Ivan Aleksandrovich Goncharov is a famous Russian writer who was a member of the St. Petersburg Academy of Sciences. He gained the greatest fame thanks to such novels as "The Break", "An Ordinary History", "Oblomov", as well as the cycle of road sketches "Frigate Pallas". And, of course, everyone knows Goncharov's literary-critical article "A Million of Torments." Let's talk about this great writer in more detail.

Childhood of the writer

After university

After graduating from the university in 1834, Goncharov went to his native Simbirsk, where his sisters, mother and Tregubov were waiting for him. Such a familiar from childhood, the city struck Ivan first of all by the fact that for so many years nothing has changed there. It was a huge sleepy village.

Even before graduating from university, the future writer had the idea of ​​not returning to his hometown. He was attracted by the intense spiritual life in the capitals (Petersburg, Moscow). And although he made the decision to leave, he still did not leave.

First job

At this time, Goncharov, an essay on the life and work of which is in the school curriculum, received an offer from the governor of Simbirsk. He wanted the future writer to work as his personal secretary. After much hesitation and thought, Ivan accepted the offer, but the work turned out to be boring and ungrateful. But he understood the mechanism of the functioning of the bureaucratic system, which later came in handy for him as a writer.

Eleven months later, he moved to St. Petersburg. Ivan began to build his future with his own hands, without any outside help. Upon arrival, he got a job as a translator at the Ministry of Finance. The service was not burdensome and well paid.

Later he became friends with the Maikov family, teaching Russian literature and Latin to his two eldest sons. The Maykovs' house was an interesting cultural center of St. Petersburg. Painters, musicians and writers gathered here every day.

The beginning of creativity

Over time, Goncharov, whose "Million of Torments" remains one of the most widely read works, began to treat with irony the romantic cult of art inherent in the Maikovs' house. The 40s can be called the beginning of his career. This was an important time in terms of the development of Russian literature and the life of society in general. It was then that the writer met Belinsky. The great critic significantly enriched the spiritual world of Ivan Alexandrovich and showed admiration for the style of writing that Goncharov owned. "Million of torments" of the writer was highly appreciated by Belinsky.

In 1847, Sovremennik published An Ordinary History. In this novel, the conflict between romanticism and realism is presented in the form of a significant collision of Russian life. With the invented title, the author drew the reader's attention to the typicality of the processes reflected in this creation.

Trip around the world

In 1852, Goncharov was lucky enough to get a secretary in the service of Vice Admiral Putyatin. So the writer went to the frigate "Pallada". Putyatin was instructed to inspect Russian possessions in America (Alaska) and establish trade and political relations with Japan. Ivan Alexandrovich was already in anticipation of many impressions that would enrich his work. Goncharov, whose "Million of Torments" is still popular, kept a detailed diary from the first days. These notes formed the basis of his future book "Frigate" Pallas "". It was published in 1855, when the writer returned to St. Petersburg, and was well received by the readers.

But since Ivan Aleksandrovich worked as a censor in the Ministry of Finance, he found himself in an ambiguous position. In the progressive strata of society, his position was not welcomed. A persecutor of free thought and a representative of the hated power - that was who the Potters were for most of them. The novel "Oblomov" was almost ready, but Ivan Alexandrovich could not finish it due to lack of time. Therefore, he left the Treasury Department and focused entirely on his writing career.

The flowering of creativity

"Goncharov, the novel" Oblomov "" - such an inscription was on the cover of several thousand books published in 1859. The fate of the leading character was revealed not only as a social phenomenon, but also as a kind of philosophical understanding of the national character. The writer made an artistic discovery. This novel entered the sketch of the life and work of Goncharov as his most outstanding work. But Ivan Alexandrovich did not want to be idle and bask in the glory. Therefore, he began work on a new novel - "The Break". This work was his child, whom he raised for 20 years.

The last novel

Diseases and mental depression - it was from them that Goncharov suffered in the last years of his life, whose life and work were very productive. "The Break" is the last major work of the writer. After Ivan Aleksandrovich finished work on him, it became even harder for him to live. Of course, he dreamed of writing a new novel, but he never got down to it. He always wrote tensely and slowly. He often complained to colleagues that he did not have time to deeply comprehend the fast-paced events of modern life. It took him time to realize them. All three novels of the writer depicted pre-reform Russia, which he perfectly understood. Ivan Alexandrovich understood the events of subsequent years worse, and he lacked neither moral nor physical strength for their deeper study. Nevertheless, he actively corresponded with other writers and did not abandon his creative activity.

He wrote several essays: "Across Eastern Siberia", "A Trip along the Volga", "Literary Evening" and many others. Some were published posthumously. Also worth noting are a number of his critical works. Here are the most famous etudes by Goncharov: "Million Torment", "Better late than never", "Notes on Belinsky" and others. They have firmly entered the annals of Russian criticism as classic examples of literary and aesthetic thought.

Death

In early September 1891, Goncharov (his life and work are briefly described in this article) caught a cold. Three days later, completely alone, the great writer passed away. Ivan Alexandrovich was buried at the Nikolskoye cemetery at the Alexander Nevsky Lavra (half a century later, the writer's ashes were transferred to the Volkovo cemetery). An obituary immediately appeared in the Vestnik Evropy: "Like Saltykov, Ostrovsky, Aksakov, Herzen, Turgenev, Goncharov will always be in the leading positions in our literature."

Russian literature of the 19th century

Ivan Alexandrovich Goncharov

Biography

D. In contrast to most writers of the forties of the XIX century, he comes from a prosperous Simbirsk merchant family, which did not prevent him, however, from receiving, in addition to a reserve of efficiency, a very thorough education for that time. His mother, a simple but good woman, in whose arms he remained, after the death of his father, a three-year-old child, did not spare anything for raising her son. On the other side of the Volga, in the estate of Princess Khovanskaya, lived a priest, a pupil of the Kazan Theological Academy, educated and enlightened. He was married to a German woman and with her help he opened a boarding house that had a well-deserved success among the local nobility. Young Goncharov was also sent here. The priest was extremely careful in teaching and upbringing. He followed not only the teaching, but also the reading of his students. Children were given only solid and instructive books, even such a thing as Fonvizin's "Brigadier" was excluded from the list of permitted books in order to alienate youthful minds from any hint of frivolity and frivolity. True, at home the Goncharov read the sentimental novels of Mrs. Jeanlis, the ghostly novels of Mrs. Radcliffe, and even the mystical philosophies of Eckhartshausen; but still, in general, the nature of the reading was businesslike and serious. At the age of 12, Goncharov read Derzhavin, Kheraskov, Ozerov, the historical works of Rollin, Golikov, the travels of Mungo Park, Krasheninnikov, Pallas and others. The young Goncharov was especially fond of travels under the influence of the stories of his godfather, Tregubov, an old sailor. These stories, together with early travel reading, were, subsequently, the main source of Goncharov's decision to travel around the world. In 1831, Goncharov, having previously spent several years in one of the private Moscow boarding houses, entered the Faculty of Language at Moscow University. This was the time when a new life began both between professors and between students. Goncharov remained aloof from student circles; of the professors, Nadezhdin and Shevyrev, who were still young and fresh at that time, had a special influence on him. In 1835 Goncharov graduated from the course at the university. After a short service in Simbirsk, he moved to St. Petersburg and entered the Ministry of Finance as a translator. In this ministry, he served until his departure on a round-the-world trip, in 1852. In St. Petersburg, Goncharov soon made literary and artistic acquaintances, and he ended up in such a circle where reigning careless worship of art for art and the elevation of objective creativity into the only artistic ideal ... Goncharov becomes his own man in the house of the artist Nikolai Apollonovich Maikov, the father of the then fourteen-year-old boy Apollo Maikov and his brother, the untimely deceased talented critic Valerian Maikov. Goncharov became acquainted with Belinsky's circle only in 1846, thanks to the "Ordinary History", which was read by the critic in the manuscript and brought him into extraordinary delight. But this acquaintance could not turn into friendship. In 1846 Belinsky was in the midst of a passion for ideas that were coming to us at that time from France - Louis Blanc and Ledru-Rollin. The enemy of all extremes, Goncharov was least carried away by these ideas, even in their reflection in Georges Sand. That is why Belinsky, paying tribute to the utter surprise of Goncharov's talent, at the same time, according to Goncharov's own story, called him a "philistine." In an enthusiastic review of The Ordinary History, Belinsky carefully emphasized the difference between the author of Who Is to Blame, in whose work he was not completely satisfied with the artistic side, but admired the underlying thought, and Goncharov, who is an "artist and nothing more." "Ordinary History" was an extraordinary and at the same time universal success. Even "Northern Bee", a vivid hater of the so-called "natural school", who considered Gogol a Russian Paul de Cock, reacted extremely favorably to the debutant, despite the fact that the novel was written according to all the rules of the school hated by Bulgarin. In 1848, a short story by Goncharov from bureaucratic life was published in Sovremennik: Ivan Savich Podzhabrin, written back in 1842, but only now it was published when the author suddenly became famous. In 1852, Goncharov joined the expedition of Admiral Putyatin, who went to Japan to establish relations with this country, then inaccessible to foreigners. Goncharov was assigned to the expedition as the secretary of the admiral. Returning from a trip, halfway interrupted by the onset of the Eastern War, Goncharov published individual chapters of the Pallada Frigate in magazines, and then zealously took on Oblomov, which appeared in the world in 1859. His success was as universal as that of Ordinary stories". In 1858 Goncharov transferred to the censorship department (first as a censor, then a member of the main department for press affairs). In 1862, he was briefly editor of the official "Northern Mail". In 1869, Goncharov's third big novel, The Break, appeared on the pages of Vestnik Evropy, which, by its very essence, could no longer have universal success. In the early seventies, Goncharov retired. Since then, he has written only a few small sketches ["A Million Torments", "Literary Evening", "Notes on Belinsky's Personality", "Better Late Than Never" (author's confession), "Memories", "Servants", "Break of Will "], which, with the exception of" A Million Torments ", did not add anything to his fame. Goncharov quietly and secluded spent the rest of his life in a small apartment of 3 rooms on Mokhovaya, where he died on September 15, 1891. Buried in Alexandro - The Neva Lavra. Goncharov was not married and bequeathed his literary property to the family of his old servant. Such are the simple frameworks of the long life of the author of "Ordinary History" and "Oblomov." in the appearance of a famous writer, created in the public the conviction that of all the types he created, Goncharov most closely resembles Oblomov. The reason for this assumption was partly given by Goncharov himself. Recall, for example, the epilogue of Oblomov: "We walked along wooden sidewalks there are two gentlemen on the Vyborg side. One of them was Stolz, the other was his friend, a literary man, stout, with an apathetic face, pensive, as if sleepy eyes. " From what follows, it turns out that the apathetic writer who talks to Stolz "lazily yawning" is none other than the author of the novel himself. In "Frigate Pallas" Goncharov exclaims: "Apparently, it was written to me to be the laziest and to infect with laziness everything that comes into contact with me." Undoubtedly, Goncharov ironically brought himself out in the person of the elderly fiction writer Skudelnikov from Literary Evening. Skudelnikov “as he sat down, he did not move in the chair, as if rooted or fell asleep. From time to time he raised his apathetic eyes, glanced at the reader and again lowered them. He, apparently, was indifferent to this reading, and to literature, and in general to everything around him. " Finally, in the author's confession, Goncharov directly states that the image of Oblomov is not only the result of observing the environment, but also the result of self-observation. And the other Goncharov impressed Oblomov the first time. Angelo de Gubernatis thus describes the appearance of the novelist: “Of medium height, stout, slow in gait and in all movements, with an impassive face and a sort of motionless (spento) gaze, he seems completely indifferent to the fussy activities of the poor humanity that swarms around him ". And yet Goncharov is not Oblomov. To undertake a round-the-world voyage sixty years ago on a sailing ship, a determination was needed, least of all reminiscent of Oblomov. Goncharov is not Oblomov even when we get acquainted with the thoroughness with which he wrote his novels, although precisely because of this thoroughness, which inevitably leads to slowness, the public suspected Goncharov of Oblomovism. They see the author's laziness where, in fact, it is terribly intense mental work. Of course, the list of Goncharov's works is very limited. Goncharov's peers - Turgenev, Pisemsky, Dostoevsky - lived less than him, and wrote much more. But on the other hand, how wide is the capture of Goncharov, how great is the amount of fictional material contained in his three novels. Belinsky also said about him: "What else would be in ten stories, Goncharov fits into one frame." Goncharov has few secondary, in size, things; only at the beginning and at the end of his 50-year literary activity - that means, only before he swung to the full extent, and only after his creative power had dried up - did he write his few small stories and sketches. Among the painters there are those who can paint only wide canvases. Goncharov is one of them. Each of his novels is conceived on a colossal scale, each trying to reproduce entire periods, whole strips of Russian life. It is impossible to write many such things, if you do not fall into repetition and do not go beyond the real novel, that is, if you reproduce only what the author himself saw and observed. In both Aduevs, in Oblomov, in Stolz, in grandmother, in Vera and Mark Volokhov, Goncharov embodied, through an unusually intensive synthesis, all those characteristic features of the periods of Russian social development he experienced, which he considered the main ones. And for miniatures, for separate reproduction of small phenomena and persons, if they do not constitute the necessary accessories for the overall wide picture, he was not capable, according to his basic makeup, of more synthetic than analytical talent. This is the only reason why the complete collection of his works is comparatively so immense. The point here is not Oblomovism, but the direct inability of Goncharov to write small things. “They asked in vain,” he says in his author’s confession, “for my cooperation as a reviewer or publicist: I tried it - and nothing came of it, except for pale articles that were inferior to any brisk pen of the usual journal employees”. "Literary evening", for example, - in which the author, contrary to the main trait of his talent, took up a minor topic - a relatively weak work, with the exception of two or three pages. But when the same Goncharov, in "A Million of Torments", took up a critical, but nevertheless broad topic - an analysis of "Woe from Wit", it turned out to be a decisively large piece. In a small sketch, in the space of a few pages, so much intelligence, taste, thoughtfulness and insight are scattered that it cannot but be counted among the best fruits of Goncharov's creative activity. The parallel between Goncharov and Oblomov turns out to be even more inconsistent when we get acquainted with the process of the birth of Goncharov's novels. It is customary to be surprised at Flaubert's extraordinary thoroughness in thinking over and developing his works, but it is hardly at the cost of less intensity in his work that Goncharov got his works. It was widely believed in the public that Goncharov would write a novel, and then rest for ten years. This is not true. The intervals between the appearances of the novels were filled with Goncharov's intense, though not tactile, but still creative work. Oblomov appeared in 1859; but it was conceived and sketched in the program immediately after the "Ordinary History", in 1847, "The Break" was published in 1869; but his concept and even sketches of individual scenes and characters date back to 1849. As soon as a plot captured the imagination of our writer, he immediately began to sketch out individual episodes and scenes and read them to his acquaintances. All this overwhelmed and worried him to such an extent that he poured out "to everyone", listened to opinions, argued. Then the coherent work began. Whole finished chapters appeared, which were sometimes even given to print. So, for example, one of the central places of "Oblomov" - "Oblomov's Dream" - appeared in print ten years before the appearance of the entire novel (in the "Illustrated Almanac" of "Contemporary" for 1849). Excerpts from "The Break" appeared in the world 8 years before the appearance of the entire novel. And the main work, meanwhile, continued to "go on in my head", and, a deeply curious fact - Goncharov his "faces haunt, pester, pose in scenes." “I hear, - says Goncharov further, - excerpts of their conversations, and it often seemed to me, God forgive me, that I was not making this up, but that it was all in the air around me, and I just needed to look and think.” The works of Goncharov were so thought out by him in all the details that the very act of writing became a secondary thing for him. For years he pondered his novels, but wrote them for weeks. The entire second part of Oblomov, for example, was written during the five weeks of his stay in Marienbad. Goncharov wrote it without leaving the table. The current idea of ​​Goncharov as Oblomov thus gives a completely false concept of him. The real basis of his personal character, which determined the entire course of his work, is not apathy at all, but the poise of his writing personality and the complete absence of impetuosity. Belinsky also spoke about the author of Ordinary History: “The author has neither love nor enmity for the persons he creates, they do not amuse him, do not make him angry, he does not give any moral lessons either to them or to the reader, he seems to think: who in trouble, he is responsible, but my business is on the side. " These words cannot be considered a purely literary characteristic. When Belinsky wrote a review of The Ordinary History, he was friendly with the author of it. And in private conversations, the eternally raging critic pounced on Goncharov for his dispassion: “You don’t care,” he told him, “if you come across a scoundrel, a fool, a freak, or a decent, kind nature, you paint everyone the same: no love, no hatred for anyone.” For this measured ideals of life, directly, of course, a consequence of the measured temperament, Belinsky called Goncharov "German" and "official". The best source for the study of Goncharov's temperament can be the "Frigate Pallas" - a book that is a diary of Goncharov's spiritual life for two whole years, moreover, spent in the least everyday environment. Pictures of tropical nature scattered throughout the book in places, for example, in the famous description of the sunset under the equator, rise to truly dazzling beauty. But what beauty? Calm and solemn, for the description of which the author should not go beyond the boundaries of even, serene and carefree contemplation. The beauty of passion, the poetry of the storm is completely inaccessible to the brush of Goncharov. When the Pallas was sailing the Indian Ocean, a hurricane "in all shape" burst over her. The companions, naturally believing that Goncharov would want to describe such, albeit formidable, but at the same time a majestic phenomenon of nature, called him on deck. But, comfortably seated in one of the few deceased places in the cabin, he did not even want to watch the storm and was almost forcibly dragged upstairs. - "What's the picture?" the captain asked him, expecting enthusiasm and praise. "Disgrace, disorder!" - he answered, mainly busy with the fact that he had to go "all wet to the cabin, change shoes and dress." If we exclude from the "Pallas Frigate" pages 20, in total devoted to descriptions of the beauties of nature, then you get two volumes of almost exclusively genre observations. Wherever the author goes - to the Cape of Good Hope, Singapore, Java, Japan - he is almost exclusively occupied with the little things of everyday life, genre types. Arriving in London on the day of the Duke of Wellington's funeral, which excited the whole of England, he "unhurriedly waited for another day when London will get out of the abnormal situation and start living its usual life." “Many would be delighted to see such an extraordinary case,” the enemy of “disorder” in all its manifestations notes, “but tomorrow, everyday, smiled at me.” Likewise, "rather indifferently" Goncharov "followed the others to the British Museum, out of the consciousness of only the need to see this colossal collection of rarities and objects of knowledge." But he was irresistibly drawn to the street. “With untested pleasure,” Goncharov says further, “I looked at everything, went into shops, looked into houses, went to the outskirts, to markets, looked at the whole crowd and at everyone I met separately. Rather than looking at sphinxes and obelisks, I like to stand for an hour at the crossroads and watch how two Englishmen meet, first they try to rip off each other's hand, then they ask each other about their health and wish each other every well-being; I watch with curiosity how two cooks with baskets on their shoulders collide, how an endless double, triple chain of carriages rushes, like a river, how one carriage will twist out of it with inimitable dexterity and merge with another thread, or how the whole chain will instantly become numb, as soon as the cop from the sidewalk will raise his hand. In taverns, in theaters - everywhere I stare at how and what they are doing, how they are having fun, eating and drinking. " Goncharov's syllable is surprisingly smooth and even, without a hitch. It does not contain the colorful words of Pisemsky, the nervous heap of Dostoevsky's first expressions that came across. The Goncharov periods are rounded, built according to all the rules of syntax. Goncharov's syllable always maintains the same tempo, without accelerating or slowing down, without striking either pathos or indignation. All this huge reserve of artistic serenity, dislike for "disorder" and preference for the ordinary over the extravagant could not but lead to the fact that Goncharov's types stand apart from the types created by other representatives of his literary generation. Rudins, Lavretskys, Beltovs, heroes of Nekrasov's "Sasha", who

... prowling around the world,

They are looking for something gigantic for themselves, -

All these are victims of the fatal inconsistency between the ideal and reality, the fatal impossibility of finding activities to one's liking. But at the same time, all this is people who stand at the peak of the spiritual consciousness of their era, a minority, people, so to speak, extraordinary, next to whom ordinary people should have existed. It was the latter, in the person of the Aduevs, that Goncharov decided to portray in his first novel, and, however, not at all as the opposite of a minority, but as people adhering to a new trend, but only without impetuosity. There has long been one major misunderstanding about this basic intention of the author of The Ordinary History. Almost all critics were suspicious of the "positivity" of the elder Aduev. Even Northern Shoulder, analyzing The Ordinary History in 1847, found it necessary to say a few words in defense of idealism from the narrow careerist view of an official uncle. In general, we can say that both the public and the critics put Aduev a little higher than Famusov. The author's confession of Goncharov ("Better late than never") runs counter to this interpretation. According to the author's categorical statement, he, in the person of Aduev Sr., wanted to express the first "flicker of consciousness of the need for work, a real, not routine, but a living thing, in the fight against all-Russian stagnation." “The struggle between the uncle and the nephew reflected the then, just beginning breakdown of old concepts and mores, sentimentality, a caricatured increase in feelings of friendship and love, the poetry of idleness, family and domestic lies of supposedly unprecedented feelings, a waste of time on visits, on unnecessary hospitality and so on, in a word - the whole idle, dreamy and affectative side of the old mores. All this became obsolete, went away: there were faint glimpses of a new dawn, something sober, businesslike, necessary. The first, that is, the old was exhausted in the figure of the nephew. The second - that is, a sober consciousness of the need for work, work, knowledge - was expressed in my uncle. " Aduev, for example, is happy with the plant. “Then it was a bold novelty, almost a humiliation - I'm not talking about breeders-bars, whose factories and factories were part of the family estates, there were quitrent articles, which they themselves did not deal with. Privy councilors dared little to do this. The rank did not allow, and the title of the merchant was not flattering. " One can relate differently to this, remarkably characteristic of Goncharov, convergence of "business" and "business-like", but it must be admitted that his intention is very deep. The merit, or feature, of Goncharov is that he noticed the evolution of public mood in those areas where his impetuous peers saw one vulgarity. They looked at the heavens, and Goncharov peered into the ground in the most attentive way. Thanks to the latter, by the way, the genre part of The Ordinary History is so excellent. The departure of the young Aduev from the village, the courtier, the noble host Anton Ivanovich, the housekeeper of Agrafen, capable of expressing her love only with beaters and violent abuse, etc., etc. - all these are wonderful fruits of realism that will never lose their value and which Goncharov owes exclusively to the fact that his mental gaze with particular eagerness dwelled on the phenomena of the life of the majority. An unusually bright genre flavor is the best part of Goncharov's most outstanding novel, Oblomov. The author has not the slightest desire to denounce anything in Oblomovka; thicker or lighter colors are not superimposed on any corner of the picture; Equally illuminated, it stands before the viewer as if alive, in all the convexity of its amazingly captured details. However, these epic perfections were not the reason for the amazing impression that Oblomov made at the time. The secret of his success lies in the conditions of that era, in that passionate and unanimous desire to break all ties with the hated past that characterized the years immediately following the Crimean campaign. We needed a vivid embodiment of our apathy, we needed a nickname to denote our pre-reform inertia and inertia - and it quickly entered general use as soon as Dobrolyubov formulated it in his famous article: "What is Oblomovism." Modern evidence boils down to the fact that absolutely everyone saw in himself the elements of "Oblomovism"; it seemed to everyone that an explanation had been found for the imperfections of our social system; everyone turned away with horror from the prospect of just as fruitlessly and ingloriously going through life as the hero of Goncharov's novel; everyone swore an oath to exterminate all traces of this resemblance. In contrast to Oblomov, Goncharov brought out the German Stolz. In his author's confession, Goncharov admitted that Stolz is not a very successful person. "The image of Stolz," he says, "is pale, not real, not alive, but just an idea." It must be added that the idea of ​​which Stolz is the representative is ugly. You cannot elevate the organizer of your fortune to an ideal. Any fine-feeling woman, which Olga undoubtedly is, would probably be able to recognize that Oblomov's laziness has a hundred times more spiritual treasures worthy of the most ardent love than Stolz's vain, smug philistinism. Only ten years separate “Oblomov” from “Obryv”, but a terrible change has taken place in this short time in the grouping of public parties. The new generation entered the arena of Russian public life with pride and arrogance, and in some three or four years severed all ties with the past. Not even the slightest trace of the former unanimity remained. Public thought was divided into sharply hostile currents that did not want to have anything in common with each other, exchanging threats, grave accusations and curses. The generation, which until so recently considered itself the bearer of progress, was completely wiped out: reproaches were thrown in its face for obsolescence, backwardness, even retrograde. It is clear that the anger caused by these largely undeserved reproaches was very great. Goncharov was never close to the advanced elements; he wrote an "objective" novel, when his peers crucified for the abolition of serfdom, for the freedom of heart inclinations, for the rights of "poor people", for the poetry of "revenge and sorrow." But that is why he was least of all inclined to condescension when the "Cliff" intervened in the dispute between the "Fathers" and "Children". Irritation deprived Goncharov of some of his strength, which lay precisely in calm. "The Break" contains many separate excellent episodes, but in general it is the least successful of Goncharov's novels. In spheres close to "children", "The Break" was viewed as a pamphlet against the younger generation; in spheres close to the "fathers", they saw, on the contrary, in Mark Volokhov a sharp, but quite true depiction of a new trend. There is also an average opinion, which claims that Goncharov, with his deep mind, could not personify the entire generation of the sixties in the image of a cynical brawler who does not hesitate to lure money with a fake letter for his personal needs. Speech, according to this understanding of the "Break", is only about some elements of the movement of the sixties, unsympathetic to Goncharov. Be that as it may, Mark Volokhov did not turn into a common name, just as Volokhov's antipode did not become them - the rushing aesthetic Raysky, and the bookishly conceived heroine of the novel, Vera. In all its brilliance, Goncharov's talent manifested itself in the faces of the minor ones. The grandmother and all her entourage are depicted with all the power of Goncharov's pictorial ability. A true artistic pearl is the image of the simpleton Martha. In the gallery of Russian female types, the living, captured in all, so to speak, prosaic poetry, Martha's portrait occupies one of the first places. The collected works of Goncharov were published by Glazunov in 9 volumes (St. , 3rd ed., 1884 - 1896). Certain novels and "Frigate Pallas" have gone through several editions. The extremely meager biographical material about Goncharov has been significantly enriched in recent years thanks to the publication of the correspondence between Goncharov and Stasyulevich, the research of MF Superansky, the French scientist Mazon, and others. This new material establishes a fact that is completely exceptional in the history of literature. Before us is a major writer and, moreover, a representative of a rare literary dispassion, who, at the same time, was very often on the border of real madness. Coming from a pathological family, some of whose members even ended their lives in an insane asylum, Goncharov was a psychopathic and suspicious person (mainly due to the state of the weather), obsessed at times with a definite persecution mania. In particular, the ineradicable conviction that Turgenev is his worst enemy and intercepts topics from him took quite delusional forms. Goncharov did not hesitate to assure that Turgenev's "agents" rummage through the drawers of his desk, steal types from his drafts, telegraph them to Turgenev, and on this basis he writes his works. New materials (mainly the correspondence with Stasyulevich) also clearly show how far the author of "The Break" was from the circle of ideas whose representatives he thought to represent. Reading little at all (by his own admission, he never bought books), he followed so little the very radicalism that he chose as the theme of his novel that at one time he negotiated with Nekrasov (who did not know the content of "The Break") about publishing it in Otechestvennye Notes ". - However, the new biographical materials do not in the least change the established interpretation of Goncharov's work. If now it is impossible to talk about the "objectivity" of Goncharov (thesis of the book by EA Lyatsky), then only in relation to his personal temperament. But when criticism spoke of Goncharov's "objectivity", it emphasized his social indifference. And this feature is especially pronounced in new materials. The anxiety of seeking was completely alien to Goncharov. - Wed Art. Belinsky (vol. XI), Dobrolyubov (vol. II), Druzhinin (vol. VII), Pisarev (vol. I), Skabichevsky (vol. I and II), Shelgunov ("Delo", 1869, no. 7), Op ... F. Miller in "Writers after Gogol", a book about Goncharov by VP Ostrogorsky (Moscow, 1888), art. D. S. Merezhkovsky in his "Eternal companions", M. A. Protopopov in "Russian Thought" (1891, Љ 11); L. N. Maikov, in "Russian Antiquity" (1900, Љ 1); Superansky, in the "Bulletin of Europe" (1907, Љ 2; 1908, Љ 11 and 12); "Russian School" (1912, Љ 5 - 6); E. A. Lyatsky, “I.A. Goncharov "(2nd ed., 1912); AF Koni, "On the Path of Life" (vol. II); S. A. Vengerov (Soch., Vol. V), K. Voensky, in the "Russian Bulletin" (1906, Љ 10); A. A. Mazon, in "Russian Antiquity" (1911, Љ 3, 10, 11; 1912, Љ 3), Stasyulevich's "Correspondence" (v. II and III).

Ivan Aleksandrovich Goncharov, Russian writer, was born on June 18, 1812 in Simbirsk in the family of a merchant. Goncharov's father dies when the future writer is barely 8 years old. Goncharov's godfather, Nikolai Tregubov, takes on the burden of raising the boy. Under his leadership, Goncharov received his initial education at home. In the period 1822-1830, Goncharov studied at the commercial school he hated, after which in 1831 he entered the Faculty of Language at Moscow University.

After graduating from the university, having briefly returned to Simbirsk, Goncharov left for St. Petersburg, where he received the position of an interpreter of foreign correspondence in the department of foreign trade. The unhindered service gives Goncharov time to devote himself to literary activity, which ultimately brings him to Maikov's house, which was the cultural stronghold of St. Petersburg.

Disgust for the ruling cult of romanticism in the Maikov house prompts Goncharov to take up creative work in all seriousness. He meets Belinsky and often visits the House of Writers. In 1854, Goncharov went on a naval expedition to the Pacific Ocean, he served as secretary to Admiral Putyatin. Being on the expedition for two and a half years, he maintains an abundant travel journal, the materials of which Goncharov later used in the cycle of travel essays "Frigate" Pallada ". This cycle amazes the reader with rich factual material and literary delights.

Returning from the expedition, Goncharov receives a troublesome position of censor, from which he soon resigns. In 1859, the crown of Goncharov's work was published - the novel Oblomov, which brings the writer success and fame. In 1862, while working on the novel "The Break", Goncharov was appointed editor of the newspaper "Severnaya Pochta". After that, he returns to the post of censor and defends conservative ideas in the fight against nihilism, actively supports the government's initiatives.

The novel "Break" was the last creation of Goncharov, despite the fact that the writer dreamed of starting work on a new novel, old age and depression did not give him the opportunity to work productively. Goncharov went down in the history of Russian literature not only as a talented writer, but also as a brilliant literary critic.

On September 24, 1891, Goncharov dies as a result of rapidly developing pneumonia.

Ivan Alexandrovich Goncharov was born June 6 (18), 1812 in Simbirsk in a well-to-do merchant family that has preserved a patriarchal way of life.

At the age of seven, Ivan lost his father. The godfather, a retired sailor, Nikolai Nikolaevich Tregubov, helped raise the children of a single mother. He actually replaced his own father Goncharov and gave him his first education. Further, the future writer studied at a private boarding school not far from home. Then I.A. Goncharov studied at the Moscow Commercial School ( 1822-1830 ). In 1830 for admission to the university was dismissed from the title of merchant. In 1834 graduated from the verbal department of Moscow University. He served as a secretary in the office of the Simbirsk governor ( 1834 - April 1835), in the Department of Foreign Trade of the Ministry of Finance (St. Petersburg) as a translator ( 1835 ). Since the summer of 1835 Goncharov works as a home teacher in the house of N.A. Maikov (father of AN Maikov and VN Maikov), in whose literary and art salon he met many writers and journalists; in the Maikovs' handwritten journals he placed poems and stories of comic content (including "Dashing sick", 1838 ; "Happy mistake" 1839 ).

The flourishing of his career coincided with an important stage in the development of Russian literature. In 1846 the writer meets Belinsky's circle, and already in 1847 the journal Sovremennik publishes Ordinary History, and in 1848- the story "Ivan Savich Podzhabrin", written by him six years ago.

Already in the first novel "An Ordinary Story" (1847 ), which brought fame to Goncharov, the ability to transform private characters and local situations into "root" universal types and collisions was clearly manifested. The novel is based on the eternal conflict of idealism and rational-pragmatic practicality (which finds expression in the clash between 20-year-old provincial Alexander Aduev, a graduate of Moscow University, and his 37-year-old uncle, capital official and businessman Pyotr Ivanovich).

As the secretary of the expedition under the command of Admiral E.V. Putyatina Goncharov from 1852 to 1854 participated in a round-the-world voyage on the Pallada warship. Travel notes that appeared in periodicals amounted to the book "Frigate" Pallas ""(separate ed., 1858 ) Is a unique example of a "geographical novel", the heroes of which are entire peoples, countries and continents. Goncharov sees the guarantee of the true progress of his country and all mankind in the synthesis of the most diverse principles of human existence: business and contemplative, rational and emotional, civilized and "natural".

In 1856-1860... Ivan Aleksandrovich Goncharov, censor of the St. Petersburg Censorship Committee; in 1862-1863... - Editor of the newspaper "Severnaya Pochta". WITH December 1857 to spring 1858 Goncharov taught Russian literature to Tsarevich Nikolai Alexandrovich. Since 1863- in the service in the Council for Book Printing; since 1865 on the board of the General Directorate of the Press. In 1867 retired with the rank of full state councilor. In 1876 Goncharov was elected a full member of the Society of Lovers of Russian Literature at Moscow University (honorary member since 1885).

In 1859 Goncharov's novel was released "Oblomov", immediately recognized as an outstanding artistic phenomenon (N.A. Dobrolyubov, L.N. Tolstoy, I.S. Turgenev, etc.). Its protagonist, the Russian nobleman Ilya Ilyich Oblomov, became the archetypal image of the new European literature, along with Hamlet, Don Quixote, and Faust. In the center of the novel is Oblomov's love and life drama; the basis of the conflict is the opposition of the ideals of life-peace (contemplation, unwillingness to any change, passivity, up to complete apathy, embodied in Oblomov) and life-movement (represented by the images of Andrei Stolz and Olga Ilyinskaya).

In the last novel of Goncharov "The Cliff" (1869) to a much greater extent than in "Ordinary History" and "Oblomov", the theme of love is brought to the fore. The plot of the novel is dramatized by two conflicts, inspired by the Russian social situation of the 1860s, but, as always, with Goncharov, universalized: the conflict between fathers and children, as well as the conflict between the “eternal truth” of Christ and the new one, vulgarly materialistic and anti-Christian. Incompatible ideologies are concretized in the novel as polarly different interpretations of love.

Goncharov's novels are built on outwardly simple events devoid of entertaining intrigue, which, however, embody the invariable spiritual and moral aspirations of man; they are based on the test of the main characters in love. In general, Goncharov's poetics is characterized by an orientation toward large-scale generalization.

Among other works of Goncharov - memoirs "An Unusual History" (published in 1924 year) about the creative relationship with I.S. Turgenev; "Notes on the personality of Belinsky" ( 1881 ), "In the University" ( 1887 ), "At home" ( 1888 ); essays "Literary Evening" ( 1880 ), "Servants of the Old Age" ( 1888 ); literary-critical articles "Million of Torments" ( 1872 ), containing a brilliant analysis of "Woe from Wit" by A.S. Griboyedov, "Better late than never" ( 1979 ), dedicated to the analysis of their own novels.

After the novel "The Break" the writer often fell into depression, wrote a little, mainly studies in the field of criticism. Goncharov was lonely, often ill. Once he caught a cold, he fell ill with pneumonia, which is why he died September 15 (27), 1891, aged 79.

Ivan Aleksandrovich Goncharov was born in 1812 in the city of Simbirsk into a merchant family. He gave a calm childhood in a large house with a garden to the heroes of all his novels.

Seven-year-old Ivan was left without a father. But his godfather, a retired sailor Tregubov, took care of the upbringing, training and spiritual development of the boy.

Education

Home schooling under the guidance of a godfather was replaced by education in a private boarding house. Goncharov, at the insistence of his mother, at the age of 10, was assigned to a commercial school in Moscow, where he studied for 8 years. Goncharov did not have a craving for commerce, so he left school at the age of 18, without graduating from it.

While still at the boarding school, the future writer became interested in literature, read Russian classicists, then, already at school, Karamzin and Pushkin. "Eugene Onegin" shocked the young man with poetry and the truth of modern life. It is not surprising that to continue his education, Goncharov chose the Faculty of Words of Moscow University, where he successfully passed the exams in 1831 and where he studied for 3 years.

Career and first literary experiences

After graduation, Goncharov returned to visit his mother and sisters in Simbirsk. He spent a whole year in the boring bureaucratic post of secretary to the governor of Simbirsk. Then Goncharov left for St. Petersburg and got the position of translator of foreign correspondence at the Ministry of Finance. In addition, he became a teacher of Latin for the eldest sons of the painter Nikolai Maikov and plunged headlong into cultural life. The experience of teaching was very useful to Goncharov at the end of his life, in 1873, when he was a teacher of literature for the children of the Grand Duke Konstantin Nikolaevich.

The Maykov family published the first works of Goncharov, "Dashing to be ill" and "Happy mistake," in handwritten almanacs.

Literary creativity and social life

In 1846 the first novel by Goncharov was written, and in 1847 was published in the Sovremennik magazine. "An ordinary story"... This is the story of the formation of a romantic young man Alexander Aduev and his transformation into an enterprising realist.

For more than two years, in 1852-54, Goncharov spent on the expedition as a secretary to Admiral Putyatin, who went to establish trade relations with Japan. From the first days of the trip, the writer kept travel notes, which became the basis of the travel sketch. "Frigate Pallas", published in 1858 as a separate book.

Goncharov does not oppose other cultures to his own as hostile and incomprehensible, but tries to see their specificity, to understand them. Goncharov is looking for something in common in different cultures, traces the tendencies of development from ignorance to civilization inherent in any of them.

Working for money and a lifelong work

Upon his return, Goncharov found a position as a censor, and in 1862 became the editor-in-chief of the newspaper Severnaya Pochta, a year later he became a member of the Press Council. Goncharov retired in 1867. The work took a lot of energy, but in 1859, Goncharov's main novel was published in Otechestvennye zapiski. "Oblomov", begun back in 1848, the novel was a success.

Goncharov wrote Oblomov from himself. It was not for nothing that his Petersburg friends called him "Prince of Laziness." The novel describes the fate of a spiritually developed personality in the modern world. In an ordinary day of Oblomov, his whole life is represented. In Oblomov's Dream, the life of several generations of the Oblomovs and the origins of the hero's personality are described.

The concept of "Oblomovism" turned out to be typical for Russian society and for the Russian character. Through the fate and character of one hero, Goncharov showed a social phenomenon: not everyone can be realized in useful activity.

In 1869, having already retired, Goncharov finished the novel "Break", which he called "the child of my heart." Goncharov worked on it for 20 years.

Three of Goncharov's novels describe successively changing eras of Russian life, as well as three types of heroes, each of which is a part of Goncharov's own personality: and Alexander Aduev, who managed to overcome sentimentality and became enterprising; and lazy, but noble and moral Oblomov; and the pessimistic Paradise, tragically inactive in public and private life. Goncharov's novels are considered the standard of this genre.

In the last years of his life, Goncharov wrote essays and sketches, of which the most famous is "Million of torments" about Griboyedov's comedy "Woe from Wit".

Goncharov was not lucky enough to die, like his hero Oblomov, in the arms of a loving woman. In recent years, Goncharov was ill and lonely. But he, like Oblomov, had a loyal servant, to whom the writer left an inheritance. Goncharov died at the age of 79 after catching a cold and pneumonia.

The great Russian writer Ivan Aleksandrovich Goncharov was born on June 18, 1812 in Simbirsk, into a wealthy family of merchants. Goncharov's mother raised her son alone - his father died when the future writer was only three years old. Not far from their house there was a boarding house, where a very young Ivan Alexandrovich was sent to receive an education. Goncharov very early became interested in reading and by the age of twelve he had already managed to read many works of Derzhavin, Kheraskov, Ozerov and much more.

From 1822 to 1830 he studied at a commercial school

Moscow, after which Goncharov entered the Faculty of Literature at Moscow University.

Which he finished quite successfully four years later. After receiving his education and serving a short time in Simbirsk, Goncharov went to St. Petersburg, to serve in the Ministry of Finance, where he worked as a translator until 1852. Goncharov published his first creative experiments - "Dashing to Pain" and "Happy Error", written in 1838-1839, in the magazine "Snowdrop" and "Moonlit Nights" under a pseudonym.

In 1846, Goncharov got acquainted with Belinsky's circle, and already in 1848 published the story “Ivan Savich Podzhabrin” in the Sovremennik magazine, which the writer wrote six years ago. Since 1852, Goncharov has been traveling around the world.

At this time he wrote his main work - the famous novel "Oblomov". He retires a decade later. In 1891, Ivan Aleksandrovich Goncharov dies.

He bequeathed all his literary heritage to a family of servants.

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38. Date of birth: January 22, 1872 Date of death: June 12, 1936 Place of birth: Oryol, Russian Empire Fomin Ivan Alexandrovich - eminent Russian architect, one of the prominent representatives of neoclassicism. Ivan Fomin is also known as a graphic artist and historian who studied architecture. Ivan was born in January 1872 in the family of a postal official. After moving to Riga, [...] ...
39. Brief biography of Ivan Efremov Ivan Antonovich Efremov is an outstanding writer and scientist of the 20th century. Most famous as a science fiction writer, novelist, paleontologist and social thinker. Born on April 9 (22), 1908 in the village of Vyritsa, Leningrad Region. The father of the future writer was a timber merchant. The boy showed his love for literature early. At the age of four he had already read, and at [...] ...
40. Born in the free city of Frankfurt am Main into the family of a wealthy lawyer. At the age of sixteen he became a student at the University of Leipzig. He completed his education in Strasbourg, where he received the title of Doctor of Law. At the age of twenty-four, Goethe created the drama Getz von Berlichingen. In it, he portrayed a rebellious knight of the 16th century, who fights for justice. Goethe's novel The Sorrows of Young Werther brought worldwide fame. [...] ...