The cause of death of Vladimir Korolenko was not previously considered a mystery. He died of heart failure due to, as is usually written in obituaries, a long illness. But after Korolenko’s letters to Lunacharsky were published in 1988, researchers started talking about the fact that Vladimir Galaktionovich was poisoned on Lenin’s orders. However, researchers of his life and work from the Korolenko Museum in Poltava are ready to argue with this.

THE DAUGHTER CHRONICLED THE LAST DAYS OF HER FATHER

This is perhaps the most unique memorial museum writer. It is located in the house where Korolenko lived for the last 25 years of his life. His daughter kept everything that belonged to her father: furniture, personal belongings, manuscripts...

Sofya Vladimirovna also described in detail how her father was slowly dying over the course of a year and a half, says Lyudmila Olkhovskaya, presenter Researcher museum. “He felt unwell back in May 1920. He was then examined by leading Poltava doctors, but no diagnosis was made. A year later, the Council of People's Commissars of Ukraine sent experienced Kharkov doctors to Poltava. Korolenko would never accept strangers, but since among the doctors was his friend, the therapist Isaac Fainschmidt, the writer allowed himself to be examined in the presence of his relatives. The 68-year-old writer, until recently a cheerful man, already walked poorly, spoke with difficulty, and communicated with his family through notes. He was diagnosed with amyotrophic lateral sclerosis, which at that time was considered incurable.

On December 25, 1921, at ten o’clock in the evening, he passed away. The museum preserves photographs of the funeral. The whole of Poltava gathered to see off the writer on his last journey. On December 28, there was severe frost outside, but not a single person put on a hat...

REFUSED TO RECEIVE A PENSION FROM LENIN

The doctor’s conclusion about death was made a day later, on December 26. Why is unknown, they say at the museum. - But the writer’s relatives ruled out death from poisoning: they say, in the house in last years Only close people entered.

However, many people wanted Korolenko dead. It is quite possible that Lenin did too. He was well acquainted with Korolenko’s social position, read his letters to Lunacharsky, in which the writer very boldly spoke out against the Bolsheviks, tyranny, and the closure of free newspapers. Lenin’s hatred of Korolenko is clearly visible in the way he spoke about the writer: “A pathetic tradesman, captivated by petty-bourgeois prejudices... No, it’s not a sin for such “talents” to spend a week in prison if this is necessary to prevent conspiracies... He considers himself the brain of the nation, but in fact not the brain, but “g...but”.

And one day the leader of the proletariat even decided to “treat” Korolenko and sent the People’s Commissar of Health N.A. Semashko ambiguous letter: “I beg you to appoint a special person (better than a well-known doctor who knows abroad and is known abroad) to send Tsuryupa, Krestinsky, Osinsky, Kuraev, Gorky, Korolenko and others to Germany. We must skillfully request, ask, agitate, write to Germany, help the sick, etc."

Korolenko refused to leave his native land in a government carriage. And out of principle, he did not accept pensions or benefits from the Soviet government,” says Lyudmila Olkhovskaya.

Who knows what would have happened to Korolenko in Germany? However, Poltava researchers believe that Lenin did not specifically destroy Korolenko - he wanted to show his democracy.

We can say with confidence that the writer was killed by the system. In recent years, the authorities have not touched him. But they cleaned up the environment. They imprisoned the son-in-law of Konstantin Lyakhovich, who contracted typhus in prison and died in Korolenko’s arms, continues Lyudmila Olkhovskaya. - Vladimir Galaktionovich experienced every execution, even of people he did not know, and demanded a fair trial. He went to the Cheka as if he were going to work, and was ready to beg on his knees for mercy. All this affected his health.

Photos courtesy of the Korolenko Museum.

THIS IS INTERESTING

• The works "The Blind Musician" and "Children of the Dungeon" (this was the name of the version of the story "In Bad Society" adapted for children) for a long time were part of school curriculum. Although the writer did not create them for children. He generally believed that all books should be interesting to adults and understandable to children.
• The two daughters of the writer’s only granddaughter Sofia Lyakhovich live in Poltava and Moscow. His great-great-grandson Sergei also lives in Poltava. But false heirs are periodically announced, claiming that they are relatives of Korolenko. One false granddaughter even got an apartment in Moscow.
• At Christmas, Korolenko arranged a Christmas tree at his home for the children of poor Poltava residents. The kids danced in circles, and the highlight of the holiday was throwing a fishing rod into the owner’s office and making wishes. The writer was behind closed doors at that time, hanging gifts on a hook.
• Poltava residents loved Korolenko very much. Knowing that he lived from hand to mouth, two bags of flour were brought to the door of the house with the inscriptions: “White - for the writer”, “Grey - for the assistants”. And when he lost his briefcase with valuable manuscripts, the loss was returned to him... by the pawnshop employees. It turned out that the thieves handed over papers there and even received money.

More than forty years old creative path Vladimir Galaktionovich Korolenko (1853-1921) is equally distributed between the 19th and 20th centuries. His first story (“Episodes from the Life of a Seeker”) was written in 1879, and almost a week before his death he was still working on his main work, “The History of My Contemporary.”

Accordingly, much connects the writer with Russian classical literature of the 19th century century, but also the twentieth century with its persistent search for ways to reorganize life in all its spheres and an equally persistent desire to give new life art, breathing new content into it had a significant impact on Korolenko’s work.

An extraordinary biography of the writer. His father is a Ukrainian, who was in the Russian public service and performed his duties as a judge with truly “Don Quixotic” honesty, which his son inherited. The mother is Polish, a religious person, who performed her quiet feat of love, “combined with sadness and care,” as selflessly as the heroine of the story “The Blind Musician.”

Korolenko spent his childhood in Zhitomir and Rivne, small towns in southwestern Russia, where national problems were especially acute. Having paid tribute to his romantic fascination with the heroic past of Ukraine and Poland in childhood, young Korolenko turns to “advanced Russian thought,” and this leads to the fact that his native country becomes “not Poland, not Ukraine, not Volyn, not Great Russia, but great area Russian thought and Russian literature, an area dominated by the Pushkins, Lermontovs, Belinskys, Dobrolyubovs, Gogols, Turgenevs, Nekrasovs, Saltykovs.”

And in the future, life will repeatedly put Korolenko in a position where he needs to make a choice, and outwardly the situation will be such that apparently no choice will be required. For example, after the assassination of Alexander II by the Narodnaya Volya, the government demanded that all those convicted in political cases sign an oath of “allegiance to the new sovereign.”

For most of the convicts, this was an empty formality, and the question of whether to sign or not was not even raised. But Korolenko, after long and difficult deliberations, refused the oath, paid for it with exile to Yakutia, but never subsequently doubted the correctness of his action.

In the same way, when “by the highest command” in 1902 the election of M. Gorky to honorary academician was canceled, Korolenko, together with Chekhov, refused this honorary title. Explaining the reasons for his refusal, Korolenko wrote: “...my conscience, as a writer, cannot come to terms with the tacit recognition that I belong to a view that is opposite to my real conviction” (10, 346).

When Korolenko’s first essays and stories appeared, criticism primarily noted the romantic orientation of his works, combined with very specific everyday and even ethnographic descriptions. The theme of the “free spirit” to which his hero always strives, no matter how small he may seem to himself and those around him and no matter how harsh and inhuman the circumstances of his life may be, quickly revealed the originality of the young writer’s work.

Responding to the demands of his time, Korolenko critical articles, diary entries, in his letters he often reflects on what demands he puts forward for literature modern era, what the art of modern times should be, what it can take from the past and what hinders its further movement.

Korolenko’s statements are widely known that realism and romanticism represent both literary trends the absolutization of two opposing methods of depicting man and society in their interrelation. Korolenko believed that realism, the main requirement of which is “fidelity to reality,” likens literature to a mirror that reflects “what is,” “the given state of society.”

And since literature entirely depends on the given state of society (as a scientific justification for such dependence, Korolenko, in particular, refers to the theory of I. Taine), then to give a true reflection of reality means to reveal the causality of the phenomena of life reflected by literature.

This is exactly how realism is understood, Korolenko wrote in 1887, follows the same path as “pure science,” but for all their closeness, the goals of science and art are still different: “And while the goal of scientific work is to give an accurate knowledge of an object in its relationship to others, goal work of art includes the first and adds a new one to it: it seeks to establish a direct connection of a given object with the deep recesses of your soul through your imagination, through reflected sympathetic feelings, etc.”

Korolenko considered reducing the task of art to establishing “causes and inevitable consequences” a delusion that stems from confusing one of the most important principles of art with its purpose. Realism for him “is only a condition of artistry, a condition corresponding to modern taste, but<...>it cannot serve as an end in itself and does not exhaust all artistry.”

Repeatedly emphasizing that human activity cannot go “outside the limits of causality” and, therefore, “our ideals will reflect our character, our past,” Korolenko at the same time argued that although this reflection is an important condition of art, its goal is all and - “in movement, in certain ideals.”

Later, in a letter to V. Goltsev (1894), Korolenko contrasted two points of view on artistic creativity: Chernyshevsky,6 who wrote that artists are “only weak copyists” of nature, and therefore “the phenomenon is always higher than the image,” and that one must strive “to the real truth, as to the limit,” and Maupassant, who emphasized that the artist “creates his own illusion of the world, something that does not exist in reality, but what he creates in place of what exists.”

Korolenko calls for combining these provisions into one, since there cannot be an illusion of the world “without a relationship to the real world,” and in the dreams, ideals, illusions of the heroes of works of art or their creator, “a new attitude of the human spirit to the world around us is always manifested” .

Korolenko defined the ideal as the “highest idea of ​​truth” living in the artist’s soul, and as a dream, “which is the best criterion of reality,” and as a “general concept of the world,” according to which the artist groups the phenomena of the surrounding life, and simply as "possible reality"

Hence, the goal of a true work of art, according to Korolenko, is that the perceiver can either imagine the criterion with which the artist approaches the reflection of reality, or in this reflection itself can find what corresponds to the “highest idea of ​​truth” developed an artist. The last requirement forces the writer (and this is very important for understanding Korolenko’s work) to depict “more than one thing that is dominant in a given modernity.”

Korolenko does not accept naturalism, in the works of whose representatives reality is belittled and deprived of its heroic principle, and man is completely determined by life conditions and is not able to rise above them. Paying tribute to naturalists for attempting to master the achievements natural sciences and for his attention to new phenomena of life, Korolenko believed that the lot of naturalistic literature was becoming the average, ordinary person.

At the same time, romanticism, which focuses attention on an extraordinary, heroic person who stands outside of society, is not capable, according to Korolenko, of explaining how such a person came into being, and in principle does not set such a goal.

Therefore, a new direction in literature should become a synthesis of realism and romanticism, in which the extremes of these directions will disappear. In accordance with this, the attitude towards the hero will change. “To discover the meaning of the individual on the basis of the meaning of the mass is the task of the new art, which will replace realism,” writes Korolenko.8 Similar synthesis in literature late XIX the century did not happen, but the realist Korolenko never forgets in his work about the romantic-heroic beginning in life.

For Russian social thought of the late XIX - early XX centuries. was characterized by a keen interest in sociological problems. At this time, in addition to the articles of N. Mikhailovsky, the sociological works of P. Lavrov, V. Bervi-Flerovsky, S. Yuzhakov, M. Kovalevsky were very popular. Works on philosophy and sociology by I. Taine, G. Spencer, O. Comte, G. Tarde, P. Lacombe, E. Durkheim are read and discussed with great interest.

In the 90s a passion for Marxist sociology arises. This feature in the development of Russian social thought was well expressed in his memoirs by D. Ovsyaniko-Kulikovsky: ““Sociology,” not only for me in that era, was a special word, a word with charm and power, one of those from which young people are inflamed souls - and its magical power was not inferior to the power of such prophetic words as Freedom, Progress, Ideal, etc. Sociology is the crown of the scientific edifice. It will reveal the laws of social life and progress and thereby give humanity the opportunity to overcome all negative sides, all the disasters and ailments of civilizations.”

In the 80s For the majority of free-thinking Russian intelligentsia, the inconsistency of the practical forms and methods of struggle for social justice put forward by the populists became obvious. But there was another side to the Narodnik theory—an ethical one.

And if the process of understanding a number of populist dogmas quite quickly ended in their rejection, then the ethics of the populists nourished Russian society for a long time. The idea of ​​duty and conscience, the desire to sacrifice oneself for the sake of the common people, the feeling of righteous anger for an unjust social system - all this was preserved in the minds of the Russian intelligentsia as values ​​that a person thirsting for goodness and justice cannot and does not have the right to sacrifice.

The ethical richness of the populist theory, the heroic sacrifice and high spirit of the populist intelligentsia could not be unconditionally rejected by radically minded representatives of the turn of the century, since a new ethics, equal in importance to the populist, had not yet been essentially created at that time. That is why for many representatives of Korolenko’s generation, a complete rejection of the moral norms and criteria of populism would mean a rejection of democratic ideas, of the search for ways to transform society.

Korolenko associates the emergence of a new outlook on life, based both on the discoveries of sociology and the natural sciences, and on the combination of a sober study of reality with the construction of “social utopias” in which the “reality of tomorrow” is predicted, precisely with the defeat of the populist methods of struggle.

When numerous representatives of the populist movement went “to the people” and presented them with a “table of unfair social arithmetic,” the peasants not only did not take the path of revolutionary struggle, but, on the contrary, most often gave their sincere well-wishers into the hands of those who cared about preserving the existing order . “And we were amazed by the complexity, contradictions, and surprises that were encountered,” writes Korolenko about this tragic unsuccessful “meeting” of a truth-seeking intellectual and a simple peasant.

For some of the intelligentsia, the result of the meeting with the “little brother” was disappointment in the people; for another, including Korolenko, it is an awareness of the extreme complexity of those problems that were so narrowly and schematically interpreted by the previous generation, and the desire to find new ways of understanding man.

Korolenko considered N.K. Mikhailovsky to be the main representative of the new subjective sociological trend in Russian social thought, whose articles he “was carried away<...>and propagated them among comrades” while still studying at the Petrovsky Agricultural Academy.

The answer to the question of how Mikhailovsky’s teaching affected Korolenko’s creative principles helps to understand the uniqueness of both the writer’s aesthetic views and his social position.

Formulating the basic concepts of his sociology, Mikhailovsky wrote in 1875 that “the subjective method is a method of satisfying a cognitive need when the observer puts himself mentally in the position of the observed” and thereby “comes closer to the truth to the extent that he is able to experience someone else’s life.” Moral ideal Mikhailovsky acquires a very definite concrete historical content when he puts forward the demand to “experience the life” of the peasant, take the point of view of the people and subordinate the general categories of “civilizations to the idea of ​​the people.”

The meaning of the above views of Mikhailovsky is well explained by the essays of G. Uspensky, touching on the problem of mutual misunderstanding between the peasant and the “intellectual-lover of the people.”

Trying to understand the reasons for this misunderstanding, Uspensky makes an important discovery: the actions, views, and moral standards of the peasant, which seemed incomprehensible, illogical, and rationally inexplicable to the author-narrator, in fact represent a coherent system of world relations, the individual components of which are so fitted that it is impossible to to take out this or that “brick”, no matter how much the author, who is outside this system and evaluates it from the position of an enlightened intellectual, may wish to do so.

Thus, if the narrator in the essays “The Power of the Land” and “The Peasant and Peasant Labor” indicated that some moral standards of the peasant are good and others are bad, then in this case it would only be possible to find out which of these standards he himself considers true, but it would be impossible to understand why the peasant in his life is guided by precisely these ethical principles.

Having taken the point of view of a peasant, Uspensky realized that within the framework of the currently existing peasant culture, these norms are determined by the entire system of ideas of a given social stratum and measuring them by the norms of another culture is as absurd as trying to measure the area of ​​a room with a thermometer.

The demand of G. Uspensky and Mikhailovsky to “take the point of view of the peasant,” thus, was not reduced to a natural and necessary image for the writer of the world through the consciousness and perception of the hero. Behind this requirement was the rejection of an elementary evaluative position, in which the reader had a good idea of ​​the author’s worldview and the criteria for his assessment, while the object of the author’s research itself largely remained “closed.”

The simplest assessment of certain aspects of the culture of the social stratum under study, with all its external justice, did not allow us to understand the interconnectedness, interdependence of the “bad” and “good” sides, which, being isolated from the living organism of culture, often acquired a completely different meaning, a different significance. Korolenko accepts this position, finding that the artist must take into account other people’s points of view when depicting his characters. Let us explain this using the example of one of the writer’s early works - the story “Wonderful”, written in 1880 in a transit prison, but published in the Russian press only in 1905.

By the will of fate, gendarme Gavrilov meets with the courageous, strong-willed revolutionary girl Morozova. Their attitude towards each other is predetermined by the system of ideas that has developed in their social environment and the justice and morality of which they do not question.

Before meeting the exiles, Gavrilov served “zealously” in the squadron, dreamed of promotion and firmly knew that “his superiors would not punish in vain.” Therefore, for him, a revolutionary girl is a criminal, a “little snake,” “a noble’s offspring.” Morozova, on the contrary, “zealously” violated the basic laws of the state, the “bosses” of which punished and rewarded according to rules that were very far from justice, and therefore Gavrilov for her is first of all an “enemy”, since he is dressed in a gendarme overcoat and is in the service of states.

Morozov is not capable of “surviving someone else’s life,” taking Gavrilov’s point of view and seeing the good heart of the peasant behind the gendarmerie uniform she hates. And that’s why her words at the end of the story addressed to him are so cruel: “Forgive me! here's another! I will never forgive you, and don’t think ever! I’ll die soon... just know that I haven’t forgiven you!”

In the consciousness of Gavrilov, who found himself among exiled revolutionaries, changes are still barely noticeable, but already irreversible. He loses interest in the service and even the news that he will not be awarded the rank of non-commissioned officer, which he once so aspired to, now accepts with complete indifference.

And if earlier Gavrilov always knew how to relate to life and people, had ready-made and, in his opinion, the only correct answers to everything, now he already doubts many things and asks the question that torments him: “And I’ll all forget this angry young lady I couldn’t, and even now it’s the same thing: it sometimes stands before my eyes. What would that mean? Who would explain it to me!

Already in this early work Korolenko finds his own way of refracting reality, thanks to which he opens in psychology, social behavior, and the worldview of his heroes such areas that have not yet been sufficiently mastered by Russian classical literature XIX century

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983.

Vladimir Galaktionovich Korolenko was born in 1853 in Ukraine into the family of a court official. His parents highly respected him and cultivated a sense of duty and honor in their children. The father was invariably accompanied by the glory of “the righteous judge.” Subsequently, Korolenko himself will encounter the law in the role of a defendant and will understand that observing the law requires great courage and perseverance.

Korolenko's student years were in the early 70s. First he studied at the St. Petersburg Technological Institute, and then at the Moscow Petrovsky Agricultural Academy. The call to merge with the people and spread socialist ideas there attracted Korolenko.

His Analytical mind, which was ideally combined with his active and impulsive character, encouraged him to tirelessly search for the truth, and as it seemed to him, this truth was among the people.

Korolenko first became close to the people during the years of his first exile to the Volgorod province, where he ended up for organizing and holding illegal meetings at the Petrovsky Academy.

The first link was short-lived. As a result of the efforts of many friends, he was allowed to move to Kronstadt, where his family lived, and soon he moved to St. Petersburg, where he was preparing, so to speak, to become a member of the people, for which he began to study shoemaking. But his ideas to educate peasants in the countryside were not crowned with success, since in 1879 repressions and acts of populists in the form of terror intensified. Korolenko was arrested again and from now on became “irrevocably suspicious.

Labeled “politically unreliable,” Korolenko was sent to the city of Glazov, Vyatka Province. During his exile, Vladimir Galaktionovich gets rid of the naive bookish-romantic idea of ​​a peasant fighting for his life every day, without stopping. He understands that the peasant does not need what the aristocratic intelligentsia dreams of for him.

At the same time, Korolenko’s personality arouses interest among his neighbors: they come to him for advice, trust him with their problems, and simply love him. As a result of this, the restless exile was sent even further to the north of the Vyatka province to the Berezovsky repairs (as he later learned - for attempting to escape)

Then Korolenko ends up in Siberia for refusing to swear allegiance to Alexander III and comes into close contact with the Yakuts. He becomes convinced that their way of life, their way of thinking and needs are far from what the populists are looking for in peasant souls.

Korolenko considered terrorism to be a phenomenon contrary to human nature. It is no wonder that one of his friends, while Korolenko was tormented: to swear or not to swear, joked that if he had taken the oath, he would definitely become a terrorist, which contradicted himself, his nature, his train of thought and conscience.

While he was waiting to be arrested after refusing to swear allegiance, the opportunity to escape was presented to him, but he did not take advantage of it, just as before in Glazov, when he had the same opportunity to escape from all this.

However, Korolenko’s self-fidelity did not turn into frenzy, strict submission to some principles, etc.

It seems to me that in his story “Wonderful” (1880), he seems to imagine himself in the role of the woman who is being taken into exile. What did its principles lead to? what did they give her? Korolenko writes about her beliefs and her integrity: “You can break her... but you can bend her - I saw it myself: people like that can’t bend.”

Murder and shedding of blood are topics that worried many writers of the 19th century and were considered by them in different aspects. Korolenko thinks about “harmonious order in the world,” but the idea of ​​interconnectedness, interdependence of nature, man, and society was vague, but permeated all of Korolenko’s work.

Struggle and dissatisfaction, constant movement, even if the goal is not fully realized - this is what Korolenko values ​​in people. Stopping is tantamount to death.

Almost all of Korolenko’s stories are created on the basis of what he himself experienced or saw, and at their center is an unconquered person.

With the words “Man is created for happiness, like a bird for flight, in the story paradox Vladimir Galaktionovich expresses the idea that man is part of a huge world and contains its infinity.

After the defeat of the 1905 revolution, which entailed mass arrests and executions, Korolenko tried with all his might to intensify the civil temperament of society, mass resistance to murder and torture.

Korolenko’s social activities distracted him from literature, and in the last years of his life he began a major work, “The History of My Contemporary,” where, in general, he analyzed his spiritual quests.

Korolenko died in 1921. Throughout his life, his incessant nature demanded justice. The concepts of “literature” and “struggle” for Korolenko were united, like the concepts of “man” and “citizen”. They were an organic and natural embodiment of himself.

Korolenko writer journalism work

MAIN DATES IN THE LIFE, CREATIVITY AND SOCIAL ACTIVITY OF V. G. KOROLENKO 5

1853 July 15 (27)- Vladimir Galaktionovich Korolenko was born in the city of Zhitomir, Volyn province.

1864 - Enters the gymnasium.

1871 - He graduated from high school with a silver medal and entered the Technological Institute in St. Petersburg.

1873 - Leaving the institute. Proofreading work.

1874 - Admitted to the Petrovsky Agricultural and Forestry Academy.

1876 - Expelled from the academy for filing a collective application. Settlement in Kronstadt under open police supervision. Drawing, work.

1877 - Enters the Mining Institute in St. Petersburg. Proofreading work in the newspaper “Novosti”. Participation in Nekrasov's funeral.

1878 - He is studying shoemaking, intending to take part in “going among the people.”

The Korolenko brothers, Vladimir and Julian, translated the book “The Bird” by J. Michelet. The first appearance in the press was a note in the newspaper “Novosti” - “Fight at Apraksin Dvor (Letter to the Editor).”

1879 - Arrest and deportation to the city of Glazov, Vyatka province. Shoemaking work. The magazine “Slovo” published “Episodes from the life of a “seeker.” Sent to Berezovskie Pochinki.

1880 - Arrest and transfer to the Vyshnevolotsk political prison. The story “Wonderful” has been written. Korolenko was sent into exile in Siberia. The essay “The Unreal City” was written on the prison barge. Returned from the road and settled under police supervision in the city of Perm. “The Unreal City” is published in the Lay. Service as timekeeper and clerk at railway.

1881 - The story “Temporary residents of the “under investigation department” was published.” Refusal of the oath. Deported to the settlement of Amga, Yakutsk region.

1882–1884 - Agricultural and shoemaking work. The stories “The Killer”, “Makar’s Dream” were written, work on the stories “Sokolinets”, “In Bad Society”, “A Vagrant Marriage” (“Marusina’s Zaimka”), “Machine Workers” (“The Sovereign’s Coachmen”), etc.

1885 - Settlement in Nizhny Novgorod. Cooperation in the newspapers “Volzhsky Vestnik” and “Russian Vedomosti”. The stories “On the Night of the Bright Holiday”, “The Old Bell-Ringer”, “The Wilderness”, “Makar’s Dream”, and the essay “On the Machine” were published. Participation in the magazines “Russian Thought”, “Northern Herald”. The stories “Killer” and “Sokolinets” appeared.

1886 - “The Forest is Noisy” was published. Marriage to A. S. Ivanovskaya. Visited L.N. Tolstoy. The story “The Blind Musician”, the stories “The Tale of Flora the Roman”, “The Sea”, and the essay “Containing” were published. The 1st volume of “Essays and Stories” has been published.

1887 - “Prokhor and students.” Acquaintance with A.P. Chekhov and G.I. Uspensky. "At the factory". Joined the editorial office of Severny Vestnik. “Behind the Icon”, “At the Eclipse” were printed. A separate edition of The Blind Musician. Work in the Nizhny Novgorod Archive Commission.

1888 - Printed “Along the Way.” “From a notebook” (first edition of “Circassian”). "On both sides." Leaving the editorial office of Severny Vestnik. Story "At Night".

1889 - Meetings with N.G. Chernyshevsky in Saratov. Visit to Korolenko A. M. Gorky.

1890 - The essays “In Deserted Places” and “Pavlovian Sketches” were published.

1892 - Working on hunger. Articles “Around the Nizhny Novgorod region”.

The stories “The River Plays” and “At-Davan” appeared in print. Cooperation in “Russian Wealth”.

1893 - Articles “In a hungry year” in “Russian wealth”. Foreign travel.

1894 - “Paradox”, “God’s Town”, “Fight in the House” were printed. Joined the editorial board of Russian Wealth.

1895 - The story “Without Language” was published in Russian Wealth. The essay “Fighting the Devil” appeared. Secondary trial of the Multan case. Articles in defense of Multans.

1896 - Moving to St. Petersburg. "Death Factory", "On a Cloudy Day". Work on the story “The Artist Alymov”. Acting as a defense attorney in the Multan case.

1897 - Trip to Romania. "Above the estuary."

1899 - The essay “At the Dacha” (“The Humble”) was published. The satirical fairy tale “Stop, sun, and don’t move, moon!” was written. Work on the story “The Raiding Tsar”. The story “Marusya” (“Marusya’s Zaimka”) was published.

1900 - Elected honorary academician. Editorial work. "Lights." Trip to Uralsk. Moving to Poltava. The story “A Moment” has been published.

1901 - The stories “Frost”, “The Last Ray”, essays “At the Cossacks” were published.

1902 - A trip to the city of Sumy for the trial of Pavlovsk sectarians. "Memories of G.I. Uspensky." Refusal of the title of honorary academician.

1903 - The articles “Autocratic Helplessness” and “Surrogates of Glasnost for the Highest Use” were published. The story "Not scary." Trip to Chisinau. The essay “House No. 13” was written (not passed by censorship). Celebrating Korolenko's fiftieth anniversary.

1904 - Korolenko - editor-publisher of Russian Wealth.

Memoirs “In Memory of A.P. Chekhov.” “Memories of Chernyshevsky” was published. The story “Feudal Lords” was published.

1905 - Article “January 9 in St. Petersburg.” Start of work on “The History of My Contemporary.” Participation in the newspaper "Poltava" (later "Chernozem"). The fight against pogromists in Poltava. Appeals to the city population with anti-pogrom calls. Banning of "Russian Wealth" for printing the "Manifesto" of the St. Petersburg Council of Workers' Deputies. The essay “House No. 13” was published. About 60 articles on socio-political topics.

1906 - “Open letter to State Councilor Filonov.” The persecution of the writer by the Black Hundreds. “The History of My Contemporary” began to be published. The article “Words of the Minister. Affairs of governors". About 40 articles throughout the year.

1907 - The article “Sorochinskaya tragedy”, “From stories about people we met” were published.

1909 - Essay “Ours on the Danube”.

1910 - Articles “Everyday Phenomenon”, “Features of Military Justice”. Meeting with L.N. Tolstoy. Participation in Tolstoy's funeral.

1911 - Articles “In a calm village”, “To hell with military justice”, “Torture orgy”, “Liquidation of the Pskov hunger strike”, etc. were published.

1913 - Article about Korolenko in Rabochaya Pravda, “Writer-Humanist.” At the Beilis trial in Kyiv. Articles "Gentlemen of the Jurors".

1914 - Travel abroad for treatment. Preparation for publication of complete works. During the year, nine volumes of complete works were published by the publishing house of A. F. Marx.

1915 - Article “Won Position”. Return to Russia. "Mr. Jackson's Opinion on the Jewish Question." Work on the story "The Mendel Brothers".

1916 - Editorial and journalistic activities. Articles “Old traditions and a new organ”, “On the Ma-riampole treason”, etc. were published. Work on “The History of My Contemporary”.

1918 - Work on “The History of My Contemporary.” Article “To help Russian children.”

1919 - Work in the Children's Rescue League. Protests against the robberies and pogroms of the Denikinites. Six "Letters from Poltava". The 2nd volume of “The History of My Contemporary” has been published.

1920 - Visit to A.V. Lunacharsky. Work on the 3rd volume of “The History of My Contemporary”. Letters to Lunacharsky about current events.

1921 - A sharp deterioration in health. The 4th volume of “The History of My Contemporary” has been completed. December 25 Korolenko died. 27th of December At the meeting of the IX All-Russian Congress of Soviets, delegates paid tribute to the memory of the writer. December 28th- mourning in Poltava, civil funeral of V. G. Korolenko.

This text is an introductory fragment.

MAIN DATES IN THE LIFE AND WORK OF A. A. MEZRINA 1853 - born in the settlement of Dymkovo in the family of the blacksmith A. L. Nikulin. 1896 - participation in the All-Russian exhibition in Nizhny Novgorod. 1900 - participation in the World Exhibition in Paris. 1908 - acquaintance with A.I. Denshin. 1917 - exit

Main dates of life and work 1938, January 25 - born at 9:40 a.m. in the maternity hospital on Third Meshchanskaya Street, 61/2. Mother, Nina Maksimovna Vysotskaya (before Seregin’s marriage), is a reference-translator. Father, Semyon Vladimirovich Vysotsky, is a military signalman. 1941 - together with his mother

MAIN DATES OF LIFE AND WORK 1870, November 10 (October 23, old style) - born in Voronezh, in the family of a small nobleman Alexei Nikolaevich Bunin and Lyudmila Alexandrovna, née Princess Chubarova. Childhood - in one of the family estates, on the farm of Butyrka, Eletsky

MAIN DATES OF LIFE AND WORK 1475, March 6 - Michelangelo was born into the family of Lodovico Buonarroti in Caprese (in the Casentino region), near Florence. 1488, April - 1492 - Sent by his father to study with the famous Florentine artist Domenico Ghirlandaio. From him a year later

Main dates of life and work: 1904–11 May in Figueres, Spain, Salvador Jacinto Felipe Dali Cusi Farres was born. 1914 - First painting experiments on the Pichot estate. 1918 - Passion for impressionism. First participation in the exhibition in Figueres. “Portrait of Lucia”, “Cadaques”. 1919 - First

MAIN DATES OF LIFE AND WORK 1884 July 12: the birth of Amedeo Clemente Modigliani into a Jewish family of educated Livorno bourgeoisie, where he becomes the youngest of four children of Flaminio Modigliani and Eugenia Garcin. He gets the nickname Dedo. Other children: Giuseppe Emanuele, in

Main dates of life and work: 1883, April 30 - Jaroslav Hasek was born in Prague. 1893 - admitted to the gymnasium on Zhitnaya Street. 1898, February 12 - leaves the gymnasium. 1899 - enters the Prague Commercial School. 1900, summer - wandering around Slovakia. 1901 , January 26 - in the newspaper “Parodies Sheets”

MAIN DATES OF LIFE AND WORK 1930, September 15 - Merab Konstantinovich Mamardashvili was born in Georgia, in the city of Gori. 1934 - the Mamardashvili family moves to Russia: Merab's father, Konstantin Nikolaevich, is sent to study at the Leningrad Military-Political Academy. 1938 -

Main dates of life and activity 1846, December 26 (January 7, 1847 n.st.) - Birth of A.P. Karpinsky in the Urals, Theological Plant (now Karpinsk). 1858, summer - Travel in the “golden caravan” to St. Petersburg. August 7 - Admission to the Mountain Cadet Corps. 1866, June 11 - Graduation

Key dates of life and work 1912 Born in New York 1932 Received a bachelor's degree in economics and mathematics from Rutgers University 1937 Began many years of collaboration with the National Bureau of Economic Research 1950 Served as a consultant on

Key Dates of Life and Work 1912 Born in Winchester 1934 Graduated from Yale University with a BA in Economics 1936 Received an LLM from Balliol College, Oxford University 1937 Began a career on Wall Street 1937 Married

MAIN DATES OF LIFE AND WORK 1942, September 3. In Maykop, during the occupation, in the family of Alexey Alekseevich Vasilyev, the chief engineer of the plant, who became one of the managers partisan movement, and Klavdia Parmenovna Shishkina had a son, Konstantin. 1949. Family

MAIN DATES OF LIFE AND WORK 1856, August 27 - In the village of Naguevichi, Drohobych district, Ivan Yakovlevich Franko was born in the family of a rural blacksmith. 1864–1867 - Study (from the second grade) at a normal four-year school of the Basilian Order in the city of Drohobych. 1865, in the spring - Died

Some dates of the life, creativity and medical activity of A. P. Chekhov 1860 - January 17 (29) - birth of A. P. Chekhov. 1869-1879 - Study at the Taganrog classical gymnasium. 1879 - Anton Pavlovich moved to Moscow and entered the medical faculty Moscow University.1880

Korolenko Vladimir Galaktionovich
Born: July 15 (27), 1853.
Died: December 25, 1921.

Biography

Vladimir Galaktionovich Korolenko (July 15 (27), 1853, Zhitomir - December 25, 1921, Poltava) - Russian writer of Ukrainian-Polish origin, journalist, publicist, public figure, who earned recognition for his human rights activities both during the years of tsarist power and during the Civil War war and Soviet power. For his critical views, Korolenko was subjected to repression by the tsarist government. Substantial part literary works The writer was inspired by his impressions of his childhood spent in Ukraine and his exile in Siberia.

Honorary Academician of the Imperial Academy of Sciences in the category of fine literature (1900-1902, from 1918).

Childhood and youth

Korolenko was born in Zhitomir in the family of a district judge. According to family legend, the writer’s grandfather Afanasy Yakovlevich came from a Cossack family that went back to the Mirgorod Cossack colonel Ivan Korol: 5-6; Grandfather's sister Ekaterina Korolenko is the grandmother of Academician Vernadsky. The writer’s father, stern and reserved and at the same time incorruptible and fair, Galaktion Afanasyevich Korolenko (1810-1868), who in 1858 had the rank of collegiate assessor and served as a Zhytomyr district judge, had a huge influence on the formation of his son’s worldview. Subsequently, the image of his father was captured by the writer in his famous story “In Bad Society.” The writer’s mother, Evelina Iosifovna, was Polish, and Polish was Vladimir’s native language in childhood.

U Korolenko there was an older brother Julian, a younger brother Illarion and two younger sisters Maria and Evelina. The third sister, Alexandra Galaktionovna Korolenko, died on May 7, 1867 at the age of 1 year and 10 months. She was buried in Rivne.

Vladimir Korolenko began his studies at the Polish boarding school of Rykhlinsky, then studied at the Zhitomir gymnasium, and after his father was transferred for service to Rivne, he continued his secondary education at the Rivne real school, graduating after his father’s death. In 1871 he entered the St. Petersburg Technological Institute, but due to financial difficulties he was forced to leave it and in 1874 go on a scholarship to the Petrovsky Agricultural Academy in Moscow.

Revolutionary activity and exile

WITH early years Korolenko joined the revolutionary populist movement. In 1876, for participating in populist student circles, he was expelled from the academy and exiled to Kronstadt under police supervision. In Kronstadt, a young man earned his living by drafting work: 47-48.

At the end of his exile, Korolenko returned to St. Petersburg and in 1877 entered the Mining Institute. This period dates back to the beginning literary activity Korolenko. In July 1879, the St. Petersburg magazine “Slovo” published the writer’s first short story, “Episodes from the Life of a ‘Seeker’.” Korolenko originally intended this story for the magazine “Otechestvennye Zapiski”, but the first attempt at writing was unsuccessful - the editor of the magazine M. E. Saltykov-Shchedrin returned the manuscript to the young author with the words: “It would have been nothing... but green... very green.” But in the spring of 1879, on suspicion of revolutionary activity, Korolenko was again expelled from the institute and exiled to Glazov, Vyatka province.

On June 3, 1879, together with his brother Illarion, the writer, accompanied by gendarmes, was taken to this provincial town. The writer remained in Glazov until October, until, as a result of two complaints from Korolenko about the actions of the Vyatka administration, his punishment was tightened. On October 25, 1879, Korolenko was sent to the Biserovskaya volost with the appointment of residence in Berezovsky Pochinki, where he stayed until the end of January 1880. From there, for unauthorized absence from the village of Afanasyevskoye, the writer was sent first to the Vyatka prison, and then to the Vyshnevolotsk transit prison.

From Vyshny Volochok he was sent to Siberia, but was returned from the road. On August 9, 1880, together with another batch of exiles, he arrived in Tomsk for further travel to the east. Was located on what is now the street. Pushkina, 48.

“In Tomsk we were placed in a transit prison, a large stone one-story building,” Korolenko later recalled. “But the next day, a governor’s official came to the prison with the message that the Loris-Melikov High Commission, having examined our cases, decided to release several people, and announce to six that they were returning to European Russia under police supervision. I was among them...” From September 1880 to August 1881 he lived in Perm as a political exile, serving as a timekeeper and clerk on the railway. He gave private lessons to Perm students, including the daughter of a local photographer, Maria Moritsovna Geinrich, who later became the wife of D. N. Mamin-Sibiryak.

In March 1881, Korolenko refused an individual oath to the new Tsar Alexander III and on August 11, 1881 he was expelled from Perm to Siberia. He arrived in Tomsk for the second time, accompanied by two gendarmes, on September 4, 1881 and was taken to the so-called prison castle, or, as the prisoners called it, the “Containing” prison (now the rebuilt 9th building of the TPU on Arkady Ivanov Street, 4).

He served his term of exile in Siberia in Yakutia in the Amginskaya Sloboda. Harsh living conditions did not break the writer’s will. The difficult six years of exile became the time of formation of a mature writer and provided rich material for his future works.

Literary career

In 1885, Korolenko was allowed to settle in Nizhny Novgorod. The Nizhny Novgorod decade (1885-1895) is the period of the most fruitful work of Korolenko as a writer, a surge of his talent, after which the reading public throughout the world started talking about him. Russian Empire.

In January 1886, in Nizhny Novgorod, Vladimir Galaktionovich married Evdokia Semyonovna Ivanovskaya, whom he had known for a long time; he will live with her for the rest of his life.

In 1886, his first book, “Essays and Stories,” was published, which included the writer’s Siberian short stories. During these same years, Korolenko published his “Pavlovsk Sketches”, which were the result of repeated visits to the village of Pavlova in Gorbatovsky district Nizhny Novgorod province. The work describes the plight of the artisanal metalworkers of the village, crushed by poverty.

Korolenko’s real triumph was his exit best works- “Makar’s Dream” (1885), “In Bad Society” (1885) and “The Blind Musician” (1886). In them, Korolenko, with a deep knowledge of human psychology, takes a philosophical approach to resolving the problem of the relationship between man and society. The material for the writer was the memories of his childhood spent in Ukraine, enriched with observations, philosophical and social conclusions of a mature master who went through difficult years of exile and repression. According to the writer, the fullness and harmony of life, happiness can only be felt by overcoming one’s own egoism and taking the path of serving the people.

In the 1890s, Korolenko traveled a lot. He visits various regions of the Russian Empire (Crimea, Caucasus). In 1893, the writer attended the World Exhibition in Chicago (USA). The result of this trip was the story “Without Language” (1895). Korolenko receives recognition not only in Russia, but also abroad. His works are published in foreign languages.

In 1895-1900, Korolenko lived in St. Petersburg. He edits the magazine "Russian Wealth". During this period, the short stories “Marusya’s Zaimka” (1899) and “Moment” (1900) were published.

In 1900, the writer settled in Poltava, where he lived until his death.

In 1905 he built a dacha on the Khatki farm, and until 1919 he spent every summer here with his family.

In the last years of his life (1906-1921) Korolenko worked on a large autobiographical work“The History of My Contemporary”, which was supposed to summarize everything that he experienced, systematize philosophical views writer. The work remained unfinished. The writer died while working on his fourth volume from pneumonia.

He was buried in Poltava at the Old Cemetery. In connection with the closure of this necropolis on August 29, 1936, the grave of V. G. Korolenko was moved to the territory of the Poltava City Garden (now it is Victory Park). The tombstone was made by Soviet sculptor Nadezhda Krandievskaya.

Journalism and social activities

Korolenko's popularity was enormous, and the tsarist government was forced to take his journalistic statements into account. The writer attracted public attention to the most pressing, pressing issues of our time. He exposed the famine of 1891-1892 (a series of essays “In the Hungry Year”), drew attention to the “Multan Affair”, denounced the tsarist punitive forces who brutally dealt with Ukrainian peasants fighting for their rights (“Sorochinskaya Tragedy”, 1906), reactionary policies tsarist government after the suppression of the 1905 revolution (“Everyday Phenomenon,” 1910).

In his literary social activities, he drew attention to the oppressed position of Jews in Russia and was their consistent and active defender. In 1911-1913, Korolenko spoke out against the reactionaries and chauvinists who were inflating the falsified “Beilis case”; he published more than ten articles in which he exposed the lies and falsifications of the Black Hundreds.

In 1900, Korolenko, along with Leo Tolstoy, Anton Chekhov, Vladimir Solovyov and Pyotr Boborykin, was elected an honorary academician of the St. Petersburg Academy of Sciences in the category of fine literature, but in 1902 he resigned the title of academician in protest against the exclusion of Maxim Gorky from the ranks of academicians. After the overthrow of the monarchy, the Russian Academy of Sciences in 1918 elected Korolenko an honorary academician again.

Attitude to revolution and civil war

In 1917, A.V. Lunacharsky said that Korolenko was suitable for the post of first president of the Russian Republic. After October revolution Korolenko openly condemned the methods by which the Bolsheviks carried out the construction of socialism. The position of Korolenko, a humanist who condemned the atrocities of the civil war, who defended the individual from Bolshevik tyranny, is reflected in his “Letters to Lunacharsky” (1920) and “Letters from Poltava” (1921).

Korolenko and Lenin

V.I. Lenin first mentioned Korolenko in his work “The Development of Capitalism in Russia” (1899). Lenin wrote: “the preservation of the mass of small establishments and small proprietors, the preservation of connections with the land and the extremely widespread development of work at home - all this leads to the fact that very many “handicraftsmen” in manufacturing gravitate towards the peasantry, towards becoming a small proprietor, to the past, and not to the future, they also seduce themselves with all sorts of illusions about the possibility (through extreme effort of work, through frugality and resourcefulness) to turn into an independent owner”; “for individual heroes of amateur performances (like Duzhkin in Korolenko’s “Pavlovsk Sketches”) such a transformation into the manufacturing period is still possible, but, of course, not for the mass of poor detailed workers.” Lenin, thus, recognized the vital truthfulness of one of artistic images Korolenko.

Lenin mentioned Korolenko a second time in 1907. Since 1906, articles and notes by Korolenko about the torture of Ukrainian peasants in Sorochintsy by the actual state councilor Filonov began to appear in the press. Soon after publication in the Poltava region newspaper open letter Korolenko with Filonov’s revelations, Filonov was killed. The persecution of Korolenko began for “incitement to murder.” March 12, 1907 in State Duma monarchist V. Shulgin called Korolenko a “murderer writer.” In April of the same year, the representative of the Social Democrats, Aleksinsky, was supposed to speak in the Duma. For this speech, Lenin wrote a “Draft Speech on the Agrarian Question in the Second State Duma.” Having mentioned in it a collection of statistical materials from the Department of Agriculture, processed by a certain S.A. Korolenko, Lenin warned against confusing this person with the famous namesake, whose name was recently mentioned at a meeting of the Duma. Lenin noted: “This information was processed by Mr. S. A. Korolenko - not to be confused with V. G. Korolenko; not a progressive writer, but a reactionary official, that’s who this Mr. S. A. Korolenko is.”

There is an opinion that the pseudonym “Lenin” itself was chosen under the impression of the Siberian stories of V. G. Korolenko. Researcher P.I. Negretov writes about this with reference to the memoirs of D.I. Ulyanov:271.

In 1919, Lenin, in a letter to Maxim Gorky, sharply criticized Korolenko’s journalistic work on the war:271. Lenin wrote:

It is wrong to confuse the “intellectual forces” of the people with the “forces” of bourgeois intellectuals. I’ll take Korolenko as an example: I recently read his pamphlet “War, Fatherland and Humanity,” written in August 1917. Korolenko is the best of the “near-cadets”, almost a Menshevik. And what a vile, vile, vile defense of the imperialist war, covered up with sugary phrases! A pathetic bourgeois, captivated by bourgeois prejudices! For such gentlemen, 10,000,000 killed in an imperialist war is a cause worthy of support (deeds, with sugary phrases “against” war), and the death of hundreds of thousands in a just civil war against landowners and capitalists causes gasps, groans, sighs, hysterics. No. It’s not a sin for such “talents” to spend weeks in prison if this needs to be done to prevent conspiracies (like Krasnaya Gorka) and the death of tens of thousands... In 1920, Korolenko wrote six letters to Lunacharsky, in which he criticized the extrajudicial powers of the Cheka to impose death sentences, as well as called for abandoning the idealistic policy of war communism, which is destroying the national economy, and restoring natural economic relations. According to available data, the initiative for Lunacharsky’s contact with Korolenko came from Lenin. According to the memoirs of V.D. Bonch-Bruevich, Lenin hoped that Lunacharsky would be able to change Korolenko’s negative attitude towards the Soviet system. Having met Korolenko in Poltava, Lunacharsky suggested that he write letters to him outlining his views on what was happening; at the same time, Lunacharsky inadvertently promised to publish these letters along with his answers. However, Lunacharsky did not respond to the letters. Korolenko sent copies of the letters abroad, and in 1922 they were published in Paris. This publication soon appeared in Lenin's possession. The fact that Lenin was reading Korolenko’s letters to Lunacharsky was reported on September 24, 1922 in Pravda: 272-274.

Family

He was married to Evdokia Semyonovna Ivanovskaya, a revolutionary populist.
Two children: Natalya and Sophia. (Two more died in infancy.)
The wife's sisters P.S. Ivanovskaya, A.S. Ivanovskaya and the wife's brother V.S. Ivanovsky were populist revolutionaries.

Ratings

Contemporaries highly valued Korolenko not only as a writer, but also as a person and as a public figure. The usually reserved I. Bunin said about him: “You rejoice that he lives and thrives among us, like some kind of titanium, who cannot be touched by all those negative phenomena with which our current literature and life are so rich. When L.N. Tolstoy lived, I personally was not afraid of everything that was happening in Russian literature. Now I, too, am not afraid of anyone or anything: after all, the wonderful, immaculate Vladimir Galaktionovich Korolenko is alive.” A. Lunacharsky, after the February Revolution, expressed the opinion that it was Korolenko who should become the president of the Russian republic. In M. Gorky, Korolenko evoked a feeling of “unshakable trust.” Gorky wrote: “I was friendly with many writers, but none of them could instill in me the feeling of respect that V[ladimir] G[alaktionovich] instilled from my first meeting with him. He was my teacher for a short time, but he was him, and he is my pride to this day.” A. Chekhov spoke about Korolenko like this: “I’m ready to swear that Korolenko is very good man. Walking not only next to, but even behind this guy is fun.”