belinsky, wiyshov in the world, had a small collection - "Virshi Oleksiya Koltsov". “Prasol rides on horseback,” wrote Belinsky, “gaining thinness from one field to another, knee-deep in the blood present at the wound, or, to put it more simply, at the battle of thinness; the bailiff, who stands in the bazaar for the supply of bacon, - and dreams about kokhannya, about friendship, about the inner poetic ruins of the soul, about nature, about the share of the human being, about the mysteries of life and death, torment and sorrows of a torn heart and mindfulness, and, at the same time, the active member of the activity, in the midst of such assignments, the burdensome and zhvavy Russian merchant, who sells, buys, barks and makes friends. painting! Like a share, like a people!

At that very hour, the father sings in full, lying down.

“Vin buv is smart, practical, father step by step handing over to you all the right things,” writing Veresaev, “ale trimav syna in zhakovy mittens, vimahav suvoro zvіtnostі; Koltsov had no money in his hands; be a clerk for hiring independent and wealthy for the king's son. For errands, Koltsov had to travel all the way to the capital - to sell handfuls of thinness, to grumble at the court's right, which the old man had no face, especially with the peasants from the lease of land. Here the old widow was more firmly planted, that dribly yazkovі virshiki, like having sprinkled divak-sin, is not handless on the right. Vіrshі brought synovі znajomstvo z dignitaries, even browner at the hour of the court's inquiries. On prohannya sina, Zhukovsky, Prince. Vyazemsky, Prince. Odoevskiy wrote letters to the Voronezh government at the court instances, and moreover they accepted the successful result of a whole series of kіltsіv processes. However, these processes were so rich, it was possible to ask the patrons so often to inspire the benevolent Zhukovsky, come, having become Koltsov’s cold and unique with him.

I. S. Turgenev, a kind of coach of Koltsov in St. Petersburg in Pletnov’s apartment, writing: “... There was one more person in the room. Dovgopoly double-breasted frock coat, a short waistcoat with a black beaded year-old frock coat and a neck khastinka with a bow, sitting at the fold, modestly raising his legs, and coughing, wailingly raising his hand to his lips. The person looked around not without litter, irritability, listened respectfully, in the eyes of її shone the rose of an incomprehensible, but denunciation in the new boulder of the simplest Russian.

Engaging in self-illumination, Koltsov, who is always able to correctly grasp the essence of mastering subjects. “The subject and the object I have a little more understanding,” writing to Belinsky, raptly occupied with philosophy, “and the axis of the absolute is nothing.” Claims for great knowledge, zvichayno, shouted among the mindless poets of the people of stupidity. What am I? - I sweared at Belinsky. - Lyudina without disguise, without a word, simply. Zhalyugіdne stvorіnnya, unfortunate creature, as to be no better suited for one thing: to carry water and pull firewood ... Trader, kopiechnik, negidnik ... The axis of my meaning, the axis of some kind of prosharka I can become a president ... "-" Only in 1841 Koltsov's life was unspeakably illuminated. good luck, - writing Veresaev. - Vіn having fallen in love with the merchant's widow Varvara Grigorivna Lebedeva. Vaughn set herself up to yoga lovingly. "Wonder! - writing Koltsov to Belinsky. - A brunette, a string to neimovirnosti, garna bis, sensible, well-lit, read richly, thought, suffered, seethed in addictions. But luckily it was less than two months. Krasunya appeared like a lady over the light vdachs. Having piled Koltsov with syphilis, she threw yoga and went from Voronezh with an officer.

At that hour, Koltsov's blues and father Mayzhe broke off.

“It’s like springtime,” writing to V.P. Botkin, “I got sore at the nirkah, scarlet blotches, poultices, cold weather - turned to life. Father, no matter what, tormenting me without ceasing and even telling me that if I die, I’ll be radiant, but if I live, then I’m ahead of me forward, so that I don’t check anything and don’t support; scho vіn udoma i nіchogo me nіkoli not give; if you don’t get caught for life, then burn it. And having said so in the same way, if I didn’t say a word or a word about something similar to you and didn’t notice anything. My mother is simple, but a good woman; wanted to help me, but I її resurrected and lifted my posture. The burning has passed, and I’ll re-pot the soil again. Autumn. The mezzanine is cold, for the need to take revenge at once. Having occupied the room on the aisle; better buv; Bulo, - the old ones lived in it, they didn’t give it. Well, nothing, I live. Marrying a sister. The fun started, everyone started walking, running through my room; podloga miyut time and again, but vogkіst for me was beaten. Pipes plowing to burn today; everything is bad for my confused legen. I had a burning sensation again, my shoulder in the right side, then at the left against the heart, it’s not safe to finish that pain. And here I’m not angry. A few days of life hung on the hair. My doctor, regardless of those that I paid little to you, having come three times a day. And tsієї Well, we have evenings today - noise, screams, biganina; the door until the night in my room hvilin not to stand on blind spots. Please do not smoke - smoke more; I ask you not to incense - more; I beg you not to miti pіdlogi, - miyut. On the line, the weight fell off. Noise from the shoulders get out. On the third day after the end of the day, the father would come to me. It seems that I have crossed to yoga room. I thought: there’s a charge to the serf, but for me it’s the best. Vin said: “Don’t you want to? Well, go where you want, go outside the yard. I have spoken a lot to each family.

But you ask, why have you become such a bad father and sister before me? Koltsov wrote in the distance. - My father, in the nature of a strong physical nature, is a man, he lives with clerks, having added money, becoming a ruler, having made a capital of 70 thousand rubles three times and having lived anew, having lived again, - and lost in a new rich right. I put out my abyak, but I didn’t finish it. The stench fell on me; at vіsіm rokіv I podolav, and on the right, for which I live near Moscow, I was left. It was gone for the good hour, now the new one is dumb, the wine is calm. Vibuduvav budinok, bring income up to 6,000 per river, dragging nine rooms behind us. In addition, the new one lost up to twenty thousand. Vin is proud, praised, vperty, praised without conscience. Not to love living with others in people's houses, but to love, so that everything trembled in front of him, feared, swayed and worked. And I endured all the same and tolerantly, but, as I had a special room, I went in it and in the end. Not thinking about yourself, but rather about doing it. Ale, accepting the right, virishiv їх. І yak buv Zhukovsky (near Voronezh), giving me great vag, and old, for the sake of justice, for the need, giving me more will, lower desire. Tse youmu got sick. Yomu wanted to heal me earlier, to make friends with me. I don't want. Tse yoga pissed off. Friendship - win bit todі z me rozgovіvsya. Well, my sister ruined yoga against me. Vaughn all my fantasies, as if I had told her, changed her mind in her own way, and said that I came in order to pick up the old one, that one from Peter. Vaughn also called me to come home and go to the underworld and make everyone happy.

Died on 29 (10. XI) of July 1842.

Miraculously speaking about Kiltsov Glib Uspensky.

“Russian literature has a writer, who cannot otherwise be called a poet of the earth-workers' work - exclusively. Tse - Kiltsov. None, not including Pushkin himself, without such poetic strings of the folk gazer, twisted exclusively in the minds of the earthworkers, as we know in Koltsov. Ask, what could have suffocated if you wanted Pushkin to pump a roaring peasant, yoga plow and shkapi? Pushkin has a moment of mourning about this worker, who is dragging on a kermo, about a yoke, like a wine, etc. to look into the whilina of heavy work, the crime of witnessing its severity? And the man, picturing Koltsov, wants to drag himself along the kermo, to know the ability to say his closet like this: “Fun on the rilli, I myself am a friend with you, that servant of the master. I'm merrily tidying up the harrow and the plow. And the mower of the same Koltsov, who takes 50 kopecks on his grubs. for doba, to know the ability to speak like this promo: “Ah, my step, my step! At the guest, I have not come alone before you, I have come alone with an oblique host. I have been walking for a long time(tse for 50 kopecks for mining!) on the grass of the steppe, vzdovzh and across, I wanted to follow it. Razzut your shoulder, wave your hand, smell in the guise of a wind from noon, freshen up, shake the steppe to space, back, scythe, sparkle all around! » Here, no word, then the mystery of the village svetoglyad: all the same - belong, not for anyone, the Crimean peasant, is inaccessible.

The creativity of Oleksiy Vasilyovich Koltsov (1809–1842) is one of the most beautiful manifestations that occurs in the 1830s. the democratization of writing ranks, like, like having respected Pushkin, the mother of "important heritage" is small.
In the poetry of Koltsov, the spiritual light of the peasant was first revealed in the middle, his deepness and rightful people, unimportant by the fortress. Tim himself, Koltsov’s creativity was revealed by those who, even after the death of the poet, still bring confusion and protect Belinsky, seemingly: - Ale, what can be a crow in a rude, unlit person? - Yak scho? - Yogo soul, mind, heart, predilections, schilnosti - in a word, all those who are in the illumined people.
Having become the first poet of the peasant society in the history of Russian poetry, Koltsov himself expanded the social cordon of activity, which is artistically developed. Yogo creativity has become a new and significant step ahead of the path of distant rapprochement between art and the people.
Before Koltsov, they would sing, which they wrote about a peasant. The first decade of the nineteenth century. - the symptom is more primitny - there are a number of so-called self-taught peasant poets (F. Slepushkin, E. Alipanov, M. Sukhanov and I). But at their peaks, the nationality of the bula, according to the appointment of Belinsky, is purely decorative (4, 160). Tiny and idyllic pictures of the "strong pobutu", the stench of respawns of book poetry did not come at that hour.
The poetic creativity of Koltsov was implicitly connected with the advanced currents of the Russian suspense thought and the literature of quiet rock. Mastering folk song traditions and relying on the reach of contemporary writers, Koltsov zoomed in on his powerful voice, his poetic mastery. Not without reason, speaking about Koltsov as an original artist of the word and denoting the place of his middle poets 30 x - on the cob 40 x rr. ). By the way, Chernishevsky would give Koltsov the same high rating. Describing the pislyapushkin period in the development of Russian poetry, he wrote: “Koltsov and Lermontov appeared. Most of the celebrities have faded before these new ones”; And for the advanced people of the era of Chernishevsky, it was true.
The creative image of Koltsov is inextricably linked with the peculiarities of his biography. She doesn’t have much more than an okremy vipadok, the artist’s special drama, maddened by life’s furnishing, which folded unfriendly. Near the mountainous part of Koltsov, the grave tragedy of the modern life of the people was witnessed.
Z pіdlіtkovyh rokіv Koltsov knew the hardships of life. Batko Yogo, the Voronezsky philistine prasol, jumping to writhe children after his own image and likeness. Lyudina is rude and lordly, having taken the future poet from another class of the postal school and turning it into her clerk. All his troubles in life Koltsov buv zmusheniya by the will of the father to engage in commercial rights.
A good school for Koltsov was nature near the yard. More than half of the fate of the wines spent at the top of several trips. The black-earth steppe with expanses and villages taught the poet to think broadly and freely, bachiti in people shearing, earthen cob. The step became truly the poetic stake of Koltsov.
An important role of Koltsov's biography is played by M. U. Stankevich. Mayuchi vysokorozvineny estetichny relish, vіn vіn vіdrazu and catching the self-sufficient character of the Kіl'tsevo gift. Through Stankevich, acquaintances were made with V. A. Zhukovsky, V. F. Odoevsky, P. A. Vyazemsky and others. On one of the literary “Saturdays” at Zhukovsky, on the cob of 1836, Koltsov’s sermon was with Pushkin.
It is important to reevaluate the role of the critic of the democrat Belinsky at Koltsov's dol. Zustrich in 1831, and then rapprochement and, nareshti, found friendship with him, which lasted until the last days of the poet, a significant world marked the death and death of Koltsov's creative life.
Bєlinskiy protyag rich rokіv bv the first reader, pozіnovuvachem that editor kіltsіvskih tvorіv. Vіn taking part in preparations for the first selection of verses by Koltsov (1835). Vіn, having become the initiator and facilitator of the offensive vision of the poet's works, already posthumous (1846), having provided him with a great introduction "About life and create Koltsov." The first article about the activity of the poet prasol and the first yogo guruntovna biography.
Belinsky buv for Koltsov is not just a special friend, but an ideological stoner. It brought us closer to the social and spiritual controversy. We may have the right to look at both the successors of the galaxy of "new people" of the 1860s. Koltsov appeared light, mute, listening to the biased calls of Belinsky to nationality in literature.
Delvig, Vyazemsky, F. Glinka to repair the singing of the young poet. Highly appreciate Koltsov's creativity Venevitinov. At the eight-verse, dedicated to Venevitinov (1830), Koltsov spoke passionately to the young poet in his yoga ace for "good" and "high". Close to Koltsov and Rilyev. Rows of Koltsov's poem "Earth Happiness" (1830) were turned into those civil-patriotic tones, as if they were powerful in "Dumam" by Rilyev. Navit the very nature of vikrittya social injustices, but about the direct victorious intonations, rhythms and verbalization, zmushu guess the act of verses from the thought of "Volinsky".
Still, in the formation of Koltsov the poet, the primary role was to lie with Pushkin.
Young Koltsov's inclination to Pushkin's poetry, to a profoundly expressed in her, according to Belinsky, "the inner beauty of a person and cherishing the soul of humanity" (7, 339) clearly appeared in the verse "The Nightingale" (1831). Not only those, but the sound side of that wild stylistic and metrical structure of Pushkin's verse "The Nightingale and the Troyanda", the author wants, maybe, to support his legacy in the work of Kokhan and the great poet. However, the Romance already shows that Vlasne Kiltsevsky schiry lyricism, that special musicality, as would be characteristic of the poet's mature mastery. It is not surprising that the verse "The Nightingale" was set to music by A. Glazunov, M. Rimsky Korsakov, A. Rubinshtein, A. Gurilov and other composers. V. V. Stasov zarakhovuvav yogo to "hostile in beauty and poetic" romances.
The mastery of Pushkin's poetry helps Koltsov to more seriously and independently work on the style of his works. Adding romance phraseology, elegiac formulas, which reminded me of early verses (“I’ll be with her”, “Come to me”, 1829; “On what, my heart is lower ...”, 1830, that in.), Koltsov’s practice of simplicity and clarity poetic movie.
Koltsov's artistic sympathies are superbly fast. However, it is worth bringing it up to zmistu, and to the poetics of yoga creations. If you turn on the first ones, on which lie another late sentimentalism, that vertices "on the verge", then the line is clearly divided into two dissimilar parts. One - think about the problems of the human butt, otherwise - the image of the peasant soul. Vidpovidno vibirayutsya і genres - "thought" that song.
Turning to the philosophical theme of Koltsov can be piecemeal. But the very elemental pragnennya stumbles around the mystery, until such a baiduzhe of the merchant-petty-bourgeois colo, shovhalo of the poet prasol among the world of abstract ideas. It is not forgotten the same as in the minds of the 30s. the suffocation of philosophy, more importantly German, swelled the nature of the attached to the hromada protest: even if the thought is free, it is not possible to put a fence on it!
The Kіltsіv "thoughts" don't have any special claims to philosophy. The stench is not deep penetration into the day of the fundamental light-seeing food, not “reasonable”, but on the contrary - its bezperednistyu, to inspire I am naїvnistyu. Axis Dumka "Ludina" (1836). All the emotions that surged from the top of the soul, lower the suvore of the miraculous about the super-cheerful nature of human vchinkіv. In “The Kingdom of Thought” (1837), we are talking about a daily artistic test of viklasti, one of the broadest in German metaphysics, the position about the foundation of such an absolute - the inexhaustible spiritual first foundation of light.
The artist obviously disliked the Kiltsev philosopher. "Dumi" saves more historical interest at once - as a reminder of the tension of the intellectual shukan of the author of "Mower", as a kind of monument to the sublimely aesthetic life of the 1830s.
The pinnacle of Koltsov's creative achievements is the creation of songs by him. The verses written in the legacy of Russian folk songs appear in Russian poetry as early as the 18th century. and gain a wide width in the first third of the XIX century. At the same time, they are friends to enter the mass repertoire of “Russian songs” by Merzlyakov, Delvig, M. Ibragimov, Shalikov, Glibov, Tsiganov, Obodovsky, Oleksandr Korsak and others.
Merzlyakov, Delvig, Tsiganov and other closest followers of Koltsov played an unparalleled and positive role in the development of the Russian book genre. Paired with the sentimentalist poets of the end of the 18th century. the stench achieved the most significant results and the transfer of the hero’s spiritual experiences, and mastered the stylistic, intonation and rhythmic features of the contemporary folk poetry. Prote creativity to inspire in the masters of the Russian song is not far away for the evocative positivity of the motives, images, and stylistic features that have been split in folklore. And it could not help but lead to piecework, heritage, as you can see from the songs themselves written by them. The acts of them became popular, but their authors spoke about the people's working life, they said "only about a little, and a little more important than that amount."
Vinyatkov’s insight into the very depths of the people’s spirit and the people’s psychology allowed Koltsov, as if saying about the new Belinsky, to reveal in his songs “everything is good and beautiful, like a germ, like a possibility, live in the nature of a Russian peasant” (9, 532).
Koltsov opened the literature of the її right hero - a modest peasant, on whose shoulders the whole of Russia was trimmed. Chi is not an invention, but a natural peasant who has taken a rightful place in the gallery of poetic characters. It appeared that the soul of an ordinary person in the moral sense is not a dead wasteland, as it was thought earlier, that it was created not only on the vanity, low predilections, but on the day of the day. Strong villager testimonies Koltsov is not like a serf and bezosobove znaryaddy vyrobnitstva, but yak tsіnna in the ethical and aesthetic planі іndivіduality.
The lyrical hero of Koltsov's verse, becoming the forerunner of the Turgeniv villagers from the Notes of the Mind. Without it, a bula would be impossible for the appearance of victorious Nekrasov's poetry.
The right nationality of Koltsov's creativity was revealed most vividly in his songs about the village earthworks. The poet's innovation was given as a sign here to us in front of him to give the people's point of view on the practice, like on the life, spiritual greatness, joy. The hero of "The Song of Oracha" (1831) is "fun" to get along with the harrow and the plow. At the verse "Harvest" (1835), the creaking of the creaking of the hour of life is likened to music, and the cloaks on the threshing floors - to the princes.
The physical beauty of that moral beauty, which is warmed by the peasants of Kiltsiv, for example, the hero of "Kosar" (1836):
I have a shoulder -
Shirsha for didova;
High breasts -
My mother.
On my face
blood batkivska
The milk is on fire
Dawn red.
In strength, rightness, suffocation, the very move of the robot (“Rose, shoulder! Swing, hand!”) That “poetry of practice” is revealed, in a kind of Glib of the Assumption, one of the most characteristic features of Koltsov’s creativity. The most important lyrical hero of Koltsov shows the understanding of the ethical and the beautiful, exclaiming the essence of the people's life and the people's self-confidence.
Most of the young people of Chile calm down and not so practical result, how the process itself works, the inner beauty, the ability to show your “I” to someone else. Difficult physical work, which is tretyuvavsya by the illumined camps like a stingy and slavish one - or, in the shortest time, calling out loudly to the orach, - under the pen of Koltsov, a song called for a new power. Vіn having become that part of the people's life, de knew that the craving of the harvester was chained to spiritual activity. The willingness of a person to poetize his daily occupation and the evil forces of nature is not explained by the principle of unmediated “meanness”. Here the nobility gave themselves the quiet artistic, artistic inclinations of the peasant soul.
Koltsov's innovation is strikingly evident in many of his songs, which speak of the important life of a peasant's mind. He sings zumіv raspovisti about the poor with such spiritual sorrow, with such spontaneity, like none of his comrades. More than that, a number of kіltsіvskih vіrshiv on this topic are already beginning to have those tendencies, which will be typical for the poets of democrats in the 60s. Particularly noteworthy in the composition of Koltsov’s songs are “Hirka Chastka” (1837), “Think of a Peasant” (1837), “A Friend of the Song of Likhach Kudryavich” (1837), “Health” (1840), “The Share of a Bednyak” (1841) and in. The lyrical voice of the author, warming with warmth that wide fate to the underprivileged people, is felt at the verse "Sil'ske famously" (1838), which ends in sharp rows:
From that hour, I am in need of grief
I'm tinkering on other people's huts,
I work for the day's shmat,
I sweat in blood.
(p. 162)
Vodnochas bіdnjak kіltsіvskih pіsnyah skarzhitsya not only narіkaє on his share. Vіn umіє throw їy i zuhvaliy viklik, boldly go nazustrіch be-like negarrazdam. The hero of the verse “Zrada Narechenoї” (1838), an enemy of the team that was trapilos, breaking on the road:
Woe to Mikati, life is quiet,
With dashing frequent revisits.
(p. 156)
The hero of Koltsov, being the archetype of the most Russian character, is tolerant, steadfast, and resilient. If Yogo spit famously, then Yoma, according to Belinsky’s thought, do not fall into confusion, do not fall “under the tractor of the very sight ... but if you fall already, then calmly, with the full remembrance of your fall, those that Yomu did not need in his best days” (9, 533). Why, regardless of all the storms that guard the lyrical hero Koltsov, the main tone of yoga poetry becomes deeply optimistic, life-affirming:
І shob іz grief at the bench
Booty with fun disguises;
Go to death -
Sleep to nightingales!
(p. 176)
Characteristically, in these words from the verse "Way" (1839) Radyansky sings Pavlo Antokolsky sings the "central nerve" of Koltsov's talent.
The theme of will - one of the quiet themes of folk poetry - occupied a lot of space in the work of the poet Prasol. It is typical for him to wear the verse "Stinka Razin" (1838). It is known in an organic connection with the song folklore of different peoples. Here is the good young man’s chivalry before the “Volga Mother”, which vibrated and whistled yogo, and the courageous hero’s heroism dispersed:
Shut up, wretch
Take a walk, Volgo mother!
You take my twist,
Rozmіti hvileyu on the bank.
(p. 169)
Already, he himself chooses the Razin by the singing world characterizes both the supple, and the aesthetic look of Koltsov.
To Shchedrin’s thought, this is the merit of Koltsov, who opened the zoom in the Russian deprived peasant people, who deeply understood their goodness, mark those “baking a little special”, like “opening up all the sound crossings and, like a river, shove, sinking, ruining, and taking with them everything that lands on the way.”
Depicting the people from a “concealed thought about freedom,” Koltsov believes that the best part of the people are working, “Until then, before one o’clock fell into the water like a stone,” and it’s important those who hope to live in faith with the mighty forces, who lurk among the people. At the verse “At the villain the wind ...” (1839) the people sings calling:
Rise up - what strength
Wave your wings:
Maybe our joy
Live beyond the mountains!
(p. 178)
Vymogoyu "life іnshiy" passed through the rows of Koltsov's song "So the soul is torn ..." (1840). He sings the contribution of the romantic “Duma of the Falcon” (1840) with a fervent exercise of the will, declaring a dream about the freedom of the poet himself, he is angry with the sound of creaking masses:
Il at the falcon
Creela tied,
Chi roads youmu
Are you sure?
(p. 192)
It is not surprising that the “Duma of the Falcon” was adopted by generations of advanced people like a song, like a call to the struggle for a day of life of a person. Accept such a wide comment, which was taken away by the top lines of songs in artistic literature: in the works of I. S. Turgenev, I. S. Nikitina, L. N. Trefoleva, F. V. Gladkova et al.
The image of a bold and independent bird, similar to the legendary Gorky Falcon, is blamed on Koltsov's whole low. That wine itself enters our svіdomіst as “the societal of Russian poetry, whose free flow is “we are proud to cry to freedom, to light.”
It is not uncommon for Koltsov to talk about the blows that have been thrown among the people, to the shortest part of Koltsov’s work, but let’s make it clear in the context of the era. For example, in the song “There is a lot in me…” (1840):
Ale, I know what
I joke about enchanting herbs;
Oh, I know what
I myself can sum up ...
(p. 207)
In some of the poet's songs, there are signs of the home of the home, the power of evidence of the patriarchal peasantry. Ale - and at the cost of the most gloomy - with all the sumnivs and to finish Koltsov's folded ideological and moral jokes in the shortest verses, he hangs up to make courageous at that hour a protest against the present-day yoma "brudnoy" and "rude" action. Rising up to the realization of the need to fight against it, he sings a call in the “Messenger”, dedicated to Belinsky (1839), to stand in the name of the “urochist” of the “new thought”, truth, to the mind of that honor.
It is possible to say without further ado that it is none, the Crimean of Lermontov, without having spoken with such artistic power hatred to the point of violent action, like Koltsov. Bring on the tears that burn, tear off the tears of anger, tear up, tight, ring Koltsov with Lermontov here. Speaking against a life based on lack of rights and slavery, Koltsov declares in "Rozrakhunka z zhittyam" (1840):
God gave Yakby strength -
I would beat you!
(p. 208)
But the parallel of "Lermontov - Koltsov" looks like a great sight. Being accomplices, the insults of the poet from different points of dawn (although similar to the head one - unacceptable to the current social activity) imagined the destruction of their hot era.
Lermontov is more grateful for the dissatisfaction of his generation with the Mykolaiv regime. His creativity is focused on depicting the gloomy sides of life. Skepticism, harmful to the psyche reflection, disgusting introspection - all these "internal ailments" struck the best part of the noble class of the Mykolaiv reaction.
Koltsov, on the other hand, having hung on the rich creations of health, the mighty forces of the nation, the national spirit, which cannot be angered by the overpowering political oppression. What, vlasne, was changing in the sizable way of life of the rich and millions of masses of the population in the form of devilish changes to the Russian throne? For Mikoli I, everything in the village was lost as it was before: hopeless wretchedness, overpowered by the growing power of the “golden treasury”.
Lermontov in the "Duma" confusingly marvel at his generation, the future paints the author in the most gloomy farbs ("... it's empty, it's dark ..."). Let's call Koltsov any other way. Incorporating the unfathomable faith of a peasant worker in Kintsevo, happy people, this age-old folk optimism, Koltsov vigukuy in "The Rest of the Fight" (1838):
Don't threaten me with a bida,
Do not cry, share, on beat:
I'm ready to fight with you
But do not be fooled by me!
(p. 167)
The semi-lunar rows of Kiev sounded like a sharp dissonance in the midst of the poems of the epoch. At the lyric I will expand, zneviri and tugs raptly invade new motives. The bright coloring of the kіltsіv vіrshiv peoples and under the influx of their specific artistic form. The poetic poetics itself is superbly subversive. About yakі b sumnі speech not yshlos tvorі, strіmkіst іntonatsії, osobennost razspіvnіst, svoєrіdnіst melodіynoy malyunіk yak bi po'yakshyuet dramatizm.
With a lofty gromadian pathos, a deep sum, we call out the death of Pushkin, the farbows of the verse "Lis" (1837). For the most meaningful word, the political stupefaction can be boldly entrusted with such a vicious creation, like Lermontov's "Death of a Poet". To finish the fortune-telling of quiet, gloomy rocks, which are at the verses of Koltsov, from the “black autumn” and “at night without a spell”, or read, for example, at such a stanza:
Wild, castle.
Only in disgrace
Viesh skargu
On the chill...
(p. 148)
- to see the courage of the official official Russia. The characteristic of these low intrigues is noteworthy for its accuracy, as they became the direct drive for the death of the great poet:
3 heroic shoulders
They took the head
Not a great mountain
And a straw.
(p. 149)
For special respect, the merit of Koltsov's creativity is family-pobutovі songs. The stench of the majestic breadth of the revelation of the inner world of a simple Russian woman, is truthfully transferred to the camp at the patriarchal village center. Realistic zmist vyznachiv and artistic features of these songs, their close connection with folklore, zokrema from family-pobutovoy folk lyric. With the special power of this link, it appeared among the roberts of Kіltsev those of a half-day life with a “confounded” person. He sings the true tragic image of a young peasant woman who has been seen abroad against her will. The heroine of the verse “Without reason, without reason ...” (1839) gives a new and tragic note to the traditional Wislov “to live - to fall in love”:
Good, old,
Mirkuvati, Raditi
I take youth with me
Porіvnyuvat without rozrahunka!
(p. 189)
Such a deeply lauding, as Belinsky wrote, “tearing the soul of the scarg of the lower woman’s soul, sentenced to lifeless suffering” (9, 535), is felt in the song “Ah, visiting me ...” (1838):
Don't grow grass
After autumn;
Do not bloom flowers
Take the snow!
(p. 158)
For Koltsov's family-butt songs, they are characterized by their bulky directness. Vyslovlyuyuchi nayvischi іdeals of folk morality, the stench took revenge on the great spiritual expansion of the people. The ardor of love, independence, freedom was especially clearly manifested in the song “Vtecha” (1838), in which the right to mutually covet, on special occasions, happiness came with the wicked exercises of the zakrypacheny people.
The love lyrics of Koltsov are the poetry of earthly joy, a shabby shyness in front of the spiritual and physical beauty. The burial of Kohanoi calls and miracles for its artistry, the song “The Last Kiss” (1838):
Come on, fall in disguise,
Yak before dawn...
Yak spring, blackbuck
Ty, my name is!
(S. 159-160)
Quite a garne and light, almost like the home of Kіltsov. Heroes of yoga song love with a wide heart. In the most important days, the life of the poor people is great, we give them the strength to fight with the savage action. Bobil's song "At the field, the wind is blowing..." (1838) is not terrible
Part of the non-human
If yoga kohaє
Vaughn is young!
(p. 166)
Nevipadkovo’s collection of Koltsov’s poems Chernishevsky called the book “pure love”, a book that “love is the strength of that activity”.
Koltsov's love songs are seen and distinguished by their sincere lyricism, deep breadth, and sometimes marvelous expressions of intimate human feelings. So create a poet like "It's time for love" (1837), "The maiden's sum" (1840), "Rozluka" (1840), "I won't tell anyone ..." (1840) were just a new word in the love lyric of those times. To which it is necessary to add, that, embracing the spiritual beauty of people from the people, the beauty of the ruined and depicted in a krіposnitskom suspіlstі, Koltsov zmіg became his own antagonist of the willful aspirations of his hour.
The nationality of Koltsov's poetry is expressed in a truthful display of a life of action, and in a creation of outstanding artistic works. The songs of Koltsov, writing Belinsky, “is a marvelous richness of the most sophisticated, most original images of the world's greatest Russian poetry. On the other side of the language, the style is marvelous, the words are unique” (9, 536).
Vikoristovuyuchi aesthetically accepted, which has long been folded into the old tradition, sings rich with their rich winemakers. Vіn pragne virobiti such a system of poetic zasobіv, as if in the "optimal mode" to convey the impassioned pathos of yoga creativity. The most cited for the possibility of a synthetic genre alloy - the napіvlіteraturnaya napіvfolklore "Russian song". Named by the people, symbols, rhythms, special movements of the turn under the pen of Koltsov were filled with a vignette vibrancy.
One of the manifestations of Koltsov's maisternost was to recognize him in the mind to dramatize the lyrical theme. Deeply penetrating into people's characters, he sings showing a sense, the experience of ordinary people through their evocative signs (disguise, ruh, intonation, gesture), which is to introduce new poetic farbi into Russian literature. So, for example, the image of the inner state of the girl at the hour of separation її z cohanim in the song "Rozluka" (1840). With a boundary line, the girl's hilarity is conveyed here to the deep:
To crush with fire the denunciation of everything fell off,
It was covered with white snow...
(p. 199)
The heart torment of the heroine was marked both in the very urgency of the mov (“Don’t go, shave off! Give me an hour…”), and in restlessness (“On you, on the falcon is clear…”), and in the visible revelation of spiritual grief (“Having a spirit - the word has died down...").
Sometimes the mastery of the poet's song is manifested in borderline squeezing portrait painting. So, in the deeply intimate lyric song “Don’t make noise, life ...” (1834), talking about the love of the “soul of a girl”, Koltsov put more respect in his eyes:
Licorice bulo me
Marvel at the eyes;
In the eyes
Lovely thoughts!
(p. 112)
In front of us is a virulently vilifying image, the appearance of a deep sense. Pototsі spogadіv, dumok, dum sings to know those іstotne, osnovne, scho especially imagined, became the most expensive.
No splendid portrait is given in the song "It's time for kohannya" (1837):
Get out, I thought
Dihannyam charm oviyana ...
(p. 145)
Ale mi kindly manifest youth, the beauty of a girl through the outward display of her spiritual turmoil:
Breasts were waving,
What river is deep ...
(ibid.)
The artistic originality of Koltsov is manifested with special force in yoga landscape painting. In yoga virshah, nature is not the same for people and their practices, for everyday human troubles, joys, sorrows and thoughts. Behind the words of Saltikov Shchedrin, tim and “the great Koltsov, tim and the mighty talent of yoga, who won’t be attached to nature for nature, but rather succumb to the people, who expand over it.”
Created by Kіltsev pictures of the native land, fresh and new. “The beautiful star in the sky lit up” (“Song of the Oracha”), and life, as you see it, “Smile for a merry day” (“Harvest”). At the verse “What are you sleeping, little man? ..” (1839) Koltsov knows the unique farbi for the description of the late autumn:
Adzhe vzhe osin nadvir
Wonder through the spin.
(p. 186)
- that Russian winter:
Winter follows her
Warm fur coats go
Way to powder with snow,
Under the sleigh crunch.
(ibid.)
Koltsov is able to say in his own way and about the Russian steppe. Reading the verse "Kosar" (1836), you'll see, you're getting wide and wide, breathing in the smell of herbs and flowers. For the Kіltsevsk mower, there is not only space, but it is especially radiance and light:
Oh, my steppe,
step vіlny,
Wide ty, steppe,
Spread out...
(p. 123)
At the verse "Harvest" (1835) there is a gloom, which is full of wear, dark, growth, "armed with thunder, storm, fire, glare", and immediately after a blatant lull out
Take up arms -
I expanded
I hit
I spilled
With a great tear...
(p. 114)
In this stanza, which is composed of nothing but words, the rhythm itself and the sound of sounds (for example, in front of the twinkling “r” and “l”) could not capture the image of the groaning gurgles of thunder and the wood, which was screeching. Particularly great dynamism, breadth, strength is given to the words by the sound “i” that stands in front of them.
One of the peculiarities of Koltsov's poetic craftsmanship is the accuracy, concreteness, and perhaps the best visibility of the image for the vinyatkovoy economy, conciseness of artistic works. Organically adopting folk songs, he sings with his own style, his own imagery, his own distinctive voice.
Koltsov reaches fresh and exact words (in the sensational transmission of a singing psychological state), similarities and metaphors, arguable to the very spirit of folk art. The peculiarity of Koltsov’s realistic poetics is clearly manifested in the song “The share of the poor” (1841), de the author of zooms simply and at the same time calls in a new way to convey the experience of the villager bean after looking at people.
From soul to hour
Joy to roar, -
Evil mockery
Vmit otruї.
(p. 215)
Movnі elementi, kakі without intermediary go іz folklore (“I sit, marvel, Smile; And in your soul you swear the Share of the gіrka!”), the poet has natural and artistic truth.
Samobutnyu meisternіst mi bachimo i in іstrumentuvannі, melody, metrics and rhythmіtsі kіltsіvskih vіrshiv. Widely zastosovuvani Kіltsevy penta-fold and tristop iamb with dactylic endings, internal rimi, repeat and alterations give yoga verses more important than the meaning of that musicality. And if you read, for example, at the song "Don't make noise, life ...", then you clearly bachish, that to inspire the world itself, even go to that sumptuous mood, as if vikonano this verse:
The important things are on fire,
Dark pivnochi
Lie on? heart
Black thought!
(p. 112)
Not less viraznou and such a kіltsіvska song like "The rest of the kiss". At її ії ії ії ії ії іnstrumentuvannі zvjayut respect іn thе first and thе thе rows, the sounds "l", "p" ("kiss, kiss, caress"), the third and fourth - with the sound "r" ("One more time, sooner, kiss hot"). There are also repetitions of words and inner rhymes (“Don’t be naughty, don’t scold, there’s no tears in your eyes”). All the lyrical intonations of the song of Koltsov's musicality, as highly appreciated by M. Balakirov, who wrote his own romantic romance on the words of this verse. According to Ts. A. Kuy's guidance, the romance is a complete perfection of the music with the text in one harmonious whole.
It is important to note that Koltsov played the role of the development of the country's musical culture. Rows of people sighed at the creation of miraculous works of such composers as Glinka, Varlamov, Gurilov, Dargomizhsky, Balakirev, Rimsky Korsakov, Mussorgsky, Rubinshtein, Rakhmaninov, Grechaninov, Glazunov and others.
Koltsov, having enriched our non-artistic Russian poetry. Uniquely, whether there are deliberate “beautiful things”, we should bring in the top words, taken from a living folk movement, giving them a special poetic flavor. Behind Belinsky’s appointments, in Koltsov’s song, “the beds, and tattered captans, and skuyovdzheni beards, and old heels – and all the rubbish turned into a new one in pure gold poetry” (9, 534).
Vikoristovuyuchi rozmovnu language of the villagers, Koltsov diligently vydbiraє nіy typical, scho dopomogaє yomu better to speak more deeply and thoughts of the people, truthfully show the life of the common people. In "Another song of Likhach Kudryavich" (1837) it reads:
Kaftanishka torn
Pull on your shoulders
You cut your beard
Put on your hat
You will become quiet
Over someone else's shoulders.
(p. 153)
For Koltsov, it is more common to adopt more affectionately affectionate language forms, which are more in line with the folk style:
Falling into the sum of a tight cuff
On a cool head.
(p. 156)
You take my shit.
(p. 169)
Typical for Koltsov's song are sings and orders, organically interspersed with this lyrical hero. For example, at the "Hirky Valley" (1837):
Without cohanna, without happiness
I wander around the world:
Rozіdussya with bida -
With grief I'll be mad!
(p. 137)
The meaning of Koltsov's history of the country's literature is marked by an indistinct link between the people, yak, according to Belinsky's thought, the artist's poet, the poet of the peasantry, knew clearly the expression of the peculiarities of the character, the mindset and the sense of the simple. The most important aspects of the creative work of Kіltsya gave the most positive impact to Russian poetry.
Relying on the literary and aesthetic concept of Belinsky, the revolutionary democrats of the 60s. they looked at the poetic decay of Koltsov, apparently to the new epoch hanging by the new ones and the promotion of the universal fermentation of life in the present manifestations.
Dobrolyubov, in the first speeches about Koltsov (1858), describes him as a poet, who, for the sake of his gift, is close to the people. At one time, the critic directly and, perhaps, navit supermundanely categorically pointing out the lack of connection between the kіltsіvskih works and the suspіlno-political problems. On Dobrolyubov’s reconciliation, “Koltsov is alive to the people’s life, having understood її grief and joy, having sympathized with them. Ale yoga poezії marriage є universality look; a simple class to the people є have a new one on its own in the form of common interests ... ".
Dobrolyubov could see that he highly appreciated that "real health" of Koltsov's bik virshiv, which, according to the critic's words, needed to be "continued and expanded". Dobrolyubov added an unrecognizable link between the leading Russian poetry and the Kilcean traditions. Saltikov Shchedrin wrote about the significance of these traditions for Russian literature: “The whole series of modern writers who dedicated their work to the development of Russian life, and a number of prodovzhuvachivs of Koltsov.”
The artistic spadshchina of Koltsov was especially dear to N. A. Nekrasov. Speaking about Koltsov as a true self-sufficient poet, putting them on a par with our greatest poets - Pushkin, Lermontov, Zhukovsky, Krylov.
The creativity of Nekrasov knew far away the promotion of poetry by Koltsov, the theme of practice. Nekrasov added his political gaudiness, which was rejected by Koltsov. Nekrasov was undoubtedly close to the expressions in the songs of Koltsov's folk look at the physical and spiritual beauty of working people.
Dosvid Koltsov prepared and prepared Nekrasov's slaughter to folklore, to the lively language of the villagers. Nekrasov's singing world vvozhatimulyatsya Koltsov's and region's victories. It is also shown in the context of the poem “To whom in Russia to live well”, in which the three-step iambic is widely stagnated, which goes in the form of Koltsov, with dactylic endings.
The tradition of Koltsov is remarkable for the creativity of the poet of the Nekrasov camp I. S. Nikitina. Spiraling on the artistic proof of his successors and us in front of Koltsov, he turned to the life of the common people, scooping from him those images. The verses of Nikitina (“Noisy, roamed ...”, “Song of the Bean”, “Spadshchina”, “Show me the merchant vuhar from the fair ...”, “Ready, tight ...” and so on) showed a clear orientation to the folk song cob, which is so common in performances at Koltsov.
Along the lines of Koltsov's traditions, the creativity of the poet Democrat I is also developing. Z. Surikova. The infusion of the author of "Mower" is seen in such wide-ranging yoga creations, like "Ex, ti, share ...", "Che head ti, little head ...", "At the steppe" that іn. to the motif of a woman's part, broken up by Koltsov in his song "Ah, now I see me ...".
Follow the infusion of Koltsov's memory also in the work of the poets of the songs of S. F. Riskin (1860-1895), Y. A. Razorenova (1819-1891), N. A. Panova (1861-1906) and in. The problematics and poetics of Koltsov's poems were further developed by the creative practice of Z. D. Drozhzhin: the theme of rural practice is genetically reshaped from "Songs of Oracha" and "Harvest".
Koltsov pressed a particularly great blow on the artistic development of Sergius Yesenin. At the verse, “Oh, Russia, wave your wings ...” he sings directly write to himself like about the successor Koltsov. The lyrical motives and images of the Russian song can be a direct inspiration from the verses of M. Isakovsky, A. Tvardovsky, M. Rilenkov and other radian poets, the creativity of which is deeply connected with the folk song.
An artist of an innovative warehouse, A. V. Koltsov creates such spontaneous, profoundly national expressions of democratic poetry, that his name occupied one of the first places among a number of miracle Russian poets.

Koltsov Oleksiy Vasilovich - famous folk singer. Born on July 3, 1809, in the old township homeland of Voronezh.

Batko Yogo buv prasol, who traded in thinness - a man of intelligence, energy, werewolf. Mother Koltsova was a woman of kindness, but unlit, unwritten. The childhood of Koltsov passed through the patriarchal merchant family; father was the only volodar budinka and all trims in a strict root

ii. Only mothers could get along with him, and, perhaps, repaired a pleasant splash on the lad. Kіltsov buv giving to himself. Sim's wines are not of the same age: one sister was richly older for a new one, and the brother of that other sister was richly young. If Yomu passed 9 years, Yogo became one to learn to read and write

from Voronezh seminarians. Koltsov worked diligently and successfully; passing parafiyalno, vіn directly entered the first class of the povitovogo school (1818), but having tried at the school for a short time: through the river and 4 months, the father took yoga home, knowing the vіdomostі, otrimanі sinom, enough for that life, until such a wine yoga g

otovіl - trade in thinness. The Russian spelling became inaccessible for Koltsov forever. The prote school brought to you that mischief that you fell in love with reading. The first books, read to him, were lubochny seen, different tales about Bova, about Єruslan Lazarevich too. Vіn buying them for pennies, having seen

є for lasoshchiv and igrashok. Potim vіn transitions to romanіv, yakі dіstavav vіd svogo comrade Vargіn tezh the son of a merchant. Koltsov especially liked "A Thousand and One Nights" and "Cadmus and Harmony" by Kheraskov. In 1824, Vargin died, having left his library to a friend at the fall - about 70 volumes in total. behind

leave the school, Koltsov, maybe, becoming help your father in this trading right and then getting to know the village and the Don steppes more closely. Tse acquaintance immediately vpnulula on the new one; to you I saw the light of enchanting sounds and farb, and I took them in myself, so that later I would transmit from

how, to whom the world is dear, that thought is a little. In 1825, a strong reaction was celebrated on the new verse I.I. Dmitriev; especially worthy of youmu "Yermak". Yomu was 16 years old when he wrote his first verse "Three Visions". Nezabar after many wines I got to know Voronezky.

to the bookseller Kashkinim. Direct, sensible and honest, Kashkin was adored by the love of the Voronezka youth; And the bookstore was like a kind of club for her. Vіn tsіkavivsya Russian literature, richly reading і, zdaєtsya, writing verses. Let me think about what Koltsov showed you his first achievements

For a stretch of 5 years, Koltsov has become a costless library, familiar with the works of Zhukovsky, Delvig, Kozlov, Pushkin. Virshi Koltsov 1826 - 1827 years, for rare vinnyatki, є weakly inherited tsikh zrazkіv. For example, the 20th rock of the Rings approached the Andes

Reym Porfirovich Srebryansky, a student of the Voronezh Seminary, a student of the Medical and Surgical Academy. Sribnyansky himself sings; yogo vіrshi among the seminarians was already very popular. One of the yogo p'єs is not forgotten and dosi: tse vіdoma student's song "Shvidki, yak

until the death, the days of our life. "In his sheets to the Belinsky Koltsov, more than once, I read something about my friend, to whom the goiter is guilty of even valuable remarks, especially on the subject of the virsha technique, as well as with a perfect selection of reading. match i st

Ikhotvorinnya, dedicated to you ("A.P. Sribryansky", 1829). For example, in the 20s, Koltsov, having fallen in love with the forte maiden Dunyasha, who lived in her house, was bought by his father from one of the court assistants. Batko having done it cool: in one of Koltsov Dunyasha’s boats, it was sold to the Don, where it was not a problem to get abroad. Tse bulo for

I am Koltsov with a strong blow, follow what you have lost forever from yoga poetry. In 1829, the circle of Koltsov got to know the professor of philosophy and physical and mathematical sciences at the Voronezh seminary Velyaminov, for the remarks of De-Poulet - a person who seriously clucked at literature. At the same roci, through Voronezh

squeezing Sukhachov, like a man of letters. Koltsov got to know him and gave him his verses. Sukhachov took him with him to Moscow, and in 1830 the deacons from Koltsov's turn saw him under his own names. Koltsova z N.V. Stankevich. Behind the words I

M. Neverov, at the father of Stankevich, the assistant of the Voronezka province, the buv guralny, where the mіstsevі merchants thinned their flocks for fodder bardoy. Molody Stankevich is not a man of the same people. Once, lying down to sleep, I could not get my valet for a long time. Valet at his

e true rozpovіv, sho anew prasol Koltsov arrived at the evening reading such songs to them, that they all heard the stench and could not see it; Vіn navіv kіlka coupletіv, scho lost in the new one, and Stankevich was hit with a strong hostility. Vіn requesting Koltsov to himself, schob

the stars of the wine are so wonderful in the world. At Stankevich's end, Koltsov handed over to him all his verses. One of them was placed by Stankevich at the "Literary Gazette" (1831), when he recommended to readers "a native poet,

tsya, write often dear, at night, sitting on horseback. "In the grass of 1831, Koltsov first went to Moscow on the trading and posterior right of his father and got to know there the members of Stankevich's group, among them - from Belinsky. At the Moscow" Lists "Koltsov posting a number of verses in 1831.

In 1835, to the fate, chosen by the members of Stankevich's group, the first book "Virsh Oleksiya Koltsov" was seen - a total of 18 p.s. There were such pearls, like "Don't make noise, zhito", "Thinking of a villager", "Village party" and others. B

elinsky zustriv tsiu book spontaneously, recognizing from Koltsov "small talent, but true". Koltsov, prote, like before, writing only in hieroglyphs, showing his strength, more importantly, to the trading rights of the father. Koltsov's other trip to Moscow and Petersburg will last until 1836. At Moscow, I got to know F.M.

Glinka, Shevirev, at Petersburg - with Prince Vyazemsky, with Prince Odoevsky, Zhukovsky, Pletnyov, Kraevsky, Panaev and others. Usyud yogo was accepted more affectionately, some - generously, others - condescendingly to the new, like to the poet-prasol, the poet-philistine. Koltsov miraculously sorted out, as if it were visible to the new

pissed off; Vіn vzagalі mindіv subtly and respectfully guard. Z Pushkin Koltsov met in 1836. Acquaintance was brought up, behind the words of O.M. Yudina, at the apartment of Pushkin, where Koltsov buv two requests. Before Pushkin Koltsov is reverent. Turgenev rose, like at the evening at Pletnov's Koltsov did not

glashavsya read your rest of the thought. "What if I became a bi-reader," he said, "here Oleksandr Sergiyovich only wailed, but I would become a reader! Have mercy!" ON THE. Polovy speaks about Koltsov as about "a pure, good soul"; "Because of him, we've got grіvsya, nіbi bіla kamіnа". Prince Vyazemsky characterizes yoga yak "dі

of nature, modest, simple-hearted. "Belinsky was right at the capture of Koltsov's view. So the very good were placed before the new one and Zhukovsky, and Kraevsky, and Prince Odoevsky. virnіshe - batkіvskih right, zavdyakov їm repeatedly finished

so safely the court proceedings, like a father, not making noises, insanely program bi. Tsim, mabut, and it is often explained why the father is put up to do some literary work kindly. Vershi Koltsov willingly made friends with the best metropolitan magazines

ik", "Moscow Sposterigach"). In the fatherland, the glory of yogo grew even more after that, like Zhukovsky, accompanying the Spadkoєmtsya Tsesarevich in yogo dear to Russia, seeing Voronezh (near the linden of 1837). together with the poet-prasol. " Koltsov suprovod

al yogo pіd an hour I'll look around the old memorials of the place. Koltsov at that hour felt close to the family situation; Yogo strongly weighed on people of thought and culture, and yet it was necessary to tie up with us, materially, and spiritually, that illuminance of Yogo was nevertheless deprived of surface. Near Voronezh

Few people had a spiritual mind, especially after 1838, when Srebryansky died. Z Kashkinim vin rose without a bar. In 1838, Koltsov again moved back to Moscow, then to St. Petersburg. Under the hour of the tsієї trip, you especially became close to Belinsky, which became the only person close to you

dexterous. Vіn provіryav Bєlіnskiy all his tacit joys, robbed him to judge all his new creations, as if negainally overpowering yoma. In 1838 Koltsov wrote to finish the bagato. Whom was taken by the cultural atmosphere of that interest of the Moscow society, in which it turned into wine; wine myself i

tse explain the reason for the plodnoї svoєї dіyalnostі for tsey rіk (div. yogo list to Belіnskogo vіd 16 serpnya 1840 rіk). After the trip of Koltsov's life near Voronezh, it becomes more self-confident; the home environment is even more tight. With the knowledge of the vines of the Daedal, it is more possible to disperse. Kіltsіv sword

spoke about the role of a teacher, a kerіvnik, a wanting to be a conductor of quiet lofty thoughts and ideas, like vin zustrіchav in the rose centers of Russia; Knowingly, they were slyly put up to such samples, they chuckled a simple nasleduvach into the new. "Live at home, with merchants," write to Belinsky, "I can't now;

іnshikh kolakh tezh... The very future is hopeless in front of me. I’m here, I’m counting only one thing with absolute accuracy: a crow ... I, їy-God, I’m terribly similar to her, I don’t have to say: she didn’t eat up to the feathers, but she saw the raven. There is nothing more than that before me." Friends called Koltsov to Petersburg, pr

they told you either to open the book trade yourself, or to become the guardian of Kraevskoy's office. Koltsov did not listen to tsієї please. Vіn knowing that there is little ideal in the life of a trade, even if it is a book, and quite reasonably bringing to his friends that he will not be able to compete with other book sellers.

And, as we know our own things, do it otherwise, not like a merchant. In the spring of 1840, Koltsov again had a chance to hang out in the capitals at the right of the father. Tse bula rest yoga is more expensive. Zustrichi with Belinsky, V. Botkinim, trochs chewed yoga, lifted the spirit of yoga. How many times did Koltsov call to turn back home and

tnom way from St. Petersburg dove zatrimavsya in Moscow. Too nasty it was possible for him to opine anew at the viri of the home environment. At the fierce fate of 1841, Koltsov still turned around home. Pennies on the road v_n not mav - the father did not want to turn around and categorically act on the nad_slati; happened for

borrow from a friend. In the house of the wines, they resurfaced with the head of the right father, and the daedals between them sank more. There were even important scenes that made Koltsov angry. Nezabar Koltsov rose and with his kohana young sister, Anisiya, in a yakіy vin earlier bachiv one in sim'ї nearby

ku youmu soul. The tragedy of everyday life, important and hopeless, in the middle of the leaves to Belinsky at the same time. Axis of wines to finish up a new dispute, bring the deacons of the batkivsky to the harmony, and without fail coming to St. Petersburg - the father promised to give you pennies. Ale dragged on right, Koltsov got lost with them; h

Health tezh became strong psuvatisya - and the hope went out. For one moment, and even then it was not trivial, she smiled, it was lucky for you: having poked hard at Varvara Grigorivna Lebedeva, and it woke up in a new faith in the best future; ale through the rіznі furnish the stench of the stench, it will not be difficult to rise. Pain

The zn of Koltsov - dryness - began to develop swiftly. Batko did not give pennies for likuvannya. Likar I.A. Malishev, having taken a hot fate from the Koltsov’s share, and for a moment he lifted his strength. At the sumіzhnіy kіmnati, the sisters were getting ready for the wedding, the girls' evenings were in power, and Koltsov, lying in an ailment, was forced to leave

ii; only one mother and that old nanny watched Yogo. Koltsov died on July 29, 1842. The poetry of Koltsov from ancient times, from the hours of Belinsky, is considered to be profoundly folk, in the verniche - to inspire the village. They have the same zmist, the same motives, the same form, like a common folk lyric. Gr

st-tuga for milim, skargi for a share-crucity, not far from family life, love calls, well done bravery - the axis is inconsistent, truly folk stories, like Koltsov sings ospіvuє. The new one has more variations, the experience is conveyed deeper, thinner, more addictive, farbi stronger, thicker, but the essence

all the same, she is left alone; the difference is hiba scho kіlkіsna, but chi is not yakіsna. It is very clear that yoga poetry knows its own outside of the middle and, more precisely, it is a great folk-collective creative genius. Koltsov to marvel at everything with their wide eyes,

The poets-creators of the folk song marveled at what they had lost the unknown to themselves, that they did not grasp in their souls the cremation of the masses, everyone was worried, like the people themselves and the infection, and in unison with them. Particular attention is paid, in which the individual "I" differs, the power of the primary harmony, that syncre

ethic unity, for God, the nature and the nature of a person mutually and residually penetrate one alone, become one whole, - the axis is tamanly tsієї clumsy, more differentiated soul of the poet from the people; it is more characteristic of Koltsov. How to turn off yoga poetry

these inherited verses, de motives are behind the scenes nibi hastily in those who have fallen and are familiar with the spirit of Zhukovsky, Del'vig and Dmitriev, and also "Dumi", written under the infusion of Gurtka Stankevich, especially Bєlinsky, marno enlightened yogo on the object and ab

salt", then we are opposed by the very inconspicuous objectivity, the actual presence of a special element. For this reason, we call it not the result of our special experiences, but we want to be less rosy, like a peasant lad who loves, for the sake of it, to take a share need to u

nіy sferi razіv nazavzhdi zavrіplenogo pobutu. The axis, for example, sees the youth for the sake of the named: "having fallen a sum-tug of an important head on a grubby little head; tormenting the soul is torment-mortal, he asks from the body of the soul." Abo kokhannya, as if reshaping all life: "together with a sweet winter, it’s coming together, grief - not grief, nothing - clear

in the daytime, and without it, there is no joy in the grassy wound, and in the dawn-evening, and in the wild - green - brocade seams. -tuga", "sum-tuga", "love-fire", "love-soul", etc.), which contrasts (in kshtalt:

"with grief at benketі buti with merry faces", "shine the sun - that autumn"). In everything, the nature is clearly visible, strong, biased, everything that you experience in a special way, deeply, to the point of self-forgetfulness. And yet the tone is all special in the first synthetic quality of light, and Koltsov's songs become typical

i. The most typical is most characteristic of Koltsov. And it’s not like I’m afraid of Yogo Farbi, and it’s not great їх prosperity - the skin p’єсі stinks of new raznі, - all the same ones are left behind: it’s almost like, that in a flash it’s zastosovuvaetsya to all skin, that’s the experience of childbirth, not individual, not special. Sum

t chi deceived about the distant youngsters, turning from blessings to the heart of the sun, a wide field, violent winds; chi dodaє young woman, її forcibly seen as unlovable; chi swear old at his old age, young - at his untalented part; Chi rozpovidaetsya about those, like dry, mute autumn grass

Zealous heart in the fire of love to the red maiden, - in a word, about whom and about what, having sung Koltsov, everywhere in front of us are images of anger, faceless; They can be characterized only by scorching rice, at the extreme stage they can be assigned to the family to occupy the main camp - as it is necessary for setting up diy

But no more, no more precise, no more detail. All the villagers will be asked to pass by; Koltsov's writing literature is the only collaborator of earthworks. Vіn miraculously know tsej pobut, with your soul you see the holiness of your practice, succumb and vіdchuvaє all її foldedness, delving into yoga’s mind that mood

nya, ale malyuє yoga zavzhd in a typical, angry look. For another poet, it was a sign of the weakness of creative forces; Koltsov sees here the great truth of the great talent, which takes the light of the shards of yoga, the people, the peasantry. At Koltsov's joint work

richer variety of moments, experiences are given to the dead; For a short period of time, the skin color of the experience becomes overcast, characteristic of the type, not for individuality. Those childish-naїvne syncretic unity is signified by Koltsov's orders to nature. All life

enі dramas of yogo heroes and heroines are born obov'yazkovo її bosoms; people with their own missions turn to us in front of and more willingly to her, to її appearances, like to their friends - helpers or shifting opponents. It is clear that it is not just a metaphor, not an artistic device, not a way

zapozichennya nebhіdnyh tsgogo vipadku farb. Koltsov conveys here, and again in a popular way, all the right closeness that is between people and nature, - that link, zavdyaki, for whom it is unacceptable to draw a sharp line between them, that they divide, and they are more opposed to them. In p

full of zgodzhennosti z nature razgortaetsya peasant life. Not in that sensi, scho, the orach fallow in it, as if in the same one of its anniversary, and involuntarily guilty of being pobuted, obeying її orders. Here is the sum of the names of a different kind, Vilna and Bazhan, like two equal spirits

cabbage soup, inspired by one and the same thoughts and ideas. Earth-grower, yogo sivka, field, like a vine oraє, a sonechko, which warms the yogo earth, gloominess, which spills "on the earth's chest, on a wide, great lamentation - a pouring board", a bird that flies over the cornfield, but sleeps under the hat, and search for them: h

okha, harrow, plow, sickle - all the members of the same one and the same, perfectly understand one alone; all the stinks are able to create more harmoniously that serious life. There are no lower ones here; mutually speaking, inconsistency, as one might say, mutually slandering them together. That's why it's so naive

glyboko truthful, - and not only beautiful - they are given such an animal, like a youth to a nightingale, so that the wines flew from the fox of the fatherland, the soul-maiden chirps about the tightness of yoga, rozposti їy, like without it the wines dry, v'yane, scho grass on the steppe before autumn. Abo is a wonderful call to nivi: "Do not make noise at the peak

we’ll overtake with an ear "; why don’t you take good, why rich now: your eyes are clear, if you have more loving thoughts, sleep like a grave sleep, a red girl." But you have beautiful purely folk parallels: - a violent head of evil turmoil is tormented "; intimate to

flirtatiously roam with a dark night, a clear sun, with a wide steppe, a scythe-sickle, blacken, "let's splatter a girl with tears at the nudzi-discomfort." All things and things take their own share in the life, work of the peasant. At Koltsov, as a vilny vіlny vіd reflexії, there are no other farbs,

Crimea is quiet, like nature, white earth, white steppe forest. There is no way to navit it, if you already feel like a villager, to speak about yourself in a special way, about your given moment, just a subjective camp. Yomu, for example, is close to the mishchansky situation, yoga is strongly drawn to the other, cultural

th life; otherwise: the tragic death of Pushkin is terribly hostile; wind wind curls", "Who is the dense forest of the prize

Cogniza "). Glibov Ovshensky Vwajaє Koltsova єDini Rosіyskiy L_teurі Spevak Zemlerobskoї Pratsі

and th nature, shche th God. At the commanding thoughts of the oracha, holiness and seriousness are valuable, as if to be overcome and buried with the skin snake in nature and the field of greenery. With trepidation and prayer, the people of the countryside minted, so that "the gloom of the black frowned, and expanded, and shed a great tear - a channel

to him, "Priyshov this bag of boards - and at the same time with him three peasant peaceful thoughts. Before the first two, the villager himself thought of it, and vykonannya to lie in a new one:" Bread sipat into bears, tidy up and take it from the village with a cart at the time of vikhati, "ale like "the third thought thought - they prayed to God the Lord" - Kolts

oh don't say. It's wonderful. Її sin with words; here is spiritual trembling, here the fate of God begins. "Only light across the field all the roses and went for a walk one by one; I will reap more bread to scatter; and let's yell at the earth with plows, that crooked plough." Holy bread; wine of God's guest; yoga

The Lord sends for the people. Vіn Sam about the new dbaє through his nature: "to sip the sun - the stubble is over," and only then "it was colder until autumn." That is why "a villager's candle is burning in front of the icon of the Mother of God." God is also a participant in the village practice; Vin is the main yoga participant, having penetrated everything with Himself

ayuchy. So the people's light-gazer ends, virnish - svetovidchutya; so zadnuyutsya to a joint union і God, і nature, і people. Well, the sanctity of religiousness is seen not only in "The Harvest", but also in "The Song of the Orach", in the "Thoughts of the Peasant", who knows that

Throw the zhiku, and there God will deform, Mykola will help to pick up bread from the fields. "On it there is an insertion in the" Peasant TV. "Koltsov tried to clarify the perception of the syncretic unity of God, the cosmos of that human "I" in his own "Dumas" to his spiritual order of wine

fskogo abstract mislennya. It’s not surprising that I can only speak to you with my Stankevich and Belinsky, as soon as the fire of yoga poetry is extinguished, the power of the people’s element locks in, which tremtila in yoga soul. That harmony, yaku vіn postіyno vіdchuvav, vіn moment vіg vyslovit less in images taken from life,

navkolishnoї nature, and not in incorporeal, caught symbols. And yet yoga "Dumi" is characteristic; in the light of truly poetic creations, the stench can even shy away from being reconciled. They have the same thought, as I repeat innocently: about the spiritualization of all nature, which instills in oneself the spirit of the Divine. Vir

Chi Vwajaє Vіn Tse Brubeonna in the courtesy of the thermaine of the Shellіnganism of Abo in the crash of someone else's peace of mind of Ratzіonal_stichnyi Abstract Hegelianism, Chi Modernіzє Vіn Zegka Ki

explain your absurd thoughts, - the essence of everything remains one and the same: life for everyone and everywhere, and out in God. "At the play of life, at the kingdom of God's will, there is no powerless death, no soulless life!" - seems to be in your own mind: "God's light." At the "Kingdom of Thought" vin pererakhovuє tsі transfuse life. God's spirit, God

I live the idea in us: "and in the ashes, and in the fire, in the fire, in the grumbling thunder; in the haunted darkness of the bottomless deep" ... and to inspire "in the silence of the silent tsvintar", "in the deep dream of the unbreakable stone", and " have dihanna bilinka movchaznoi". Usyudi won alone, tsya queen buttya. "Father of light - eternity; Sin of eternity - strength;

The spirit of power is life; light of life viruє. The creak of the Trinity, calling out everything to life "- so to gloom over the three hypostases of Christianity. And as many thoughts are not taken into account, in equal parts with yoga songs they are created inanimate, - in them all the same, they are marked by the traces of that whole, complete, profound religion.

they will feel it, svetorozuminnya, as it is so miraculous and so without middle ground in yoga truly folk creations. From the words of the Belinsky Koltsov, less than those who were close to you yourself, who fully approached the yogic light-feeling. The meaning of Koltsov's "Dum" is still being deciphered. IN

one more sound of spiritual activity is born, less valuable, in the singing sensi it’s shkidliva: you yourself won’t, admit it, brought little good. Tse - the very cult of the mind, the kingdom of thought, which is inevitably mave by a spreading rank, the integrity of yoga light

and bring to quiet eternal damnation food, which is not possible, and you can’t be clear, know that you are pleased. The food was so painful for Koltsov, knowing the wines well, having tasted richly, at the whilini of the creative suffocation, as a joy touches the soul with a sense of harmony, synthesis, a distant leg

that is the key to every kind of light problem. With deep sorrow and anxiety, such verses are passed through, like "Grave", "Nutrition", especially "Prayer". Tse yourself thoughts, for yakim and Belinsky recognized the value of himself through the seriousness of the meals they set widely. Rozum is not in

stand visvitlita darkness of the future grave for us, you know people, so that you can replace there "a little bit of a heart that has been struck, so that the spirit will live without that heart." Grishnі tse pitannya: vіd them to povyechennya one crochet. That is why I am so blessed to hear the rest of the stanza of the "Prayer":

Yes, Savior! I’m sorry for my sinful evening prayer: I won’t shine love for You. "; it is your duty to replace її faith: "in nіy alone calm and t

ishina". "Under the cross - my grave; at the crossroads - my kohannya, "- this is how another troubling verse ends:" The rest of the struggle.

janstva, who knew and manifested in the greater part of his creativity such a completeness of observation, such a integrity of the pre-stem unity of God, nature and people, Koltsov still hospitably put and ti food, as if we could only understand with a good soul, way of life. Do tsimu sensi in "Duma" forces

family

Oleksiy Vasilyovich Koltsov was born near Voronezh in the family of Vasil Petrovich Koltsov (1775-1852) - a scammer and trader in thinness (prasol), who gained fame among all the surroundings as an honest partner and a strict housekeeper. A man of cool vdacha, passionate and groaning, the father of a poet, not surrounded by forefathers, renting land for sowing bread, buying up foxes and zrub, trading in firewood, engaging in cattle breeding. Zagalom, father, having been a human being above the name of the master.

Mother Oleksiya is kind, but the woman is not blessed, it is not small to teach letters. Sims don't have the same age: the sister was richly older, and the brother of that other sister was much younger.

osvita

From the 9th anniversary of Koltsov, having touched a letter at home, having shown such zdіbnostі, that in 1820 he was able to enter a two-class povitovoe school, passing parafiyalne. Vissarion Belinskiy wrote about the rіven yogo sanctification:

After the fate of that chotirioh misyatsiv (another class) in the school, Oleksiya was taken away by the father. Vasil Petrovich vvazhav, scho to sanctify sinovі as a whole, to become a vomіchnik. The robot Oleksiya was at the stage selling thinness.

In the school, Oleksiy fell in love with reading, the first books he read were fairy tales, for example, about Bova, about Єruslan Lazarevich. Tsі books vіn kupuvav on otrimani on lasoshchi and іgrashki vіd batkіv pennies. Pіznіshe Oleksiy having become a reader of different novels, like taking from his friend - Vargіn, who is also a son of a merchant. The works of "A thousand and one nights" and "Cadmus and Harmony" by Kheraskov were especially suited to the future poet. After Vargina's death in 1824, Oleksiy Koltsov took away his library from the fall - about 70 volumes. In 1825 he choked on verses I. I. Dmitriev, especially "Ermak".

Creativity

In 1825, in 16 years, in 16 years, he wrote his first verse - "Three Visions", as if he was poor. Versh buv writings inherited by the beloved poet Koltsov, Ivan Dmitriev.

Koltsov's first mentor in poetic creativity was the Voronezsky bookseller Dmitro Kashkin, who gave the young man the opportunity to be free of cost with books from his own library. Kashkin was direct, reasonable and honest, for which the youth of the city loved him. Knizhkova kramnitsa Kashkina was like a club for them. Kashkin chimed in Russian literature, read and wrote a lot. Maybe, to you, Koltsov showing his first achievements. Protyag 5 rokіv Koltsov koristuvavsya without cost yoga library.

Here, in youth, the future sings having experienced a deep drama - the vine of separations from a strong girl, for which you want to make friends. Tse vіdbilosya, zokrema, at the yoga verse “Song” (1827), “Don’t sleep, nightingale” (1832) and others.

In 1827, the roci got to know the seminarian Andriy Srebryansky, which in the course of time became his close friend and mentor. Sribnyansky himself pinned Koltsov's interest in philosophy.

The first publications of the young poet were anonymous - verse 4 of 1830. Under his own name, Oleksiy Koltsov published the verses in 1831, if M. V. Stankevich, sings in the house, the publicist and thinker, he got to know Koltsov in 1830, publishing his verses in a short editorial in the Literary Gazette. In 1835, roci - the first and united for the life of the poet of the collection "Virshi Oleksiya Koltsov". On the right, the old man rose in price to St. Petersburg and Moscow, de zavdyaki Stankevich got to know V.G. .

After the departure of the verses "Young Reaper", "It's time to cook" and "The rest of the kiss" in Kiltsev, Mikhailo Saltikov-Shchedrin began to sing. Vin naming the main feature of these verses "baking almost individuals."

Roz'zhzhayuchi at the right of the father, Koltsov zustrichavsya with different people, picking up folklore. Yogo lyrics sang the simple villagers, their work and their life. Bagato verses became words for the music of M. A. Balakiryev, A. S. Dargomizhsky, M. P. Mussorgsky, N. A. Rimsky-Korsakov and others.

The death of a poet

• Oleksiy Koltsov often had weldings with his father (especially the fates of his life); the rest is negatively placed before the literary creativity of the son.
• As a result of depression and dryness, Koltsov died at the age of thirty-three years in 1842.
• V. G. Belinsky wrote:

• The poet was buried at the Mitrofanievskiy Tsvintar near Voronezh.

In 1846, the Russian actor of the era of romanticism, P. S. Mochalov, knowing A. V. Koltsov, published his verses in the journal Repertoire and Pantheon:

Creativity

The early poetic legacy of Oleksiy Koltsov represent the legacy of Dmitriev, Zhukovsky, Pushkin, Kozlov, Kheraskov and other poets; in these creations he sings only sings his own artistic manner. Ale and among them already є so virshi, in which it is impossible not to sing the future creator of the song. On the other hand, try to write in the soul of book poetry, Koltsov is afraid of until his death, ahead of songs, that middle of the rest of the days is closer to book forms, lower to that specific manner, in which you can bachiti the peculiarity of kiltsev. Koltsov's second genre is thoughts, which are similar in form to yoga songs, and, according to their own way, represent their own poetic philosophy. Having become acquainted in a moment with the philosophical super-girls of the capital's friends, the head rank of Belinsky's group, Koltsov tries to find out the thoughts of the world's problems.

Criticism

• In 1856, in the fifth issue of the journal “Suchasnik”, an article by N. G. Chernishevsky was published, dedicated to the work of A. V. Koltsov
• Zgidno with literary critic Yu. I. Eichenwald

Memory

Grave of O. V. Koltsov

The grave of A. V. Koltsov is saved in the Literary necropolis near the Voronez circus. The date of death of Oleksiy Vasilovich is marked on the tombstone of the pardon. In fact, Vin died not on the 19th, but on the 29th.

Monuments to O. V. Koltsov

In 1868, a bust of the poet was erected near Koltsovsky Square. The monument to the poets was also installed on the Radyansky Square of Voronezh.

Voronez State Academic Drama Theater named after O. V. Koltsov

In 1959, by the Decree of the Presidium of the Verkhovna RSFSR, the Voronez State Drama Theater was named after Oleksiy Vasilyovich Koltsov. For rіk to thogo, the head director of the theater Firs Yukhimovich Shishigin staged the play "Oleksii Koltsov" for the same story by V. A. Korablinov. The premiere took place in early 1958. Voronezsky writer and journalist Valentin Yushchenko wrote at that hour:

On March 19, 1958, as part of the decade of professional and self-made art of the Voronezh region in Moscow, the show “Oleksii Koltsov” was shown on the stage of the theater named after Vl. Mayakovsky. A lot of actors were rewarded with honorary titles after that.

Nina near the old building of the theater will finish repairs.

In philately, numismatics, sigillat and other.

• Postage stamps and coins

Postage stamp of the SRSR, 1959 рік

Postage stamp of the SRSR, dedicated to Koltsov, 1969, 4 kopecks (TsFA 3806, Scott 3652)

Commemorative silver coin to the Bank of Russia, dedicated to the 200th anniversary of Koltsov

• Named after A. V. Koltsov, a public garden, a gymnasium, a library and a street near Voronezh are also named.
• 1959 roku viyshov Radyansky historical and biographical feature film "The Song about Kiltsov".
• In 1997, the film “At the Dawn of a Foggy Youth” was shown on the screen, dedications to Oleksiy Koltsov.
• The Voronezka Confectionery Factory has been producing zukerkas "Koltsov's Songs" since 1958.
• Voronezke VAT LGZ "Visant" produces a special burner with the name "Kіltsіvska" 0.5 l. 40%.
• In 2009, the bank of Russia issued a silver coin with a face value of 2 rubles.
• In 2011, the Russian Post issued an envelope from the image of the poet's monument near the Koltsovsky Square.

Addresses

Addresses near Voronezh

• Vul. Velyka Strіletska, 53 - ymovіrno, on which place stood the houses, in which Oleksiy Vasilovich was born. In 1984, on the anniversary of the holy hour of the 175th day of the poet’s national day, a memorial plaque was raised on the wall of the booth with such a zmist:

• Іllіnsky temple - a temple, in the wake of hell, Oleksiy Vasilovich. Metric record to match:

• vul. (Ninі vul. Sakko and Vancetі), 72 - in which city there was a povitovoe school, in which A. V. Koltsov studied. One of the buildings of the Voronezh Technological Academy was opened here.
• Vul. Velyka Nobleska (Ninі Prospekt Revolyutsі), 22 - the residence of the Voronezh Governors

A. V. Koltsov wrote romances, madrigals, triplets

Then, having turned back to the genre of literary songs, they went up to the one and only living poetic collection: Virshi (1835).

In the midst of yoga creations, the most famous are: “Oh, don’t show a biased grin!”, “Zrada betrothed”, “O.P. Sribyansky”, “Friend of the Song of Likhach Kudryavich” and many others.

From the biography of Oleksiy Vasilovich Koltsov:

Oleksiy Vasilyovich Koltsov was born on July 15, 1809 near Voronezh - in the same way as a stinger and a hereditary trader in thinness (prasol), who gained fame throughout the world as a literate person, an honest partner and a strict housekeeper. Mother, on the other hand, had a good character, but was absolutely unillumined: she couldn’t read or write.

Sims of Koltsovs had a lot of children, but of the same name Oleksiya buv: Yogo’s sisters were either older or younger. It seems that the father should kill the children with suvoro: not allowing the wastelands and the boons to wind up at the dribnitsy. The father didn’t push too hard on the children’s education, everything was small for basic reading and letters. Vіdomostі, skіlki had children at the Koltsovs, they lived like a stench, they did not save up.

Pochatkov was sanctified by Oleksiy Koltsov from 9 rokіv otrimuvav at home under the kerіvnitstvom teacher-seminarist, having shown such zdіbnostі, scho in 1820 zmіg to join the two-class Voronez povitovogo school, passing parafiyalne. It was easy for him to learn, having touched the impersonal sciences and attained great successes in all subjects.

Oleksiy didn’t manage to complete the course of study: after the first fate and 4 months (grade 2), the father took his son away from the school. Motivated by the blame, that without the help of the boy, you can’t get right on the right, that and one rock, the whole education is enough. Batko, having started the inoculation of a single son, and a decline to trading activity.

Having taken over his family right, Koltsov successfully engaged in prasol work. The robot Oleksiya was at the stage selling thinness. To finish the trival hour by engaging in Oleksii. In parallel with the prasol dialnistyu Koltsov write verses, ignorant of those who, having hindered his father, to engage in literary creativity.

At the right of his father, Oleksiy, having risen in price to St. Petersburg and Moscow, de zavdyaki Stankevich, got to know V. G. Belinsky, who vplinuv on the new one, Zhukovsky, Vyazemsky, Volodymyr Odoevsky and Pushkin.

Grave of O. V. Koltsov

In 1842, on the 29th of July, as a result of depression and dryness, he sings dying at the age of thirty-three fates.

In the rest of his life, Oleksiy often boils with his father on the ground of a negative attitude to his creativity. Wanting for his short life, Oleksiy Koltsov was able to achieve great creative successes: becoming a leading Russian poet, the one who knows everything and loves.

Creative Way A. V. Koltsov:

In the school, Oleksiy fell in love with reading, the first books he read were fairy tales, about Bova, about Ruslan Lazarevich and others. Tsі books vіn kupuvav on otrimani on lasoshchi and іgrashki vіd batkіv pennies.

Especially Alosha liked the work of “A Thousand and One Nich” and “Cadmus and Harmony” by Kheraskov. Poezієyu, as if at that hour the lad choked up, having hindered his father to take care of: vimagav, shobi all the time and respect that attaching trade.

Ale, regardless of the sight of Oleksiy at the 16th century, still wrote his first verse - “Three Visions”. However, after a certain hour, he became aware of the fact that he respected that he inherited the style of his beloved poet. And I wanted to know my unique style. At about one o'clock, people appeared at the biography of Oleksiy Vasilyovich Koltsov, who helped the talented poet to express his individuality. The first person, mentor, from which the creative path of the young poet was born, becoming Dmitro Kashkin, a Voronez seller of books at a local shop. Vіn allowing Oleksiyeva to swear by books without cost, naturally, less than the mind of a dbaylivny stav before them.

Kashkin was direct, reasonable and honest, for which the youth of the city loved him. Knizhkov's kramnitsa of Kashkina, which was roztashovuvaetsya on the street Pushkinskiy, on the rose Shchepnaya square, was a kind of club for them. Kashkin chimed in Russian literature, read and wrote a lot. Koltsov showed his first robots to you: Kashkin buv will already read and forgive and also love to write verses. The seller bachiv at the young one sings to himself, putting himself in a good way to the new and helping him, chim a moment. For five years, the young one sings for free, having grown up with books, having learned that, developing independently, without throwing help to help the fathers.

The early poetic legacy of Oleksiy Koltsov represent the legacy of Dmitriev, Zhukovsky, Pushkin, Kozlov, Kheraskov and other poets; in these creations he sings only sings his own artistic manner.

After Vargina's death in 1824, Oleksiy Koltsov took away his library from the fall - about 70 volumes. In 1825 he choked on verses I. I. Dmitriev, especially "Ermak".

In 1825, at the age of 16, Oleksiy wrote his first verse - "Three Visions", as if he was poor. The last of the writings of the beloved poet Koltsov Ivan Dmitriev.

Zavdyaky to guide and reward the seminarian Srebryansky, a friend of that mentor, in 1830, Koltsov’s verses were published, the truth, this publication was anonymous.

The main stage of the creative biography of Oleksiy Vasilyovich Koltsov was the acquaintance with the publicist Mikola Volodymyrovich Stankevich, who gained respect for the top of the self-taught poet and for the hour of Koltsov's business trip to Moscow in 1831. The publicist and thinker got stuck with the robots of the young poet and published yoga verses in the newspaper. At the same time, Koltsov’s first signatures were published: “Zitkhannya at the grave of Venevіtinov”, “My friend, my dear yangol ...” and others. Stankevich vvіv Koltsov in the literature of the colony, learned from V. G. Belinsky. During this period, Koltsov's work was rich in what is hereditary - for example, having added V.A.

After 4 years, Stankevich saw the first and united for the life of the author of the collection: “Virshi Oleksiya Koltsov”. After that, the author became popular among literary kolakhs.

Ale, unconcerned about his creative breakthrough, Oleksiy did not stop busy with his right father: he continued his journey to different places near his family's right. And the share also continued to make yoga with famous people. Plus, he sings up to a point, picking up local folklore, writing richly about the life of ordinary people, the villagers about their hard work.

The lyrical hero of Koltsov's song is a peasant (The Song of Oracha, 1831, Thinking of a Villager, 1832, Kosar, 1836, and others.). Critics considered the link between Koltsov's song and folk songs, interpreting figurative, thematic, moving and other equals. Songs of individual rank were celebrated with their own literary and folklore rhymes.

A special place in the middle of Koltsov's song was filled with love lyrics. At the virshas The Young Reaper (1836), It's time to cook (1837), The Last Kiss (1838), Rozluka (1840) and others subtly described the different aspects of love experience. Tse sang the songs of Koltsov in the form of folklore love songs - sound less resonant ones themselves in the description of emotional nuances. The individual character of the kіltsіvsk songs was marked by rich writers.

After the exit of the verses "Young Reaper", "It's time to cook" and "The rest of the kiss" by Kiltsov, Mikhailo Saltikov-Shchedrin began to sing. Vin naming the main feature of these verses "badly almost special". In his short life, Oleksiy Koltsov achieved great results: becoming not only a successful seller of thinness, but also a famous Russian poet, absolutely everyone knew him.

Facts about the life of the poet A. V. Koltsov:

* In 1835, the rotation was the first and united for the life of the poet of the collection: "Virshi Oleksiya Koltsov."

* In his youth, he sings having experienced a great drama - he was separated from a strong girl, he wants to make friends. Tse vіdbilosya, zokrema, at the yoga verse “Song” (1827), “Don’t sleep, nightingale” (1832) and others.

* At the same time, in 1827, a seminarist Andriy Srebryansky appeared in this life, having become a close friend and mentor on a creative path. Acquaintance with the people helped Oleksiy survive the breakup from the kokhanoy.

*Same Srebryansky pinned Koltsov's interest in philosophy.

* The journal "Awakening" in No. 19 in 1909 published up to 100 years of the poet Koltsov's verse "Tuga about a mile" from the appointed date on 25 February 1827, like "the first time it appeared in the press", chi go out into 4 create, Published unknown.

*Let's break the creative development of Koltsov by becoming 1836 rec. The column of the first section became superbly wide, before the new one there were richly prominent writers, musicians, artists, artists of Moscow and St. Petersburg: F. Glinka, M. Katkov, M. Pogodin, M. Shchepkin, P. Mochalov, P. Pletnyov, A. Venetsianov and others.

* Koltsov knows P. Vyazemsky, V. Odoevsky, V. Zhukovsky.

* Yogo virshi were friends in the magazines "Telescope", "Syn Batkivshchyna", "Moskovskiy posterigach" and others.

*For the respect of N. Katkov, Koltsov, regardless of the lack of light, the availability of “the most subtle insights, the most folded spiritual ruins” was available.

* Yogo lyric was inspired by simple villagers, their practice and their life.

* Koltsov’s songs were put to music by Russian composers of the 19th century, among them: A. S. Dargomizhsky (“Without reason, without reason”, “Don’t judge, good people”, “I won’t tell anyone”, “Come before me”), M. A. Balakirev (“Catch, kiss”, “Vistup”, “Song of the old”, “Come before me”, “I loved yoga”), M. P. Mussorgsky (“Blow wind, wind riot”, “Bagato є I have houses and gardens”, “A garden blooms over the Don”, “Merry Year”), N. A. Rimsky-Korsakov (“Followed by the Trojan, the nightingale”).

* The grave of A. V. Koltsov is saved in the Literary Necropolis near the Voronez Circus.

* The date of death of Oleksiy Vasilovich is marked on the tombstone of the pardon. In fact, Vin died not on the 19th, but on the 29th.

* But death did not complete the creative biography of Oleksiy Vasilyovich Koltsov. In 1846, Pavlo Stepanovich Mochalov, Russian actor and acquaintance of Koltsov, published his poems in the newspaper Repertoire and Pantheon, honoring his friend's memory.

* In 1856, in the popular newspaper "Suchasnik" an article was published, dedicated to the life and work of Koltsov, written by Mikola Gavrilovich Chernishevsky.

*A monument to the poets was erected on Radyansky Square near the town of Voronezh, who survived until this day.

* In the name of A. V. Koltsov, a public garden, a gymnasium, a theater, a library and a street near Voronezh were named.