The Aksakov family as a phenomenon of Russian noble culture.

Purity of life
raise above the purity of the syllable

Ivan Kireevsky

Recently, interest in national traditions, its roots, its own root culture has begun to revive in the country. In this regard, the problems of family education and family culture are becoming increasingly relevant. The hope that the national idea and the principles of family culture and family pedagogy closely related to it, like a cementing mortar, will strengthen the social foundation is justified.

Now, when the age-old disputes about the Russian idea, the “special path of Russia” are becoming especially acute and relevant, the life, fate, views and literary and pedagogical ideas of the great Russian writer S.T. Aksakov and his family are of increasing interest to historians, literary critics, culturologists, teachers and psychologists.

As is known, in Russia XIX centuries, various circles, salons, literary and other evenings were a common form of social and cultural communication. Such formations were inspired by humanistic ideals, their nutrient medium was concern for the fate of the Fatherland, people, culture, national traditions.

The Aksakov family as a whole, as a phenomenon of Russian culture, has not yet been sufficiently studied and understood. She has a special place in the nobility of Russian culture. Coming from a remote Russian province, the Aksakovs, more acutely than the capital's nobles, experienced the split of Russian society along class lines. Formed in patriarchal traditions, in harmony with nature, little affected by civilization, in constant contact with pagans and Islamic civilization, they were among the first in Russia in the 19th century to raise the question of the hostility of Russian statehood to Russian national idea. Seeing no hopeful prospects in modern Russian and European reality, the Aksakovs turned their eyes to the pre-Petrine past, sometimes idealizing and romanticizing it, but at the same time making subtle observations and amazing discoveries.

Many of the ideas of the Aksakovs, discarded as unnecessary for a century, have acquired exceptional relevance in recent years. Not only here in Russia, but also in Europe and America, their philosophical, literary, but above all pedagogical and cultural heritage is carefully studied and adopted by various social groups. Among many reasons, this is also due to the fact that "XVIII - early XIX century is Family album of our today's culture, its "home archive", its "close-distant" (11,14) . Today's mostly ugly attempts to reform the Russian state make us take a fresh look at creative heritage Aksakov, trying to find answers to the questions of the present in it. It was in their heritage that the phenomenon of the family turned out to be a defining element of culture.

Recall that the era of the XVIII-XIX centuries is a time that is close enough for us and closely connected with today. This is the time when the features of the new Russian culture, to which we belong, were taking shape. On the other hand, this time is quite distant, already largely forgotten. And if a lot has been done in the study of folk culture and life of the era we are considering, then in relation to noble culture until very recently, a well-established prejudice of slandering had its effect. According to the researcher, when using the epithet "noble" in the mass consciousness for a long time the image of an “exploiter” immediately arose, the stories about Saltychikha and much that was said about this were recalled. But at the same time, it was forgotten that that great Russian culture, which became the national culture and gave Fonvizin and Derzhavin, Radishchev and Novikov, Pushkin and the Decembrists, Lermontov and Chaadaev, and which formed the basis for Gogol, Herzen, the Slavophiles, Tolstoy and Tyutchev, was a noble culture . Nothing can be deleted from history. You have to pay too dearly for this” (9, II, 16).

In the autobiographical works of S.T. Aksakov, the life of the Ufa nobles and family life steppe Zavolzhsky landlords in the XVIII century. However, unlike ordinary memoirs or historical chronicles, life in Aksakov's books is poeticized, and the inner harmony of the author of memoirs gives the patriarchal way of life and pictures of nature described by him charm. earthly paradise. Before moving on to understanding the life of the Aksakov family as part of the Russian noble culture XIX century, I would like to dwell on the definition of the term "everyday life". According to one of the experts in this field, Yu. M. Lotman: “Life is the usual course of life in its real-practical forms; life is the things that surround us, our habits and everyday behavior. In everyday life, everyday life surrounds us like air, and how air becomes noticeable only when it begins to change or disappear. “Turning to the history of everyday life,” the researcher writes, “we easily distinguish in it deep forms, the connection of which with ideas, with the intellectual, moral, spiritual development of the era is self-evident. Thus, ideas about noble honor or court etiquette, although they belong to the history of everyday life, are also inseparable from the history of ideas ”(11.10). In the light of the foregoing, it becomes obvious that life is closely connected not only with history, but also with culture, philosophy, ethics, aesthetics and psychology of the people or class to which it belongs. “... Life is not only the life of things, it is also customs, the whole ritual of daily behavior, the structure of life that determines the daily routine, the time of various activities, the nature of work and leisure, forms of recreation, games, love ritual and funeral ritual. The connection of this side of everyday life with culture does not require explanation. After all, it is in it that those features are revealed by which we recognize our own and others, a person of one or another era, an Englishman or a Spaniard ... ”(11.12).

Aksakov worked on the "Family Chronicle" for 16 years and released it only when he was 64 years old. After its appearance, the author was simply bombarded with a stream of praise from people of various political and aesthetic tastes and preferences. Why is Aksakov’s chronicle, unsophisticated in content and old-fashioned in language and style, which appeared after Belkin’s Tales, “ captain's daughter”,“ Queen of Spades ”, after“ A Hero of Our Time ”, after“ Evenings on a Farm near Dikanka ”,“ Mirgorod ”,“ Overcoat ”and“ Dead Souls ”, caused such genuine delight among Russian readers? According to Yu.M. Nagibin, Aksakov “did not poeticize his modest heroes, did not elevate them to the power of a symbol, did not envelop them in a fabulous haze, no, everything was given head-on, without fanfare, almost with scientific accuracy, with trusting unhurried thoroughness. But this is how Aksakov took readers - immediately and forever ”(15.10). However, already the contemporaries of the writer in the person of Dobrolyubov saw in his notes an important historical significance. What did it consist of? After all, Aksakov did not represent either famous historical figures or significant historical events. The heroes of his chronicle are poor steppe landowners, not very literate, not very advanced, his own grandfather, grandmother, aunts, father, mother, leading a comfortable and well-functioning life in family estates.

S.T. Aksakov did not belong to the writers whose work reflects the acute conflicts and contradictions of the era. The narration of his works is calm and sometimes imperturbable, the problems are momentary, the issues of today seem to be drowning in memories and thoughts about the days of the past. But this does not mean at all that the author of Notes of a Rifle Hunter, Family Chronicle, Childhood Years of Bagrov the Grandson, Memoirs is only a beautiful-hearted "rememberer" of the past, hiding in its haze from today's problems; simply the pulse of time in his works is barely audible, it is barely audible and, as it were, hidden in the unsophisticated destinies of the characters, in a leisurely sequence of events. Nevertheless, criticism, following Dobrolyubov, nevertheless recognized the historical significance of S. Aksakov's work; the critic characterized the “Family Chronicle” and “Childhood of Bagrov the Grandson” as a chronicle of “really happened events, without any admixture of poetic fiction”, implying, first of all, a historically reliable, truthful and realistic depiction of the past of Russia (6,249).

Nevertheless, it seems to us that Aksakov's books were written in many respects not in the spirit of the time, but in defiance of it; the artistic fabric of the works led the reader away from the problems of the present into the past, into the world of the patriarchal noble estate.

The house of the Aksakovs, their family nest, was, of course, the heart, the center of spiritual communication of the best minds of Russia for several generations. Against the background of such well-known St. Petersburg and Moscow circles and salons as the circles of Herzen, Ogarev, Stankevich, the salons of Z.A. Volkonskaya, A.P. Elagina, E.A. Karamzina, V.F. Odoevsky, A.O. Smirnova, Kutuzov’s daughter E.I. Khitrovo and others, the Aksakovs’ house stood out for constancy, a wide range of cultural interests, and special warmth. S.T. Aksakov, the head of the clan, was distinguished by benevolence, responsiveness, high level culture, thereby attracting a wide variety of writers, scientists, actors, musicians. As E.L. Voitolovskaya, Aksakovs visited M.P. Pogodin, famous historian, publisher of the magazine "Moskovsky Vestnik", S.P. Shevyrev, professor of Russian literature, writer M.S. Zagoskin, playwright A.A. Shakhovskoy, collector folk songs P.V. Kireevsky, here one could meet N.V. Gogol, I.S. Turgenev, L.N. Tolstoy, F.I. Tyutcheva, A.K. Tolstoy, N.M. Yazykova, A.S. Khomyakov, actor M.S. Shchepkin, composer A.N. Verstovsky and many others. It seems that such a moral and pedagogical concept as the "House of Aksakovs" has the right to life, which implies a special House, a special Family, in which the whole way of life, life was permeated with the preservation and maximum dissemination of primordially Russian traditions, including folk Russian pedagogy and culture.

S.T. Aksakov was not a preacher of Slavophilism, like Konstantin and Ivan Aksakov, but as a citizen and writer, the artist shared their views in many respects, the essence of which was the unity, integrity of beliefs and way of life. K.S. Aksakov in the article “Bogatyrs of the times of Grand Duke Vladimir according to Russian songs” wrote: “Together and in accordance with the beginning Christian faith the beginning of the family is given out, the basis of all good things on earth. Bogatyrs are respectful to their father and mother ... So, the strength of a hero is with us, overshadowed by a sense of Orthodoxy and a sense of family: without which there can be no true strength. This harmony of the citizen and the writer was the basis of the artistic narration of the works of S.T. Aksakov, which in fact were the realization of filial thoughts and aspirations; it seems that his mainstay in his search for an artist was realism, a true reflection of life, an assessment of changes from the point of view of their necessity; and the starting point of the author's position in Aksakov's books was one of the moral precepts of Russian morality, which also became the precept of Russian literature: the family is the prototype folk life.

As you know, the Aksakov family was strong, close-knit mutual love, rich in bright individual personalities. The further away the time of writing “Family Chronicle”, “Childhood years of Bagrov-grandson”, “Memoirs” goes from us, the more significant this unique family family, its roots, traditions of family pedagogy and family culture are for us.

In the middle of the 20th century, the super-sensitive A.P. Platonov was the first to draw attention to this cultural phenomenon in his review of the book by S.T. » (18.69). The special power of Aksakov's book, its social, literary and pedagogical value“consists in depicting a beautiful family, or rather, a whole family, that is, the continuity of two families passing to the future, the third, through the grandson and son, through the child: the family is shown through its result - the child, which is most convincing. It is in the love of a child for his mother and for his father that his future feeling is laid. public man: it is here that he is transformed by the power of attachment to the sources of life - mother and father - into a social being, because the mother and father will eventually die, and their descendant will remain - and the love brought up in him, the entrusted, but no longer quenched feeling, will turn, must turn to other people, to a wider circle of them than one family. A person does not tolerate orphanhood, and it is the greatest sorrow” (18:69-70).

It is no coincidence that the writer's review appeared in the anxious year of 1941, at the time of Stalin's famous appeal: "Brothers and sisters!" Describing in the "Family Chronicle" the tyranny of the feudal landowners, S.T. Aksakov, unlike many Russian writers of the 19th century, does not so much condemn this evil as, as it seems to us, suggests that it is unnatural to the age-old patriarchal way of life. However, despite their conservative views and the romanticization of the patriarchal past, S.T. Aksakov and his sons supported many liberal reforms in Russia, in particular, the abolition of serfdom, as this corresponded to their desire to see the Russian peasant free as an equal member of the family, big family of the Russian people.

The Family Chronicle consists of five "passages". Three of them are a detailed, if not hourly, story about how Timofei Stepanovich Aksakov, the author's father, married Maria Nikolaevna Zubova, his mother. The author of the chronicle does not escape the slightest details of this marriage, all the thoughts, secret and obvious, of the participants in this simple story. And this story is very ordinary: the bride and groom, who are very different in terms of education and upbringing, first overcome complications with numerous relatives, and after becoming husband and wife, they “fit” to each other in order to maintain mutual understanding for the rest of their lives. Naturally, the author could not be a witness to these events and experiences: The Family Chronicle ends with the episode of his (Bagrova-grandson) birth. He relied on the stories of his father, mother, relatives, whom he “heard a lot” ... And here the apparent simplicity turns into a special complexity, depth, almost inaccessible to us. According to V.A. Koshelev, “Aksakov, as it were, opens up before us, the present, that world of human relationships, which seems to be lost for us. Will the current father and mother retell to their son the story of their, in general, ordinary marriage? Which of today's children will be interested in the old-fashioned temper of bygone times, so interested that they will carry it through their whole lives? In order to tell everyone about this grandfather's temper in his declining years, to find in ordinary history their ancestors significant, general interest content and decide to make this story, as it is, without embellishment and fiction, the property of literature. This requires not only a special artistic gift, but also great moral qualities lost, forgotten by us in the stream of fast-flowing time, and a special psychology - the psychology of family tradition preserved from centuries" (6, 13).

One of the significant artistic successes of the "Family Chronicle" was the vivid image of Stepan Mikhailovich Bagrov, the prototype of which was the writer's grandfather, Stepan Mikhailovich Aksakov. This is one of classic looks in Russian literature, which absorbed many positive and negative features of the Russian provincial nobility of the 18th century. The Aksakov family was strong in its roots. And in the “Family Chronicle” we read: “... antiquity of noble origin was my grandfather’s strong point, and although he had one hundred and eighty souls of peasants, but, producing his family, God knows what documents, from some Varangian prince, he put his The seven-hundred-year-old nobility is above all wealth and rank. He did not marry one very rich and beautiful bride, whom he liked very much, solely because her great-grandfather was not a nobleman ”(1, 61). Stepan Mikhailovich Bagrov was not only of average, but even of small stature; but a high chest, unusually broad shoulders, sinewy arms, a muscular body showed him as a strong man. In wild youth, in valiant fun, he shook off a bunch of military comrades who were picking on him, like a stocky oak shakes off splashes of water after rain, when the wind sways it. Regular features, beautiful large dark blue eyes, easily lit up with anger, but quiet and meek in the hours of peace of mind, thick eyebrows, a pleasant mouth - all this together gave the most open and honest expression to his face; his hair was blond. There was no person who would not believe him; his word, his promise was stronger and holier than any spiritual and civic acts. His natural mind was healthy and bright. Of course, with the general ignorance of the then landlords, he did not receive any education, he knew Russian writing poorly; but while serving in the regiment, even before the rank of officer, he learned the first rules of arithmetic and calculation on the accounts, which he liked to talk about even in old age ”(1.60).

The character of any person is manifested most of all in his relations with other people. And in the way Stepan Mikhailovich Bagrov treated his peasants, his wife, children, daughter-in-law, grandchildren - all of him, strong and handsome moral beauty Human. “In a few years, Stepan Mikhailovich knew how to win general love and deep respect in the whole neighborhood. He was a true benefactor to his neighbors, distant and close, old and new, especially the latter, due to their ignorance of the area, lack of funds and for various needs, always accompanying migrants who often embark on such a difficult task without taking preliminary measures, without preparing grain reserves. and even sometimes not having anything to buy. Grandfather's full barns were open to everyone - take whatever you want. “If you can, give it back at the first harvest; If you can't, God bless you!" With these words, grandfather with a generous hand handed out grain supplies for Semyon and Yemen. To this it must be added that he was so reasonable, so indulgent to requests and needs, so invariably true to his every word, that he soon became a true oracle of the newly populated corner of the vast Orenburg region. Not only did he help, he educated his neighbors morally!” (1.72-73).

Bagrov-grandfather did not tolerate lies, no matter from whom it came: “Only with the truth you can get everything from him. Whoever lied, if he deceived, do not go to his master's yard ”(1, 73). It embodied together the ability to be caring, affectionate, not forgetting to bring from the fields a brush of large wonderful strawberries to his Arisha, and tenderness, love for children and grandchildren.

Slowly and in detail describing the smallest details of the patriarchal serf life of Stepan Mikhailovich Bagrov, Aksakov creates a vivid image of a harsh but wise owner, a caring and demanding father who lives in harmony with God and nature.

In contrast to the wise and sedate life of Stepan Mikhailovich Bagrov, the second passage of the Family Chronicle describes the violent life of the cruel landowner Mikhail Maksimovich Kurolesov, the husband of Aunt Aksakov. The writer does not paint him with just black paint: not devoid of dexterity and practical acumen, Kurolesov enjoys success with provincial young ladies and the respect of his own peasants. But all of it positive traits- prudence, charm - are overshadowed by wild scenes of landowner arbitrariness, which distorted and doomed this remarkable nature to death. “Little by little, rumors began to spread that the major was not only upset, as they used to say, but also cruel, that having climbed into his villages, especially in Ufa, he drinks and debauches ...” (1,100).

It is a paradox, but “forty years later, having become the owner of Parashin, the grandson of Stepan Mikhailovich found in the peasants of Kurolesov a sincere grateful memory of the management of Mikhail Maksimovich, because they felt the constant benefit of many institutions; they forgot his cruelty, from which mainly the courtyards suffered, but they remembered the ability to distinguish the right from the guilty, the hard-working from the lazy, perfect knowledge of peasant needs and always ready help» (1, 119). Yu. Nagibin is right when he asserts that “if not for Aksakov, our idea of ​​Russian life would be much more one-sided and poorer” (16, 10). An important place in the narrative of the "Family Chronicle" is occupied by chapters describing the story of love and marriage of parents. This uncomplicated story, told by Aksakov, contains an important result of the path traveled by Russian noble culture in the 18th century, from the creation of a powerful state and a profitable economy based on Christian morality, to the transfer of the main life goals and interests to the sphere of spirit and family. It was on such traditions of their families that not only noble, but also Christian children were brought up over the centuries. They learned from them how to build their future families. These traditions contained the wisdom of the age-old system of Russian family life, that system that we never tire of admiring, but which we are no longer able to follow” (16, II).

"Family Chronicle" S.T. Aksakov was accepted by the readers extremely unanimously and enthusiastically. The complex process of the formation of a child's soul is the central theme of Aksakov's second book, Childhood Years of Bagrov the Grandson. the main task that Aksakov set for himself was to write a "child's story" and that it be a "book for children." “Childhood of Bagrov-grandson” is a life seen through the eyes of a child. Aksakov conceived a book that was neither in Russian nor in world literature.

The most precious person for a child has always been and is the mother: “The constant presence of the mother merges with my every memory. Her image is inextricably linked with my existence, and therefore it does not stand out much in fragmentary pictures of the first time of my childhood, although it constantly participates in them. It is the mother, Maria Nikolaevna Aksakova (Zubova), who introduces little Seryozha into wonderful world books. Yes, and books in the Aksakov chronicle appear along with the heroine - Sofya Nikolaevna Zubina. The author endows his heroine with rare qualities: Seryozha Bagrov's mother is pretty - "the first Ufa beauty" is smart, educated. Not last role in this the author assigns books: she independently studies the French language, reads it, but she clearly prefers Russian literature. The Russian educator N.I. Novikov, whom Maria Nikolaevna met in absentia, by correspondence, and who played a certain role in her education, sent from Moscow "all the wonderful works in Russian literature." Books in the Aksakov-Bagrovy family are not just reading, even if they are refined, competent, bringing pleasure, and this is not even a part of life, it is life in all its manifestations: they teach, educate, enlighten, they are able to perform miracles: it is the book - "Homemade medical book "Bukhan - gave Serezha a second birth. After the “child” recovers, “Lechebnik” pushes the Ufa doctors into the background and becomes not just a doctor for the mother, but an adviser for the rest of her life, and Bukhan receives the title of savior in the family: “My recovery was considered a miracle, according to the doctors themselves .... Mother attributed it, firstly, to the infinite mercy of God, and secondly, to Bukhan's medical treatment. Bukhan received the title of my savior, and my mother taught me in childhood to pray to God for the repose of his soul during morning and evening prayers. It was, indeed, an interesting read, because all herbs, salts, roots, and all medicinal preparations, which are only mentioned in the medical manual, were described. I re-read these descriptions at a much later age and always with pleasure, because all this is stated and translated into Russian very sensibly and well.

Soon Sergey Ivanovich Anichkov, former deputy Catherine's Commission of the new code, an advocate of education and "the patron of all curiosity" brought the book "Children's Reading for the Heart and Mind", published without money at the "Moskovskie Vedomosti" by N.I. Novikov: "I was so happy that I almost threw myself on my neck with tears old man and, beside himself, burst into tears and ran home, leaving his father to talk with Anichkov. ... Afraid that someone would not take away my treasure, I ran straight through the entrance to the nursery, lay down in my bed, closed the canopy, opened the first part of my book with delight and, despite the reasonable thrift of my mother, read everything with a little in a month. A complete revolution took place in my childish mind, and a new world opened up for me…” (1.418). This was not the last book - a gift from S.I. Anichkov, who talked with the boy after each book he read.

Serezha's next books to read were from his aunt's library. These are "Songbook", "Dream Book" and "some kind of theatrical vaudeville". Both books made a great impression on Seryozha. “I learned by heart what a dream means, and for a long time I loved to interpret dreams, my own and others’, I believed the truth of these interpretations for a long time, and only at the university was superstition completely destroyed in me ...”.

The library of Bagrov the grandson, consisting of twelve parts of "Children's Reading" and "Mirror of Virtue", was multiplied by Shishkov's "Children's Library" and "The Story of the Younger Cyrus and the Return Campaign of Ten Thousand Greeks, written by Xenophon." The first books of Serezha Bagrov-Aksakov were the works of Kheraskov and Sumarokov. One of the first were, according to tradition, books of fairy tales, especially Arabic ones: “At the first opportunity, I began to read Arabian tales that captured my ardent imagination for a long time. I liked all the fairy tales, I did not know which one to give preference to! They aroused my childish curiosity, amazed me with the unexpectedness of outlandish adventures, ignited my own fantasies. “Scheherazade drove me crazy. I couldn't tear myself away from the book. It seems that no other book has aroused such interest and curiosity in me” (1,429).

Churasovo also had a non-poor library, which little reader did not hesitate to take advantage. With the permission of Praskovya Ivanovna, at the choice of his mother, he took books from there, "which he read with great pleasure." The first book Serezha came across was Cadmus and Harmony, the works of Kheraskov, and his own Polydor, son of Cadmus and Harmony. There were also Karamzin's "My trifles" and his own edition of various poems by various writers called "Aonides". "These verses were not at all the same as the verses of Sumarokov and Kheraskov." The author of the autobiographical book repeatedly notes the observation of Serezha Bagrov, his interest in new people, communication, guests who often came to the hospitable house of the Aksakov-Bagrovs. These meetings did not go unnoticed, but on the contrary "often forced me to think: I had quite free time for thinking" (1,456).

On the advice of the aunt, the housekeeper Pelageya was called for Serezha Bagrov, “who was a great master of telling fairy tales and whom even the late grandfather liked to listen to ... Pelageya came, a middle-aged, but still white, ruddy and portly woman, prayed to God, approached the handle, sighed several times, every time she said to her habit: "Lord, have mercy on us sinners," she sat down by the stove, mourned with one hand and began to speak, singing a little: "In a certain kingdom, in a certain state ...". This was a fairy tale called "The Scarlet Flower". Is it necessary to say that I did not fall asleep until the end of the tale, that, on the contrary, I did not sleep longer than usual? The fairy tale aroused my curiosity and imagination to such an extent, it captivated me so much that it could have cured drowsiness, not insomnia ... From then on, until my recovery, Pelageya told me every day one of her many fairy tales. More than others, I remember "The Tsar Maiden", "Ivanushka the Fool", "The Firebird" and "The Serpent Gorynych". Fairy tales occupied me so much ... ”(1, 468-469).

If you carefully follow Serezha Bagrov's reading circle, one, perhaps, the main feature can be noted: he was primarily interested in Russian literature, he was brought up on it, it gave him, a provincial boy, the first knowledge about his country, its past, traditions, people . Among the books were also: "Ancient Vivliofika", "Rossiada" by Kheraskov and a complete collection in twelve volumes of Sumarokov's works. Glancing at Vivliofika, “I left it alone, and I read Rossiada and Sumarokov’s works with greed and enthusiastic enthusiasm” (1.467).

The author notes the dramatic changes that clearly occur to Seryozha, the reader: “Enriched with new books and new impressions in the silence of solitude and inviolable freedom, only after the Churasov life fully appreciated by me, I constantly talked with my mother and noticed with pleasure that I had become older and smarter, because my mother and others were talking, discussing with me already about what they didn’t even want to talk about before” (1,469).

In the “Family Chronicle” and “Childhood of Bagrov the Grandson”, the reader is presented with magnificent pictures of the life of the provincial landowners of that time: folk holidays(Christmas, Easter), fasts, weddings, funerals, commemorations, home healing, dinners and readings, customs of ancient times.

With no less pleasure, the author reproduces the rituals of the Russian noble feast, and the names of the events sometimes resemble a kind of poetic cookbook. This is how the dinner of old grandfather Seryozha Bagrov, who returned tired from field work, looks like: Grandfather sipped hot cabbage soup with a wooden spoon, because the silver one burned his lips; they were followed by botvinya with honey, with transparent salmon, yellow as wax, salted sturgeon and with peeled crayfish and similar dishes. All this was washed down with homemade mash and kvass, also with honey” (1, 80).

And how detailed, with what knowledge of customs and rituals, S. Aksakov described the wedding dinner in Bagrovo! “Dinner took place in the usual way; the young ones sat side by side between the father-in-law and the mother-in-law, there were many dishes, one fatter than the other, one heavier than the other; the cook Stepan did not spare cinnamon, cloves, pepper, and most of all, oil ... The old people did not think of stocking up on boiling wine in Ufa and they drank the health of the newlyweds with a three-year-old, three-berry liqueur, strawberries, thick as butter, pouring around themselves the wonderful smell of field strawberries. Vanka Mazin “... served everyone one glass with white patterns and a bluish stream that wriggled inside the glass leg. When the young people had to thank for the congratulations, Sofya Nikolaevna, of course, was unpleasant to drink from a glass that had just come out of Karataev’s fat lips; but she did not wince and even wanted to drink a whole glass” (1, 174). The house of the Bagrovs did not forget about the household: “In Bagrov, orders were made in advance so that on the day of the arrival of the young, they would treat the household to the household ... Several ovens of tavern beer were brewed in advance, a dozen other buckets of strong home-made wine were poured and all necessary dishes were prepared ... In the wide yard, not fenced off from the street, boards were approved for deliveries, on which there were luchans with beer, kegs of wine and piles of pies cut in two for snacks” (1, 178).

How many recipes for cooking can be learned from Aksakov! “… the fish, meanwhile, were boiled, fried in a frying pan in sour cream, and the largest perches were baked in skin and scales” (1, 190). But during the fast they ate “botvinya”, fish, crayfish, porridge with some kind of lean milk and strawberries” (1, 315,372). They knew a lot about medicinal herbs and folk medicine. There are many examples of folk healing in the text of the Family Chronicle and Childhood Years: people beaten by “cats” were saved only by “wrapping their tormented body in warm, just taken off the skins of rams, immediately slaughtered” (1, 107 ); Zubiha the sorceress - bewitches all men with her roots (1.131); Ivan Petrovich in the morning "pulls the stomach herbalist" (1.160). In winter, they were treated with a healing herbalist or Bashkir honey. But the best remedy for treatment was “clean, namely forest air and the use of koumiss” (1, 240). “Weak, yellow, thin, in a word, the shadow of the former Sofya Nikolaevna” (1.242) was taken by Alexei Stepanovich to the Tatar village of Uzy-Tamak, called by the Russians Alkino. .blooming meadows breathed the incense of herbs and flowers, and forests of oak, linden, maple and all sorts of other species of black forest, rarefying the air, gave it life-giving power ”(241). “Kumiss was a common drink from morning to evening. For Sofya Nikolaevna, this fertile drink was prepared in a civilized way, that is, mare's milk was fermented not in a turpsuk, but in a clean, new, linden tub ... a healing drink was prepared for her in the most pleasant way ”(241). After such treatment, the patient got up in two or three weeks. For a complete recovery, horseback riding and fatty lamb meat, which was eaten with koumiss, were also needed. All these pictures of everyday life are transformed under the pen of S.T. Aksakov in a wide panorama of the provincial life of Russia in the second half of the 18th century. This was well said by Yu.M. Nagibin: “Aksakov did not formulate his philosophical views, with the exception of devotion to the “Russian principle”. But the significance of his outwardly unpretentious autobiographical chronicles (…..) lies in the fact that they have a solid and strong ideological basis. These views are expressed in famous phrase Leo Tolstoy: "Stop making history, let's just live." The phrase is amazing in its simplicity and depth. Even Tolstoy said that the most serious and real life takes place at home, not in the square. Under the house, he meant not four walls, but what is encompassed by the direct concern of the human heart, and under the square - not the urban space, but the revelry of abstract reasoning, leading to devastating consequences. For Tolstoy's truth, the daily life of the family is important with all the small and seemingly insignificant events, with all the tears and joys, with holidays, illnesses, separations, meetings, with everything that the human heart yearns for" (16, 10). The “strong and strong ideological basis”, which the writer rightly declares, was Slavophilism, which arose not from idleness, but was a kind of response to the challenge thrown by the Westerners to the opposing ideological camps. The reforms of Peter I did their job: the historical development of Russia followed the scenario of mastering the life experience of Western Europe; Westerners conclude that Russia has neither a historical past nor a future. The thinking part of the Russian nobility, the true patriots, who were all Slavophiles without exception, despite disagreements, disputes, contradictions, did not and could not accept such an ideological orientation. One of the founders of Slavophilism A.S. Khomyakov formulated the creed of the future Slavophile ideology in this way: “Down with everything borrowed! Long live your native, folk, original. Let us be Russian in everything, in the organization of our state and way of life, in science, philosophy, literature, mental activity” (2.49).

Philosophical, historical, religious, cultural aspects of Slavophilism were, although not fully, but studied not only in pre-revolutionary Russia but also in the West. This cannot be said about his political and pedagogical doctrine, orientation in the field of culture. The historical development from the 1830s to the 1990s has not been traced at all. Spiritually far from Slavophilism, Professor of Political Science at New York University A. Yanov, in his book The Russian Idea and the Year 2000, was one of the first to tackle the problem of the evolution of the “Russian idea” from the early Slavophiles to modern national patriots. The scientist polemically sharply contrasts the Slavophile ideal of the nation - the family - with Western political values: “The Russian idea did not recognize the central postulate of Western political thought about the separation of powers (as an institutional embodiment of the neutralization of vice by vice). She opposed him with the principle of division of functions between the secular and spiritual authorities and the state, which protects the country from an external enemy, and the Orthodox Church, which settles the conflicts of the nation. She opposed the misanthropic philosophy of Hobbes with a naive, but pure faith in relation to love and goodness in the entire hierarchy of human groups that make up society - in the family, in the peasant community, in the monastery, in the church and in the nation. The nation-family, which needs neither parliaments, nor political parties, nor separation of powers, has become its ideal. Like a family, a nation does not need legal guarantees or institutional limits on power. As in a family, the nation should have in the first place not the rights, but the duties of its members. As in the family, the conflicts of the nation must be settled by spiritual authority, not by the constitution. This ideal of the nation-family was embodied only in the Aksakov family. If in Europe there were communes of utopian socialists, then in nineteenth-century Russia such a commune was the Aksakov family, which made a moral revolution in its attempts to return “home”, to its pure rural origins, V pre-Petrine Rus', which, according to its members, knew neither despotism, nor police terror, nor official state lies.

The eternal confrontation between Russia and the West as a cultural and historical problem and the situation falls precisely on the 18th century. The process of Europeanization touched, to one degree or another, many areas of the life of our country: social, scientific, cultural. In the field of everyday culture, this process resulted in a spiritual split of the nation. Changing the norms of life of the nobility often led to the complete oblivion of their own cultural traditions down to the language. The "photocopy" of Western forms of life sometimes acquired an ugly form, which caused a sharp protest not only among the Slavophiles, true citizens, but was also reflected in culture, - satirical literature 18th century is an example. We should not forget that the opposition to Westernism began long before the formation of Slavophilism as an ideological, ethical, cultural, and other trend. If we talk about the national origins of Slavophilism, then the soil from which this philosophical, intellectual, pedagogical, literary movement, was the cultural and ideological situation that developed in Russia in the 1830s-1840s. As you know, Slavophilism above all proclaimed the rights of its people to an original historical life, only characteristic and belonging to it. Recall that such an organization was a kind of response to the challenge thrown by representatives of the opposite direction - "Westerners".

Speaking about the origin and roots of Russian Slavophilism, it must be remembered that its originality as a cultural and social movement is absolutely impossible to understand without realizing that it was based on Orthodox Christianity. The aesthetic and ethical basis of Slavophilism is Family, Home, Roots, Traditions. Propaganda and intrinsic value of national spiritual experience, including in culture and literature, was a top priority for the thinking part of Russian society, for cultural figures. K.S. Aksakov, analyzing Russian literature of the 18th century and noting its completely imitative character, devoid of any original beginning (1849 article “On the current state of literature. Letter 1. Literature of previous years”), wrote: “The Russian land found itself in a position America: it had to be opened. There were Columbuses who said that it exists, the Russian Land. With what laughter and reproach they were met: the names of Slavophiles, Rusopets, leavened patriots, accusations of retrograde rained down from all sides; but those in whom the conviction of the existence of the Russian land was born were not embarrassed ... Such progressive people - Boltin, Shishkov and especially Griboedov in his Woe from Wit - rebelled against imitation, pointed out the need for originality for us ... These noble faces - a comforting phenomenon in the era of slavish imitation. Such "Columbus", "advanced people", " noble persons There were the Aksakovs themselves, whose life and works were an organic continuation of their theoretical views.

FOOTNOTE

• Aksakov S.T. Sobr. cit.: In 5 volumes. T.1. Family Chronicle; Childhood Bagrov-grandson. – M.: Pravda, 1966.
• Blagova T.I. Ancestors of Slavophilism. Alexey Khomyakov and Ivan Kireevsky. M., 1995.
• Voitolovskaya E.L. Aksakov in the circle of classical writers: Dokum. essays. - L .: Det. lit., 1982.
• Gudkov G.F., Gudkova Z.I. S. T. Aksakov. Family and Environment: Local History Essays. - Ufa: Bashk. book. publishing house, 1991.
• Dal V.I. Explanatory dictionary of the living Great Russian language. M., 1978. T.1.
• Dobrolyubov N.A. Fields. coll. op. T.1.
• Koshelev V.A. Time Aksakov // Lit. in school - 1993. - No. 4.
• Koshelev V.A. Slavophiles and official nationality // Slavophilism and modernity. - St. Petersburg, 1994.
• Kurilov A.S. Konstantin and Ivan Aksakov //Aksakov K.S., Aksakov I.S. Literary criticism / Comp., entry. article and comment. A.S. Kurilov. - M., 1981.
• Lobanov M.P. "Stronghold against enemies": Aksakov's lessons //Mol. guard. - 1995. -№1.
• Lobanov M.P. Sergei Timofeevich Aksakov. - M: Mol. guard, 1987. (Life of remarkable people. Ser. biogr). Issue. 3 (677).
• Lotman Yu.M. Conversations about Russian culture: Life and traditions of the Russian nobility (XVIII - early XIX century). - St. Petersburg: Art, 1994.
• Mann Yu, Blood Friends. – // Family and school. - 1988. - No. 9.
• Mashinsky S.I. S T. Aksakov: Life and work. - 2nd ed., add. -M.: Hood. lit., 1973.
• Methodius (archimandrite). The word spoken on the day of the 50th anniversary of the death of the writer S.T. Aksakov, 1909 April 30 // Origins. - 1991. - No. 16.
• Nagibin Yu.M. Aksakov //Change. - 1987. - No. 6.
• Correspondence N.V. Gogol in two volumes. M: 1988 V.2.
• Platonov A.L. Childhood years of Bagrov-grandson: I Review of Aksakov // Platonov AL. Reader's Reflections: Articles. - M., 1970.
• Prishvin M.M. eyes of the earth; Ship bowl. - Chelyabinsk.
• Soloukhin V.A. Letters from the Russian Museum // Soloukhin V.A. Slavic notebook. - M., 1972
• Tsivyan T.V. The house in the folklore model of the world (on the material of the Balkan riddles) // Scientific Notes of Tartusky state university issue 464- Works on sign systems X. Semiotics of culture. Tartu, 1978

slide 1

With the name AKSAKOVA
The Aksakov family in the history of the Samara region
Prepared by: library of the Samara Cadet Corps of the Ministry of Internal Affairs of Russia N.N. Fuflygin

slide 2

Samara and the Samara region are closely connected with the Aksakov family. The writer's grandfather S. M. Aksakov lived in Samara, the writer S. T. Aksakov himself also visited, but the life of his sons, Grigory Sergeevich and Ivan Sergeevich Aksakov, is most connected with our city.
Sergei Timofeevich Aksakov
Grigory Sergeevich Aksakov
Ivan Sergeevich Aksakov

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Sergei Timofeevich Aksakov (1791-1859) - original Russian writer
Dedicated to the 165th anniversary of the Samara province
The personality of the writer is so significant in the history of both Russian and world culture that 1991, the year of the 100th anniversary of the writer, was declared by UNESCO the year of Aksakov around the world.

slide 4

Dedicated to the 165th anniversary of the Samara province
“I may be a minor writer, but my brick is already in the foundation of what will create a great writer.” (S.T. Aksakov)
His early years S.T. Aksakov spent in Ufa and in his grandfather's estate Novy Aksakov, Buguruslan district, Samara province (now it is the Orenburg region). In Aksakov's autobiographical works, this estate appears under the name New Bagrovo. The most famous works: "The Scarlet Flower", "Family Chronicle", "Childhood of Bagrov-grandson", "Notes of a rifle hunter ...".

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The AKSAKOV family in Samara
The Aksakov family is directly related to Samara, leaving a bright trace in the history of our city. The remains of the writer's grandfather, Stepan Mikhailovich, son of Grigory Sergeevich and granddaughter of Olga Grigorievna Aksakov, rest on Samara soil. In the Zheleznodorozhny district of Samara there is Aksakovskaya street, named after the great master of prose.
Dedicated to the 165th anniversary of the Samara province

slide 6

Aksakov places Samara region
Aksakov places of the Samara region can be conditionally divided into northern and southern directions. Northern direction: Neklyudovo - Krotkovo - Abdul-zavod - Sergievsk - Krasnoe settlement - further along the Simbirsk land ... This is the road along which the Aksakovs traveled from Orenburg estates to Simbirsk. The southern direction - here are the villages, to a greater extent connected with the family of Grigory Sergeevich Aksakov, this is Samara - Borskoye - Strakhovo - Yazykovo.
Dedicated to the 165th anniversary of the Samara province

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Dedicated to the 165th anniversary of the Samara province
●The Aksakov family is one of the oldest in Russia. ●The Aksakov family are public figures, writers, poets and publicists. There were ten children in the family. At once, two representatives of this glorious family have birthdays in October. ●October 4 marked the 195th anniversary of the birth of one of the Samara governors, Grigory Aksakov, known in addition to the fame of his father, a writer, by many good deeds for the benefit of our region. ● October 8 is the birthday of the writer and public figure Ivan Aksakov, who wrote a lot about the nature of our region.

Slide 8

Grigory Sergeevich Aksakov (1820-1891) - honorary citizen of the city of Samara

Slide 9

●Grigory Sergeevich Aksakov served in Samara as vice-governor, governor, was elected provincial leader of the nobility three times. ● On January 20, 1867, G. S. Aksakov was transferred to the post of Samara governor. ●His merits in our city appeared a railway, a telegraph, a zemstvo hospital (now named after N.I. Pirogov), a cathedral church in the name of Christ the Savior, the illiterate peasantry was enlightened, the city's economy developed.
Dedicated to the 165th anniversary of the Samara province

Slide 10

●G. S. Aksakov actively participated in organizing assistance to the starving peasants of the Samara province, took care of the state of public health and sobriety, morality and strengthening the family. ●He had many state awards. In 1873, for services to the city, G.S. Aksakov was awarded the title of Honorary Citizen of Samara! ● Until his death, G.S. Aksakov served our city. The people loved him very much. February 24 (old style) 1891 G.S. Aksakov died. The coffin with the body of the deceased 18 miles was carried by the common people in their arms!
Dedicated to the 165th anniversary of the Samara province

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Dedicated to the 165th anniversary of the Samara province
In Samara, G.S. Aksakov lived with his daughter Olga, whom grandfather S.T. Aksakov dedicated the fairy tale "The Scarlet Flower", known to the whole world, in a modest house at the intersection of Saratovskaya and Alekseevskaya (now Frunze and Krasnoarmeiskaya) streets opposite the famous Kurlins' house.

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Ivan Sergeevich Aksakov (1823-1886) - Russian publicist, poet, public figure
Dedicated to the 165th anniversary of the Samara province

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Dedicated to the 165th anniversary of the Samara province
Several generations of the Aksakov family were associated with this place. Ivan Sergeevich Aksakov especially liked it, who wrote a lot about the nature of our region. "It's fun to look at clean, cold springs, beating from the mountain with such force on the white bottom. There are mountains all around ... The view from there is excellent." Ivan Aksakov liked everything at the resort. In addition to poems and articles about the Slav brothers, Ivan Aksakov became known as an ardent fighter for the freedom of the Crimea and the Balkans from Turkish rule, and was even promoted to the Bulgarian throne.

Slide 14

Dedicated to the 165th anniversary of the Samara province
Curious twists in the fate of some other representatives of the Aksakov family. ● Olga, the granddaughter of the writer and the daughter of the governor, for whom the fairy tale "The Scarlet Flower" was written at one time, later founded a koumiss healing institution. ● Sergei, the grandson of Governor Grigory Aksakov, served in the Kolchak army during the civil war, then emigrated, lived in Shanghai and returned to his homeland only at the end of his life, in the late 50s. There are no direct descendants of the Aksakovs. The family was interrupted - only the memory of people who faithfully served the Fatherland remained

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Dedicated to the 165th anniversary of the Samara province
The Aksakov family is a remarkable and unique, in its own way, phenomenon of Russian life. It was a rare case in Russian history when not one person, but a whole family was surrounded by universal respect. Contemporaries were attracted by the warmth and cordiality that reigned in this family, the purity of its moral atmosphere, the breadth of cultural interests, and the surprisingly strong connection between the older and younger generations.

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In memory of the Aksakov family
In Samara, it is planned to perpetuate the memory of the Aksakov family. At the intersection of Frunze and Krasnoarmeyskaya streets, a square will be laid out with a sculptural composition of the Aksakov family sitting on a bench. In the center of the square will be made a sculpture "The Scarlet Flower" from the fairy tale of the same name, which was recorded by the famous Russian writer Sergei Aksakov. Perhaps some kind of illumination will be made for the flower, laser beams - the project has not yet been developed in detail. Also, a sculpture of a girl will be placed in the square, which, according to the plan, listens to a fairy tale. Five fountains will also decorate the square. And on both sides it is planned to make forged grating in Art Nouveau style and a gate that will close at ten o'clock in the evening and open exactly twelve hours later.
Dedicated to the 165th anniversary of the Samara province

Slide 17

Dedicated to the 165th anniversary of the Samara province
Thank you for your attention

extracurricular activity
"The Aksakov family and my
family"

Creativity S.T. Aksakov undoubtedly occupies a special place in the history of
domestic literature. A contemporary of the great Russian writers such as
Griboyedov, Pushkin, Gogol, Goncharov, Turgenev, Tolstoy - Aksakov had
a unique talent in terms of subject matter, genre and style of his works.
It was rightly said about Aksakov that he grew up all his life, grew up along with
his time and what his literary biography there is an embodiment
history of Russian literature during his activity.
research, systematization of information about the family of S.T. Aksakov.
Target:
Tasks:
a) explore the life of S.T. Aksakov in the family;
b) read autobiographical works writer;
c) determine the role of family influence on the writer's work in Russian literature.
The material for the study was: the biography of the writer, his
works. The study used methods such as
observation, description, comparison, analysis.
The practical focus of the work is that the results
research can be used in the study of creativity S.T. Aksakov,
when teaching the analysis of works,
organization of extracurricular
events.
at
For our study, we chose the topic of the family. Why ask you?
There are many problems in this area today. State declaring family
enduring value, took her under his protection. It is interested in
so that the families that form its basis are strong.
No wonder they say: "A strong family - a strong Fatherland."
Society is not indifferent to what climate reigns in the family, what principles
the family confesses how it lives, how it "breathes", because it is in the family
a new life is reproduced, future citizens of the country are brought up.
It depends on the family what they will be.

1. The Aksakov family
We want to introduce you to life amazing family- families
Aksakov. The Aksakovs had 10 children, their upbringing was given
exceptional attention.
Sergei Timofeevich Aksakov occupies a prominent place in history
domestic literature. Outstanding Master realistic prose, thin
psychologist, writer, who perfectly mastered the complex art
images of nature, an excellent connoisseur of all the hidden riches of the Russian
This is how we know Aksakov from the popular word. So they knew him and revered Gogol
and Turgenev, Herzen and Chernyshevsky, Nekrasov and Tolstoy. The people of the most
different political and aesthetic beliefs, they were unanimous in
assessment of the great contribution that the author made to Russian literature
"Family Chronicle" and "Childhood years of Bagrov - grandson." And, of course, the author
to all of you the well-known fairy tale "The Scarlet Flower".
Sergei Timofeevich Aksakov was born on September 20 (October 1), 1791 in
Ufa, in a poor, but an old noble family. His father served
prosecutor, the mother belonged to the bureaucratic aristocracy. His early years he
spent in the steppe estate of his grandfather, a well-born, although not very rich nobleman.
He was a man almost uneducated, weak-willed, quiet, shy,
but instilled in him a love for village life, for nature.
After his death, this estate - New Aksakovo - passes to his father
future writer. In 1800, the formation of the future writer
his mother, Maria Nikolaevna, had an exceptional influence. She instilled in him
love for the book herself a big fan of reading, she developed this
inclination in his son, guided his reading. Between them established
friendly, rare in their confessional trust relationship.

Noble origin, notes Dobrolyubov, freed from
the need to get involved early in "practical life", and "live,
the receptive boy turned exclusively to nature and his
inner feeling and began to live in this world. So the backstory of famous
S.T. Aksakov's books about fishing, hunting, undoubtedly, originate in his childhood.
Early enters the inner world of the boy and folk poetry. Spellbound,
on long winter evenings he listens to the storyteller Pelageya, the housekeeper from
serfs. In her vast fairy tale repertoire were all Russian
fairy tales, and many oriental ones.

Leave an indelible impression on the soul and in the memory of the boy
folk songs, Christmas games. And when Seryozha took a fancy to reading books,
he gives himself to him with frenzied passion. Stirring up the imagination, already
developed beyond his years, reading directs him along a new direction: he
invents adventures similar to those read in books, and tells them
as authentic, as if it had happened to them themselves.
The house of the writer Aksakov was a kind of cultural nest,
the center of spiritual communication of writers and figures of several generations.
It was distinguished by the constancy, depth and versatility of cultural
interests.
enthusiastic
literature and theater Sergei Timofeevich Aksakov attracted
writers, scientists, actors, musicians.
benevolent,
Communicative,
responsive,
The hospitable house was visited by people of different political views and
orientations. Despite the ideological differences, here willingly gathered and
Westernizers and Slavophiles. They were united by friendly relations.
The influence on the literature of the “house of Aksakovs”, as well as his outstanding
personality, it was very great. It was a special house and a special family in which
the whole way of life, as it were, was permeated with cultural interests.
The house of Sergei Timofeevich Aksakov was very special and
relations of common love, cordiality, warm hospitality, and also quiet (although
and not serene) happiness that reigned in him. Everything was based on complete
freedom and mutual benevolence, all behaved with full
ease, including children. Everyone loved the "otesenka" (as they called
father's children), the good genius of his family and friends.
The wife contributed a lot to creating a cordial atmosphere in the family.
Sergei Timofeevich Aksakov - Olga Semyonovna. Sergei Timofeevich was
happy as a husband and father. He married for passionate love. His beloved
Olenka Zaplatina, or Ollina, as he called her, a year younger than him, lived
together with his father, a Suvorov general, on the outskirts of Moscow, near Donskoy
monastery. Her mother was a Turkish woman, the beautiful IgelSyuma, taken prisoner under
siege of Ochakov.
After the death of her mother, the daughter, having settled with her father in Moscow, became his
friend and helper. The old warrior could not replace the daughter of her dead mother,
but in his own way he brought her up with that special spirit of his valor, which later
gave her such great support in raising her children. Olga read to her father
historical works, books about military campaigns, battles. Constantly
newspapers were read. So their peaceful life flowed in Moscow until it was agitated by
a young man, Sergei Aksakov, who frequented their house.
What a wonderful time it was! What fervor of feeling, what
impatient desire to see my dear Ollina! Then coming after
meeting with the bride home, the young man poured out his feelings for
beloved in verse, in sentimental prose with "ahami", with "fading

hearts", with dreams of tomorrow's bliss of a date. And then June 2, 1816
in the church of Simeon the Stylite on Povarskaya, the young people were married.
In family life, of course, both “ahs” and dreams of bliss diminished.
But on the other hand, their joys appeared, the discovery in oneself of a sense of fatherhood. Birth
first-born on March 29, 1817, named Constantine, turned him into a new
a passionate state that made me abandon and forget fishing, hunting, and all
other hobbies. With mixed feelings of awe, with curiosity
he peered into the broad face of a tiny stranger from another,
of the mysterious world, looking before it blue, already meaningful
eyes. The father himself was often both a nanny and a keeper of the baby's cradle,
jumping up at night when he started to cry. When Kostya grew up and became
walking, his father’s stage talent also came in handy: he sang songs to him, played
tedious scenes.
The time has come for fishing, and then for the first hunt, nearby
beyond the pond, ending with the reprimand of the son to the father for the murdered kulichka. One
in a word, as once the father introduced little Seryozha into the world of nature, so
Sergei Timofeevich, who became a father, passed on his love to his son
to nature.
Then the daughter Vera, the son Grisha, Misha appeared in the Aksakov family. Fifth
the child was son Ivan. Later the daughters Olya, Nadya, Lyubonka, Masha,
Sonechka. Olya was a very sick girl, it brought a lot of worries
parents.
Misha died at the age of 17. He was a very funny, witty boy,
how much revival he brought into the life of the family, how he pleased with his
musical ability. Not only relatives, but also strangers were surprised
his talent. He died in St. Petersburg, where his father took him to enter the Pazh
frame.
Misha's death struck his father's heart. He was crushed by grief: he had
experienced family losses - died in infancy, immediately after birth, two
son and two daughters. But here is already a seventeen-year-old boy, almost an adult son.
The blow was cruel. He was afraid for Ollina, but she, having learned about the death of her son, did not
surrendered to despair, she only became silent and relentlessly thoughtful.
The loss brought them closer together.
Sons of Sergei Timofeevich Aksakov Konstantin Sergeevich and Ivan
Sergeevich were highly educated people, prominent publicists and
critics, they inherited from their father an ardent love for Russian culture,
studied national history; pen Konstantin Sergeevich belongs to
a number of serious works on linguistics, and Ivan Sergeevich was also known as a poet.
Another son, Grigory Sergeevich, was one of the wonderful
governors, left a noticeable mark in the history of the Ufa and Samara regions.
He had an amazing compassion for people. gave a huge
importance of public education, believed that a literate wife and mother would

to have great authority and its influence on the economic and
moral climate of the family. He became the only successor on Earth
Aksakov family, he had a daughter Olga.
2. Traditions of the Aksakov family
The Aksakov family kept the traditions of the heroic Russian past.
For example, the Aksakovs had a very special holiday Vyachka - in honor of
one little-known ancient Russian knight who jumped out of the tower
city ​​besieged by the Germans. This holiday was celebrated annually on November 30th. IN
this day the sons of Sergei Timofeevich dressed up in iron armor and helmets,
little daughters in sundresses, all together led round dances and sang a song,
composed by Konstantin Sergeevich.
The family for Aksakov is not only his children, but also a family tradition,
parents, ancestors. He believed that without family, folk traditions he could not
be a historical life. The previous generations continued to live in them, entering into
living family, enriching it spiritually and morally.
The Aksakovs themselves descended from the noble Varangian Shimon, nephew
king of the Norwegian Hakon the Blind, who arrived in Kyiv in 1027 with
squad and built the Church of the Assumption in the Kiev-Pechersk Lavra (where he and
buried. The story of this Shimon opens the famous "Kiev
Pechersky Paterik” is a monument of ancient Russian literature of the 12th century. Aksakovs
proud of their lineage.
The Aksakovs spent the winter in Moscow, in the summer they went to the Orenburg Territory,
where Sergei Timofeevich spent his childhood.
When travel became
difficult, the Aksakovs began to look for an estate near
Moscow. After a long search, we settled on the Abramtsevo estate.
Abramtsevo returned to Aksakov the world of his childhood and resurrected the old
passion - fishing, which many years ago, as a boy, he did with
with such enthusiasm that he could neither think nor speak of anything else.
The picturesque estate of Abramtsevo fell in love with Aksakov and their
numerous friends. Gogol stayed in the hospitable house for a long time. In a circle
Aksakov family, he skillfully read his works, talked about the idea
the second volume of Dead Souls.

In the evenings in Abramtsevo they discussed literary and theatrical news,
argued about the people, history, talked a lot about Russian folk songs, which
at that time they collected and recorded P.V. Kireevsky and N.M. languages.
The poetic nature of the Moscow region had a beneficial effect on S.T.
Aksakov. Outwardly always calm and kind, unhurried and simple, he was
endowed, according to Gogol, with a "nervously ardent" nature, sensitive, passionate and
addicted. In his literary talent, it was realized mainly
one side of natural endowment is wisdom and peace. The other is ardor
and passion - manifested itself in abundance in his relations with people.
S.T. Aksakov had a unique ability to sympathize and
worry. This was especially evident in relation to talented people. S.T.
Aksakov knew how to “notice”, recognize talent and help him open up. In that
he saw his mission. He knew how to help a friend in trouble, and in fatigue, and in
illness, giving him the warmth and comfort of his home.
This is the history of the Aksakov family, you can talk about it endlessly
a lot of. We have tried to briefly describe the most important.
3. The Nesgovorov family and its traditions
Our family is very large and friendly. My grandfather Ivan Illarionovich
Gavrilov and grandmother Claudia Kirillovna Gavrilova. Now they are on
well-deserved rest. Grandfather worked as an electrician on Blagoveshchensk
armature factory. Grandmother is an ambulance paramedic. They raised
two children. My mother, Svetlana Ivanovna, is their daughter, and Sergey
Ivanovich their son. When my mother was still at school, she met my
dad, Sergey Nesgovorov. Since then they have been together. After the wedding at
parents had a daughter Tatyana, ten years later in the city of Ufa I,
Nesgovorov Nikita. My sister already has her own family: husband Vladimir and little
daughter Catherine.
In our family, it is customary in the summer to go fishing every weekend. Early
in the morning on the lake it is so good and easy that you want to stay here for the whole day.
When you sail away from the shore, you can see a light haze and fog on the water.
While fishing, we forget about everything in the world, looking at the float, and
the way the fish swim.
And we also love to go far, far, to the largest lake
Bashkortostan: Aslykul. There is such nature! In the morning you can see funny
gophers and cormorants - birds that "laugh". Permanent inhabitants of the lake
family of swans. The lake itself is so clean that you can swim to the depths.
two meters and see a beautiful rocky bottom.
Absolutely all members of our family also have sports addictions.
We all love hockey very much and every season we go to the ice complex "Ufa -
Arena”, “cheering” for the Salavat Yulaev team.

Literature
1. Aksakov Sergey Timofeevich. Russian writers: bibliogr. dictionary. - M., 1971. S.T.
2. Aksakov, Memoirs; Literary and theatrical memories / comments. E.I.
Annenkova. – M.: Artist. lit., 1986.
3. M. P. Lobanov, Sergei Timofeevich Aksakov. - M.: Mol. guard, 1987 (2nd ed., 2005).
(Life of remarkable people).
Internet resources
1. http://www.aksakov.net.ru/lib/sb/book/2061...

Stronghold. Aksakov family

In S.T. Aksakov's "Childhood Years of Bagrov's Grandson" there is an amazing place when, on a road trip, a seemingly terminally ill child is laid by parents on the grass of a forest glade, and everything that he saw, felt, heard around, birdsong, aroma flowers, the breath of the forest - all this had such a healing effect on him that he soon felt healthy.

The same healing nature lives and has a healing effect on us in the writer's works.

But the very appearance of Sergei Timofeevich has the same spiritual healthy effect on us. In his own words, the inclination towards "everything clear, transparent, easily and freely understood", native traditions absorbed by him with his mother's milk, turned him away from any spiritual shape-shifting presented under the guise of novelty.

Not yet being famous writer, he was already the person who attracted the wonderful people of Russian art and science. Gogol, Turgenev, Nekrasov, Saltykov-Shchedrin, Tyutchev, Tolstoy, Dostoevsky, Apollon Grigoriev - they all deeply revered "old Aksakov". Under the influence of Gogol, who listened oral stories Sergei Timofeevich about the Trans-Volga life and persuaded his "older friend" to write "the story of his life", Aksakov began his autobiographical books and immediately entered Russian literature as its classic.

Sergey Timofeevich also attracted his contemporaries as a wonderful family man, a hospitable owner of the house, where everyone breathed greetings and goodwill. Aksakov's wife Olga Semenovna, the daughter of a Suvorov general and a Turkish woman taken prisoner during the siege of Ochakov, was a true organizer of the inner harmony of family life. Belinsky's words are known: "Oh, if only we had more fathers in Russia like old man Aksakov." Mutual love and friendship reigned in the family, which consisted of ten children, they, already being adults, called their father "otesenka" (from the word "father").

Actually, the life of Sergei Timofeevich was centered around two principles: the creation of a family and autobiographical books, the recreation of family traditions.

From this family came two remarkable figures of Russian culture and public life: the Slavophiles Konstantin Aksakov and Ivan Aksakov.

The family has always been a prototype of folk life in Russian literature: Pushkin's Grinevs, Turgenev's Kalitins, Tolstoy's Rostovs, to Sholokhov's Melekhovs, Platonov's Ivanovs. The Bagrov family occupies a special place among them, because the Aksakov family stands behind it.

Family - not only their children, but also a family tradition, parents, ancestors. The famous philosopher-theologian P. Florensky wrote: “To be without a sense of living connection with grandfathers and great-grandfathers means not to have any points of support in history. And I would like to be able to determine for myself exactly what I did and where exactly I was I am in each of the historical moments of our Motherland and the whole world - I, of course, in the person of my ancestors.

In his two main books "Family Chronicle" and "Childhood of Bagrov-grandson", Sergei Timofeevich, based on the stories of his parents, reproduced family tradition, the story of three generations of the Aksakov family (Aksakov is replaced in the narrative by the fictitious surname Bagrov). In the "Family Chronicle" the first and second generations of the Bagrov family are displayed - the grandfather and parents of little Serezha, and the childhood of Serezha, who continues the family of the Bagrovs in the third generation, is dedicated to the "Childhood of the Bagrov-grandson". The entire "Family Chronicle" consists of five relatively small passages, the book is modest in size, but there is a feeling of completeness, embracing various events and many people, a whole historical era. There are real people behind the literary characters, but this does not mean that we have photographic pictures from them. No, these are primarily artistic images, containing something more than just private, personal. And before, a great artist was seen in Aksakov - already in his "Buran", then in "Notes on catching fish", "Notes of a rifle hunter", "Memoirs" (written almost simultaneously with the last chapters of the "Family Chronicle"), but then the author, as it were, restrained his pictorial power, but here, in the "Family Chronicle", he gave it full rein, and now there was a breath of such genuine life, behind which art is no longer noticed. Such is the very first excerpt from the "Family Chronicle", the chapter "Good afternoon Stepan Mikhailovich" (later included in the famous "Russian reader" by A. Galakhov, which came out in dozens of editions in pre-revolutionary Russia). What, it would seem, is remarkable - a day spent by the narrator's grandfather, a provincial landowner, but how many lovingly conveyed details of everyday life, household, from economic life with Bagrov's trip to the field, examining the flowering rye there, visiting the mill, talking with peasants, dinner, sitting on the porch before going to bed, "crossed himself once or twice on the starry sky and lay down to rest." Epic for the day, time. One day in the life of a hero, but it is perceived as a whole complete cycle of being, so everything is large and holistic.

The author does not idealize his hero, or rather, his grandfather. Old man Bagrov is marked by the seal of time, serfdom. Moving from the Simbirsk province to the Ufa viceroy, four hundred miles away, to the newly purchased lands, he removes his peasants, the whole village from their place, and "the poor settlers set out on the road, shedding bitter tears, forever saying goodbye to the old days, to the church in which they were baptized and got married." Steep and autocratic Stepan Mikhailovich in a family where they are so afraid of his anger, which makes this, in essence, a kind-hearted person a "wild beast" (nothing can inflame him like a lie, a lie).

In Bagrov, as in a large character, both shortcomings and advantages are large. With all its contradictions in actions, this personality is monolithic, integral in its moral basis. And this foundation is indestructible, and his wisdom is based on it. worldly rules. He is firm in his word, "his promise was stronger and holier than any spiritual and civil acts." Just as a powerful chest, unusually broad shoulders, sinewy arms, a muscular body exposed a strong man in this short man, just as his face with large dark blue eyes had an open and honest expression, so his constant help to others, mediation in disputes and the lawsuits of neighbors, zealous devotion to the truth in any case testified to his moral height.

Sofya Nikolaevna, daughter-in-law, quickly comprehended "all his quirks", made a "deep and subtle assessment of his high qualities." So a proud, educated woman, who despised everything rustic and rude, bowed before this rude at first glance old man, intuitively feeling in him those qualities of him that elevated him above all others.

In Bagrov, practical qualities are balanced by moral ones, and this is the peculiarity of his nature. He is one of the people of a practical disposition, active, capable of great entrepreneurial deeds, but this is not a bare business that does not know any moral obstacles for the sake of profit. In such people, a developed moral consciousness does not leave them in practical activity, sometimes it can come into violent contradiction with it, but it will never justify the unrighteousness of an act in itself and thereby already excludes unlimited predation in itself.

But the fact of the matter is that such a character as Bagrov was not only "tradition of antiquity deep." Almost simultaneously with Bagrov, Rusakov appeared in Ostrovsky's play Do Not Get into Your Sleigh, later Chapurin in Melnikov-Pechersky's novels In the Forests and On the Mountains; both of these heroes are akin to Bagrov in character.

The image of old Bagrov can be put in a row epic images world literature. Even in the last century, immediately after the release of the "Family Chronicle", criticism, wishing to praise the author, saw in him "resemblance to Walter Scott", in particular, in understanding the "historical necessity" of past customs, in Bagrov's line of thought "in accordance with the spirit of the times (Evidently, Russian literature at that time was still not authoritative enough for criticism to be able to deduce this "historical necessity" from it itself). The power of generalizing the same image of Bagrov could only be born from such a family chronicle, which presents not the narrow framework of family life, but the whole of Russia in its main qualities (this was the case, especially later, when already in the family of Sergei Timofeevich with its spiritual and social interests Russia was constantly present both in conversations and in the thoughts of the father and children).

And not only the image of the old man Bagrov is distinguished by such an amazing power of artistic generalization. In the "Family Chronicle" Kurolesov is depicted with no less, perhaps only negative force. In the portrait of the hero, who draws S.T. Aksakov, in the absence, it would seem, of analysis (in the way in which, decomposing the whole into its component parts, they “turn out” a person to us, expose the hidden corners of his soul and consciousness, Dostoevsky and Tolstoy), with all the integrity of the picture, strikes in the image of Kurolesov psychological depth. Some critics saw in Kurolesov a kind of everyday villain, which seems to be confirmed by the very outline of the plot: the story of the hero's marriage; cheating wife; the truth she learned about the true way of life of her husband, when she, having heard about it, decides to go to the estate where he lived, and with her own eyes ascertains the truth of the rumors about his depraved life, tyranny; the villainy of Kurolesov, who made sure that his wife would not forgive him and that he was threatened with deprivation of the power of attorney to manage the estate, beating his wife and locking her in a stone cellar; the release of the captive by Stepan Mikhailovich, etc.

But behind this almost adventure story, not only everyday features are hidden, but also the metaphysical secrets of the hero's character. It is said about one of them: "Spoiled by the fear and humility of all the people around him, he soon forgot and ceased to know the measure of his frenzied self-will." That's what, it turns out, can incite "willfulness", "cruelty", "bloodthirstiness" and everything else - and not only in the case of Kurolesov, and not only in his time. From other "oral" remarks of the narrator, as if thrown on the move, Dostoevsky could, it seems, extract material for a chain psychological reaction. Kurolesov named three villages, which he settled with peasants transferred from the old places, with names that made up the name, patronymic and surname of his wife. "This romantic undertaking in such a person as Mikhail Maksimovich will later appear has always surprised me."

Reaching the highest degree debauchery and ferocity, Kurolesov zealously set about building a stone church in Parashino. These "abysses" in the character of the hero, the "phenomenon" of his bloodthirstiness, the inconsistency of his actions so deeply affected something "inexplicable" in "human nature", which gave grounds to Apollon Grigoriev to draw the following conclusion: "These types of the last times of our literature, who suddenly abandoned and suddenly a light on our historical types - this Kurolesov, for example, "Family Chronicle", in many ways better than the theories of Messrs. Soloviev and Kavelin, explaining to us the figure of Ivan the Terrible ... "Such is the power of the artist's psychological generalization, allowing us to see behind the drawn face whole historical type, which makes us think about phenomena that are not limited by the time and place of action.

Maybe nowhere in S.T. Aksakov's artistic intentness and fullness are not manifested in the same way as in the image of the mother, especially in the Childhood Years of Bagrov the Grandson. “The same filial love endured in her soul the same kind of filial love that formerly cherished her son at the mother’s breast,” one of the writer’s contemporaries rightly wrote. Indeed, the mother's ardent love and the child's passionate affection for her are an inseparable whole. "The constant presence of the mother merges with my every recollection," says the author at the very beginning of his "Children's Years of Bagrov the Grandson." Her image is inextricably linked with my existence." The sickly child was doomed, it seemed, to death, and only miraculously survived. And one of these miraculous forces that healed him was selfless, boundless motherly love, about which it is said this: "My mother did not let the dying lamp of life die out in me; as soon as it began to fade, she fed it with a magnetic outpouring of her own life, her own breath" . The whole story is illuminated by the image of a mother, infinitely dear, loving, ready for any sacrifice, for any feat for the sake of her Serezhenka. Maternal feeling psychologically seems to be inexhaustible: how many experiences, how many spiritual shades. A mother, forgotten by an anxious dream, hears the voice of her sick little son. “Mother jumped up, frightened at first, and then she was delighted, listening to my strong voice and looking at my refreshed face. This is just one moment of her state of mind, and, in fact, her whole life is in this lying in the depths of her soul, "the boundless feeling of motherly love," as the narrator himself says. From first to last page books, in every episode where the mother is shown, in a wide variety of manifestations - sometimes passionate, sometimes anxious-desperate, sometimes joyful, sometimes light-sad - this amazing feeling lives, revealing to us the secrets of the mother's heart hidden from the world.

Literature usually poeticizes love before family life, with the beginning of it, as it were, the curtain of romantic history falls and the prose of everyday life begins. Perhaps none of the Russian writers reveals family life with such poetic content as S.T. Aksakov in his "Family Chronicle" and "Childhood years of Bagrov-grandson" in particular. And this is far from a harmonious union between spouses (remember that Sofya Nikolaevna did not marry for love). But there is so much richness of feelings in maternal love, so much spiritual employment, "that this alone makes a woman's life deeply meaningful, giving her great moral satisfaction, and little son feels the "moral authority" of his mother over him. Such maternal "monolove" was, apparently, the same phenomenon of Russian life as the constancy of Pushkin's Tatyana with her: "But I am given to another and I will be faithful to him for a century."

It is amazing that this maternal feeling in all its originality and purity was conveyed to us by a sixty-five-year-old artist, as if there was neither the burden of worldly experience cooling the soul, nor even another mother, when with the marriage of her son she so changed in her feelings for him, jealous of him. to the family: nothing turned out to have power over the strength of that childish filial love, which became the shrine of his soul. As if instinctively feeling what he owes to his mother, who more than once snatched him, it seemed, from the arms of death, Seryozha responds to her with passionate filial affection, which at times literally shakes his childish soul. He experiences such shocks during his mother's illness, falling into unchildish horror at the mere thought that she might die. "The thought of the death of my mother did not enter my head, and I think that my concepts began to get confused and that this was the beginning of some kind of insanity."

S.T. Aksakov apparently conveyed something very characteristic of child psychology in general. Here is the confession of the famous Russian physicist S.I. Vavilov: "I always loved my mother deeply and, I remember, as a boy I imagined with horror, what if my mother would die, which seemed tantamount to the end of the world."

In this horror of being left without a mother, there is some kind of spontaneous fear of orphanhood, not only filial, but orphanhood in general on earth, and the mother is here as that support closest and accessible to the child's consciousness, without which he is so afraid in the world. With what stupor the mother's illness strikes the child's soul, and with what light the world is illuminated with her recovery. “Finally, everything gradually calmed down, and first of all I saw that the room was brightly lit from dawn, and then I realized that my mother was alive, she would be healthy - and a feeling of inexpressible happiness filled my soul! This happened on June 4, at dawn before sunrise, and therefore very early."

Love for the mother reveals himself more deeply to Serezha. He was so indulged in the impressions of the awakening spring nature, so ("as if mad") was absorbed in his affairs and worries - to listen, to look at what was happening in the grove, how the leaves unfolded, all living creatures came to life, how birds' nests curled - that he forgot about everything on light and even about the mother. And his mother reproachfully reminded him of this. It was as if a veil had been lifted from his eyes: he really thought little of her. Acute repentance pricked him to the very heart, he felt how guilty he was before his mother, and asked for forgiveness from her. The mother did not restrain her feelings: “My mother and I indulged in fiery outpourings of mutual repentance and enthusiastic love; the distance of years and relationships disappeared between us, we both cried frantically and sobbed loudly. son and offended him with a reproach."

The very moral development of the boy is largely influenced by the knowledge of maternal love. He begins to understand and feel this love especially, "in all its strength", during his illness. “The excruciating fear she experienced is understandable - the delight when the danger has passed is understandable. I have already grown older and was able to understand this delight, to understand my mother’s love. This week has enlightened me a lot, developed a lot, and my attachment to my mother, more conscious, has grown much above my age." Thoughts about the mother, which arouse in the son an "anxious state", make him be "in a struggle with himself." And his very "imagination, developed beyond his years," is also largely explained by his ardent attachment to his mother, the fear of losing her. Thus, in child psychology, the image of the mother gives rise to something like a “process of feelings”, a “struggle with oneself” - a phenomenon, as it were, even unexpected, given the established opinion about the “non-analysis” of psychologism in S.T. Aksakov.

And not only through the mother is the growth of the child's soul. How this childish soul shudders when a grandfather dies, what fear, what horror seizes it, how the childish imagination is inflamed with thoughts of death! In terms of the strength of psychological expressiveness, this fear is truly the germ of that fear of death that will rush about in the minds of Tolstoy's heroes, and this same fear of death, so early, almost from infancy, recognized by Sergei Timofeevich, apparently, could not but leave a trace in his later life, perhaps , lurked in his soul, drowned out by those "passions" that the writer himself spoke of, referring to his family concerns, attachment to nature, and so on. And next to the death of grandfather - the birth of a tiny brother, causing some special tender feelings in Seryozha. “In a small nursery, a beautiful cradle hung on a copper ring, screwed into the ceiling. This cradle was presented by the late grandfather Zubin, when my elder sister, who soon died, was still born; both my second sister and I swayed in it. They set up a chair, I climbed on it, and, opening the green silk cover, I saw a sleeping swaddled baby and noticed only that he had black hairs on his head. They took the sister in her arms, and she also looked at the sleeping brother - and we were very pleased ... Alena Maksimovna, seeing that we are such smart children, we walk on tiptoe and speak in an undertone, she promised to let us go to her brother every day, just when she would wash him. Delighted by such pleasant hopes, we merrily went for a walk and ran first around the yard, and then in the garden " . Family feeling, as if branching, enters the soul of the boy, permeates his whole being, gives him a feeling of fullness and certainty of existence. He is happy to know that he is from the same family as his father and grandfather. “I was alone with my father; they also hugged and kissed me, and I felt some kind of pride that I was the grandson of my grandfather. I was no longer surprised that all the peasants loved my father and me so much; I was convinced that this was certainly so it must be: my father is a son, and I am the grandson of Stepan Mikhailovich.

The family principle has become the leading, determining factor in the story. This was reflected in the very titles of the books: "Family Chronicle", "Childhood of Bagrov-grandson". Well said about the books of S.T. Aksakov Andrey Platonov, who saw their "immortal essence" "in relation to the child to his parents and to his homeland." According to Andrei Platonov, "Aksakov's books instill patriotism in readers and reveal the primary source of patriotism - the family," because "a person initially learns this feeling of the Motherland and love for her, patriotism through the feeling of mother and father, that is, in the family." And Aksakov's love for nature itself "is only a continuation, development, dissemination of those feelings that arose in him when he clung to his mother in infancy, and those ideas when his father first took his son with him to fish and rifle hunting. and showed him a big one, bright world, where he will then have to exist for a long time. And the child accepts this world with trust and tenderness, because he was introduced into it by the hand of his father.

Nature is the second, after the parental, cradle that truly nurtured and cherished the artist's childhood. One of the very first and most intimate "fragmentary reminiscences" of the author of "The Childhood Years of Bagrov the Grandson" is an illness and recovery in infancy. “Dear, quite early in the morning, I felt so bad, I was so weak that I was forced to stop; they took me out of the carriage, made a bed in the tall grass of a forest clearing, in the shade of trees, and laid me down almost lifeless. I saw and understood everything, I heard how my father wept and consoled my desperate mother, how fervently they prayed, raising their hands to heaven, I heard and saw everything clearly, and could not say a single word, could not move, and suddenly I felt better, stronger than usual. I liked the forest, the shade, the flowers, the fragrant air so much that I begged them not to move me. So we stood there until evening. ... I did not sleep, but I felt unusual cheerfulness and some kind of inner pleasure and calmness, or rather, I did not understand what I felt, but I felt good ... The next day in the morning I also felt fresher and better against the ordinary. "Twelve-hour lying in the grass in a forest clearing gave the first beneficial impetus to my body, which was relaxed in body." Thus, nature had a healing effect on the child, and since then he fell in love with her to self-forgetfulness.

One of the contemporaries of S.T. Aksakova, a hunter-writer, jokingly said that his dog stood up in front of the Notes of a Rifle Hunter, there was so much life and truth in them. The same can be said about the description of nature in the "Family Chronicle" and "Childhood of Bagrov the Grandson": there is so much life, truth here that you forget all literature and, together with the author, plunge into the world of nature itself.

A healthy sense of nature made Aksakov and a landscape painter of such power as I.I. Shishkin, who called Sergei Timofeevich his favorite writer.

It has a healing effect even on us, readers of Aksakov's books, and what can we say about Seryozha, who lives in it. For him, she is an inexhaustible source of joy and pleasure. How many secrets, how many exciting details are revealed to him everywhere in it, immediately behind the house, where the Buguruslan flows and the rook grove begins: on fishing; on the road, all the same, from Ufa to Bagrov, and always excitingly new; lodging for the night in the steppe under the open sky; in the spring frenzy of the nightingales at the fading dawn. And all this, and much more, all the voices, flowers, aromas, "the beauties of nature" ( favorite expression the writer himself) seem to overflow into the child's soul, caress it, delight it, expand it, make it happy. And just as in love for a mother, the whole gamut of feelings, experiences of a little hero is manifested, so in a passionate attachment to nature, no less, perhaps, is revealed. Rich life child soul.

One could talk a lot about the importance of the native corner, nature in the creative destiny of S.T. Aksakov, in particular, and about the uniqueness in Russian literature, and not only, apparently, in Russian, but also in the world - such a phenomenon when the modest framework of an event - childhood spent in the Orenburg village - under the pen of an artist is suddenly filled with such vital authenticity, pithiness, significance, that we involuntarily think about the inexhaustibility of being even in the smallest "corners of the earth." However, this should not surprise us, remember, for example, what this corner of the earth meant for Pushkin, how his two-year stay in Mikhailovsky enriched him, what poetry, what depths of folk life were revealed to him - through the fairy tales of Arina Rodionovna, the stories of peasants, the songs of the blind on fairs; it was from here, from this "corner of the earth" that Pushkin's comprehension of Russian history, the era of "Boris Godunov" (created here), the people itself began. And every great Russian artist had his own "corner of the earth", which connected him with the world.

It is from here, from this "corner of the earth" that the writer's language also originates. "Family Chronicle" and "Childhood of Bagrov the grandson" absorbed the language of the Aksakov homeland, just as they absorbed the fragrance of the surrounding nature. The nationality of the language among S.T. Aksakov not only in pure folk words but also in the very truth of the expression of people's life, which he knows well. Living speech, it seems, covers everything that it touches, every phenomenon, every object, every everyday detail, is imbued with that elusive Russian meaning that is given by the most direct life in the national element. The verbal liveliness of speech is combined with the amazing plasticity of the image, with such visibility, tangibility of pictures, especially nature, that we seem to enter into them, as if into the real world. Not a single false tone, everything is simple and true. Language itself has a purifying effect on the reader, not only in the aesthetic, but also in moral attitude. The imprint of the wisdom, spiritual clarity of the elder, his moral penetration is visible in the style. The artist put all the treasure of his soul into this syllable, into this majesty of the Russian word, and that is why the beauty and truth of this amazing Aksakov language, which endowed us with a wonderful childhood iliad of Russian life, does not decrease with time.

"Family Chronicle" and "Childhood of Bagrov the Grandson" immediately after their release caused rave reviews from contemporaries. And surprisingly, these unanimous praises belonged to people of different convictions, such as Khomyakov and Turgenev, Tolstoy and Herzen, Shevyrev and Shchedrin, Pogodin and Chernyshevsky, Annenkov and Dobrolyubov, and so on. True, the reasons for praise were not the same. So, Dobrolyubov (in his article "The Village Life of the Landowner in the Old Years, Reflected in the Childhood Years of Bagrov the Grandson") noted, as the most important thing in the book of S.T. Aksakov, everything that is connected with the description of the "old order", with the "arbitrariness" of the landowner in " family relationships", with the invasion of serf relations into his village life. "In the end, - writes Dobrolyubov, - the whole reason again comes down to the same main source of all internal disasters that we had - serfdom of people.

“The underdevelopment of moral feelings, the perversion of natural concepts, rudeness, lies, ignorance, aversion from work, self-will, unrestrained by anything - it seems to us at every step in this past, now already strange, incomprehensible to us and, let’s say with joy, irrevocable” .

For Tolstoy in The Childhood Years of Bagrov the Grandson, "the evenly sweet poetry of nature is poured over everything, as a result of which it may sometimes seem boring, but it is unusually soothing and amazingly clear, faithful and proportional reflection."

Shchedrin admitted that he was strongly influenced by the "beautiful works" of S.T. Aksakov, and therefore dedicated to him one of the cycles of "Provincial essays" in a magazine publication - "Pilgrims, Wanderers and Travelers". Aksakov's epic enlightenment touched such a mercilessly caustic satirist as Shchedrin was. And much later, in his "Poshekhonskaya antiquity" in the chapter "Moral Education", it is told how the hero (with autobiographical features of the author himself), already over thirty years old, for the first time "almost with envy" got acquainted with the "Childhood years of Bagrov the grandson" and made indelible impressions from this reading. Highly put the books of S.T. Aksakov Dostoevsky, noting in them the truth of a national character. Arguing with Westerners, he wrote: "You say that as soon as the people show activity, now they are a kulak. This is shameless. This is not true. Nanny, crossing the Volga in the Family Chronicle and a hundred million other facts, selfless, generous activity. "

Each of famous contemporaries S.T. Aksakov had his own view of his books, but everyone agreed on one thing: in recognizing the outstanding artistic merits of these books, the rare talent of their author. Sergei Timofeevich himself, sincerely surprised at his resounding success as an author, with his inherent "arrogance" of pride, explained the matter simply: "I have lived my life, retained the warmth and liveliness of my imagination, and that is why an ordinary talent produces an extraordinary effect."

Having been published, "The Childhood Years of Bagrov the Grandson" immediately became a textbook classic. So, Mamin-Sibiryak (born in 1852, six years before the publication of Sergei Timofeevich's book) wrote in his autobiography how in early childhood he "listened to" reading "Childhood Years of Bagrov the Grandson". And later another future writer(which Gorky himself will tell about in the story "In People") will remember forever how Turgenev's "Family Chronicle", "Notes of a Hunter" and other works of Russian literature "washed" his soul: "I felt what a good book is, and understood it a necessity for me. From these books, a steadfast confidence calmly formed in my soul: I am not alone on earth and I will not be lost!

Books ST. Aksakov's descendants will always be heard, finding in them, as in wise folk legends, always a living, deeply modern and eternal meaning.

The names of Aksakovs - Konstantin and Ivan are connected with the direction of Russian social thought, which was called Slavophilism. But it should be noted: justifying this name (love for the Slavs), standing up for the unity of the Slavs, ardently supporting the cause of the liberation of the southern Slavs from the Turkish yoke (the special role of Ivan Aksakov here), the Slavophiles themselves said that the main, hidden in their ideas is the Russian people , Russia. Konstantin Aksakov (born in 1817), although he was much younger than Khomyakov (1804) and Kireevsky (1806), together with them belongs to the generation of older Slavophiles, and Ivan Aksakov is their successor already in the new post-reform era. The acquaintance of the young Konstantin Aksakov with Khomyakov made a revolution in his convictions, which will be discussed below.

Since Aleksei Stepanovich Khomyakov and Ivan Vasilyevich Kireevsky are the "founding fathers", the pillars of Slavophilism, let us dwell briefly on their teachings. Deeply educated, fantastically gifted in many fields of knowledge, fluent in French, English, German, Khomyakov embodied the spiritual height of Russian national identity. The idea of ​​original Russian philosophy originated in him in his youth, in the twenties, in a circle of philosophers, the focus of which was his friend, poet and thinker D. Venevitinov, who showed great promise and died so early in 1827, at the age of only twenty-two years. . The first ideological students of Alexei Stepanovich were the young Konstantin Aksakov and his friend Yuri Samarin. In 1840, a meeting took place that had a decisive influence on their lives. Alexei Stepanovich Khomyakov was much older than each of them: he was thirty-six years old, a man comprehensively educated philosophically, with a long-established worldview. But not only spiritual experience, maturity of thought, he surpassed his young comrades. What was separate in each of them - creativity and analytical power - united in him in complete harmony, making up the integrity of his nature. Therefore, it would seem that the young friends should have found each their own, their own point of support in Khomyakov, but at first this did not happen. For both, as already mentioned, Hegel was an idol, and it was not so easy for them to part with him. Khomyakov, who studied Hegel perfectly, himself a rare dialectician, did not suppress the opinions of young people due to his high tolerance, he only adamantly held on to his "stone" - Russian history, its spiritual, cultural, everyday features. This was the main thing for him, and then already Hegel and the "Hegelates" (as he said), "Hegelism", valued by him, but in his eyes still indirectly related to the "Russian principle" (as in general all German, rationalistic in its basis, philosophy). Friends-opponents turned out to be quite tough nuts that were not easy to deal with. Konstantin Aksakov, whom Khomyakov called "the ferocious lamb," who combined ideological fury with childishness of heart, was especially persistent in standing up for Hegel. Believing in the strength of the main thing in Konstantin Aksakov, Khomyakov told him: "I agree with you more than you yourself." And things moved forward, the reverence of Khomyakov's opponents for Hegel as the all-encompassing absolute principle of knowledge faded. According to younger brother Ivan, the liberation of Konstantin Aksakov from the shackles of Hegel was complete: "Hegel, as it were, drowned in his love for the Russian people." Subsequently, Konstantin Sergeevich himself admitted: "The lively voice of the people freed me from philosophical abstraction. Thanks be to him."

The unknown, the exciting entered the minds of friends when they began to read the monuments of ancient Russian literature, to study chronicles, old letters and acts. The whole world, until then completely unknown to them, with its spiritual treasures, visible and not yet explored, with the originality of folk life, life, was revealed to them. Some kind of soil was suddenly felt underfoot after a shaky wandering in the Hegelian "phenomenology of the spirit."

Khomyakov became a regular visitor to the Aksakovs' house, just as he himself was glad to see them at his home, in the house on the dog's playground. Especially often he began to visit them after the death of his thirty-five-year-old wife Katerina Mikhailovna (she was the sister of the poet Yazykov), who left five children in his arms. He hard, although courageously endured terrible grief, tried not to betray his condition, in public forced himself to be the same as before. One day, a guest staying overnight at Khomyakov's house accidentally witnessed a stunning scene. Khomyakov knelt down in the middle of the night and sobbed muffledly, and in the morning, as usual, he went out to the guests smiling good-naturedly and calmly. The death of his wife was a test of his seemingly unshakable faith. After all, he wrote in his essay "The Church is One":

"Those who live on earth, who have completed the earthly journey, who were not created for the earthly journey (like angels), who have not yet begun the earthly journey (future generations), are all united in one Church - in one Grace of God." Both of them - both she and he have always lived in the Church and in her, in her eternal blessed bosom, continue to live together with Katya and with her departure from this life. He believed in it, but such longing for dead wife sharpened him, that at times he was discouraged. And once in a dream I heard her voice: "Do not despair!" And he felt better. She does not cease to be with him, with the children, strengthens his strength for the feat of life. Previously carefree about the “written word”, preferring the “oral” word to it, he now began to write more, as if knowing the short earthly period allotted to him, he was in a hurry to convey to paper in the depths of his soul the thoughts and feelings dear to him that had matured for many years. In the Aksakovs' house he rested mentally, himself, as a good, now incomplete family man, deeply felt the good of the family circle. As in everything else in life, in the family he remained a whole person. And in his philosophy, he did not find abstract, logistically dead formulas for the family, but living, penetrating words, saying that the family is the circle in which love "passes from an abstract concept and impotent aspiration into a living and real manifestation."

Deeply loving Sergei Timofeevich, Khomyakov valued his works primarily for the fact that the writer "lives in them, affects the reader with all his beautiful spiritual qualities", as he said -" the secret of his art is in the secret of a soul filled with love. "In the fifties, after the death of his wife, Khomyakov went into the depths of theology, knowledge of the essence of the Church. In his articles and letters, written for some reason in French and in English, Khomyakov develops the idea of ​​catholicity. The strength of the Church is not in its outward order, not in its hierarchical nature, but in catholicity, in the unity of the love of all the church people, in its invincibility as the Body of Christ. The unity of the Church is created by the incessant action of the Spirit of God in her. Every action of the Church is directed by the Holy Spirit, the spirit of life and truth.The Spirit of God in the Church is inaccessible to rationalistic consciousness, but only to an integral spirit.Unlike the Eastern Orthodox Church with its catholicity in the love of the West, Catholicism affirms itself on the pride of individual reason.

Great Russian literature is deeply imbued with catholicity. In the 20th century, what the Orthodox thinker, a faithful son of the Russian Church, Khomyakov, called the emergence of his theological ideas "on the world field" came true.

Spiritually close to the Aksakov family was another outstanding Russian thinker, Ivan Vasilyevich Kireevsky. Let's turn to him philosophical views, without this, the display of that mental and spiritual environment that surrounded the Aksakovs would not be complete.

Ivan Kireevsky occupied an important place in it. Even in an article written in 1830, "Review of Russian Literature for 1829," he says: "But other people's thoughts are useful only for the development of their own. German philosophy cannot take root in us. Our philosophy must develop from our life, be created from current questions from the dominant interests of our national and private life". Listening in 1830 to Hegel's lectures at the University of Berlin, and then to Schelling's lectures at the University of Munich, did not have a special effect on Ivan Kireevsky, did not arouse in him the very "way of thinking" of German philosophers, even Schelling, who was closer in spirit to him. Perhaps what gave him more personal acquaintance with Hegel and through his younger brother Pyotr Vasilyevich (who had previously arrived in Munich) - with Schelling, who, by the way, in a conversation with the Kireevskys expressed the opinion that Russia was destined for a great appointment (the same idea, apparently, under Hegel expressed the influence of Russia's victory over Napoleon in 1812 to one of the young Russians who listened to his lectures). From a distance, he could more clearly examine the vastness that represented his Fatherland. Without denying the instructiveness of the experience of Western Europe, Ivan Kireevsky believed that any foreign experience cannot be mechanically transferred to the historical soil of another people, that philosophy and education cannot be externally adopted in the same way, but are born from the depths of national life. This applies all the more to "original Russian philosophy," which, in his opinion, was to go far beyond national significance and acquire a world role.

In the creation of such a philosophy, Ivan Vasilievich saw his vocation, the task of his service to the Fatherland, and, in fact, he lived in this single-mindedness. He did not develop a system, like the German philosophers, but developed a number of provisions that formed the basis of Slavophil philosophy. The gist of these provisions is briefly as follows.

Historically, the enlightenment of Europe and Russia was based on different elements, different principles. As for Europe, these beginnings in its enlightenment were Christianity, which penetrated there through the Roman Church, ancient Roman education and the statehood of the barbarians, which arose from the violence of conquest. As can be seen already from this, which determines the fate of enlightenment European nations was the role of Rome, Roman education. Meanwhile, there was still Greek enlightenment, which in its pure form hardly penetrated Europe until the 15th century, until the very capture of Constantinople by the Turks (when Greek exiles appeared in the West with their "precious manuscripts"). But it was already a belated acquaintance, which could not change the inherent mindset and life. The dominant spirit of Roman education, Roman laws and the Roman system have left an imperious seal on the whole of history and lifestyle European peoples, ranging from private life and ending with religion. If we talk about the main feature of the "Roman mind", then this will be the predominance of external rationality in it over the internal essence. This character of rational education marked all manifestations of social, religious, family life in ancient Rome, inherited by Western Europe.

If in the West Christianity took root through the Roman Church, then in Russia it took root through the Eastern Church. In contrast to Western theology, which is basically rationalistic, the theology of the Eastern Church, without being carried away by the one-sidedness of syllogisms, constantly maintained the fullness and integrity of speculation. Eastern thinkers are primarily concerned with the correctness of the internal state of the thinking spirit; Western - more about the external connection of concepts. Eastern writers, according to Ivan Kireevsky, are looking for the inner integrity of the mind, that focus of mental forces, where all the individual activities of the spirit merge into one living and higher unity; Westerners, on the contrary, believe that the achievement of complete truth is possible even for divided forces, for a fragmented spirit, that one sense can understand the moral, another - elegant, the third - personal pleasure, etc.

This wholeness of the spirit, of being itself as a legacy of Eastern Christianity, Orthodoxy, distinguished, says Kireevsky, the ancient Russian enlightenment, the life and life of the ancient Russian man, and is not yet lost in common people, in the Russian peasantry. The need for such integrity of the spirit, the integrity of the worldview and life, Kireevsky considered the central task of Russian philosophy, regardless of time, from historical circumstances. Moreover, he urged to follow not the letter, but the spirit of this provision, bringing it into line with modern, including scientific requirements, without allowing any elements of archaism.

So, the main thing, according to Kireevsky, is that the wholeness of being, which distinguished ancient Russian education and which was preserved among the people, should forever be the lot of the present and future Russia. But in this Ivan Kireevsky sees not a narrowly national task, but Russia's world vocation, its historical role in the destinies of Europe. Those who consider the Slavophiles to be some kind of provincials who would like to once again board up a "window to Europe", fence themselves off from it, close themselves within their national boundaries (almost a specific Rus') and walk around in murmolkas and kosovorotkas are mistaken. The question of their attitude to Europe is much deeper, has nothing to do with this caricature.

The thought of Ivan Kireysky was as follows: the historical life of Russia was devoid of the classical element, and since Europe is the direct heir of the Ancient World, this classical element should be adopted from it - through the best features of Western education. Having assimilated all the best in the culture of the West, having been enriched by it, thus giving universal significance to Russian enlightenment, it is possible to more successfully influence it and the West, introducing into its life, into its consciousness the unity of spiritual being that it lacks. The essence of Kireevsky's worldview was the demand for integrity, inseparability of beliefs and way of life. Even in his youth, he set as his goal "to elevate the purity of life over the purity of the style." It was the motto of all his friends - and brother Peter Vasilyevich, and Khomyakov, Konstantin and Ivan Aksakov, Yuri Samarin and others. The "purity of life", the moral height of the Slavophiles left their mark on their "syllable", the style of creations, about which V.V. Rozanov, who, due to his inconstancy, wrote various things about them, sometimes directly opposite, in the end could say that their creations “come from an unusually high mood of the soul, from some kind of sacred delight, addressed to the Russian land, but not to it alone, but and other things ... Whatever they touched, Europe, religion, Christianity, paganism, the ancient world - everywhere their speech flowed with gold of the most exalted structure of thought, the most passionate deepening into the subject, the greatest competence in judging about it "(Article "I.V. Kireevsky and Herzen").

The integrity that Ivan Kireevsky strove for did not come down to purely personal self-knowledge for him. The moral integrity of a person can have a great impact on people, become the focus of their unanimity and spiritual community. Ivan Kireevsky knew what the moral height of a person meant for other people, what an inspiring and attracting collective force it was.

As a philosophy not speculative, but practical, vital, the philosophy of wholeness of Ivan Kireevsky absorbed his everyday impressions and, of course, could not but absorb his impressions from communication with the Aksakov family, which was well known to him, close to him. Sergei Timofeevich, not having a penchant for philosophizing, might not delve into all the nuances of Ivan Vasilyevich's views, but he was related to the understanding of human life in the unity, inseparability of his thought and behavior. And in his work, this wholeness became the basis of that amazing truth of the narrative, which has such an authoritative effect on the reader, and not only aesthetically, but also morally.

A stronghold of Christianity? The Armed Forces of the Order of the Hospital When public opinion in the West expressed doubt that there was any benefit from the Hospitallers, the latter referred to their actions against the Turks and Mamelukes. However, these hostilities alternated with long