Audiobook: Sergei Aksakov “Family Chronicle. Audiobook family chronicle Aksakov family chronicle audiobook

William Thackeray, English satirist

A book is a huge force.

Vladimir Ilyich Lenin, Soviet revolutionary

Without books, we can now neither live, nor fight, nor suffer, nor rejoice and win, nor confidently move towards that reasonable and beautiful future in which we unshakably believe.

Many thousands of years ago, the book, in the hands of the best representatives of humanity, became one of the main weapons in their struggle for truth and justice, and it was this weapon that gave these people terrible strength.

Nikolai Rubakin, Russian bibliologist, bibliographer.

A book is a working tool. But not only. It introduces people to the lives and struggles of other people, makes it possible to understand their experiences, their thoughts, their aspirations; it makes it possible to compare, understand the environment and transform it.

Stanislav Strumilin, academician of the USSR Academy of Sciences

There is no better way to refresh the mind than to read the ancient classics; As soon as you take one of them in your hands, even for half an hour, you immediately feel refreshed, lightened and cleansed, lifted and strengthened, as if you had refreshed yourself by bathing in a clean spring.

Arthur Schopenhauer, German philosopher

Anyone who was not familiar with the creations of the ancients lived without knowing beauty.

Georg Hegel, German philosopher

No failures of history and blind spaces of time are able to destroy human thought, enshrined in hundreds, thousands and millions of manuscripts and books.

Konstantin Paustovsky, Russian Soviet writer

The book is a magician. The book transformed the world. It contains the memory of the human race, it is the mouthpiece of human thought. A world without a book is a world of savages.

Nikolai Morozov, creator of modern scientific chronology

Books are a spiritual testament from one generation to another, advice from a dying old man to a young man beginning to live, an order passed on to a sentry going on vacation to a sentry taking his place.

Without books, human life is empty. The book is not only our friend, but also our constant, eternal companion.

Demyan Bedny, Russian Soviet writer, poet, publicist

A book is a powerful tool of communication, labor, and struggle. It equips a person with the experience of life and struggle of humanity, expands his horizon, gives him knowledge with the help of which he can force the forces of nature to serve him.

Nadezhda Krupskaya, Russian revolutionary, Soviet party, public and cultural figure.

Reading good books is a conversation with the best people of past times, and, moreover, such a conversation when they tell us only their best thoughts.

René Descartes, French philosopher, mathematician, physicist and physiologist

Reading is one of the sources of thinking and mental development.

Vasily Sukhomlinsky, an outstanding Soviet teacher-innovator.

Reading is for the mind what physical exercise is for the body.

Joseph Addison, English poet and satirist

A good book is like a conversation with an intelligent person. The reader receives from her knowledge and a generalization of reality, the ability to understand life.

Alexei Tolstoy, Russian Soviet writer and public figure

Do not forget that the most colossal weapon of multifaceted education is reading.

Alexander Herzen, Russian publicist, writer, philosopher

Without reading there is no real education, there is no and there can be no taste, no words, no multifaceted breadth of understanding; Goethe and Shakespeare are equal to a whole university. By reading a person survives centuries.

Alexander Herzen, Russian publicist, writer, philosopher

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“It became difficult for my grandfather to live in the Simbirsk province, in his ancestral homeland, granted to his ancestors from the kings of Moscow... For some time, he began to often hear about the Ufa governorship, about the immeasurable expanse of lands...”. This is how the wonderful Russian writer Sergei Timofeevich Aksakov begins his story about the Bagrov family, about the family’s resettlement to the Trans-Volga steppes, in the Orenburg region. True to family legends and the memory of his roots, the author has recreated a vivid, reliable picture of landowner life in the 18th century. The everyday story, told simply, without verbal tricks, entered the treasury of classical Russian prose. “Grandfather affectionately greeted his wife and called her Arisha; he never kissed her hand, but let her kiss his own as a sign of mercy. Arina Vasilyevna blossomed and looked younger: where did her obesity and clumsiness go! Now she brought a small bench and sat down next to her grandfather on the porch, which she never dared to do if he greeted him unkindly. “Let’s have some tea together, Arisha!” - Stepan Mikhailovich spoke, - as long as it’s not hot. Although it was stuffy to sleep, I slept soundly, so I slept through all my dreams. Well, what about you?” Such a question was an extraordinary kindness, and the grandmother hastily answered that every night Stepan Mikhailovich sleeps well, she also sleeps well...”

Childhood and youth

Novo-Aksakovo

Sergei Timofeevich Aksakov came from an old but poor noble family. His father Timofey Stepanovich Aksakov was a provincial official. Mother - Maria Nikolaevna Aksakova, nee Zubova, a very educated woman for her time and social circle, who in her youth corresponded with famous educators and.

Aksakov spent his childhood in Ufa and on the Novo-Aksakovo estate, among steppe nature that was still little touched by civilization at that time. His grandfather Stepan Mikhailovich had a significant influence on the formation of Aksakov’s personality in early childhood.

At the age of 8, in 1801, Aksakov was assigned to the Kazan gymnasium. Since then, when the senior classes of the gymnasium were transformed into the 1st year of the newly formed one, Aksakov became a student there.

Memories of Aksakov’s childhood and youth subsequently formed the basis of his memoir-autobiographical trilogy: “Family Chronicle” (), “Childhood of Bagrov the Grandson” (), “Memories” ().

Early period of literary activity

During this period, Aksakov was engaged in literary creativity irregularly; he was mainly attracted to translation activities. In the city he translated “The School of Husbands”, for Shusherin’s benefit “Philoctete” (from French), “8th Satire (On a Person)” (). Somewhat later - the comedy “The Miser” () and the novel “Peveril” ().

Among the poetic works of that time, it is worth noting the poem “The Ural Cossack” (1821), although he himself later characterized it as: “a weak and pale imitation of the Black Shawl.” In the same year, in Vestnik Evropy, he published “Elegy in a New Taste,” a parody of the romantic school, and the sharply polemical “Message of the Prince. Vyazemsky."

Despite his irregular participation in literary and theatrical life, Aksakov is still a fairly prominent figure in it, and in the year he was elected to the Full Members of the “Society of Lovers of Russian Literature” at.

Aksakov - censor

Experiencing financial difficulties, Aksakov continued to seek a return to service, and in the summer of the year, despite the story of the feuilleton “Recommendation of the Minister,” he still managed to retake the position of censor. His responsibilities included checking current printed materials from advertising leaflets to literary works, as well as magazines: "", "Galatea", "" and "".

A serious problem for Aksakov the censor was the need to supervise the Moscow Telegraph magazine. As already noted, its publisher was in many ways an ideological opponent of Aksakov and naturally suspected him of bias. In the first period of his censorship, friction regularly arose between them, and when in the year the leadership again entrusted him with reading this magazine, Aksakov refused this so as not to raise doubts about his objectivity.

Aksakov approached his activities as a censor exclusively conscientiously, paying attention not only to the content, but also to the artistic quality of texts. He was not particularly harsh, but he was not a liberal either. So, due to an unfavorable political situation, he suspended the publication of Martha the Posadnitsa, which he himself had previously authorized, and made serious contributions to Poems.

In 1831, the first issue of the Telescope magazine was published, in which the article “Modern Direction of Enlightenment” was published, which aroused the displeasure of the authorities. Aksakov was reprimanded as a censor. In response, he wrote sharp explanatory letters to his boss in Moscow and to the leader himself.

Aksakov received a new strict reprimand for permission to publish the article “The Nineteenth Century” in No. 1 of the magazine “”. The magazine was closed.

The management's opinion of Aksakov's activities became less and less favorable. The last straw was the publication of the satirical ballad “Twelve Sleeping Watchmen” by E. Fityulkin, which he allowed, which once again aroused the emperor’s anger. In February, Mr. Aksakov was fired from.

Theater criticism

Until the mid-20s. theatrical criticism in periodicals was banned in the Russian Empire. But by the end of the decade, censorship restrictions began to loosen, and of course, the passionate theater lover Aksakov immediately became involved in this activity, becoming one of the first Russian theater critics. In 2006, his “Thoughts and Remarks on Theater and Theater Art” were published in “”, and from 1828 to 1830 he became a regular theater columnist for “Moskovsky Vestnik”. Since the middle of the year, on his initiative, this magazine has published a special “Dramatic Addendum”, in which he combines the activities of author and editor.

Most of these publications were published anonymously or under pseudonyms, since Aksakov could not, for ethical reasons, openly combine the work of a censor and a writer. To date, probably not all of his theatrical and critical works have been identified. Some literary historians, for example, suggest that the sensational series of theatrical critical articles published in Molva in 1833 - 1835. signed with the initials P.Shch. also belongs to his pen.

Aksakov's notes are quite simple in form and are devoted mainly to an analysis of the actors' performances, their interaction and the correspondence of stage techniques to the content of the role. He pays a lot of attention to the fight against cliches and outdated stage manners, recitation. Aksakov rarely theorizes, but despite this, his aesthetic position is very definite and consistent. It is based on the requirements of “graceful simplicity” and “naturalness”.

Aksakov was one of the first to appreciate the talent and importance for the Russian theater and. In the city, after a trip to, he published two “Letters from St. Petersburg to the publisher of the Moskovsky Vestnik,” in which he gave a remarkable comparative description of the manners of playing and. The ideas expressed then by Aksakov were later deepened and developed.

Literary criticism

In Aksakov’s literary biography, the complex history of his relationship with the magazine “” deserves special mention. Its publisher represented the liberal trend in Russian journalism and was in many ways an ideological opponent of the literary circle to which Aksakov belonged. Aksakov himself took the position of a sympathetic observer rather than a participant in the debate: only a few articles on this topic are known, including: “Response to the anti-criticism of Mr. V.U.” (1829), “Answer to Mr. N. Polevoy” (1829) “Conversation about the imminent release of Volume II of the History of the Russian People” (1830). A fact of this controversy was Aksakov’s demonstrative withdrawal from membership in the “Society of Lovers of Russian Literature” in protest against his election as a member of this society.

During the controversy with the Moscow Telegraph, Aksakov also published a “Letter to the publisher of the Moskovsky Vestnik”<О значении поэзии Пушкина>" (). This note is notable for the fact that in it Aksakov not only highly appreciated Pushkin’s work during the poet’s lifetime, but also defended him from unfair attacks from criticism.

His last literary critical work was a short article “About Yu. Zhadovskaya’s novel “Away from the Big World”” published in “Rumor” in .

Aksakov – director of the Land Surveying Institute

In the 40s, the themes of Aksakov’s work underwent radical changes. He begins to write a “Family Chronicle”, and in the city he is captured by a new idea: to write a book about. In -th he finishes work on it and in -th publishes it under the title “Notes on Fishing.” The book became an event in literary life and earned the unanimous approval of literary criticism. Its 2nd edition, revised and significantly expanded, is published in the city, and the 3rd lifetime edition is published in the city.

Inspired by the success, Aksakov began writing a book about. After three years of hard work in the city, the book “Notes of a Gun Hunter of the Orenburg Province” comes out of print.

The book also gained great popularity; the entire edition was sold out unusually quickly. Critical reviews were even more favorable than for the book about fishing. Among others, I wrote a wonderful laudatory review. However, while preparing for the 2nd edition (), Aksakov unexpectedly encountered serious opposition from censorship. Only after a tense and lengthy struggle did he manage to defend the book.

Aksakov's books about fishing and hunting were very unusual for their time. They were distinguished from numerous manuals on this topic, first of all, by the high artistic level of the text. Each chapter of the book was a complete literary work - an essay devoted to any element of fishing and hunting equipment, one or another type of fish or bird. The poetic landscape sketches, apt, witty descriptions of fish and bird habits attracted attention. However, first of all, the success of the books among the readers was facilitated by the author’s special style of narration, confidential, based on rich life experience and personal memories.

In the process of working on “Notes of a Gun Hunter,” Aksakov conceived the idea of ​​publishing an annual almanac: “Hunting Collection,” and in the year he submitted a petition for this to. The publication project was rejected. The reason for the ban was the general reputation of the Aksakov family as disloyal to the current government. In addition, a personal file was opened and regularly updated on S.T. Aksakov himself, as clearly “ill-intentioned”, since the beginning of the 30s.

While the bureaucratic procedure continued, Aksakov wrote more than a dozen essays and short stories about different types of hunting. As a result, after the final ban on the publication of the almanac, he compiled a collection from ready-made materials and published it in the city: “Stories and memories of a hunter about different hunts.”

Aksakov and later, almost until his death, did not abandon this favorite topic of his, occasionally publishing small essays in periodicals: “Explanatory note to “The Falconer’s Way” (), “Remarks and observations of a hunter to take mushrooms” (), “Several words about early spring and late autumn fishing" (), etc.

Memoir-autobiographical trilogy

Drawing from the Aksakovs' album

The history of writing “Family Chronicle” stretched over almost a decade and a half. Work on it began in the th year. But soon Aksakov was distracted from her by writing notes about and. Although he did not stop thinking about the great work, work on it resumed only in the city.

As it was written, the book was published in parts in periodicals: a small episode from it appeared back in the city in the “Moscow Literary and Scientific Collection”. 8 years later, the first “passage” is in “ ” (), the fourth - in “ ” () and the fifth - in “ ” (). At the same time, Aksakov worked on “Memoirs”, which in the city, under the same cover, together with the first three excerpts of the “Family Chronicle”, were published as a separate book. In the same year, Aksakov added the remaining two passages to the 2nd edition, and the Family Chronicle finally took its finished form.

When preparing the book for publication, Aksakov again encountered censorship difficulties, especially with regard to the passages “Stepan Mikhailovich Bagrov” and “Mikhaila Maksimovich Kurolesov.” But much more painful than censorship pressure for Aksakov was the need for resistance from many relatives, who feared public disclosure of the shadow sides of family life, any secrets and troubles. Many of the people mentioned were still alive, many internal conflicts were still acute. As a result, Aksakov was forced to either keep silent about many events or mention them in passing, with a hint. Largely because of these same reasons, Aksakov did not finish the story “Natasha” (), which was thematically adjacent to “Family Chronicle”. As a result, a compromise solution was found: to abandon a detailed account of some events and replace the real names of the characters with fictitious ones.

"Family Chronicle" consists of five passages. The first excerpt describes the life of the family after moving to new lands in. The second tells the dramatic story of the marriage of Praskovya Ivanovna Bagrova. The story of the marriage and first years of family life of the author’s parents. As a result, a surprisingly holistic picture of provincial noble life at the end of the century emerges from narratives that are heterogeneous in both theme and style.

The events described in Aksakov’s “Memoirs” took place in the period from 1801 to 1807, during the period of his studies in. Unlike the “Family Chronicle,” the material for which was mainly oral stories from relatives and friends, this work is built almost entirely on the basis of Aksakov’s personal memories. Thematically it is also different from her. The family theme fades into the background, and the plot development is built around the problems that inevitably arise during the period of growing up of the teenage hero.