Poems by A.N. Apukhtina. St. Petersburg, the printing house of F.S. Sushchinsky, 1886, 218, p. IV. In p / c Morochene binding of the era with gold embossing on the spine. Waxed, marbled endpapers. Publisher's paperbacks are retained. Circulation 3000 copies. Copy on thick vellum paper. Format: 26x18 cm. The first lifetime edition of the author's poems. A rarity in this form!

Bibliographic description:

1. The Kilgour collection of Russian literature 1750-1920. Harvard-Cambrige, 1959, no. 44 - a heavily slaughtered specimen!

2. Books and manuscripts in the collection of M.S. Lesman. Annotated catalog. Moscow, 1989, No. 104.

3. Library of Russian poetry I.N. Rozanov. Bibliographic description. Moscow, 1975, No. 252.

4. Mezier A.V. Russian literature from the 11th to the 19th centuries inclusive. SPb., 1899 - missing!

5. Smirnov-Sokolsky N.P. "My Library", Moscow, 1969 - missing!

Crazy nights, sleepless nights

The speeches are incoherent, the eyes are tired ...

The nights, illuminated by the last fire,

Autumn dead flowers are belated!

Even if time is a merciless hand

It showed me what was false in you,

Nevertheless, I fly to you with a greedy memory,

Looking for the impossible in the past ...

With an insinuating whisper you muffle

Sounds are daytime, unbearable, noisy ...

On a quiet night, you drive away my sleep,

Sleepless nights, crazy nights!

Apukhtin, Alexey Nikolaevich(1840-1893) - famous Russian poet and prose writer, author of inimitable romances. The childhood of Alexei Nikolaevich, who was born on November 15, 1840, was held in the family estate of Pavlodar, Kaluga province. His parents belonged to the old noble families, he received an excellent home education... From childhood he was connected by the closest friendship with his mother, Maria Andreevna, nee Zhelyabuzhskaya, "a woman of a wonderful mind, endowed with a warm sympathetic heart and the most delicate graceful taste." The first biographer, a friend of the poet, Modest Ilyich Tchaikovsky, wrote: “The poetic gift of Alexei Nikolaevich showed itself very early. At first, he expressed himself in a passion for reading and poetry mainly, and his amazing memory was revealed. " In 1852 Apukhtin entered a closed educational institution - the St. Petersburg School of Law. PI Tchaikovsky became his fellow practitioner and friend. In a poem dedicated to Pyotr Ilyich, the poet wrote:

Do you remember how, huddled in the "musical",

Forgetting school and the world,

We dreamed of ideal glory ...

Art was our idol.

The young man studied brilliantly and showed brilliant abilities, knew by heart many poems of A.S. Pushkin and M.Yu. Lermontov, tried to compose himself. Apukhtin was the school's literary star - the editor of a student newspaper and a poet whose talent evoked awe in his classmates. He was represented by I.S. Turgenev and A.A. Fetu, who patronized him. With the assistance of the director of the school A.P. Yazykov in the newspaper "Russian invalid" on November 6, 1854 appeared the first published poem of Apukhtin "Epaminondas", dedicated to the memory of V.A. Kornilov. In 1857, on the recommendation of IS Turgenev, the Sovremennik published a cycle of Apukhtin's poems “Village Sketches”. After graduating from college, he decided to serve in the Ministry of Justice. He did not show much zeal for the service. In the 60s. his poems are published in various magazines. Collaboration with Sovremennik is terminated due to a divergence of views with the radically minded editorial staff of the magazine. In a poetic address to "modern twists" Apukhtin exclaims:

I'm tired of your soulless phrases,

From words trembling with hatred!

In the summer of 1866, Aleksey Nikolaevich visited Valaam. He came here with his close friend Pyotr Ilyich Tchaikovsky. Friends make study trips, get acquainted with the nature of the island with interest, make notes - one on sheets of music paper, the other in a poetry diary. In 1883 the poet wrote the poem "A Year in the Monastery". The plot of the poem is an incident from the life of a monastery: a young boy Cyril runs away from a wealthy parental home. The harsh life of the Valaam elders, the beauty of the wild nature amaze the imagination of a young man, burning with love for God and, desiring the salvation of his soul, he remains in the monastery, and indulges in deeds of fasting and prayer. “A Year in the Monastery” was the poet's favorite brainchild: “You cannot imagine,” he wrote to Kartsov on March 2, 1885, “with what special feeling he began to leaf through the manuscript of this quasi-poem, which I cannot stop loving ... Not only every chapter has been experienced by me, but the description of each chapter has its own history. "

I have been living in a monastery for two weeks now

In the midst of silence and deep silence.

Our monastery is built on a mountain

And surrounded by a high fence.

From the tower in the summer the view is wonderful, they say,

To distant forests, lakes and villages;

Between the cells scattered - a garden,

Where there are many flowers and rare plants

/ Our monastery has been famous for its flowers for a long time /.

In the spring there is an earthly paradise in it; but now

Everything is covered with deep snow, -

Everything seems to me like a white desert

And only the domes of churches

Sparkle gold on it.

To the right of the gate, near the cathedral,

It's barely visible from behind the trees

My cell huddles in two windows,

There is little bait in it for a vain gaze:

Plank bed covered with carpet

Two leather chairs, an oak table between the windows

And a shelf of church books over the table;

In the icon case is the face of Christ, on it is a crown of thorns.

Monastic life without storms and passions

It seems to me a kind of careless dream.

I do not hear secular phrases, sealed speeches

With their eternal lies and eternal backbiting,

I don't see vulgar, spiteful faces ...

One thing confuses the lack of faith.

But God will help me:

His love has no measure

And mercy has no boundaries!

In 1865 Apukhtin wrote to P.I. Tchaikovsky: "No force will force me to enter the arena cluttered with meanness, denunciations and ... seminarians!" The poet remains aloof from the social and literary struggle, outside the literary parties and trends. Having a negative attitude to the extremes of nihilism, to the demagogy of the ruling elite, and to the obsession of the Slavophiles, the poet in his work focuses on genuine spiritual values. He liked to call himself a dilettante in literature, while literary creation was the main business of his life, and the virtuosity and ease of his poems were not only evidence of talent, but also the result of hard work. In the mid 60s. Apukhtin served for some time as an official on special assignments under the Oryol governor, then returned to St. Petersburg. During this period in St. Petersburg, Apukhtin is known - a frequenter of secular salons, an inveterate theatergoer who won recognition in the roles of Molchalin and Famusov, a brilliant storyteller, author of impromptu acts - but Apukhtin the poet is almost unknown. In the 70s. he still does not publish much, writes only for himself and his closest friends. But his poems are becoming more widespread: they are rewritten, read from the stage, composers write romances to Apukhtin's words. By the end of the 70s, he became a literary celebrity. The first collection of poems by Apukhtin with a circulation of three thousand copies was published in 1886; during the life of the author, it was reprinted three times: 1886, 1891 and 1893. The sixth, posthumous edition was published in 1907. But even at the time of his highest popularity, the poet keeps aloof from literary life. True, he takes part in literary collections published for charitable purposes. He willingly participates in collecting donations for the monument to Pushkin. A. Zhirkevich recalls that in the last days of his life Apukhtin, waking up, “immediately, without speaking about anything else, began to recite Pushkin, and only one Pushkin.” In the early 90s, prose works were written - "Unfinished Story", "Archive of Countess D." (1890), "Diary of Pavlik Dolsky" (1891), fantastic story Between Death and Life (1892), published posthumously. Apukhtin's prose was highly appreciated by M.A. Bulgakov. The thematic range of Apukhtin's poetry is relatively small: "fatal unrequited love", nostalgia for the past, the loneliness of man in the world of "betrayal, passions and evil", the mystery of the human soul. The lyrical hero Apukhtin is most worried about the mystery of love - mysterious, spontaneous, disharmonious. This is most often an unrequited fatal passion, from which it is impossible to escape:

I forgot everything, I breathe only her,

All my life I gave her in power,

I dare not bless her

And I can't curse her.

For him, as later for Blok, "only a lover has the right to the title of man." AA Volynsky rightly remarked: "As a poet of love, Apukhtin is simpler, sincere and more sincere than many other poets." In the lyrics of Apukhtin, the antitheses of the thirst for life and the desire for death, love and disappointment in it, faith and unbelief unfold. The poet psychologically accurately portrays the emotional world of his characters. One of the constant motives of Apukhtin's lyrics is suffering:

I have suffered so much, I have so many tears

Thail in the darkness of silent nights,

I endured so much in silence

Heavy and vain grievances.

I'm so jaded, deafened

All life wild and discordant ...

Experiences involve "eternal" questions: about the fate of a person, about death:

Who made it so that the will is weak?

Here he is, look, lying without breath ... God!

What was he born and raised for? These doubts, betrayal, suffering, -

God, why did he endure them?

The mature Apukhtin is an irresistible wit, a noteworthy storyteller, a master of impromptu. The poetic works of Aleksey Nikolaevich are designed for a direct emotional reaction, he depicts feelings that are recognizable and close to everyone. In one of the poems, the poet admits that he experiences true moments of happiness when

A ray of happiness will suddenly flash

In other people's attentive eyes.

Romances brought him the greatest fame. Using all the traditions of love, gypsy romance, he introduced a lot of his own artistic temperament into this genre. Many romances were set to music by P. Tchaikovsky and other famous composers (Forget So Soon, Does Day Reign, Crazy Nights, A Pair of Chests, etc.). It is characteristic that for A.A. From the usual signs of everyday culture of the end of the century, Apukhtin's romances from the bloc became a poetic symbol of an entire era: "the gypsy, Apukhtin years":

A pair of bay, harnessed to the dawn,

Skinny, hungry and sad looking

You always wander at a small trot,

Your coachman is always in a hurry somewhere.

You were once also trotters,

And you had dashing coachmen,

Your mistress has grown old with you,

A couple of bay ones!

Your mistress in the old days

She herself had many owners,

She attracted the experienced to the house out of fashion,

It drove the more tender ones crazy.

A happy lover melted in his arms

Sometimes the capital melted away from others;

Often you could stand in the stable,

A couple of bay ones!

A Greek from Odessa and a Jew from Warsaw,

The young cornet and the gray-haired general -

Everyone was looking for love and fun in her

And he fell asleep on her chest.

Where are they, in what new goddess

Are they looking for their ideals now?

You, only you, are faithful to her to this day,

A couple of bay ones!

That's why, harnessed to the dawn

And starving for several days

You are advancing at a small trot

And make people laugh.

Old age is like night, it threatens you and her,

The crowd's talk has died down irrevocably,

And only the whip sometimes caresses you,

A couple of bay ones!

Quiet foggy morning in the capital

Slowly crawling along the street,

In a pine coffin the remains of a harlot

A couple of bay ones are barely being carried.

Who is accompanying her to the cemetery?

She has no friends or relatives ...

A few only ragged beggars

A couple of bay ones, a couple of bay ones! ..

Analysis of the work of one of the poets (optional).

Poetry 1880-1890s

Poetic twenties of the 80-90s. most often called poetic "timelessness". In the 80s. no major poetic names appeared. The most prominent representatives of this period - S.Ya. Nadson, K.K. Sluchevsky, K.M. Fofanov, A.N. Apukhtin, A.A. Golenishchev-Kutuzov, M.A. Lokhvitskaya - have long been honored in the literary hierarchy. the title of "Russian minor poets". But "secondary" does not mean "second-rate". The poetry of this period paved the way for the poetic renaissance of the early 20th century. The eighties poets reflected the dramatic nature of the change of poetic eras, the "turning point" of artistic consciousness (from classics to modernism, from the "golden" age of Russian poetry to the "Silver Age" (N.A. Otsup, N. Gumilyov's associate in the "Workshop of Poets.")

Poetic symbols reflecting the spiritual atmosphere of "timelessness": in Fofanov's work it is the image of "dried leaves" that suddenly come to life, like the resurrected dead, saturated with the borrowed delight of an alien spring ("Dried Leaves", 1896); in Apukhtin's lyrics, these are asters, “late guests of the faded summer”; flowers blooming on the eve of the autumn nature, touched by the first glass coldness ("Astram", 1860s). This is an expressive image of a "winter flower" in the poetry of KK Sluchevsky ("A flower created by Mephistopheles").

The "great dispute" between the two currents, "civil" and "pure" poetry, was no longer relevant for these poets. They did not unite in schools, did not issue manifestos. The incomplete, open character of the artistic searches of the "children of the night" (DS Merezhkovsky) does not give grounds to deny this period a certain integrity.

In the historical and literary science there were attempts to give him clear terminological characteristics - "decadence", "presymbolism", "neo-romanticism".

The authors of the textbook “History of Rus. lit. 19th century. " (part 3) ed. V.I.Korovina (eg, S.V. Sapozhkov) believe that ZG Mints's attempt to describe the literary process of the late 19th century with the term "neo-romanticism" deserves the greatest confidence. (Mints Z.G. "New romantics" (to the problem of Russian presymbolism). / / Tynyanovsky collection of RIGA, 1988.)

Typological signs of this phenomenon:

1) Rejection of complete everyday plausibility, strengthening the artistic convention of the text, interest in folklore and literary legend;

2) The search for a universal picture of being based on global antinomies (purpose and purposelessness of existence), life and death, me and the world, etc.

3) the gravitation of style, on the one hand, to heightened emotionality, expressiveness and, on the other hand, the desire for "prosaicism", for naturalistic "pettiness" of description. Very often, both tendencies coexisted in the style of one poet, creating the effect of dissonance.

Poetry of the 80-90s. can be conditionally divided into 3 groups:

1.S.Ya.Nadson and the "sorrowful poets"

2. Poets of "aesthetic" orientation (Andreevsky, A. Apukhtin, Fofanov, M. Lokhvitskaya, Sluchevsky, etc.

3. Poets of pre-modernist orientation (Vl. Soloviev, D. Merezhkovsky, N. Minsky).

Born into an old noble family in the town of Bolkhov, Oryol province. In 1859 he graduated from the St. Petersburg School of Law. He served in the Ministry of Justice. From childhood he showed brilliant abilities, first appeared in print at the age of 14.

Alexey Nikolaevich Apukhtin began to publish in the 50s, but the first collection of his "Poems" appeared only in 1886. The book was opened by the poem "A Year in the Monastery", representing the hero's diary entries, which reflected the characteristic circle of the main themes and motives of Apukhtin's lyrics.

The hero of the poem, a secular person infected with pessimism, flees from the "world of lies, betrayal and deceit" to the "humble roof" of the monastery. But life in deep silence, "without storms and without passions" soon bored him. He tries in vain to expel from his heart the image of his beloved, who gave him so much bitterness and suffering - more and more waves of memories and passions are raging in him. Finally, on the eve of the tonsure, the hero forever says goodbye to "a quiet, humble abode", going towards the storms of life. The poem is devoid of a complex dramatic development of the plot, it is a long chain of reflections of the hero, his conversations with himself.

The theme of the poems of the first collection is in many respects akin to the painful thoughts that underlie the poem "A Year in the Monastery". Melancholy, torment of unrequited feelings, "crazy groan of love", memories of lost happiness, the tragedy of disappointment, longing for "agonizing days", pessimistic moods - this is the content of Apukhtin's poetry.

Previously, the poet gravitated towards elegy and romance lyrics. The widely known romances "Crazy Nights, Sleepless Nights", "A Pair of Bay", "Broken Vase" and others. Apukhtin attracted the attention of composers, including PI Tchaikovsky, who had been friends with the poet for many years.

In the 80s, Apukhtin began to gravitate towards narrative poetic genres - diary, confession, writing, monologue, which made it possible to intensify the emotional intensity of the heroes' experiences and dramatize their story about themselves. Turning to a narrative in verse, to a kind of verse novella gave Apukhtin the opportunity to introduce the intonation of lively colloquial speech into his poetry and more freely introduce the intonation of lively colloquial speech into it and more freely introduce everyday vocabulary into it.

Lyrics A. abounded with stencil poetic phrases and images. A wide stream poured into his poems "foggy distance", "heavenly smiles", "golden dreams", "azure sky", "bright eyes", etc. The recourse to the narrative form helped the poet to overcome the gravitation towards someone else's imagery. Apukhtin was not a pioneer in the field of poetic narration, but he introduced into it new moods and a new psychological revelation of the man of his time. The monologues-confessions he created ("Crazy", "From the papers of the prosecutor", "Before the operation") quickly entered the pop repertoire. In the preface to A.'s "Poems", published in 1961, N. Kovarsky rightly writes that A. was characterized by the desire to "make poems and prose related. Verse A. under the influence of this relationship undoubtedly wins. The vocabulary becomes simpler, "poetry" is less common, the verse becomes freer, it absorbs much more colloquial elements than before, both in the dictionary and in the syntax.

(Quotes to pick up yourself).

A. N. Apukhtin was one of the most insightful poets and philosophers in Russian literature. In his work, ideological content with exceptional poetic power were combined in a vivid form. A correct reading of Apukhtin is really possible only against the background of poetic tradition. His poems are saturated with literary associations and quotes designed to be recognized, and to be correctly interpreted, they must constantly relate to the poetry of their predecessors.

Apukhtin's psychological lyrics largely take into account the achievements of Russian prose of the second half of the 19th century. The poet manages to convey the complexity, the multi-layered nature of the human psyche. The poet filled each poem with sincere lyricism and subtle psychologism.

Apukhtin Alexey Nikolaevich was born in the Oryol province on 17 (29) .07.1840, poet-prose writer. From the old noble family of the Apukhtins. From childhood he was connected by the closest friendship with his mother, Maria Andreevna. She was a woman of a wonderful mind, endowed with a warm heart and the finest graceful taste. "To her I owe it to my heart to express my feelings." In 1852, Apukhtin was assigned to Petersburg, to the school of jurisprudence, where his friendship with P.I. Tchaikovsky. Apukhtin showed brilliant abilities, knew by heart many poems of A.S. Pushkin and M.Yu. Lermontov, tried to compose himself. According to M.I. Tchaikovsky, the author of the most complete biography of Apukhtin, he was introduced by I.S. Turgenev and A.A. Fetu, who patronized him. With the assistance of the director of the school A.P. Yazykov in the newspaper Russian Invalid "(1854, November 6), the first poem of Apukhtin" Epaminondas "appeared, dedicated to the memory of administrator VA Kornilov. He left for his family estate in the Oryol province in 1862. In 1863–65, he was a senior official on special assignments under the Oryol governor, conducted investigative affairs (list - TsGIA, f. 1284, op. 67, d. 121). Participated in the local Returning to St. Petersburg in 1865, he finally gave up his career as an official - he was only nominally assigned to the Ministry of Internal Affairs (since 1867, court councilor).

In 1859, Sovremennik (No. 9; with censorship changes) published nine verses under the general heading "Rural Essays", where, among others, there were social motives ("Despondency of Empty Fields", "Expectation of Freedom"). , with a passion for giving himself up to pleasures and despising labor as "the greatest punishment sent to the lot of man", coupled with polemical indifference, determined his position - not burdened with the duties of a secular person in life, a writer - an amateur in poetry (however, he worked very carefully on his poems). writers "he came across only as a secular person. Personal relationships played no role in any of his literary activity, not in his life "(Tchaikovsky M., Biographical sketch, p. XXIX). In the satirical couplets" Dilettante "(published in 1896), disowning the Russian" Parnassus ", with its" different "spirit, Apukhtin repeats “I am an amateur, I am an amateur.” From the pages of most of the memoirs about the poet, there is an image of an inexhaustible wit, an inventive joker, a brilliant improviser, whose puns that were quickly spread across St. Petersburg were far from harmless; such is the epigram on the Minister of Internal Affairs A.E. Timatev, a sculptor - dilettante: “He sculpts, it is true, well / But ministers is absurd.” However, the memoirists noticed only the outer outline of the poet's behavior - the image of a carefree poet he himself cultivated. - a vulnerable nature, well known from his lyrics The poet's heightened vulnerability and suspiciousness explains his creative destiny, full of sharp turns.

It is not surprising that the first lyric collection, published by Apukhtin at an old age in 1886, rediscovered his work to the general public. Quickly sold out, and then reprinted twice more during Apukhtin's lifetime, it received significant resonance in print; some reviewers viewed the volume of his poems as a sign of the impending poetic era (Russian Thought. - 1886. - No. 5. - p. 311-313). Unanimous admiration was aroused by the emotionality, melodiousness of his lyrics and, most importantly, the amazing psychologism, which to this day gives researchers grounds to bring the poetry of Apukhtin closer to the prose of his great contemporaries. So in the poetic short story "With the Express Train" (early 70s), the influence of Tolstoy's psychologism is noticeable: the author's, objective story "flows" into the inner monologue of the heroes, revealing their changing state of the world, random details of everyday life: thoughts of that, / Everything revived in her imagination! / The passenger who was sitting next to her and sleeping / Rocked so funny, with the posture of a general, / That, looking at him and his uniform, / God knows from what, she burst out laughing. " One of the best works of Apukhtin, the poem "A Year in the Monastery" (1883), written in the diary form, beloved by Apukhtin, but goes beyond the intimate

A correct reading of Apukhtin is really possible only against the background of poetic tradition. His poems are full of literary associations and quotations designed for recognition, and in order to be correctly interpreted, they must constantly relate to the poetry of his contemporaries. Thus, Apukhtin's poems "Farewell to the Village" (1858) and "Greetings to you, days of labor and inspiration ..." (1870 and 1885) are clearly oriented towards Pushkin's "Village"; the beginning of the poem "Fate" (1863) is built on rhythmic-thematic calls with "Anchar"; and in the poem "To the Sea" (1867), the motives of Pushkin's elegies "The daylight went out ..." and "To the sea" were developed. Apukhtin - a lyricist formed in the "poetic" era of the 50s, highly esteemed by Pushkin; the simplicity and harmony of Pushkin's verse remained the poet's ideal until the end of his life. However, in his own outlook, Apukhtin is much closer to Lermontov. Like Lermontov, in his poetry the lyrical "I" is in irreconcilable contradiction with the "soulless crowd" ("In the theater", 1863); Apukhtin's favorite motive "high life - stage" is painted in Lermontov's tones; and finally, in the work of Apukhtin, the Lermontov-sounding thirst for familiarizing with eternal values ​​- nature, faith, bringing comfort to an exhausted soul is expressed: "I want to believe in something, / to love something with all my heart!" (To the modern twists ", 1861). In Apukhtin's poetry, echoes of the poetry of F. I. Tyutchev (" Night in Monplaisir ") are felt.

In the poet's poems one can see the inertia of Nekrasov's poetic forms, his intensely dramatic, mournful intonation. Following the example of Nekrasov, Apukhtin actively includes everyday vocabulary and prosaic details in his poetic dictionary. And the small, twelve lines poem "At Noon" has a wide epic background and in this is comparable to Nekrasov's poem "At Home".

Apukhtin's creative assimilation of Nekrasov's traditions did not exclude, however, polemics with him. And this is quite natural. In the poem "Towards Poetry" ("These days of waiting for a stupid ...", 1881), written in connection with the terrorist activities of "Narodnaya Volya" and the murder of Alexander II on March 1, 1881, Apukhtin dissociates himself from Nekrasov, declaring himself as an enemy democratic poetry and a supporter of "pure art". An explicit polemic with Nekrasov sounds in the following lines, addressed to the "magician" of poetry:

The hero of the poem "A Year in the Monastery" is endowed with analytical consciousness. This is the "man inside" who became the object of close artistic attention of Lermontov in his poems and in the novel "A Hero of Our Time". And his monologues-confessions with their intense pathos of lyrical confession are akin to monologues-confessions of the heroes of Lermontov's lyrics.

Apukhtin's psychological lyrics largely take into account the achievements of Russian prose of the second half of the 19th century. The poet manages to convey the complexity, the multi-layered nature of the human psyche, the dialectic nature of the moral and psychological state of a person. He understands that the contradictory complexity of experiences is far from being expressed in the spoken word and actions. Apukhtin writes "between the lines." Deep humanity, sincerity and inspiration of feeling, subtle, graceful psychologism make Apukhtin's lyrics related to the prose of his great contemporaries. Old and newer researchers have drawn attention to this. So, the connection of the poem "From the papers of the prosecutor" with the prose of Dostoevsky, in particular with the development of selection topics including the choice of suicide.

The psychological analytics discovered by Dostoevsky in the sphere of mental life could not ignore the attention of the poet of high culture, who became the banner of his time. Apukhtin's poem "The Crazy" (1890) also interacts with Dostoevsky's tradition. It contains the same depth of comprehension of a sick human psyche, the same pain for the fate of a persecuted person, in a state of madness imagining himself as a popularly elected king: "Near the sun, on one of the small planets / A bipedal beast of medium size lives, / There are relatively few still living years / And thinks, a hundred - he is the crown of creation ... "

Of course, it is impossible to state with certainty in this case about direct influences and interactions - most likely, the roll-overs are caused by the pathological commonality of artistic perceptions. Although there is a great temptation to suspect Turgenev of the fact that, creating "Asya", he "thought" in Apukhtin verses. Or, conversely, Apukhtin, creating poetry, "kept in his soul" Turgenev's story. Be that as it may, one cannot help but be amazed at the amazing similarity of the plot "canvas" on which the poet and the prose writer "embroider" their "patterns", revealing the psychology of their heroes.

Possessing an undoubtedly high artistic gift, Apukhtin was not afraid to introduce images and motives of his contemporaries and predecessors into his poems - he was not in danger of being a simple imitator in poetry, an epigone of the Podolinsky type. His poetry is not secondary, it is fresh and original: it was nourished not by other people's images, but by life itself. We can safely assert that all of Apukhtin's lyrical work is an attempt, both very successful and, perhaps not fully appreciated by us, to convey by means of the artistic word "such depth" in the human heart, "where thought does not penetrate", to express complex and elusive emotional impulses and experiences. The poet filled each poem with sincere lyricism and subtle psychologism. It was hard for Apukhtin in the neighborhood with such talents as F. Tyutchev, A. Fet, A. Tolstoy, A. Maikov, Y. Polonsky, K. Sluchevsky, but he did not get lost among them, did not retreat into the shadows.

Inheriting the traditions of the Pushkin and Lermontov era, as well as relying on the experience and discoveries of his contemporaries, Apukhtin, according to the correct remark of the researcher, “found a meaningful beginning of his lyrics in a dialogue not with socio-political currents, but with works of fine literature that form his own spiritual universe, which also called the second reality "(Dmitrienko S. Decree. op. - p. 16).

5. Image " little man"In the novels of F. M. Dostoevsky" Poor People "," Humiliated and Insulted "(conflict, grouping of images, plot lines). Assessment of the novels by N. A. Dobrolyubov.

"Humiliated and insulted" in the works of F.M. Dostoevsky

Throughout the 19th century, writers were worried about the problem of the "humiliated and insulted", and they wrote about it in their works. The first topic of the “little man” was A.S. Pushkin in his story "The Station Keeper" continued this theme by N.V. Gogol, who created the image of Akaki Akakievich in "The Overcoat". They argued that everyone has the right to life and happiness. F.M. Dostoevsky is not just a continuation of these traditions, he proved with all his work that every person, whoever he may be, has the right to sympathy and compassion.

Already in his first novel "Poor People" F.M. Dostoevsky faithfully portrayed the world of disadvantaged and oppressed people. The main characters of the novel are Makar Devushkin, a half-impoverished official, crushed by grief, need and social lack of rights, and Varenka, a girl who has become a victim of social ill-being. The author sympathizes with his heroes, shows the beauty of their soul and inner nobility.

In the novel "The Humiliated and the Insulted" again we see disadvantaged people. Cunning and Sneaky man Valkovsky dragged Ikhmetyev into the trial and won it. An impoverished landowner turns into an urban commoner. Again poverty. In the fate of Natasha Ikhmetyeva, such a family collapse was reflected in her actions, which she tries to justify not so much by despair as by sacrificial submission to a man. Natasha leaves her father, becomes Alyosha's spiritual slave, knowing that he openly loves another girl.

A special place in the work of F.M. Dostoevsky is occupied with the novel Crime and Punishment. Never before has a writer portrayed poverty and the suffering of the underprivileged so broadly.

The events described in the novel take place in St. Petersburg, in a city on the Neva, gloomy, silent, cold and damp. He appears before us as an ominous spider, a symbol of evil and violence, horror and cruelty. It is impossible to live in it because it is inhuman. Wherever the writer takes us, we find ourselves in inhuman conditions. After all, it is terrifying to live in a "coffin" that Rodion Raskolnikov is filming, in Sonya's ugly "shed", in a "cool corner" where Marmeladov lives. This is a city of street girls, beggars, homeless children, visitors to taverns who are looking for a moment's oblivion in wine from melancholy. The stuffiness and the hustle and bustle of the streets are depressing. The atmosphere of St. Petersburg is an atmosphere of impasse and despair. Scenes that reveal the tragic life of the people run through the entire novel. Here is a woman with a yellow face and sunken eyes rushes into the water of the canal. The screams of another woman are heard: "I got drunk to hell, priests, to hell ... I also wanted to hang myself, they took me off the rope." The writer makes us look into one of the "corners" of the capital - the Marmeladov family.

Ridiculous, pitiful Marmeladov with his speech, with a solid ------ bearing, jester, amuse everyone with his oratory. This man is of a tragic fate. In drunkenness, he tries to drown his grief, although he realizes that this is not a way out of their situation. Confessing to Raskolnikov, Marmeladov says: "There is nowhere for a man to go." He only has one thing to do - to perish, and he perishes. Katerina Ivanovna, Marmeladov's wife, has nowhere to go either. After the death of her husband, she was left with three small children in poverty. This is a terribly thin woman with traces of her former beauty. She constantly coughs, her gaze is motionless. Katerina Ivanovna lives with the memories that she is an officer's daughter, was brought up in a noble boarding house, where she received upon graduation gold medal... She hopelessly indulges herself with dreams that she will be able to open her own boarding house, and she will take Sonya as her assistant. Katerina's children are her suffering, because she is powerless to help them. The smallest is not six years old. Raskolnikov sees her asleep on the floor, "sitting, huddled and buried in the sofa." She is already accustomed to poverty and hardly imagines that there could be any other, happy life... The oldest was nine years old. Despair robs Marmeladova of her sanity. Distraught, she leads the children out into the street, persuades them to dance and sing, yells at them, and then at the people around her for not serving anything. The children run away, she rushes after them in pursuit, but falls, chokes with blood, and challenges God: “God must forgive without that ... He knows how I suffered! But if he won’t forgive, it’s not necessary! ”.

Sonechka Marmeladova was also humiliated and insulted. Unable to earn money by honest labor in order to feed her stepmother and her young children, she was forced to break the moral laws: she goes to the panel. Bringing home money, washed with tears, she seemed to give away a part of herself, her grief and shame. This girl was not thinking about herself. Much more important for her is the life of the people she loves, their small joys. Although Sonechka was forced to step over herself, her soul remained pure, uncorrupted. A "living conscience" continued to live in her. Sonya has a clear boundary between good and evil, she has an unshakable support - faith in God. In this she drew strength to survive all the insults and humiliations, to maintain moral purity, a living soul and connection with the world in the dirt into which her life threw. Sonechka, amid hunger and humiliation, retains faith in life, in man, aversion to evil, violence and crime. Sonya takes an active part in saving Raskolnikov's ruined soul. She understood that he needed a doctor who could cure him of his obsession, return him to Christianity. Sonia, who has an integral inner world, becomes such a doctor. She understood the main thing: he is unhappy, and she must help him. Sonechka gives him a helping hand and mercy. She saves Raskolnikov from a heavy load, which he placed on his shoulders, from insanity, on the verge of which he was, divides this load equally. “We will suffer together,” she says.

And what is the better fate of Raskolnikova Dunya? She faces the same fate. She is solicited by Svidrigailov, on whose estate she served as a housekeeper. The soulless businessman Luzhin wants to buy her love, who considered it profitable to marry a girl who will owe everything only to him. Dunya is ready to marry an unloved person in order to somehow help her family get out of poverty. Mother and sister want to see Rodion a happy, educated person. They are doing their best to get at least a little money to pay for the tuition.

In a terrible, indifferent world, where the dispossessed, the weak has no life, where vulgarity, deception, evil triumphs, where everything is bought and sold, an intelligent, thinking person has to live. Rodion wants to have an education, but he has to leave the university, since he has nothing to pay for tuition. He has a good heart. Trying to help his family and all the disadvantaged, Raskolnikov comes to the realization of his own powerlessness in the face of world evil. And in such an environment, under the low ceiling of a beggarly kennel, a monstrous theory arose in the mind of a hungry, desperate person. Complete despair in the impossibility of saving his sister, helping Marmeladov and his family, broken by life, pushes Rodion to a crime. Out of love for humanity, he decided to do evil for the sake of good. In this way, he wanted to help people who are dying in poverty and powerlessness. But, having committed a crime, Raskolnikov is experiencing a deep emotional shock. He cannot stand the feeling of criminality and by this he confirms the honesty of the common people.

This is the world in which the heroes of F.M. Dostoevsky, the world of the "humiliated and insulted." The writers' novels contain a deep truth about the intolerance of life in a capitalist society, where the Luzhins and Svidrigailovs reign with their meanness, egoism, a truth that evokes hatred of the world of lies and hypocrisy.

The tragedy of the position of the heroes of F.M. Dostoevsky is that they see the hopelessness of their situation. The entire content of his works F.M. Dostoevsky argues that it is impossible to live in such a society. Condemning Raskolnikov's "rebellion", the author thereby condemns social protest, and hence the path of revolutionary transformation of reality. According to the writer, the moral ideals of humility and forgiveness that Sonya professes are closest to the broad masses. F.M. Dostoevsky believes that all people are equal before God, there are no "small" and "great", each person is the highest value.

We will start analyzing the works of I.A. Bunin from a modest part of the writer's artistic heritage, namely, from his so-called "travel poems". I must say that the craving for wandering, for knowing the world around was in the highest degree inherent in Bunin. As such, the author's travels are reflected in the cycle "The Shadow of the Bird" (1907-1911) and the travel diaries "Many Waters" (1910-1911). They were published already by the emigration in the late 20s - early 30s.

The eastern route of these travels is noteworthy. Thus, Bunin's journey to Turkey and other Middle Eastern countries fits very organically into the tradition of pilgrimage Christian texts dating back to Abbot Daniel - he is considered the founder of the genre of Old Russian “walks”. Gradually, under the influence of secular trends in culture and with the development of narrative forms, this genre lost its sacredness, maybe even some kind of ecstasy, and turned into an ordinary exotic essay in which it is rather dryly mentioned about visiting sacred places. The influence of the Gospel is weakening, the authors more often turn to the Apocrypha, rather than to the canonical books of the New Testament. This idea was expressed by the first reviewer of "The Shadow of the Bird" historian P.M. Bitsilli: “It is remarkable how little the Gospel influenced the entire subsequent culture of Christian humanity - proof of how Hellas died irrevocably: after all, the whole history of Christian art, both Western and Eastern, is connected much more with apocrypha than with the canonical books of the New Testament” 1. Bunin's journey is romantic; the Gospel is present in it as folklore reminiscences. The Christian theme in the narrative is not a solo one, it is in the background, it exists on a par with an impressionistic landscape or, for example, a still life of a city bazaar. According to Bitsilli, Bunin wandered in the footsteps of Christ, but "Christ did not find" 2.

In general, "The Shadow of the Bird" does not stand out from the general direction of art " silver age", Which was looking for its ancestral home - the" golden age ". The literature of this period is represented by a number of "travel poems", the orientation of which is not geographical, not spatial, but temporal - the route of these travels runs into the past.

“White is looking for the seeds of world development in the North African countries as an antithesis to the Hellenic-Roman genesis. Balmont's Mexican notes breathe neo-romanticism. Rozanov seeks to summarize and is inclined to discover new, destructive trends - the cheap Americanization of culture that he noticed in his essays on Italy ”3.

So, the cycle "The Shadow of the Bird" sounds in tune with the philosophy of the Silver Age. Bunin refers to the past centuries, trying to recreate the historical atmosphere with the help of his imagination.

Christian and pagan motives are present in the very title of the cycle. After all, its original name is "Fields of the Dead". This is the name of the city cemetery in the vicinity of Istanbul - the lifeless remains of the past. And the field of the dead is in the book of the prophet Ezekiel in chapter 37 - but here the bones of the dead come to life by the will of God.

Of course, in "Shadow of the Bird" pagan motives prevail. Mostly, they are expressed in a colorful, exotic display that attacks the reader's sensory perception, enslaves his imagination.
"Then I stand on the bow and look at the sharp iron chest, roughly cutting the water, then at the lying mast of the bowsprit, slowly but persistently climbing into the blue slope of the sky."
"Water is falling apart in glassy shafts."
"The voluptuous somnambulistic murmur of toads," etc.

The journey to the East left a deep imprint on Bunin's soul, oriental images and symbols will repeatedly appear in subsequent works of the author. In the cycle "Dark Alleys" in the title story, the main character is dark-haired, black-browed, looking like an elderly gypsy4, the last stories of the cycle ("Spring in Judea", "Lodging for the night") directly draw portraits of oriental beauties, "as if they came from the biblical Song of Songs" 5 ... These portraits are accompanied by oriental elements of clothing, interior design, landscape, especially the Moscow one in “Clean Monday”: “Strange city! - I said to myself, thinking about Okhotny Ryad, about Iverskaya, about Basil the Blessed. - Basil the Blessed and Spas-na-Bor, Italian cathedrals - and something Kyrgyz in the tips of the towers on the Kremlin walls ... ”6. “Again it was enough for me that at first I sit closely with her in the flying and rolling sledges ..., then I enter with her into the crowded hall of the restaurant on the march from Aida, eat and drink next to her ..., I look at my lips who I kissed an hour ago - yes, I did, I said to myself, looking at them with enthusiastic gratitude, at the dark fluff above them ... thinking: “Moscow, Astrakhan, Persia, India!” 7. "Good! Downstairs there are wild men, and here are pancakes with champagne and the Mother of God Three-handed. Three hands! This is India! You are a gentleman, you cannot understand all this Moscow as I do ”8.

There may be doubts as to how much it is generally legitimate to attribute the cycle "Dark Alleys" to the period of the Silver Age, because most of the stories were written by Bunin in exile shortly before the start of the Second World War. But, if we recall the general tone of the Silver Age art - a look into the past, and this look is not a simple artistic stylization, it is purposefully turned into the past, in which one or another author is looking for answers to pressing issues- then we will see that the "Dark Alleys" correspond to this tone. In Dark Alleys, the writer looks, as it were, at the irretrievably lost Russian past, tries to restore it, to remember the smallest details. Many stories, such as "Clean Monday", "Late Hour", are oversaturated with signs of life and time.

Before we consider in detail the stories of the cycle, let us cite the words of I. Ilyin regarding "Dark alleys" and other later works of Bunin: “Bunin's art is essentially pre-spiritual. One should not look for anything but the “primitive grammar of love” and “dark alleys of sin” ”9.

Indeed, in "Dark Alleys" Bunin thinks a lot about the secrets of love, love and its manifestations - this is almost the key theme of the cycle. Love in Bunin appears as the highest embodiment and manifestation of life, the meaning, purpose, content of human existence on earth. And in each story there is a struggle between two types of love perception - material, where love appears as a blind, animal energy that takes possession of the entire human being and deprives him of reason ("Caucasus", "Russia", "Natalie"); and spiritual - where love transforms the heroes of stories, turns their faces into faces ("Clean Monday"). And in short stories, where the spiritual is subordinate to the material, there the spiritual withers, perishes. And submission to spiritual goals does not destroy the material, but on the contrary, gives it freshness, brightness, purity, sublimity.

But from whatever point of view Bunin would write about love - Christian or pagan, he directs the story according to a certain scheme. So, for example, love conflicts are clearly divided into 3 parts: the desire of a man for a woman - intimacy with a woman - a tragic ending (death of a man, death of a woman, the inability of a man and a woman to be together for reasons beyond their control or due to the peculiarities of understanding of love as heroes )ten. The tragic ending is due to several factors. Despite the fact that Bunin's works are not autobiographical, they bear the stamp of the writer's fate - as we know, Bunin did not immediately find happiness in his personal life - he was married several times before he found his faithful companion. Secondly, the tragic endings are a consequence of Bunin's philosophical views. This is a writer who "praises the great value of suffering" 11. In one of his poems, Bunin directly calls suffering "a source of joy" 12. "This is already a formal cult of the" suffering "beginning" 13. Here one cannot but draw an analogy with Buddhism, which claims that our whole life is suffering. According to Buddhists, suffering is a consequence of a person's desires, his passions. And the Bunin heroes are led to suffering by a passionate attitude towards life, the search for new and new impressions14. Only Bunin is not looking for ways to get rid of suffering, he even finds some kind of rapture in them. The thing is that Bunin has a highly developed doctrine of Omnipotence: “Birth is not my beginning. My beginning is in that incomprehensible darkness for me, in which I was from conception to birth, and in my father, in my mother, in grandfathers, great-grandfathers, ancestors, for they are me too, only in a slightly different form, where, however, much was repeated almost to the point of identity ... In due time, someone should and will feel like me: Indian karma is not philosophizing at all, but physiology ”15. This feeling of complete involvement in being, the feeling in himself of the entire previous history of mankind and the expectation of future reincarnation make Bunin sensually, passionately experience the world, absorb everything into himself more and more new impressions. And for the sake of this constant search, Bunin had to put up with the inevitability of suffering.

The external world acts as a tragic force that interferes with the happiness of people, either cutting off the life of one of the loving people, or in every possible way preventing them from being together16. It can be concluded that in the works of Bunin, love appears as an end-to-end love meeting that has no further prospects. Of course, such a view of the mystery of life is far from Christian. The woman here is, first of all, a mistress, her role as a wife, mother is either kept silent or is relegated to the background17. So, according to Bunin, love is just a happy short-term meeting, most often in the form of a premarital relationship or adultery. Bunin does not speak about such Christian institutions as marriage, motherhood, and matrimony18.

So, after the breakup of the relationship, one of the lovers or two are left with only memories. According to Bunin, memory is an immaterial, spiritual, psychological and at the same time material, biological connection with the foundations of being. Every moment of life leaves an imprint on the human I, these imprints do not die, they connect a person with the One All-Existence19, in which the material and the spiritual merge. Thus, memory destroys not only time, but also space; it becomes the equivalent of eternity, infinity, all-unity20. Hence Bunin's distrust of rationalism and the preference shown to him for intuition and immediate knowledge. Therefore, Bunin's favorite heroes are not those who carry the wisdom of reason, but those who carry the primitive wisdom of instincts21.

So, the central idea of ​​Bunin's works is complete inclusion in being. This involvement is far from Christian, as it involves the surrender of the soul to the full power of passions, feelings, desires. The predominant among these passions is love. But love is not in a high Christian sense, but in a pagan one; Bunin's love is Eros. Submission to his will leads the heroes inevitably to suffering, a tragic ending.

But one cannot deny the Christian motives in the works of Bunin. They exist, but they do not carry the moral, theological, and religious coloring that they have in Christianity itself. Bunin's Christianity is most often the background against which the action of this or that work unfolds, a kind of artistic device to give an exotic flavor.

Bibliography.
Bitsilli P. Ivan Bunin. "Shadow of the Bird" // Modern Notes. No. 47.
Bunin I.A. Stories and stories. L., 1985.
Gromov-Collie A.V. "Travel Poems" by I.A. Bunin (Problems, genre, poetics) // I.A. Bunin and Russian Literature of the XX century: Based on the materials of the International Scientific Conference. M., 1995.
Maltsev Yu.V. Ivan Bunin. 1870-1953. Sowing, 1994.
Prashcheruk N.V. The artistic world of I.A. Bunin: the language of space. Yekaterinburg, 1999.
Sigov V.K. The national character and the fate of Russia in the work of I.A. Bunin // I.A. Bunin and Russian Literature of the XX century: Based on the materials of the International Scientific Conference.
Shulyatikov V.M. Stages of the newest lyrics: Nadson, Apukhtin, Vl. Soloviev, Merezhkovsky, Minsk, Golenishchev-Kutuzov, Bunin // I.A. Bunin: pro et contra: The personality and work of Ivan Bunin in the assessment of Russian and foreign thinkers and researchers: Anthology. SPb, 2001.

"Creativity Apukhtin A. N."

Pupil of grade 10A of secondary school №3

Popova Anton

1. Ideological and artistic originality of AN Apukhtin's creativity.

2. Formation of a poet, first publications.

3. The poet of "pure art".

4. The influence of the great contemporaries of the 19th century on the work of AN Apukhtin.

5. My attitude to the work of AN Apukhtin.

A. N. Apukhtin was one of the most insightful poets and philosophers in Russian literature. In his work, ideological content with exceptional poetic power were combined in a vivid form. Correct reading
Apukhtin is really possible only against the background of poetic tradition. His poems are saturated with literary associations and quotes designed to be recognized, and to be correctly interpreted, they must constantly relate to the poetry of their predecessors.

Apukhtin's psychological lyrics largely take into account the achievements of Russian prose of the second half of the 19th century. The poet manages to convey the complexity, the multi-layered nature of the human psyche. The poet filled each poem with sincere lyricism and subtle psychologism.

Apukhtin Alexey Nikolaevich was born in the Oryol province
17 (29) .07.1840, poet-prose writer. From the old noble family of the Apukhtins. From childhood he was connected by the closest friendship with his mother, Maria Andreevna.
She was a woman of a wonderful mind, endowed with a warm heart and the finest graceful taste. "To her I owe it to my heart to express my feelings." In 1852, Apukhtin was assigned to Petersburg, to the school of jurisprudence, where his friendship with P.I. Tchaikovsky. Apukhtin showed brilliant abilities, knew by heart many poems of A.S. Pushkin and M.Yu.
Lermontov, tried to compose himself. According to M.I. Tchaikovsky, the author of the most complete biography of Apukhtin, he was introduced by I.S. Turgenev and A.A. Fetu, who patronized him. With the assistance of the director of the school A.P. Yazykov in the newspaper Russian Invalid "(1854, November 6) Apukhtin's first poem" Epaminondas "appeared, dedicated to the memory of administrator VA Kornilov. He left for his family estate in the Oryol province in 1862. In 1863–65, he was a senior official on special assignments under the Oryol governor, conducted investigative affairs (list - TsGIA, f. 1284, op.
67, d.121). Participated in the local press. Returning in 1865 to
Petersburg, he finally abandoned his career as an official - he was only nominally assigned to the Ministry of Internal Affairs (since 1867, court councilor).

In 1859, Sovremennik (No. 9; with censorship changes) published nine poems under the general heading "Rural Essays", where, among others, there were social motives ("Despondency of Empty Fields", "Expectation of Freedom").
The hedonism inherent in the nature of Apukhtin, who gave himself up to pleasures with passion and despised labor as "the greatest punishment sent to a person's lot", coupled with polemical indifference, determined his position - not burdened with the duties of a secular person in life, a writer - an amateur in poetry (however, he worked very carefully on his poems). With writers "he came across only as a secular person. Personal relationships did not play any role either in his literary activity or in his life" (Tchaikovsky M., Biographical sketch, p. XXIX). In the satirical couplets "Dilettante" (published in 1896), disowning the Russian "Parnassus", with his
In a "different" spirit, Apukhtin repeats with polemic challenge "I am an amateur, I am an amateur." In his dilettantism as a form of creative behavior - unlike a simple amateur - Apukhtin is guided, most likely unconsciously, by the image of a poet of the early 19th century, when writing was just becoming a profession. In Apukhtin's obituary it was noted: he belongs to art "according to old noble legends - lick him with the pride of a boyar and with contempt for the craft of a writer" (RV, 1893, no. 10, p. 328). "Disgusting the printing press", which "dishonors" the created work (letter to G.P. Kartsov dated March 2, 1885), Apukhtin allowed extensive rewriting of his poems. It is noteworthy that he did not keep his manuscripts (partly they were lost, partly destroyed by him); many poems fit into notebooks (as at the beginning of the 19th century - into albums) by his friends
- E.A. Khvostova, Kartsev, whose role in the collection of Apukhtin's poems is especially great. At the same time, even then melancholic moods prevailed in his intimate lyrics: "A sad share, a lonely life, / A continuous chain of tears and suffering .." ("Life", 1856). Both facets of talent
Apukhtin appeared when he entered literature: in the late 50s - early
In the 1960s, both his parodies and "crossings", published in "Illustrations" and "Iskra" (anonymously under the pseudonym Sysaya Sysoev), and the heartfelt lyrical cycle of poems "Village Sketches"
("Contemporary". - 1859 - No. 9). Humorous, cheerful verses and elegiac, sometimes hopelessly tragic intonation coexisted in Apukhtin's adulthood, reflecting different sides his personality.

From the pages of most of the memoirs about the poet, there is an image of an inexhaustible wit, an inventive joker, a brilliant improviser, whose puns, which were quickly spreading across St. Petersburg, were far from harmless; such is the epigram to the Minister of the Interior A.E. Timatev, an amateur sculptor: "He sculpts, it is true, well / But ministers are absurd."
However, the memoirists noticed only the outer outline of the poet's behavior - the image of the carefree poet he himself cultivated. From his private correspondence, where jokes are drowned in a stream of bitter complaints, another side of Apukhtin's personality emerges - a vulnerable nature, well known from his lyrics.
The poet's increased vulnerability and suspiciousness explains his creative destiny, full of sharp turns.

Accepted at the beginning extremely favorably by writers of various orientations - it was supported by A.A. Fet, considered N.А.
Dobrolyubov (N.A. Nekrasov, published in the magazine "Vremya" F.M.
Dostoevsky, and at the beginning of the 1960s, when the social and literary struggle intensified, Apukhtin became the target of sharp critical attacks, and even ridicule.
V. Kurochkin sarcastically over his lyric cycle "Spring Songs" (Iskra.
- 1860 .-- April 29. - No. 16. - p. 170), A.A. Minaev parodied the poem
"To modern twists" (Russian word. - 1862. - No. 3. - section III., - p. 5-7),
Dobrolyubov spoke negatively about his lyrics as a whole (Dobrolyubov N.A. Collected works - Vol. 7. - p. 241). Apparently, Apukhtin's reaction was so sharp that he stopped publishing, left the service, returned to his homeland, and was forgotten by the readership for a long time.

From now on, the poet "a secluded amateur" (–Apukhtin) in art, upon his return 3 years later, keeps away from literary circles, writes little, leads a secular lifestyle, occasionally traveling abroad and in the provinces. His poems are being circulated "from hand to hand", are declared by amateur readers, serve as the basis for many popular romances ("Crazy nights, sleepless nights"), the music for which was written by P.I. Tchaikovsky. Only since the 70s did Apukhtin's works occasionally seep into print
(newspaper "Citizen", magazine "Nov", "Russian thought", "Northern Herald", etc.).

It is not surprising that the first lyric collection, published by Apukhtin at an old age in 1886, rediscovered his work to the general public. Sold out quickly and then reprinted twice more during his lifetime
Apukhtin, he received a significant response in the press; some reviewers viewed the volume of his poetry as a sign of an impending poetic era
(Russian thought. - 1886. - No. 5. - p. 311-313). Unanimous admiration was aroused by the emotionality, melodiousness of his lyrics and, most importantly, the amazing psychologism, which to this day gives reason to researchers to bring poetry closer together.
Apukhtin with the prose of his great contemporaries. So in the poetic novella "With the Express Train" (early 70s), the influence of Tolstoy's psychologism is noticeable: the author's, objective story "flows" into the inner monologue of the heroes, revealing their changing state of the world, random details of everyday life: thoughts of that, / Everything revived in her imagination! / The passenger who was sitting next to her and sleeping / Rocked so funny, with the posture of a general, / That, looking at him and his uniform, / God knows from what, she burst out laughing. " One of the best works of Apukhtin also gravitates towards the psychological novel - the poem "A Year in the Monastery" (1883), written in the diary form, beloved by Apukhtin, but going beyond the intimate problems prevailing in the poet's work; here philosophical motives sound dramatically sharp.

The success of Apukhtin's collection brought him to the forefront of literary life: his name began to be frequently mentioned in critical reviews, one after another came out his collected works (seven editions from 1895 to 1912), his views on art became the subject of a common, although not always sympathetic attention. So, after Apukhtin's letter to L.N. Tolstoy, condemning the writer's moral preaching and calling for a return to artistic creativity (see: Literary heritage. - M., - 1939. - v. 37–38. - p. 441–442) Apukhtin gained a reputation as a poet of "pure art" and many writers spoke extremely critical of him, in particular L.N. Tolstoy and N.S. Leskov. Nevertheless, in the 90s, interest in Apukhtin's work increased, which is partly explained by the literary tastes of the pre-symbolic era, which sensitively responded to Apukhtin's "elusively subtle forms of poetic mood" (Volynsky A. (A. L. Flexer). Literary notes //
Northern Bulletin. - 1891. - No. 11. - Otd. II, - pp. 140-141), to "tired, tuned in to a minor mode" intonation. Although the younger contemporaries of Apukhtin wrote with bitterness about the absence of a harmonious worldview in his work, they nevertheless highly appreciated the poet's deep connection with the "golden age" of Russian lyric poetry - with the poetic tradition of the first decades of the 19th century.

A correct reading of Apukhtin is really possible only against the background of poetic tradition. His poems are full of literary associations and quotations designed for recognition, and in order to be correctly interpreted, they must constantly relate to the poetry of his contemporaries.
Thus, Apukhtin's poems "Farewell to the Village" (1858) and "Greetings to you, days of labor and inspiration ..." (1870 and 1885) are clearly oriented towards Pushkin's "Village"; the beginning of the poem "Fate" (1863) is built on rhythmic-thematic calls with "Anchar"; and in the poem "To the Sea"
(1867), the motives of Pushkin's elegies "The daylight went out ..." and
"To the sea". Apukhtin - a lyricist formed in the "poetic" era of the 50s, highly esteemed by Pushkin; the simplicity and harmony of Pushkin's verse remained the poet's ideal until the end of his life. However, in his own outlook, Apukhtin is much closer to Lermontov. Like Lermontov, in his poetry the lyrical "I" is in irreconcilable contradiction with the "soulless crowd" ("In the theater", 1863); Apukhtin's favorite motive "high life - stage" is painted in Lermontov's tones; and finally, in the work of Apukhtin, a Lermontov-sounding thirst for familiarizing with eternal values ​​is expressed - nature, faith, bringing peace to an exhausted soul: "I want to believe in something, / to love something with all my heart!" (To modern twists ", 1861). In poetry
Apukhtin, echoes of the poetry of F. I. Tyutchev ("Night in Monplaisir") are palpable.

"But the mind understands

That we have such depth in our hearts

Where thought does not penetrate;

From where, like from the seabed,

Full of mighty trepidation,

An unknown force flies out

And something vaguely repeats,

Like an oncoming wave. "

At the same time, traditionally poetic vocabulary and phraseology often coexist in Apukhtin's lyrics with the prosaic word: "abyss fatal", "longing for solitude" - with expressions "he was mired up to his throat", rushed "at full steam";
"restless flame of passion" - with expressions "even burst." Like
Nekrasov, although not so boldly and not with such intensity, Apukhtin introduces prosaic details and topical themes into poetry. A number of his poems are a monologue of a person separated from the author by a psychological and social barrier (see Venice, 1874; Letter, 1882) - a phenomenon close to Nekrasov's “role” lyrics. Sometimes Apukhtin turned to purely Nekrasov, dramatic-narrative, plot principles of the development of the theme ("In wretched rags, motionless and dead ..." 1871). In the poems from the series "Rural Essays", as well as in those following them, traces of Nekrasov's influence are also clearly felt. "Rural Essays" are not only sustained in a poetic key close to the style of Nekrasov, but are also similar to his poems in thoughts and poetic means of expression.
So, in the poems "At noon", "Country road", "Songs", "Settlement" the poet with deep, Nekrasovian pain speaks of the poverty and ruin of the Russian countryside, about native land, "watered with tears", about fields wetted with "bloody tears".
In Nekrasovski Apukhtin expresses his belief in a better future of his homeland, in the fact that "mournful sounds" full of strength of the young "with the first call" "will burst ... from the shackles / To the free steppes, to the endless fields, / Into the depths of immense forests."

May you, Russia, be overcome by adversity,

May you be a country of despondency ...

No, I don't believe that the song of freedom

These fields are not given!

("Songs" (60))

In the poet's poems one can see the inertia of Nekrasov's poetic forms, his intensely dramatic, mournful intonation. Following the example of Nekrasov, Apukhtin actively includes everyday vocabulary and prosaic details in his poetic dictionary. And the small, twelve lines poem "At Noon" has a wide epic background and in this is comparable to Nekrasov's poem "At Home".

How golden rye spreads in the wind

Wide wave

As dust rises, covering the path

A thick wall!

As my chest aches with nameless longing,

The torture of the past ...

Oh, if only to meet me a friend unexpectedly

And cry with him!

But I shed bitter tears only with you,

Empty fields ...

You yourself are bitter and watered with tears,

Motherland!

But, most of all, we find reflections of Nekrasov poetry in excerpts from the poem "The Village of Koloshovka" (1864), inspired by the impressions of the poet's life in his native places (during his service in Oryol in 1863-1864). folk life, a sympathetic display of a picture of "dull" nature, "senseless enmity" of generations, the hard lot of a woman who has been living as a "disgraced slave / Under the yoke of hard labor" for the whole century, a scene of a wedding and bride's suicide, sustained in harsh colors, unmeasured, unobtrusive prosaization of poetic speech
- all this is very close in spirit to the mood of Nekrasov.

Apukhtin's creative assimilation of Nekrasov's traditions did not exclude, however, polemics with him. And this is quite natural. In the poem "Towards Poetry" ("These days of waiting for a stupid ...", 1881), written in connection with the terrorist activities of "Narodnaya Volya" and the murder of Alexander II on March 1, 1881,
Apukhtin dissociates himself from Nekrasov, declaring himself as an opponent of democratic poetry and a supporter of "pure art". An explicit polemic with Nekrasov sounds in the following lines, addressed to the "magician" of poetry:

From violence, betrayal and treachery,

From bloody human strife

Take it to yours in your bright kingdom

You are the heralds of your faithful!

In his tragic outlook, Apukhtin is closest to Lermontov.
Many of his poems sparkle with the energy of Lermontov's poetry. In them we find typical Lermontov motives of unrequited "fatal" love, betrayal of a woman who did not appreciate the lofty feelings of a friend, the theme of loneliness,
"unbearable melancholy", dissatisfaction with life, impossibility of mutual understanding between people (see: "Poet", "Night", - 1855; "After the ball", -
1857). The motive of heartlessness and hypocrisy of people is painted in Lermontov's tones
"secular" circle with their "feigned looks." The boring world of this
"crowds of dumb visions", he is sick of the passion of "secular" people for tinsel, their admiration for cheap glory ("The audience. During the performance
Rossi ", 1877). Echoes of Lermontov's poem" The Dying Gladiator "we hear in the Apukhtinsky" Organ-grinder "(1885). Associations with his poetry arise in the verses" Imitation of Arabic "(1885), through the echoes of" Three Palms ", as well as" Songs of the Arab over the grave of the horse "Zhukovsky" and "Imitating the Koran"
Pushkin. Allusions to Lermontov's "Duma" can be seen in the poem "My justification" (1858).
"A Year in the Monastery" (1883) and "From the Prosecutor's Papers" (1888). In which the main image of Apukhtin's poetry is revealed - a tired, disappointed, distraught person. In the center of the first of the mentioned poems, there is a hero who fled to a monastery from "the world of lies, treason and deceit." In the "holy monastery" he tries to grow peace, but this dream turns out to be in vain:

I swam in vain the boundless ocean,

It was in vain that my shuttle escaped the formidable waves, -

Suddenly he stumbled upon sharp stones,

And the water gushed, and the poor boat is sinking

In view of the promised land.

The hero of the poem "A Year in the Monastery" is endowed with analytical consciousness. This is the one
"the man inside", who became the object of close artistic attention of Lermontov in his poems and in the novel "A Hero of Our Time". And his monologues-confessions with their intense pathos of lyrical confession are akin to monologues-confessions of the heroes of Lermontov's lyrics.

As for the influence of Tyutchev on Apukhtin's lyrics, Apukhtin's poem "Autumn Leaves" (1868) is close in spirit and color to Tyutchev, in which, along with the subject plan, a second, symbolic plan is easily seen: behind the "sad story" of autumn leaves one can guess a person's complaints about the short-term nature of individual life. Complaining about his
"oppressive fate", for the fact that winter will soon embrace them with "cold hands", the leaves are at the same time "happy", because "Our life is sweeter in our farewell hour / Look how our sad park is poured with gold, / How joyful flowers shine for the last time, / Look how magnificently - funeral /
The sunset is burning over the groves. / "

In the poem "In memory of FI Tyutchev" (1873 - 1875) Apukhtin created a charming image of a "gray-haired old man" , knowledge, events of our days - / All the correct response in him awakened inevitably, / And with a word thrown at facts and people, / He casually imposed eternal stigma. "Tyutchev's sarcastic laugh, according to Apukhtin, reconciled people with" life ", and his "bright face" - with
"human".

The psychological lyrics of Apukhtin largely take into account the achievements of Russian prose of the second half of the XIX century. The poet manages to convey the complexity, the multi-layered nature of the human psyche, the dialectic nature of the moral and psychological state of a person. He understands that the contradictory complexity of experiences is far from being expressed in the spoken word and actions. Apukhtin writes "between the lines." Deep humanity, sincerity and inspiration of feeling, subtle, graceful psychologism make Apukhtin's lyrics related to the prose of his great contemporaries. Old and newer researchers have drawn attention to this. Thus, the connection between the poem "From the Prosecutor's Papers" and Dostoevsky's prose, in particular, with the development of the theme of choice, including the choice of a suicide, is noted.

Kirilov from "Demons" creates a whole theory of suicide. The hero Apukhtin, like Kirilov, is acutely experiencing the value of being. Both of them are distinguished by a love of life, unexpected in these apologists of suicide. The "Demons" emblem
"living life" and organic "internal" connection with it is a green leaf, bright, with veins; in Apukhtin's poem there are bright green branches of a maple and also a leaf. Kirilov and the Apukhtinsky lyric hero love life more than its meaning.

The psychological analytics discovered by Dostoevsky in the sphere of mental life could not ignore the attention of the poet of high culture, who became the banner of his time. Apukhtin's poem "The Crazy" (1890) also interacts with Dostoevsky's tradition. It contains the same depth of comprehension of a sick human psyche, the same pain for the fate of a persecuted person, in a state of madness imagining himself as a popularly elected king: "Near the sun, on one of the small planets / A bipedal beast of medium size lives, / There are relatively few still living years / And thinks a hundred
- he is the crown of creation ... "

The Apukhtinsky poem "The music thundered, the candles burned brightly" (1858) and Turgenev's "Asya" turned out to be very similar. In the short spatial interval of the Apukhtinsky poem, there is a whole history of the dramatic relations of the heroes, starting from the inception of feelings and ending with their rupture - a situation quite close to the one we learn about from Turgenev's "Asi". The same indecision of the hero, from whom the beloved woman "longs for recognition". The same belated repentance for his unbelief and inaction.

Of course, it is impossible to state with all certainty in this case about direct influences and interactions - most likely, the roll-overs are caused by a pathological commonality of artistic perceptions. Although there is a great temptation to suspect Turgenev of the fact that, creating "Asya", he "thought" in Apukhtin verses. Or, conversely, Apukhtin, creating poetry, "kept in his soul" Turgenev's story. Be that as it may, one cannot help but be amazed at the amazing similarity of the plot "canvas" on which the poet and the prose writer "embroider" their
"patterns", I reveal the psychology of my characters.

In Apukhtin's poem, the main phases of the mental states of the lyric hero (he did not believe, languished, cried) are dotted, those stages through which, in fact, the feeling of Turgenev's hero passed and which, naturally, due to the specificity of the genre of the story, received a detailed lighting. The poem captures us with the economy of speech means, extraordinary expressiveness achieved by pauses (marked in the text by dots), parallelisms - intonation, lexical, syntactic. Enhances the intonation of the expressiveness of the verse, enclosing each stanza in a kind of anaphora - a refrain, which at the same time carries a great semantic load, capturing the "summit" moments of the lyrical hero's psychological states in the scenes of the ball, "last goodbye" and while he is on the way. In the very situation of the poem, there is a huge psychological stress.

Of course, the plot of "Asi" is more tragic than the plot of the poems.
Apukhtin (this is explained by Turgenev's concept of love as a tragic eternal universal element), he is also socially conditioned, but we are talking about a kind of psychological riddle - those invisible lines-connections that are established between poets and are unexpectedly discovered in the process of studying similar psychological phenomena. Apukhtin and Turgenev, with all their individual differences, upon closer examination are in close live communication, interacting with each other.

Possessing an undoubtedly high artistic gift, Apukhtin was not afraid to introduce images and motives of his contemporaries and predecessors into his poems - he was not in danger of being a simple imitator in poetry, an epigone of the type
Podolinsky. His poetry is not secondary, it is fresh and original: it was nourished not by other people's images, but by life itself. We can safely assert that all of Apukhtin's lyrical work is an attempt, both very successful and, perhaps not fully appreciated by us, to convey by means of the artistic word "such depth" in the human heart, "where thought does not penetrate", to express complex and elusive emotional impulses and experiences. The poet filled each poem with sincere lyricism and subtle psychologism. It was hard
Apukhtin in the neighborhood with such talents as F. Tyutchev, A. Fet, A. Tolstoy,
A. Maikov, J. Polonsky, K. Sluchevsky, but he did not get lost among them, did not retreat into the shadows.

Inheriting the traditions of the Pushkin and Lermontov era, as well as relying on the experience and discoveries of his contemporaries, Apukhtin, according to the correct remark of the researcher, “found a meaningful beginning of his lyrics in a dialogue not with socio-political currents, but with works of fine literature that form his own spiritual universe, which also called the second reality "(Dmitrienko S. Decree. op. - p. 16).

Nowadays Apukhtin has restored interest in himself: the number of his editions has increased, including half-forgotten works ("The Diary of Pavlik Lolskovo",
"Archives of Countess A."), created by the poet at the end of his life, but published posthumously.

We can safely say that all of Apukhtin's lyrical work is an attempt, and very successful, and perhaps not fully appreciated by us, to convey by means of the artistic word "such depth" in the heart of a person, "where thought does not penetrate", to express complex words and elusive emotional impulses and experiences.

For me, Apukhtin's work is deep humanity, sincerity and subtle psychology. Each poem of the poet is filled with lyricism.

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