And in Koltsov his friends and countrymen. Alexey Koltsov

Alexey Vasilievich Koltsov born October 3 (15), 1809 in Voronezh. Russian poet from the middle class, the son of a hereditary prasol (cattle merchant).

In 1821 he graduated from one class of a two-year Voronezh district school, after which his father attracted him to his enterprise, in whose affairs Koltsov was engaged until the end of his life.

Early addicted to reading mid 1820s began to compose poetry, having found support among the Voronezh intelligentsia (bookseller D.A. Kashkin, seminarian-poet writer A.P. Serebryansky). In 1830 The first (anonymous) publication of 4 poems by Koltsov took place in Moscow. In the same year, he met N.V. Stankevich, who introduced Koltsov to literary circles. Since 1831 began to be published in the capital's publications. In 1835 through the efforts of Stankevich and V.G. Belinsky, who became the main popularizer of Koltsov's work, the first collection of his poems was published. In 1836, 1838 and 1840 Koltsov visited Moscow and St. Petersburg on trade matters, where he was favorably received by A.S. Pushkin, V.A. Zhukovsky and others. The move to St. Petersburg planned by Koltsov did not take place due to his illness and financial difficulties in the family. Alexey Vasilyevich Koltsov died October 29 (November 10), 1842 in Voronezh.

Posthumous edition of Koltsov's poems ( 1846) was prepared by Belinsky, who preceded it with a large article "On the Life and Works of Koltsov", which outlines the first, partly mythologized biography of the poet.

In Koltsov's poetry, the most significant are his songs, created at the junction of folk-poetic and literary (stylizations of folk songs by A.F. Merzlyakov, A.A. Delvig, etc.) traditions. Folklore devices are characteristic (constant epithets, stable formulas, personifications, psychological parallelism, etc.), which Koltsov resorts to in intimate, psychologically complicated lyrics. So, in love songs, complex range of experiences, up to the most painful and dramatic: "Betrayal Betrothed" (1838); “Russian Song” (“A friend told me, say goodbye ...”, 1839); "Separation" ("At the dawn of a foggy youth ...", 1840).

In a number of early songs, Koltsov recreated harmonious picture of peasant life with its holidays, prayers and agricultural work, introducing a person to nature ("Rural Feast", 1830; "Song of the Plowman", 1831; "Harvest", 1835; "Mower", 1836). In later songs Koltsov, the motifs of loneliness, need, bondage, valiant strength wasted on “strangers”, etc. (“Meditation of a Peasant”, 1837; “A Bitter Share”, 1837; “What are you sleeping, little man? ..”, 1839 and others); social and family conflicts are sharpened (“The Second Song of Likhach Kudryavich”, 1837; “Village Conversation”, 1838; “To Each His Own Talent”, 1840), a “robber” theme arises (“Dareman”, 1833; “Khutorok”, 1839), the line of spiritual poetry continues (“Before the Image of the Savior”, 1839). Genuine tragedy is inherent in poems on the death of Pushkin "Forest" (1837).

Another significant section of Koltsov's lyrics is "thoughts" representing deliberately unsophisticated reasoning on philosophical and religious topics: about the mystery of the universe and the Creator's plan, about the limits of human knowledge ("God's World", 1837; "Forest", 1839; "Poet", 1840). Unlike Koltsov's poems in traditional literary genres (messages, elegies, madrigals, etc.), his songs and "thoughts" are a unique phenomenon in Russian poetry. Elements of Koltsov's poetics were perceived by A.N. Nekrasov, I.Z. Surikov, S.D. Drozhzhin, S.A. Yesenin and others. Music for Koltsov's songs was written by A.S. Dargomyzhsky, N.A. Rimsky-Korsakov, M.P. Mussorgsky, M.A. Balakirev and others.

Keywords: Alexey Koltsov, detailed biography of Koltsov, criticism, download biography, free download, abstract, Russian literature of the 19th century, poets of the 19th century

Koltsov Alexey Vasilyevich (1809-1842), poet.

He received his primary education at home, under the guidance of a seminarian teacher. In 1820 he entered the Voronezh district school, but a year later his father took the boy home to teach him to trade.

Koltsov made up for the lack of education by reading. First poem "Three Visions"
(1825), written in imitation of I. I. Dmitriev, the poet subsequently destroyed. In his youth, Koltsov experienced a love drama (he was separated from the serf girl whom he wanted to marry), and this later affected his poems: a special place among the poet's songs is love lyrics.

Taking over the family business, Koltsov successfully engaged in trade. His first publication in verse, in 1830, was anonymous. In 1831, during a business trip to Moscow, Koltsov, with the help of the publisher and critic N.V. Stankevich, entered the literary circle. In the same year, Koltsov's poem "The Ring" (later called "The Ring") was published in the Literaturnaya Gazeta.

In 1835, with the money collected by subscription, Stankevich published the book "Poems of Alexei Koltsov" - the only lifetime collection of the poet. Critics noted the connection of Koltsov's poems with folk songs, which is tangible at the figurative, thematic and linguistic levels.

1836 was a turning point in the creative development of the poet. His poems were published in the magazines "Telescope", "Son of the Fatherland", "Moscow Observer", etc. One of the poems was published in "Sovremennik" by A. S. Pushkin.

Koltsov responded to Pushkin's death with the poem "Forest" (1837).

In 1840, after a trip to the capital, which ended in failure in trade affairs, the poet fell ill with consumption, which brought him to the grave (he died on November 10, 1842 in Voronezh).

In 1846, the posthumous collected works of Koltsov, prepared by V. G. Belinsky, were published.

Koltsov Alexey Vasilievich - famous folk poet. Born on October 3, 1809, in a wealthy petty-bourgeois family of the city of Voronezh.

His father was a prasol who sold livestock - a smart, energetic, resourceful man. Koltsov's mother was a kind woman, but completely uneducated, even illiterate. Koltsov's childhood passed in a harsh patriarchal merchant family; father was the only lord of the house and kept everyone in strict obedience

ii. Only his mother knew how to get along with him and, apparently, had a more beneficial influence on the boy. Koltsov was left to himself. He had no peers in the family: one sister was much older than him, and his brother and other sisters were much younger. When he was 9 years old, he was taught to read and write alone

from Voronezh seminarians. Koltsov studied diligently and successfully; bypassing the parish, he directly entered the first class of the district school (1818), but did not stay at the school for long: a year and 4 months later, his father took him home, finding the information received by his son quite sufficient for the life to which he

otovil - livestock trade. Russian spelling remained inaccessible to Koltsov forever. The school, however, brought him the benefit that he fell in love with reading. The first books he read were popular prints, various fairy tales about Bova, about Yeruslan Lazarevich, etc. He bought them with money, giving out

Iesya him for treats and toys. Then he turned to novels, which he got from his friend, Vargin, also the son of a merchant. Koltsov especially liked "A Thousand and One Nights" and "Kadmus and Harmony" by Kheraskov. In 1824, Vargin died, leaving his library as a legacy to a friend - about 70 volumes in total. By

leaving the school, Koltsov, presumably, began to help his father in his trading affairs and then for the first time became better acquainted with the countryside and the Don steppes. This acquaintance immediately had a strong influence on him; a world of enchanting sounds and colors opened to him, and he absorbed them into himself, in order to later transmit them with

Howling, this world native, thoughts and feelings. In 1825, a poem by I.I. Dmitrieva; he especially liked "Ermak". He was 16 years old when he wrote his first poem "Three Visions". Shortly thereafter, he met Voronezh

them the bookseller Kashkin. Direct, intelligent and honest, Kashkin enjoyed the love of the Voronezh youth; and his bookshop was a kind of club for her. He was interested in Russian literature, read a lot and, it seems, wrote poetry himself. There is reason to think that Koltsov showed him his first experiments

For 5 years, Koltsov used his library free of charge, getting acquainted with the works of Zhukovsky, Delvig, Kozlov, Pushkin. Koltsov's poems of 1826 - 1827, with rare exceptions, are a weak imitation of these samples. In the late 1920s, Koltsov approached the Andes

Ray Porfiryevich Srebryansky, a graduate of the Voronezh Seminary, later a student at the Medical and Surgical Academy. Srebryansky was himself a poet; his poems were very famous among the seminarians. One of his plays has not been forgotten to this day: it is the famous student song "Fast as

to the waves, the days of our lives. "In his letters to Belinsky, Koltsov more than once recalls with gratitude his friend, to whom he owed very valuable instructions, especially on the subject of verse technique, as well as a more strict choice of reading. On Koltsov's relationship to Srebryansky testifies and

a creation dedicated to him ("A.P. Srebryansky", 1829). In the late 1920s, Koltsov fell in love with Dunyasha, a serf girl who lived in their house, bought by his father from one of the neighboring landowners. My father acted cool: in one of his absences, Dunyasha Koltsova was sold to the Don, where she soon got married. It was dl

I am Koltsov with a strong blow, the traces of which remain forever in his poetry. In 1829, Koltsov met Velyaminov, a professor of philosophy and physical and mathematical sciences at the Voronezh seminary, who, according to De Poulet, was a man who was seriously interested in literature. In the same year, through the Voronezh

zhal a certain Sukhachev, who considered himself a writer. Koltsov met him and gave him a notebook of his poems. Sukhachev took her with him to Moscow, and in 1830 he published some of Koltsov's poems under his own name. A happy accident soon brought Koltsov to N.V. Stankevich. According to Ya.

M. Neverov, Stankevich's father, a landowner in the Voronezh province, had a distillery where local cattle traders brought their herds to feed with stillage. Young Stankevich had no contact with these people. Once, going to bed, he could not call his valet for a long time. Valet in his

His excuse was that the newly arrived prasol Koltsov at dinner recited such songs to them that they all listened and could not be left behind; he cited several verses that remained in his memory, which also made a strong impression on Stankevich. He invited Koltsov to his place to ask

him, from where he got such beautiful verses. At the request of Stankevich, Koltsov gave him all his poems. Stankevich placed one of them in the Literaturnaya Gazeta (1831), in a letter recommending to readers "a self-born poet who has not studied anywhere and is engaged in trading affairs on behalf of

tsa, often writes on the road, at night, sitting on horseback. "In May 1831, Koltsov went to Moscow for the first time on commercial and litigation matters of his father and met members of Stankevich's circle there, including Belinsky. In Moscow " Listke" Koltsov placed a number of poems in 1831. In

In 1835, with funds raised by members of Stankevich's circle, the first book of "Poems by Alexei Koltsov" was published - a total of 18 plays, chosen by Stankevich from "a rather weighty notebook." It included such pearls as "Don't make noise, rye", "Reflection of a peasant", "Peasant's feast" and others. B

Elinsky met this book sympathetically, recognizing in Koltsov "a talent small, but true." Koltsov, however, continued to write only in fits and starts, devoting his strength mainly to his father's commercial affairs. Koltsov's second trip to Moscow and St. Petersburg dates back to 1836. In Moscow, he met F.N.

Glinka, Shevyrev, in St. Petersburg - with Prince Vyazemsky, with Prince Odoevsky, Zhukovsky, Pletnev, Kraevsky, Panaev and others. Everywhere he was received very affectionately, some - sincerely, others - condescending to him, as to a poet-prasol, a poet-philistine. Koltsov knew perfectly well how anyone related to him.

silly; he was generally able to observe subtly and attentively. Koltsov met Pushkin in 1836. The acquaintance took place, according to A.M. Yudin, in Pushkin's apartment, where Koltsov was twice invited. Koltsov was in awe of Pushkin. Turgenev tells how at the evening at Pletnev's, Koltsov

was willing to read his last thought. “What would I start reading, sir,” he said, “then Alexander Sergeevich just came out, and I would begin to read! For mercy, sir!” ON THE. Polevoy speaks of Koltsov as a "pure, kind soul"; "with him he warmed himself, as if by the fireplace." Prince Vyazemsky characterizes him as "di

nature, modest, simple-hearted. " Belinsky was directly delighted with Koltsov. Zhukovsky, Kraevsky, and Prince Odoevsky treated him just as well. The latter, and Vyazemsky with them, often supported him in his personal, or rather - father's affairs; thanks to them, more than once finished

It is safe to have such lawsuits that the father, having no connections, would certainly have lost. This, perhaps, partly explains why his father treated him and his literary pursuits quite kindly at that time. Koltsov's poems were willingly published in the best metropolitan magazines ("Modern

ik", "Moscow Observer"). At home, his fame increased even more after Zhukovsky, accompanying the Heir to the Tsarevich on his journey through Russia, visited Voronezh (in July 1837). Everyone saw how Zhukovsky "walked on foot and in carriage together with the poet-prasol". Koltsov accompanied

al it when sightseeing the city. Koltsov at this time was becoming crowded in a family environment; he was strongly attracted to people of thought and culture, but he was too closely connected with all his past, both materially and spiritually, and his education still remained superficial. In Voronezh

few people understood his state of mind, especially after 1838, when Srebryansky died. He soon broke up with Kashkin. In 1838, Koltsov again went first to Moscow, then to St. Petersburg. During this trip, he became especially close to Belinsky, who became the only person close to him.

Lovecom. He confided to Belinsky all his sorrows and joys, made him the judge of all his new works, which he immediately sent to him. In 1838 Koltsov wrote quite a lot. This was facilitated by the cultural environment and the interests of the metropolitan society in which he then rotated; himself and

this is how he explains the reason for his fruitful activity during this year (see his letter to Belinsky dated August 16, 1840). After this trip, Koltsov's life in Voronezh becomes even more lonely; the home environment is even more burdensome to him. With acquaintances, he is more and more at odds. Ring sword

talked about the role of a teacher, a leader, wanted to be a conductor of those lofty thoughts and ideas that he met in the mental centers of Russia; acquaintances derisively treated such attempts, saw him as a mere imitator. “To live at home, in the circle of merchants,” he writes to Belinsky, “I definitely cannot now; in d

in other circles too... I have a bleak future ahead of me. It seems that I will fulfill one thing with all accuracy: a crow ... And, by God, I look terribly like her, it remains only to say: she didn’t get to the peahens, but lagged behind the crows. Nothing more will come to me. "Friends called Koltsov to Petersburg, pr

They offered him either to open a book trade himself, or to become the manager of Kraevsky's office. Koltsov did not follow this advice. He knew how little there was to be perfect in any trade, even booksellers, and quite reasonably argued to his friends that he could not compete with other booksellers.

and if he conducts his affairs differently, not like a merchant. In September 1840, Koltsov again had to stay in the capitals on his father's business. This was his last trip. Meetings with Belinsky, V. Botkin revived him a little, raised his spirit. This time Koltsov hesitated to return home and

along the way from St. Petersburg, he stayed longer in Moscow. It seemed too disgusting to him to find himself again in the maelstrom of the home environment. In February 1841, Koltsov nevertheless decided to return home. He had no money for the journey - his father did not want him back and categorically refused to send him; had to

borrow from a friend. At home, he again entered headlong into the affairs of his father, but relations between them worsened more and more. There were very difficult scenes that had a depressing effect on Koltsov. Soon Koltsov broke up with his beloved younger sister, Anisya, in whom he had previously seen the only one in the family near

I forge his soul. The tragedy of everyday life, heavy and hopeless, emanates from his letters to Belinsky at this time. Here he will finish some new building, put some of his father's affairs in order and will certainly come to Petersburg - his father promised to give him money. But things dragged on, Koltsov got entangled in them; h

health also began to deteriorate greatly - and hope was extinguished. For just one moment, and then a very short one, happiness smiled at him: he passionately fell in love with Varvara Grigoryevna Lebedeva, and this aroused in him faith in a better future; but due to various circumstances, they were soon to disperse. Bole

Koltsov's disease - consumption - began to develop rapidly. My father did not give money for treatment. Dr. I.A. Malyshev took an ardent part in the fate of Koltsov and, as best he could, supported his strength. In the adjacent room, the sisters were preparing for the wedding, noisy bachelorette parties were arranged, and Koltsov lay seriously ill, abandoned by everyone.

th; only his mother and the old woman nurse looked after him. Koltsov died on October 29, 1842. Koltsov's poetry has long, since the time of Belinsky, been defined as deeply folk, or rather, even peasant. It is dominated by the same content, the same motives, the same form as in oral folk lyrics. Gr

ust-longing for a sweetheart, complaints about fate-bad luck, unsuccessful family life, love calls, valiant prowess - these are simple, truly folk stories that Koltsov usually sings. It has more variations, experiences are conveyed deeper, thinner, impulses are more passionate, colors are intensified, condensed, but the essence

still remains the same; the difference is only quantitative, not qualitative. It is felt clearly that in his poetry an unnamed folk-collective creative genius has found its full, direct and exact expression. Koltsov looks at everything around him with the same wide-open naive eyes,

how the poets-creators of folk songs looked, who remained unknown precisely because they did not have time to isolate themselves from the masses in their souls, everyone experienced, like the people themselves, both at the same time and in unison with it. A special fullness of sensation in which the individual "I" dissolves, the power of the original harmony, that syncre

a poetic unity in which God, the surrounding nature and the individual person mutually and completely penetrate each other, constitute something one whole, - this is what is characteristic of this uncomplicated, not yet differentiated soul of a poet from the people; it is also characteristic of Koltsov. If excluded from his poetry

those imitative poems, where motives are borrowed as if hastily from Zhukovsky, Delvig and Dmitriev, who accidentally came across and completely alien to him in spirit, and even "Duma", written under the influence of Stankevich's circle, especially Belinsky, who vainly enlightened him about the "subject, object and ab

salt", then it is the extraordinary objectivity, the complete absence of a personal element that strikes us. As if his lyrics were not at all the result of his personal experiences, but he only wanted to tell how in general every peasant boy or girl loves, rejoices, sad, complains about fate or languishes in y

zkoy sphere of life fixed once and for all. Here, for example, is the despair of a young man from the betrayal of his betrothed: "sadness, anguish, heavy on the grub head; mortal agony torments the soul, the soul asks out of the body." Or love that transforms all life: "together with sweet winter seems like summer, grief - not grief, night - clear

th day, and without it there is no joy in the May morning, and in the dawn-evening, and in the oak forest - green - silk brocade. "His favorite artistic techniques are the merging of two concepts or images into one ("awe-fire", "love -longing, "sadness-longing", "love-fire", "love-soul", etc.), striking contrasts (like:

"with grief in a feast to be with a cheerful face", "the sun is shining - yes in autumn"). In everything and everywhere one can see a strong, passionate nature, experiencing everything in a special way, deeply, to the point of self-forgetfulness. And yet everything personal sinks into the original synthetic wholeness of the worldview, and Koltsov's songs become typical

And. It is the typical that is most characteristic of Koltsov. And no matter how bright its colors, and no matter how great their abundance - in each play they are new and different - the impression remains the same: these are feelings that are generally applicable to everyone and everyone, these are generic experiences, and not individual, not personal. toscuy

whether deceived about a daring young man, turning with a prayer to the red sun, a wide field, violent winds; does the young woman lament that she was forcibly passed off as unlovable; whether the old man complains about his old age, the young one about his untalented share; Is it about how it dries like grass in autumn

A zealous heart from the fire of love for a red maiden - in a word, no matter who and what Koltsov sings about, everywhere before us are fused images, nameless faces; they can be characterized only by general features, in extreme cases, they can be determined by occupation or property status - if this is necessary to start an action

But no more, no more precise, no more detailed. The whole peasant life passes before us; in written literature, Koltsov is the only singer of agricultural labor. He knows this way of life very well, feels with all his heart the sanctity of this work, sees and feels all its complexity, delves into his thoughts and moods.

deniya, but always draws it in a typical, continuous form. With another poet, this would be a sign of the weakness of creative forces; in Koltsov one senses here the great truth of a great talent who perceives the world as it is perceived by the people, the peasantry. In comparison with oral folk art, Koltsov

a much greater variety of moments, experiences seem deeper; yet each given moment, each individual experience, remains general, characteristic of the type, not of the individual. The same childishly naive syncretic unity affects Koltsov's attitude to nature. All lives

the real dramas of his heroes and heroines certainly take place in her bosom; people with all their thoughts turn first and most willingly to her, to her manifestations, as to their friends - helpers or hindering opponents. It is clearly felt that these are not simple metaphors, not an artistic device, not a way

borrowing the colors necessary for this case. Koltsov conveys here, and again in a popular way, all the true closeness that exists between man and nature - that connection, thanks to which it is unthinkable to draw any sharp dividing line between them, and even more so to oppose them. In p

Peasant life unfolds in complete harmony with nature. Not only in the sense that the plowman is dependent on her, as on his only breadwinner, and involuntarily must build his life, obeying her dictates. Here compatibility is of a completely different kind, free and desirable, like two equal companions.

cabbage soup, animated by the same thoughts and ideas. The farmer, his sivka, the field he plows, the sun warming his land, the clouds shedding "on the earth's chest, on the wide, large tear - pouring rain", a bird flying over a cornfield or singing under the window of a hut, and even mute objects : With

okha, harrow, plow, sickle - all these are members of the same family, perfectly understanding each other; they all work together to create a complex and serious life. There are no lower and higher; mutual sympathy, unconsciousness, so to speak, mutual comprehension binds them together. That's why it's so naive

rich and deeply truthful - and not only beautiful - seem to be such appeals as a young man to a nightingale, so that he flew off into the forests of his homeland to chirp to the soul-maiden about his longing, to tell her how without her he dries, fades, that the grass in the steppe before autumn. Or a wonderful call to the field: "Don't make noise

a ripe ear"; he has nothing to collect good, nothing to get rich now: those clear eyes, once "full of loving thoughts, are shattered, the fair maiden sleeps in a grave sleep." Or those beautiful purely folk parallels: "in bad weather the wind howls , howls - evil sadness torments the violent head "; intimate before

hectic conversations with the dark night, the clear sun, with the wide steppe, the scythe-sickle, blackened, "splashed in boredom-sorrow with a girl's tear." All these beings and objects take an active part in the life and work of the peasant. Koltsov, if only he is free from reflection, has no other colors,

except for those that are found in nature, in the earth, in the steppe or forest. There are none even when he is already clearly distracted from peasant life, speaks about himself personally, about his present moment, purely subjective state. For example, he feels cramped in a philistine environment, he is strongly drawn to a different, more cultural

th life; or something else: he is terribly struck by the tragic death of Pushkin, whom he could appreciate, of course, not from a peasant point of view - as a creative result, again the same folk images, the same objectivism, a complete distraction from his "I" ("In bad weather, the wind howls howls", "What a dense forest of the prize

thought"). Gleb Uspensky considers Koltsov the only singer of agricultural labor in Russian literature. This is very true: when he sings of the root cause of his own and the whole people's worldview, he achieves the greatest persuasiveness and simplicity and at the same time the fullness of harmony - in addition to man

and nature, and also God. In the cherished thoughts of the plowman there is a chaste holiness and seriousness, which intensifies and deepens with every change in nature and in particular in the field. With trepidation and prayer, the rural people waited for "the black cloud to frown, and expand, and shed a large tear - the strait

This desired rain came - and with it three peasant peaceful thoughts. The peasant himself thought of the first two, and the execution depends on him: how "the third thought thought - they prayed to God the Lord" - Kolts

ow does not speak. And that's great. Her sin is to put into words; here is spiritual trembling, here God's participation begins. "At a little light, everyone dispersed across the field and went for a walk one after another; to scatter a handful of bread; and let's plow the land with plows, and plow with a crooked plow." Bread is holy; he is God's guest; his

The Lord sends for the works of people. He Himself takes care of him through his nature: "he sees the sun - the harvest is over," and only then it "went colder towards autumn." That is why "the villager's candle is burning in front of the icon of the Mother of God." God is also a participant in peasant labor; He is its main participant, he penetrated everything

shushing. This is how the people's worldview ends, or rather, the worldview; thus, God, nature, and man are united in a common union. The same holiness of religiosity is felt not only in the "Harvest", but also in the "Song of the Plowman", in the "Reflections of the Peasant", who knows that

throw the junk, and then God will spoil, Mikola will help to collect bread from the field. "There is an indication of it in the Peasant's Revel." Koltsov tried to clarify this feeling of the syncretic unity of God, the cosmos and the human "I" in his famous "Thoughts". to his mental structure, he was not capable of philosophy

fsky abstract thinking. It is not surprising that as soon as he speaks the language of Stankevich or Belinsky, the fire of his poetry immediately goes out, the power of the folk element trembling in his soul falls silent. The harmony that he constantly felt, he could express only in images taken from life, from

surrounding nature, and not in ethereal, frozen symbols. And yet his "Thoughts" are characteristic; in the light of his truly poetic works, they also become very convincing. They contain the same idea, which he tirelessly repeats: about the animation of all nature, embodying the spirit of the Divine. vyr

whether he believes this conviction in the terms of Schellingism he caught on the fly or in the rationalistic concepts of abstract Hegelianism, completely alien to his spiritual way of life, whether he modernizes the slightly Christian idea of ​​the Trinity, which is more familiar, and therefore more understandable to him, and through it tries to

to clarify his vague thoughts, the essence remains the same everywhere: life is in everything and everywhere, and it is in God. "In the play of life, in the realm of God's will, there is no powerless death, no soulless life!" - he says in his thought: "God's world." In The Realm of Thought he enumerates these overflows of life. God's spirit, God

the idea lives in everything: "and in the ashes, and in the fire, in the fire, in the peals of thunder; in the hidden darkness of the bottomless depth" ... and even "in the silence of the silent cemetery", "in the deep sleep of the immovable stone", and " in the breath of a blade of grass silent. Everywhere she is alone, this "queen of being." "Father of light is eternity; Son of eternity is power;

The spirit of power is life; the world is teeming with life. Everywhere is the Triune, calling everything to life" - this is how he interprets the three incarnations of Christianity.

a sense of worldview, which is so beautifully and so directly reflected in his truly folk works. From the words of Belinsky, Koltsov understood only what was close to him, which was quite suitable for his own worldview. This does not yet exhaust the significance of Koltsov's Dooms. IN

They reflect another side of his spiritual activity, less valuable, in a certain sense even harmful: for him, in any case, it brought him little good. This is the same cult of reason, the realm of thought, which inevitably had to act in a corrupting way on the integrity of his worldview.

and lead to those eternal damned questions to which there is not and cannot be a clear, consciousness-satisfying answer. These questions were all the more painful for Koltsov, because he knew well, experienced many times, in moments of creative enthusiasm, what joy overshadows the soul with a sense of harmony, synthesis, pre-made

involving all sorts of world problems. Deep grief and anxiety pervaded his poems such as "Grave", "Question", especially "Prayer". These are the very thoughts that even Belinsky recognized a certain value precisely in view of the seriousness of the questions they sincerely posed. Mind is not in

able to illuminate the darkness of the grave ahead of us, to answer the person that he will be replaced there by "a deep feeling of a cold heart, that there will be a life of the spirit without this heart." These are sinful questions: there is only one step from them to complete denial. That is why the last stanza of the "Prayer" sounds such a plea of ​​despair: "Forgive me

Yes, Savior! a tear of my sinful evening prayer: in the darkness it shines with love for You. " Koltsov in these cases seeks salvation in religion. "Before the image of the Savior" (as one of his "thoughts" is called), he deliberately "extinguishes the candle and closes the wise book"; he should be replaced by her faith: "in her alone is peace and t

ishin". "Under the cross is my grave; on the cross - my love, "- this is how another disturbing poem ends:" The Last Struggle.

who knew and manifested in most of his work such a fullness of sensation, such an integrity of the true unity of God, nature and man, Koltsov nevertheless sharply raises those questions that are conceivable only with a completely different, opposite mental structure. In this sense, in the "Duma" of forces

A. V. Koltsov wrote romances, madrigals, triolets

Then he turned to the genre of literary songs, which were included in his only lifetime poetic collection: Poems (1835).

Among his works, the most famous are: “Oh, don’t show a passionate smile!”, “Betrayal of the Betrothed”, “A.P. Srebryansky", "The Second Song of Likhach Kudryavich" and many others.

From the biography of Alexei Vasilyevich Koltsov:

Alexey Vasilievich Koltsov was born on October 15, 1809 in Voronezh - in the family of a buyer and a hereditary cattle dealer (prasol), who was known throughout the district as a literate person, an honest partner and a strict householder. Mother, on the contrary, was kind in character, but completely uneducated: she could neither read nor write.

There were many children in the Koltsov family, but there were no peers of Alexei: his sisters were either much older or much younger. It is known that the father raised his children rather harshly: he did not allow pranks and was demanding even in small things. The father did not strongly insist on the education of children, however, everyone possessed the basic skills of reading and writing. Information about how many children the Koltsovs had, how they lived, has not been preserved.

Alexei Koltsov received his primary education from the age of 9 at home under the guidance of a seminarian teacher, demonstrating such abilities that in 1820 he was able to enter the two-year Voronezh district school, bypassing the parish. Studying was easy for him, he comprehended many sciences and achieved great success in all subjects.

Alexei failed to complete the course of study: after the first year and 4 months (grade 2), his father decided to take his son out of the school. He motivated this by the fact that without the help of the boy he could not cope with the affairs, and even one year of study was enough. The father began to accustom his only son and heir to trading activities.

Having taken over the family business, Koltsov was successfully engaged in Prasol activities. Alexei's job was to drive and sell livestock. Alexei has been doing this for quite a long time. In parallel with his prasol activities, Koltsov writes poetry, despite the fact that his father forbade him to engage in literary work.

On his father's business, Alexey traveled to St. Petersburg and Moscow, where, thanks to Stankevich, he met V. G. Belinsky, who had a great influence on him, with Zhukovsky, Vyazemsky, Vladimir Odoevsky and Pushkin.

Grave of A. V. Koltsov

In 1842, on October 29, as a result of depression and prolonged consumption, the poet dies at the age of thirty-three.

In the last years of his life, Alexei often quarrels with his father because of his negative attitude towards his work. Although in his short life, Alexey Koltsov achieved quite a lot of creative success: he became a famous Russian poet, whose poems everyone knows and loves.

The creative path of A. V. Koltsov:

At the school, Alexey fell in love with reading, the first books he read were fairy tales, about Bova, about Yeruslan Lazarevich and others. He bought these books with the money he received from his parents for treats and toys.

Alyosha especially liked the works "A Thousand and One Nights" and "Cadmus and Harmony" by Kheraskov. Poetry, which by that time the boy had become interested in, was forbidden by his father to engage in: he demanded that he devote all his time and attention to trade.

But regardless of this, Alexei at the age of 16 still wrote his first poem - "Three Visions". However, after a while he destroyed it, because he believed that he was imitating the style of his favorite poet. I wanted to find my own unique style. Around the same time, people appeared in the biography of Alexei Vasilyevich Koltsov who helped the talented poet express his individuality. The first person, mentor, from whom the creative path of the young poet began, was Dmitry Kashkin, a Voronezh bookseller in a shop next door. He allowed Alexei to use books for free, of course, only on condition that he treated them with care.

Kashkin was direct, intelligent and honest, for which he was loved by the youth of the city. Kashkin's bookstore, located on Pushkinskaya Street, on the corner of Shchepnaya Square, was a kind of club for them. Kashkin was interested in Russian literature, read a lot and wrote poetry himself. Koltsov showed him his first works: Kashkin was very well-read and developed and also liked to write poetry. The seller saw himself in the young poet, so he treated him well and helped him in any way he could. Thanks to this, for five years the young poet used books free of charge, studied and developed independently, without giving up helping his father.

The early poetic experiments of Alexei Koltsov represent imitations of the poems of Dmitriev, Zhukovsky, Pushkin, Kozlov, Kheraskov and other poets; in these works, the poet is only still groping for his own artistic style.

After Vargin's death in 1824, Alexey Koltsov inherited his library - about 70 volumes. In 1825 he became interested in the poems of I. I. Dmitriev, especially "Ermak".

In 1825, at the age of 16, Alexei wrote his first poem, Three Visions, which he later destroyed. The poem was written in imitation of Koltsov's favorite poet Ivan Dmitriev.

Thanks to the parting words and advice of the seminarian Srebryansky, a friend and mentor, four poems by Koltsov were published in 1830, although this publication was anonymous.

The main stage of the creative biography of Alexei Vasilyevich Koltsov is his acquaintance with the publicist Nikolai Vladimirovich Stankevich, who drew attention to the poems of the self-taught poet during Koltsov's business trip to Moscow in 1831. The publicist and thinker became interested in the works of the young poet and published his poems in the newspaper. In the same year, Koltsov's first signed poems were published: "A sigh at the grave of Venevitinov", "My friend, my dear angel ..." and others. Stankevich introduced Koltsov to the literary circle, introduced him to V. G. Belinsky. During this period, Koltsov's work was largely imitative - for example, the influence of V. A. Zhukovsky was felt in the elegy "It is not for me to listen to the magic chant" (1830).

After 4 years, Stankevich published the first and only collection during the life of the author: "Poems by Alexei Koltsov." After that, the author became popular even in literary circles.

But, despite his creative breakthrough, Alexey did not stop doing his father's business: he continued to travel to different cities on family matters. And fate also continued to bring him together with outstanding people. Plus, the poet began to collect local folklore, wrote a lot about the life of ordinary people, peasants and their hard work.

The lyrical hero of Koltsov's songs is a peasant (Song of a plowman, 1831, Reflections of a peasant, 1832, Mower, 1836, etc.). Critics noted the connection of Koltsov's songs with folk songs, which is tangible at the figurative, thematic, linguistic, and other levels. The songs individually combined literary and folklore sizes.

A special place among Koltsov's songs was occupied by love lyrics. In the poems The Young Reaper (1836), It's Time for Love (1837), The Last Kiss (1838), Separation (1840) and others, various shades of love experience were subtly described. This distinguished Koltsov's songs from folklore love songs - as a rule, they are less diverse precisely in the description of emotional nuances. The individual character of Koltsovo's songs has been noted by many writers.

After the release of the poems "The Young Reaper", "It's Time for Love" and "The Last Kiss", Mikhail Saltykov-Shchedrin became interested in Koltsov. He called the main feature of these poems "a burning sense of personality." In his short life, Alexey Koltsov achieved quite great results: he became not only a successful cattle seller, but also a famous Russian poet, whose poems were known to absolutely everyone.

Interesting facts from the life of the poet A. V. Koltsov:

* In 1835 - the release of the first and only collection during the life of the poet: "Poems of Alexei Koltsov."

* In his youth, the poet experienced a deep drama - he was separated from the serf girl whom he wanted to marry. This was reflected, in particular, in his poems "Song" (1827), "You do not sing, nightingale" (1832) and a number of others.

* In the same year, 1827, a seminarian Andrei Srebryansky appeared in his life, who later became a close friend and mentor on his creative path. Acquaintance with this man helped Alexei survive the breakup with his beloved.

*It was Srebryansky who instilled in Koltsov an interest in philosophy.

* The magazine "Awakening" in No. 19 in 1909 published Koltsov's poem "Longing for the sweet" for the 100th anniversary of the poet, indicating the date March 25, 1827, as "first appeared in print", whether it is included in 4 works published anonymously, unknown.

* The turning point in Koltsov's creative development was 1836. The circle of his contacts became unusually wide, it included many prominent writers, musicians, artists, artists of Moscow and St. Petersburg: F. Glinka, M. Katkov, M. Pogodin, M. Shchepkin, P. Mochalov, P. Pletnev, A. Venetsianov and others.

* Koltsov was familiar with P. Vyazemsky, V. Odoevsky, V. Zhukovsky.

* His poems were published in the magazines "Telescope", "Son of the Fatherland", "Moscow Observer", etc.

*According to N. Katkov, Koltsov, despite the lack of education, had access to "the most refined feelings, the most complex combinations of spiritual movements."

*His lyrics glorified ordinary peasants, their work and their lives.

* Koltsov's poems were set to music by Russian composers of the 19th century, including: A. S. Dargomyzhsky ("Without mind, without mind", "Do not judge, good people", "I will not tell anyone", "Come to me"), M. A. Balakirev (“Clip, Kiss”, “Furation”, “Song of the Old Man”, “Come to Me”, “I Loved Him”), M. P. Mussorgsky (“Winds are blowing, violent winds”, “Many I have towers and gardens”, “A garden is blooming over the Don”, “Merry hour”), N. A. Rimsky-Korsakov (“Captured by a rose, a nightingale”).

* The grave of A. V. Koltsov is preserved in the Literary Necropolis not far from the Voronezh Circus.

* The date of death of Alexei Vasilyevich is erroneously given on the tombstone. In fact, he died not on October 19, but on October 29.

* But death did not complete the creative biography of Alexei Vasilyevich Koltsov. In 1846, Pavel Stepanovich Mochalov, a Russian actor and acquaintance of Koltsov, published his poems in the newspaper Repertoire and Pantheon, thus perpetuating the memory of his friend.

* In 1856, the popular newspaper Sovremennik published an article on the life and work of Koltsov, written by Nikolai Gavrilovich Chernyshevsky.

* A monument to the poet has been erected on Sovetskaya Square in the city of Voronezh, which has survived to this day.

* A square, a gymnasium, a theater, a library and a street in Voronezh are named after A.V. Koltsov.

Education

Creation

Death of poet

Creation

Grave of A. V. Koltsov

Monuments to A. V. Koltsov

Addresses in Voronezh

Addresses in St. Petersburg

Biography

Family

Alexei Vasilyevich Koltsov was born in Voronezh in the family of Vasily Petrovich Koltsov (1775-1852), a buyer and cattle dealer (prasol), who was known throughout the district as an honest partner and a strict householder. A man of strong temper, passionate and addicted, the poet's father, not limited to his forefathers, rented land for sowing grain, bought forests for a log house, traded firewood, and was engaged in cattle breeding.

Alexei's mother was kind, but not educated, not even literate. He had no peers in his family: his sister was much older, and his brother and other sisters were much younger.

Education

From the age of 9, Koltsov learned to read and write at home, showing such abilities that in 1820 he was able to enter a two-year district school, bypassing the parish. Vissarion Belinsky wrote the following about the level of his education:

We do not know how he was transferred to the second grade, and in general what he learned in this school, because no matter how briefly we knew Koltsov personally, we did not notice any signs of an elementary education in him.

After a year and four months (second grade) at the school, Alexei was taken by his father. Vasily Petrovich believed that this education would be enough for his son to become his assistant. Alexei's job was to drive and sell livestock.

At the school, Alexey fell in love with reading, the first books he read were fairy tales, for example, about Bova, about Yeruslan Lazarevich. He bought these books with the money he received from his parents for treats and toys. Later, Alexey began to read various novels, which he took from his friend Vargin, who was also the son of a merchant. The future poet especially liked the works "A Thousand and One Nights" and "Cadmus and Harmony" by Kheraskov. After Vargin's death in 1824, Alexey Koltsov inherited his library - about 70 volumes. In 1825, he became interested in the poems of I. I. Dmitriev, especially "Ermak".

Creation

In 1825, at the age of 16, he wrote his first poem, Three Visions, which he later destroyed. The poem was written in imitation of Koltsov's favorite poet, Ivan Dmitriev.

Koltsov's first mentor in poetry was the Voronezh bookseller Dmitry Kashkin, who gave the young man the opportunity to use books from his library for free. Kashkin was direct, intelligent and honest, for which he was loved by the youth of the city. Kashkin's bookstore was a kind of club for them. Kashkin was interested in Russian literature, read a lot and wrote poetry himself. Apparently Koltsov showed him his first experiments. For 5 years, Koltsov used his library free of charge.

Somewhere in his youth, the future poet experienced a deep drama - he was separated from a serf girl whom he wanted to marry. This was reflected, in particular, in his poems "Song" (1827), "You do not sing, nightingale" (1832) and a number of others.

In 1827 he met the seminarian Andrei Srebryansky, who later became his close friend and mentor. It was Srebryansky who instilled in Koltsov an interest in philosophy.

The first publications of the young poet were anonymous - 4 poems in 1830. Aleksey Koltsov published his poems under his own name in 1831, when N. V. Stankevich, a famous poet, publicist and thinker, whom Koltsov met in 1830, published his poems with a short preface in Literaturnaya Gazeta. In 1835 - the release of the first and only collection during the life of the poet "Poems of Alexei Koltsov". On his father's business, he traveled to St. Petersburg and Moscow, where, thanks to Stankevich, he met V. G. Belinsky, who had a great influence on him, with Zhukovsky, Vyazemsky, Vladimir Odoevsky and Pushkin, who published Koltsov's poem in his journal Sovremennik " Harvest".

After the release of the poems "The Young Reaper", "It's Time for Love" and "The Last Kiss", Mikhail Saltykov-Shchedrin became interested in Koltsov. He called the main feature of these poems "a burning sense of personality."

Traveling on his father's business affairs, Koltsov met various people and collected folklore. His lyrics glorified ordinary peasants, their work and their lives. Many poems became words to the music of M. A. Balakirev, A. S. Dargomyzhsky, M. P. Mussorgsky, N. A. Rimsky-Korsakov and many others.

Death of poet

• Alexei Koltsov often had quarrels with his father (especially in the last years of his life); the latter had a negative attitude towards the literary work of his son.
• As a result of depression and prolonged consumption, Koltsov died at the age of thirty-three in 1842.
• V. G. Belinsky wrote:

• The poet was buried at the Mitrofanevsky cemetery in Voronezh.

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

I came low
bowed
With a deep breath
and tear
Looked at the cross
and prayed
Rest your souls.
So here Koltsova
buried -
With you high dreams.
But believe - not all of you
forgot -
Boyana Russian, and you
Left to live in the hearts
of people
Your beautiful song.

Creation

Alexey Koltsov's early poetic experiments represent imitations of poems by Dmitriev, Zhukovsky, Pushkin, Kozlov, Kheraskov and other poets; in these works, the poet is only still groping for his own artistic style. But even among them there are already such poems in which it is impossible not to see the future songwriter. On the other hand, attempts to write in the spirit of book poetry are observed in Koltsov until his death, interspersed with songs, and even among the latter, some are closer to book forms than to that specific manner in which one can see the features of Koltsov's style. Another genre of Koltsov is thoughts, which are similar in form to his songs, and in content represent a kind of poetic philosophy. Having glimpsed the philosophical disputes of the capital's friends, mainly in Belinsky's circle, Koltsov tries to clarify the world's problems in his thoughts.

Criticism

• In 1856, in the fifth issue of the Sovremennik magazine, an article by N. G. Chernyshevsky was published, dedicated to the work of A. V. Koltsov
• According to the literary critic Yu. I. Aikhenvald

Memory

Grave of A. V. Koltsov

The grave of A. V. Koltsov is preserved in the Literary Necropolis near the Voronezh Circus. On the tombstone, the date of death of Alexei Vasilyevich is erroneously given. In fact, he died not on October 19, but on October 29.

Monuments to A. V. Koltsov

A bust of the poet was erected in Koltsovsky Square in 1868. A monument to the poet is also installed on Sovietskaya Square in Voronezh.

Voronezh State Academic Drama Theater named after A. V. Koltsov

In 1959, by the Decree of the Presidium of the Supreme Soviet of the RSFSR, the Voronezh State Drama Theater was named after Alexei Vasilyevich Koltsov. A year before, the chief director of the theater, Firs Efimovich Shishigin, staged the play "Aleksey Koltsov" based on the story of the same name by V. A. Korablinov. The premiere took place in May 1958. Voronezh writer and journalist Valentin Yushchenko wrote at the time:

On June 19, 1958, as part of the Decade of Professional and Amateur Art of the Voronezh Region in Moscow, the play "Aleksey Koltsov" was shown on the stage of the Vl. Mayakovsky. Many actors after that were awarded honorary titles.

Currently, the old theater building is being renovated.

In philately, numismatics, sigillaty, etc.

• A park, a gymnasium, a library and a street in Voronezh are also named after A.V. Koltsov.
• In 1959, the Soviet historical and biographical feature film "The Song of Koltsov" was released.
• In 1997, the film "At the Dawn of Foggy Youth", dedicated to Alexei Koltsov, was released.
• The Voronezh Confectionery Factory has been producing sweets "Songs of Koltsov" since 1958. Until now, they had only a fruit-jelly filling. Recently, a market development study was conducted, as a result of which the company's specialists developed a new taste for this brand of sweets. Now it will be possible to purchase and try "Koltsov's Songs" not only with jelly, but also with nuts.
• On the occasion of the 200th anniversary of the birth of A. V. Koltsov, the Bank of Russia issued a silver coin with a denomination of 2 rubles.
• In 2011, on the occasion of the 425th anniversary of Voronezh, the Russian Post issued an envelope depicting a monument to the poet in Koltsovsky Square.

Addresses

Addresses in Voronezh

• st. Bolshaya Streletskaya, 53 - presumably on this place was the house in which Alexei Vasilyevich was born. In 1984, during the celebration of the 175th anniversary of the birth of the poet, a memorial plaque was hung on the wall of the house with the following content:

• Ilyinsky Church - the temple in which Alexei Vasilyevich was baptized. The metric entry reads:

• Devichenskaya st. (now st. Sakko and Vantseti), 72 - on this place there was a district school, where A.V. Koltsov studied. Now one of the buildings of the Voronezh Technological Academy has been built here.
• st. Bolshaya Noble (now Revolution Avenue), 22 - the former residence of the Voronezh governors, on the wall of which there is a memorial plaque:

• st. Bolshaya Noble (now Revolution Avenue), 46 - the house where A. V. Koltsov lived. A memorial plaque hangs on the wall of the house with the erroneous content:

Addresses in St. Petersburg

1840 - V. G. Belinsky's apartment in the apartment building of Alekseev - V. O., 6th line, 53.