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Shergin Boris Viktorovich Scientific school of A.P.

Shergin Boris Viktorovich Scientific school of A.P.

20.06.2019

Boris Viktorovich Shergin

Shergin Boris Viktorovich (07/16/1893 (according to archival data; Shergin's own indication of 1896 is a hoax) - 10/31/1973), writer, poet.

Shergin's father, a hereditary navigator and shipbuilder, passed on to his son the gift of a storyteller and a passion for any "art"; his mother is a native Arkhangelsk, who introduced him to the folk poetry of the Russian North ("Mother's craftswoman was to say ... like pearls, her word rolled out of her mouth"). In the family, Shergin learned the first important lessons of relationships with the world and people, the labor code of honor of the northern Russian people. Since childhood, he comprehended the moral structure, life and culture of Pomorye: "marine knowledge" - through the fascinating stories of his father's friends - eminent ship carpenters, captains, pilots, hunters-industrialists; songs and fairy tales - from the Zaostrovsky peasant woman N. P. Bugaeva, a family friend and “housekeeper of the Shergins; copied ornaments and headpieces from old books, learned to paint icons in the Pomeranian style, painted utensils; still in his school years he began to collect and write down northern folk tales, epics, songs. He studied at the Arkhangelsk male provincial gymnasium (1903-12); graduated from the Stroganov Central School of Industrial Art (1917).

A serious interest in folklore was aroused in Shergin by acquaintance with the Pinega storyteller M. D. Krivopolenova, as well as with prominent folklorists brothers Yu. M. and B. M. Sokolov. During the years of study in Moscow, he performed as a performer of ballads and olden times of the Dvina land; at the invitation of Yu. M. Sokolov, he illustrated lectures on folk poetry at Moscow University with his singing. In 1916 he met Acad. A. A. Shakhmatov; on his initiative, he was sent by the Academy of Sciences on a business trip to Shenkursky district. Arkhangelsk province. to study local dialects and record folklore works.

Upon his return to Arkhangelsk (1918), he worked as an artist-restorer, headed the artistic part of a craft workshop, contributed to the revival of northern crafts (in particular, the Kholmogorsk bone carving technique), was engaged in archeographic work (collected books of "ancient writing", ancient sailing directions, skippers' notebooks, albums of poems, song books).

The first publication is the essay "Departing Beauty" about the concert of M. D. Krivopolenova (newspaper "Arkhangelsk". 1915. November 21). During the life of the writer, 9 books were published (not counting reprints). In newspapers and magazines, Shergin published articles of a literary and art criticism nature, less often literary works.

Shergin - storyteller and storyteller was formed and became known earlier than Shergin the writer. His first book, "Near the Arkhangelsk City, at the Ship's Shelter" (1924), consists of his recordings of six Arkhangelsk antiquities with the notation of melodies sung by his mother (and included in the repertoire of Shergin's performances).

The transition from the solemnly sad antiquities of the first Shergin collection to the rudely mischievous humor of "Shish of Moscow" (1930) - "a buffoon epic about pranks on the rich and strong" is striking. Adventurous witty plots, juicy language, grotesque caricature depiction of representatives of the social elites connect Shergin's picaresque cycle with the poetics of folk satire. "Shish of Moscow" was destined to become the most famous book of the writer: in 1932-33 Shergin's fairy tales performed by the author were broadcast on Moscow radio and were a huge success with listeners.

In the third book - "Arkhangelsk short stories" (1936), which recreates the customs of the old bourgeois Arkhangelsk, Shergin appears as a subtle psychologist and writer of everyday life. The short stories of the collection, stylized in the style of popular translated "histories" of the 17th-18th centuries, are dedicated to wanderings in the Overseas and the "cruel" love of characters from the merchant environment.

The first three books by Shergin (designed by the author himself in the “Pomor style”) represent the entire folklore repertoire of the Arkhangelsk Territory. But the degree of the author's dependence on the folklore source decreases with each new book, so that Shergin's indispensable reference to such a source becomes nothing more than an expression of the author's modesty.

The history of Pomorye, mediated in the first three books by Shergin through art, eloquence, and everyday life, appears in its direct form in his next collection, By Song Rivers (1939). This collection includes historical and biographical Pomeranian stories, folk talk about the leaders of the revolution and the remarkable people of the country, their legendary and fabulous biographies. Despite the obvious subordination of laudatory "tales about leaders" to a political order, they do not determine the general artistic level of the collection, in which the "strength and favor" of the Sherga word reaches a truly classical height. For the first time, Pomorie reveals its expanses, soul, and history in such a wide and sonorous way: a detailed panorama of the Dvina land, its riches and expanses, a heartfelt sketch of the Pomor way of life, vivid stories about the heroic work of the Pomors. Labor is Shergin's favorite area of artistic depiction. Through work, the history and soul of the northern people are revealed, the dignity and beauty of an individual person are manifested in work.

In the book "At Song Rivers", the North of Russia appears as a special cultural and historical region that played a significant role in the fate of the country and occupies a unique place in its culture. Shergin's subsequent "elections" expand and refine this image.

The book Pomorshchina-Korabelshchina (1947) published after the war, Shergin himself called his “repertoire collection”: it combines works with which he performed during the war years in hospitals and military units, clubs and schools. The fate of this collection is tragic: it was subjected to a vulgar sociological revision and provoked derogatory criticism from folklorists as "a crude stylization and perversion of folk poetry." The name of the writer was discredited, and he himself was doomed to ten years of isolation from the reader.

The destruction of the wall of silence around Shergin was facilitated by the writer’s creative evening organized in 1955 at the Central House of Writers, after which the collection “Pomorskie were and legends” (1957) was published by the publishing house “Children’s Literature” (1957), and after a while an “adult” collection of selected works was also published. "Ocean - Russian Sea" (1959). The collection caused a lot of rave reviews; The writer's verbal skill attracted the special attention of the reviewers. Deserved recognition came to Shergin after a high assessment of his work in an article by L. M. Leonov (Izvestia. 1959. July 3).

In the work of Shergin, two main manners of narration are very clearly distinguished: pathetic and everyday. The first is used by the writer in describing the majestic nature of the North and the glorious deeds of its people, including a wide range of positive idealizing means, and is associated with the tradition of ancient Russian hagiography and folklore epic. The second, characteristic of Shergin's essay on morals and household tale, is clearly oriented towards skaz - phonetic, lexical, syntactic imitation of oral speech. The "everyday", unvarnished character of the language is given by Shergin's use of reduced vernacular and vulgarisms; wide borrowing of "verbal pearls" - dialectal features of the Russian North; an abundance of well-aimed comparisons (akin to the associativity of folk speech) and witty figurative words; speech polyphony. The language of Shergin's works contains professional dictionaries of shipbuilders, seafarers, fishermen, and artists of Pomorye. The writer's prose uniquely combines a high literary tradition (in all the variety of cultural associations that lived in the minds of well-read Pomors at the turn of the 19th-20th centuries) and a fundamental relationship with folklore, often openly manifested. According to V. I. Belov, "one Shergin ... managed so successfully, so naturally to make the spoken word related to the book."

The originality of Shergin's folklorism lies in the direct orientation of his texts to folk art. The goal of the artist is not to enrich literature at the expense of folklore that is external to it, but to reveal folk poetry as an original, unique and invaluable way of seeing the world and man, to contribute to the “booking” of folklore. The writer's texts contain an abundance of quotations from folklore texts (proverbs, sayings, excerpts from epics, lamentations, lyrical songs, fairy tales, etc.). Most of them are designed to be read aloud, and Shergin, who knew all his prose and poetry by heart, until the last years of his life often performed his works himself. For him, telling was not a reproduction of what had been created earlier, but the very process of creativity.

A. Kharitonov

Used materials from the site Great Encyclopedia of the Russian people - http://www.rusinst.ru

Shergin Boris Viktorovich - prose writer, poet.

Father Shergin, a hereditary navigator and shipbuilder, passed on to his son the gift of a storyteller and a passion for any "art"; his mother, a native of Arkhangelsk, introduced him to the folk poetry of the Russian North ("Mother's craftswoman was to say ... like pearls, her word rolled out of her mouth"). In the family, Shergin learned the first important lessons of relationships with the world and people, the labor code of honor of the northern Russian people. Since childhood, he comprehended the moral structure, life and culture of Pomorye: "marine knowledge" - through the fascinating stories of his father's friends - eminent ship carpenters, captains, pilots, hunters-industrialists; songs and fairy tales - from the Zaostrovskaya peasant woman N.P. Bugaeva, a family friend and "housekeeper" of the Shergins; copied ornaments and headpieces from old books, learned to paint icons in the Pomeranian style, painted utensils; still in his school years he began to collect and write down northern folk tales, epics, songs. He studied at the Arkhangelsk male provincial gymnasium (1903-12); graduated from the Stroganov Central School of Industrial Art (1917).

A serious interest in folklore was aroused in Shergin by acquaintance with the Pinega storyteller M.D. Krivopolenova, as well as with prominent folklorist brothers Yu.M. and B.M. Sokolov. During the years of study in Moscow, he performed as a performer of ballads and olden times of the Dvina land; at the invitation of Yu.M. Sokolov, he illustrated lectures on folk poetry at Moscow University with his singing. In 1916 he met Academician A.A. Shakhmatov; on his initiative, he was sent by the Academy of Sciences on a business trip to the Shenkur district of the Arkhangelsk province. to study local dialects and record folklore works.

In 1922 he finally moved to Moscow; worked at the Institute of Children's Reading of the People's Commissariat for Education, spoke with stories about the folk culture of the North and performed fairy tales and epics in front of a diverse, mostly children's, audience. Since 1934 - in professional literary work.

The first publication is the essay "Departing Beauty" about the concert of M.D. Krivopolenova in the newspaper "Arkhangelsk" (1915. November 21). During the life of the writer, 9 books were published (not counting reprints). In newspapers and magazines, Shergin published articles of a literary and art criticism nature, less often - literary works.

The transition from the solemnly sad antiquities of the first Shergin collection to the rudely mischievous humor of "Shish of Moscow" (1930) - "a buffoon epic about pranks on the rich and strong" is striking. Adventurous witty plots, juicy language, grotesque caricature of representatives of the social elites connect Shergin's picaresque cycle with the poetics of people's democratic satire. "Shish of Moscow" was destined to become the most famous book of the writer: in 1932-33, Shergin's fairy tales performed by the author were broadcast on Moscow radio and were a huge success with listeners.

In 1934 Shergin was delegated to the First All-Union Congress of Writers from the Moscow organization; became a member of the Union of Soviet Writers from the moment of its foundation.

The first three books by Shergin (designed by the author himself “in the Pomor style”) represent in full the folklore repertoire of the Arkhangelsk Territory. But the degree of the author's dependence on the folklore source decreases with each new book, so that Shergin's indispensable reference to such a source becomes nothing more than an expression of the author's modesty.

Shergin himself called the book “Pomorshchina-Korabelytsina” (1947) published after the war his “repertoire collection”: it combines works with which he performed during the war years in hospitals and military units, clubs and schools. The fate of this collection is tragic: it was subjected to a vulgar sociological study (Morozov A. [Rec.] // Zvezda. 1947. No. 9) and caused derogatory criticism from folklorists as “a crude stylization and perversion of folk poetry” (V. Sidelnikov vs. vulgarization of folk art // Culture and life. 1947. No. 30). The name of the writer was discredited, and he himself was doomed to ten years of isolation from the reader.

The destruction of the wall of silence around Shergin was facilitated by the writer's recital organized in 1955 at the Central House of Writers, after which a collection of articles was published in the publishing house "Children's Literature". “There were Pomeranian legends” (1957), and after a while an “adult” collection of selected works “Ocean - Russian Sea” (1959) was released. The collection caused a lot of rave reviews; The writer's verbal skill attracted the special attention of the reviewers. Deserved recognition came to Shergin after a high assessment of his work in an article by L.M. Leonov (Izvestia. 1959. June 3). Among the responses to this collection, we also find the deepest lifetime literary analysis of Shergin's work - an article by the folklorist E.V. Pomerantseva "Writer-storyteller" (At the turn. 1960. No. 5).

In the work of Shergin, two main manners of narration are very clearly distinguished: pathetic and everyday. The first one is used by the writer in describing the majestic nature of the North and the glorious deeds of its people, it includes a wide range of positively idealizing stylistic means and is associated with the tradition of ancient Russian hagiography and folklore epic. The second, characteristic of Shergin's essay on morals and household tale, is clearly oriented towards skaz - phonetic, lexical, syntactic imitation of oral speech. The "everyday", unvarnished character of the language is given by Shergin's use of reduced vernacular and vulgarisms; wide borrowing of "verbal pearls" - dialectal features of the Russian North; an abundance of well-aimed comparisons (akin to the associativity of folk speech) and witty figurative words; speech polyphony. The language of Shergin's works contains professional dictionaries of shipbuilders, seafarers, fishermen, and Pomorye artists. The writer's prose uniquely combines high lit. tradition (in all the variety of cultural associations that lived in the minds of well-read Pomors at the turn of the 19th-20th centuries) and a fundamental relationship with folklore, often openly manifested. According to V.I. Belov, "one Shergin ... managed so successfully, so naturally to make the spoken word related to the book."

The originality of Shergin's folklorism lies in the direct orientation of his texts to folk art. The goal of the artist is not to enrich literature at the expense of folklore outside of it, but to reveal folk poetry as an original, unique and invaluable way of seeing the world and man, to contribute to the “booking” of folklore. The writer's texts contain an abundance of quotations from folklore texts (proverbs, sayings, excerpts from epics, lamentations, lyrical songs, fairy tales, etc.). Most of them are designed to be read aloud, and Shergin, who knew all his prose and poetry by heart, until the last years of his life often performed his works himself. For him, telling was not a reproduction of what had been created earlier, but the very process of creativity.

Shergin was buried at the Kuzminsky cemetery in Moscow.

A.A. Kharitonov

Used materials of the book: Russian literature of the XX century. Prose writers, poets, playwrights. Biobibliographic dictionary. Volume 3. P - Ya. 708-710.

Read further:

Russian writers and poets(biographical guide).

Compositions:

Pomeranian were also legends. M., 1971;

Favorites. M., 1977;

poetic memory. M., 1978;

Imprinted Glory. M., 1983;

Leads and stories. L., 1984;

Ancient memories. M., 1989;

Graceful craftsmen. M., 1990;

Living life: From the diaries of different years. M., 1992;

Diaries (1942-1968) // Moscow. 1994. No. 4.5.

Literature:

Galkin Yu.F. Boris Shergin. Golden chain. M., 1982;

Gorelov A.A. Pomor pattern // Shergin B.V., Pisakhov S.G. Tales and fairy tales. M., 1985. S.6-15;

Galimova E.Sh. Book about Shergin. Arkhangelsk, 1988.

Shergin Boris Viktorovich

Writer, poet

“A person lying in sorrow always wants to get up and have fun. And for your heart to cheer up, it is not at all necessary that everyday circumstances suddenly change. The bright word of a kind person can cheer up. Boris Shergin.

Boris Shergin (the correct stress in his last name is on the first syllable) was born in Arkhangelsk on July 28, 1893.

Shergin's father was a hereditary navigator and shipbuilder, and his mother was a native Arkhangelsk and Old Believer.

Shergin's parents were good storytellers, my mother loved poetry. According to Boris: "Mama's craftswoman was to say ... like pearls, her word rolled out of her mouth." Shergin from childhood knew the life and culture of Pomorie well. He loved to listen to the fascinating stories of his father's friends - eminent ship carpenters, captains, pilots and hunters. He was introduced to songs and fairy tales by the Zaostrovskaya peasant woman N.P. Bugaeva, a family friend and housekeeper of the Shergins. Boris also copied ornaments and headpieces from old books, learned to paint icons in the Pomeranian style, painted utensils. Shergin later wrote: “We are the people of the White Sea, the Winter Coast. Indigenous St. John's wort industrialists, we beat the seal breed. In the thirtieth year, the state offered to hunt in groups. They will also introduce an icebreaking steamer. Conditions for the people were suitable. Who went to the artel, who went to the icebreaker ... ".

While still at school, Shergin began to collect and write down northern folk tales, epics and songs. He studied at the Arkhangelsk Provincial Men's Gymnasium, later - in 1917 he graduated from the Stroganov Central Industrial Art School, where he acquired the specialty of a graphic artist and an icon painter.

During the years of study in Moscow, Shergin himself acted as a performer of ballads of the Dvina land, illustrated with his singing lectures on folk poetry at Moscow University. In 1916, he met Academician Shakhmatov and, on his initiative, was sent by the Academy of Sciences on a business trip to the Shenkur district of the Arkhangelsk province to study local dialects and record folklore works.

After returning to Arkhangelsk in 1918, Shergin worked as an artist-restorer, headed the artistic part of a craft workshop, contributed to the revival of northern crafts (in particular, the Kholmogory bone carving technique), was engaged in archeographic work (collected books of "ancient writing", ancient sailing directions , notebooks of skippers, albums of poems, song books).

Serious interest in folklore was caused by Shergin's acquaintance with the Pinezh storyteller Marya Dmitrievna Krivopolenova and folklorists, the Sokolov brothers. The newspaper "Arkhangelsk" published an article by Shergin "Departing Beauty" - about Krivopolenova's performance at the Polytechnic Museum and the impression that she made on the audience.

In 1919, when the Russian North was occupied by the Americans, Shergin, mobilized for forced labor, fell under a trolley and lost his leg and toes of his left foot. This misfortune prompted Boris Viktorovich to return the word to the betrothed bride.

In 1922 Shergin moved to Moscow, where he lived in poverty. In the basement in Sverchkov lane, he wrote fairy tales, legends, instructive stories about his Russian North. He also worked at the Institute for Children's Reading of the People's Commissariat of Education, spoke with stories about the folk culture of the North, performed fairy tales and epics in front of a diverse, mostly children's, audience. Since 1934, he devoted himself entirely to professional literary work.

Shergin as a storyteller and storyteller was formed and became known earlier than Shergin as a writer. His first book "Near the Arkhangelsk city, at the ship's shelter", published in 1924, was made by him of six Arkhangelsk antiquities with notation of melodies sung by his mother, and included in the repertoire of Shergin's performances.

Adventurous witty stories about "Shish of Moscow" - "a buffoon epic about pranks on the rich and strong", rich language, grotesque caricature of representatives of the social elite connected Shergin's picaresque cycle with the poetics of folk satire. The fabulous "epopee" about Shisha began to take shape back in the years of Ivan the Terrible, when runaway serfs were called shish. The fairy-tale epic about Shisha, which was once widespread everywhere, has been preserved in its most complete form only in the North. Shergin collected more than a hundred tales about Shisha along the shores of the White Sea. In his adaptations, Shish is depicted as cheerful and cheerful, and the king, bare and officials are stupid and evil. Shish, in the form of a buffoon, joked about the rich and powerful of the world: “It was through someone else's misfortune that Shish became so evil. Cow's tears flowed through it to the wolf... Shisha has a proverb: whoever is rich is not our brother. The bars became bitter from Shisha.

"Shish of Moscow" was destined to become the most famous book of the writer. In 1932-33, Shergin's fairy tales performed by the author were broadcast on Moscow radio and were a huge success with listeners. After the release of "Shish of Moscow" Shergin became a member of the Writers' Union and a delegate to the First All-Union Congress of Soviet Writers.

In the third book, Arkhangelsk Novels, published in 1936, Shergin recreated the manners of the old bourgeois Arkhangelsk. The author appeared before readers as a subtle psychologist and writer of everyday life. The short stories of the collection, stylized in the style of popular translated "histories" of the 17th-18th centuries, are dedicated to wanderings in the Overseas and the "cruel" love of characters from the merchant environment.

The first three books by Shergin (designed by the author himself in the "Pomor style") represented the entire folklore repertoire of the Arkhangelsk Territory. But the degree of the author's dependence on the folklore source decreases with each new book, and Shergin's indispensable reference to the source has become nothing more than an expression of the author's modesty.

The history of Pomorie, conveyed in the first three books of Shergin, continued in his next collection - "At Song Rivers", published in 1939. This collection included historical and biographical Pomeranian stories, folk talk about the leaders of the revolution and their legendary and fabulous biographies. In the book "At Song Rivers" the North of Russia appeared to readers as a special cultural and historical region that played a significant role in the fate of the country and occupied a unique place in its culture. Shergin's subsequent "elections" expanded and refined this image.

Due to the deteriorating state of health from the end of November 1940, Shergin found it increasingly difficult to read and write. Shergin himself called the book “Pomorshchina-Korabelshchina” published after the war in 1947 his “repertoire collection”: it combined works with which he performed during the war years in hospitals and military units, clubs and schools. The fate of this collection is tragic: it came under devastating critical articles after the infamous resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad”. The book "Pomorshchina-Korabelshchina" was called pseudo-folk and accused of "smelling of church incense and oil" from its pages.

During the Leningrad case of Akhmatova-Zoshchenko, the name of the writer was discredited, and he himself was betrayed by public obstruction for "defiling the Russian language" and could not be published for more than ten years. Shergin vegetated, abandoned by everyone, in impenetrable poverty, former friends and acquaintances turned away, passed by. The doors of all publishing houses were closed to the writer. Turning to Alexander Fadeev for help, Shergin wrote: “The environment in which I write my books is the most desperate. For twenty years I have been living and working in a dark and rotten basement. I lost 90% of my vision. Five people can fit in one room… My family is starving. I don't have the strength to continue my work."

The destruction of the wall of silence around Shergin was facilitated by the writer's recital organized in 1955 at the Central House of Writers, after which the collection "Pomorskie were legends" was published in the publishing house "Children's Literature" in 1957, and after some time the "adult" collection of favorites was published. works "Ocean - Russian Sea". The collection received a lot of rave reviews.

In the 1960s, Shergin lived in Moscow on Rozhdestvensky Boulevard. He occupied two rooms in a large communal apartment. Neighbors saw in him only a quiet pensioner and a half-blind invalid. When he got out into the yard with a wand, he froze in confusion, not knowing where to step and where to stumble. One of the boys ran up to him and led him to a bench on the boulevard. There, if the weather permitted, Shergin could sit alone until evening.

In 1967, the most complete lifetime edition of Shergin's works was published - the collection Captured Glory. In the work of Shergin, two main manners of narration were very clearly distinguished: pathetic and everyday. The first is used by the writer in describing the nature of the North and its people. The second, characteristic of Shergin's essay on morals and household tale, is clearly oriented towards skaz - phonetic, lexical, syntactic imitation of oral speech. The originality of Shergin's work consisted in the direct orientation of his texts to folk art.

In Shergin's homeland, in Arkhangelsk, a collection of his works "Gandvik - the icy sea" was first published only in 1971. But in the late 1970s and early 1980s, Shergin's books were published both in the capital and in Arkhangelsk quite often and in large numbers.

Over the years, Boris Viktorovich's vision became worse and worse, and by old age he was completely blind.

After his death, cartoons created based on the fairy tales of Boris Shergin (“Magic Ring”, “Martynko” and others) made his name truly famous.

Your browser does not support the video/audio tag.

Three writers who knew Shergin in the last years of his life wrote their memoirs about him.

Fedor Abramov wrote about Boris Shergin: “The room is a basement. By evening it was dark. But - light. Light from the old man on the bed. Like a candle, like a lamp. For some reason, Zosima Dostoyevsky came to mind, instructing the Karamazovs for the last time, village old men who had already “burnt” all their flesh. Incorporeal, incorporeal... Impression - goodness, holiness, unearthly purity, which is in the paintings of Vermeer of Delft. Blind old man. And everything glowed."

Yuri Koval, a writer and artist, made an expressive verbal portrait of Shergin: “Boris Viktorovich was sitting on a bed in a room behind a stove. Thin, with a fine white beard, he was still in the same blue suit as in previous years. Unusual, it seems to me, was the head of Boris Shergin. A smooth forehead, high rising, intent eyes and ears moistened with blindness, which can safely be called considerable. They stood almost at a right angle to his head, and, probably, in childhood, the Arkhangelsk children somehow teased him for such ears. Describing a portrait of a dear person, it is embarrassing to write about the ears. I dare because they gave Shergin a special look - a man who listens to the world with extreme attention.

Yuri Koval recalled that, looking at the portrait of Boris Viktorovich he had painted, Sister Shergin answered the blind brother’s question if the drawing turned out like this: “You look like Saint Nicholas here.”

And Koval himself remarked: “Larisa Viktorovna was mistaken. The appearance of Boris Viktorovich Shergin really reminded of Russian saints and hermits, but most of all he looked like Sergius of Radonezh.

Vladimir Lichutin noted signs of spiritual beauty in Shergin's appearance: “Remember, thirty years have passed since I met Boris Shergin, but he is all in me, like an indelible image wrapped in a shining shroud. A bent old man, completely outdated, somehow incorporeal. The ports are spaciously rinsed, the shirt is loose on the bony thin shoulders, the spacious bald patch glows like the top of an overripe melon ... I was suddenly amazed at what a beautiful face can be when it is washed with spiritual light ... that constant joy emanates from all spiritualized appearance, which instantly humbles and strengthens you. A radiant person peers with the eyes of the heart into the vast abode of the soul, inhabited by bright images, and the good feeling, flowing out, involuntarily infected me with joy. I, a young fresh man, suddenly found strength in a weak old man.

The uniqueness of Shergin, the uniqueness of his work consisted in the fact that he managed to organically combine, merge two artistic systems - literature and folklore, give the folk word a new life - in a book, and enrich literature with the treasures of folk culture. Boris Shergin's books today have remained as relevant and modern as ever, topical at the time of the loss of ideas about spiritual and cultural values, they return readers to moral values, delight and enrich. Shergin shows in his works to readers a life filled with high meaning, a life based on impeccable moral principles. In 1979, Viktor Kalugin wrote: “The more you read into this peculiar Pomor chronicle compiled by our contemporary, the more you are convinced that it belongs not to the past, but to the present and future.”

The year 2003 was celebrated in the Arkhangelsk region as "the year of Shergin".

Text prepared by Andrey Goncharov

Used materials:

Site materials www.writers.aonb.ru
Site materials www.pravmir.ru
Text of the article "The Man Who Lived on a Cloud", author D. Shevarov
Text of the article "Pomor Homer", author P. Kuzmenko
Text of the article "Shergin Boris Viktorovich", author A. Kharitonov
Text of the article “The Spiritual Vision of Boris Shergin. Memories of a Writer”, author E. Galimova

SHERGIN'S STORIES

"Circle Help"

For centuries, a Danish ship, beaten by bad weather, took refuge in the Murmansk camp, near Tankina Bay. Russian coast-dwellers in a row began to sew and get on the ship. The ferrying and sewing were done firmly and, for the lordship of the nights, soon. The Danish skipper asks the warden what the price of the work is. The old man was surprised:

- What price! Did you, mister skipper, buy what? Or dressed up with someone?
Skipper says:

- There were no rows. As soon as my poor ship appeared in sight of the shore, the Russian coast-dwellers rushed to me on karbas with ropes, with hooks. Then began the diligent repair of my ship.

The elder says:

- That's how it should be. We always have this behavior. This is what the charter of the sea requires. Skipper says:

– If there is no common price, I wish to distribute by hand.

The elder smiled.

“The will is not taken away from you or from us.

The skipper, wherever he sees one of the workers, shoves gifts for everyone.

People just laugh and wave their hands. The skipper says to the headman and feeders: - I think that people do not take it, because they are ashamed of each other or you, the bosses. The feeders and the headman laughed:

- There was not so much work, how much trouble you have with awards. But if this is your desire, mister skipper, put your gifts in the yard, by the cross. And announce that whoever wants and when they want can take it.

The skipper liked this idea:

- Not I, but you, gentlemen feeders, declare to the privates that they take it when they want, according to their conscience.

The skipper placed the boxes with the gifts on the path near the cross. The helmsmen announced over the karbas that the Danish skipper, according to his noble custom, wanted to give gifts to all who worked near his ship. The awards are stacked at the cross. Take who wants.

Until the departure of the Danish ship, boxes with gifts stood in the middle of the road. Industrial men, big and small, walked by. No one touched the awards, no one lifted a finger.

The skipper came to say goodbye to the Pomors at the meeting, which happened on Sundays.

After thanking everyone, he explained:

“If you have a duty to help, then I have a duty…”

He was not allowed to finish. They began to explain:

“That’s right, mister skipper! You are obliged. We helped you in trouble, and by this we strongly obliged you to help us when we find ourselves in sea trouble. If not us, then help someone else. It's all the same. All of us, sailors, are connected and we all live by such mutual help. This is an age-old maritime charter. The same charter warns us: "If you took a payment or a reward for helping a sailor, then do not expect help in case of a sea disaster."

"According to the charter"

The boat went along the New Land. For the autumn time I was in a hurry to the Russian side. From the vain wind we went to the sediment in an empty gubitsa. The curious kid went to the shore. I saw, far or near, a hut. He pushed the door - a naked body was at the threshold. Someone has been gone for a long time. And you can already hear that they are blowing a horn from the boat. So, the wind has fallen, the kid needs to hurry. He pulled off everything, down to the last shirt, dressed up the unknown comrade, laid him on a bench, covered his face with a handkerchief, good-honestly said goodbye and, naked to the last thread, in just boot covers, ran to the boat.

Feeder says:

- You did it according to the rules. Now we should go to bury him, but time does not stand. We must rise to Rus'.

Lodya was delayed by bad weather near the Vaigatsky shores. Here she wintered. Said kid fell ill by spring. The body was numb, the legs were paralyzed, melancholy attacked. The last farewell to relatives was written. It was hard at night: everyone was sleeping, everyone was silent, only the grommet was burning and crackling, illuminating the black ceiling.

The patient lowered his legs to the floor and could not get up. And he sees through tears: the door opens, an unknown person enters, asks the patient:

- Why are you crying?

- Legs don't work.

The stranger took the patient by the hand:

- Get up!

The sick man got up, marveling.

- Lean on me. Walk around the hut.

Embracing, they went to the door and walked into a large corner.
An unknown person stood up to the fire and said:

“Now come to me alone.

Surprised and horrified, the kid stepped towards the man with a firm step:

- Who are you, my good friend? Where are you from?

Unknown person says:

"Don't you recognize me?" Look: whose shirt is on me, whose caftan, whose handkerchief I hold in my hand?

The kid looked and was horrified:

- My plat, my caftan ...

Man says:

“I am the same lost fisherman from the Empty Bay, whose bone you cleaned up, dressed, tidied up. You have fulfilled the charter, pardoned a forgotten comrade. For this I have come to have mercy on you. And tell the helmsman - he crossed the sea commandment, did not bury me. So they detained the boat of bad weather.

In the quiet place of Solombala, which is the historical district of Arkhangelsk, on the street of the White Sea Military Flotilla, there is an inconspicuous library building. It bears the name of the Pomor storyteller and famous artist Boris Viktorovich Shergin. This is a man who devoted his whole life to collecting epics, fairy tales, songs about his fellow countrymen of the cold land.

Childhood

He was born at the end of the 19th century in the family of the chief mechanic of the Murmansk Shipping Company, a shipbuilder and a talented artist. His mother was a native of the Arkhangelsk region. She instilled a love for Russian poetry, often singing old folk songs with her Pomor neighbors.

Everything that the boy heard from his parents, he absorbed from early childhood: love for his native land, people, the harsh everyday life of a strong northern people.

Seafarers and Arkhangelsk coast-dwellers often visited the Shergins. He remembered their songs, epics and fairy tales for the rest of his life. This was the basis of his future literary works.

In the men's provincial gymnasium, he decided to sew notebooks and write down memories of childhood. And his favorite "toys" were brushes, a watercolor set, tools for woodcarving.

The boy knew how to make ships and churches. He painted everything that caught his eye: furniture, dishes, walls and stoves. Passion for the creativity of the Russian people led him to the Moscow art institution.

Youth

In 1913, Boris entered the Stroganov School of Industrial Art. He warmly recalls the years spent there. Then interest in oral literature grew in Moscow and St. Petersburg. Boris enthusiastically presented the once collected material to an audience in schools, universities and at meetings of artists.

next stage of life

After 4 years of study, he returned to his homeland and was engaged in restoration, applied art, woodcarving, continuing to study and collect ethnographic material from the Russian North. There he got a job in a handicraft and art workshop. The artist lovingly restored ancient icons, which he treated with reverence.

Return to Moscow

In 1922, Boris Viktorovich moved to the capital. Lives poorly in the basement. There he gets a job at the Institute of Children's Reading as a teacher, where he reads reports on the history and composition of fairy tales. With bated breath, the guys listened to his stories, replete with jokes and subtle humor.

Creation

The first serious work was the legend "Love is stronger than death", written in 1922. The writer's book "Near the Arkhangelsk city, at the ship's shelter", published in 1924, became the premiere of his writing activity. This is a collection of epics, which was illustrated by the author.

The collection of his fairy tales "Shish of Moscow" was published in 1930. The fruitful work was a stunning success. The author voiced them in the literary programs of the central radio.

In 1934 Shergin became a professional writer. His performances in various audiences with his own compositions, narratives, songs and stories of childhood and adolescence impress the listeners.

Shergin and war

During the Second World War, the narrator spoke a lot to soldiers and home front workers. On impromptu stages, he told fairy tales, sang epics and read his compositions.

Books, what are they about?

"Near the city of Arkhangelsk, at the ship shelter." It contains song texts, melodies and ballads, traditions of the northern way of life. The original illustrations made by the author emphasize the poetic sound.

"Shish Moscow". The content covers a large time period, where the top of the social order is ridiculed. The main character is a buffoon, a jester, a cheerful and cheerful person. More than a hundred fairy tales were collected by the author along the shores of the White Sea about the resilient Shisha.

"Arkhangelsk novels". A collection of stories, legends that were heard from experienced people.

"At Song Rivers". A collection of short stories, aphorisms, thoughts about the judgments and deeds of people of that time. A colorful description of the nature of the northern area, vivid memories and impressions of working people, masters of their craft are touched upon on the pages of this book.

"Pomorshchina-ship". Recordings of oral stories about the North. After the publication of this book, the writer was criticized for anti-Soviet ideas and thoughts, for conservatism, for love for his native land and Pomeranian life.

After isolation

For 10 years, he was forgotten. Only after a creative evening in 1955. readers again heard the name of the writer. Since 1957 new books have been published. “Pomorskie were also legends”, “Ocean Sea Russian”, “Captured Glory”, “Gandvik - the icy sea” - collections of oral folk poetry and author's works. They elicited enthusiastic responses from readers.

A large collection of new writings appears in a variety of magazines. They tell about northerners, their way of life, traditions and folklore.

The writer already lived in two rooms of a communal apartment. But it was an elderly and sick disabled person who lost his sight.

Some other facts from the life of the great writer

Acquaintance with M.D. Krivopoleska, a storyteller from Pinega. After the meeting, an article appeared about the impressions of the listeners (1915).
Collection of local dialect and poetic works in the province of Arkhangelsk (1916).
American occupation of northern Russia. Boris Viktorovich became an invalid, having lost his leg under the trolley during forced labor. He refused the word given to his betrothed (1919).
Member of the Writers' Union after the publication of fairy tales about Shisha.
Boris Viktorovich became completely blind (1940).
Acquaintance with Yu. Koval. Koval, a children's writer and artist, recognized B. Shergin as a teacher and friend (1966).
Thanks to this meeting, the writing activity of Boris Viktorovich continued. He wrote fairy tales in the Murzilka magazine and scripts for cartoons, which are still popular today.
A collection of works was published in Arkhangelsk (1971).
On October 31, 1973, the writer died.
Library N 5 in Solombala is named after a northern writer (2008).
The book "Not Random Words" with diary entries was published (2010).
Opening of the Memorial plaque in Moscow, in a house on Rozhdestvensky Boulevard (2011).

Throughout his creative life and the three decades that have passed since the day of his death, Shergin quietly and evenly shines for us, like an unquenchable lamp, and waits for us to see this clear and unquenchable light behind the dazzling flashes of fireworks and annoying neon lights and come to him. .

Reflecting on the nature of Boris Shergin's talent, Vladimir Lichutin writes: "Poetry is sanctified by the land in which it was born. Therefore, Shergin could not have been born among the gorges of Altai and the Kerzhat ravines of Siberia, where the gaze rests on the nearest stone, tightly swept up by forests; he could not have appeared and in the Urals, where people too boldly cut into the mountain and looked more into the depths, into the secrets of the cave than into the sky. And Bazhov arose there. Not only life molds a singer, but also birth: the homeland enters your blood inaudibly from your ancestors "

Boris Shergin emphasized with good reason: "My parent was of an old family. Our great-grandfathers are mentioned in many documents of Great Ustyug and Salt Vychegodskaya." Indeed, the Shergin family was well known in the Veliky Ustyug lands. Yu.M. Shulman, who carefully studied the genealogy of Boris Shergin, notes that his ancestral origins date back to the deepest antiquity, and most of the representatives of this genus - "not high-ranking and not serving, but still very noticeable in the folk history of the North" - were priests. The ancestor of the "genealogical branch leading directly to Boris Shergin", Yu.M. Shulman names Ivan Shergin, the son of an Ustyug priest and the initiator of the Shergin-salt industry dynasty. However, the life of Boris Shergin's parents, and his own childhood and youth turned out to be connected with the City (so - with a capital letter, often without specifying a name, Shergin called Arkhangelsk dear to his heart in his diaries): "In 1865, after the death of my grandfather, my grandmother "I left my homeland forever and went to the City to the sea. By the sea, my father's working life began. Almost all his life he sailed on Murmansk steamships. And my mother's ancestors (and my maternal grandfather) served in the Admiralty at shipyards for a century." The genus Shergin by his mother, nee Starovskaya, is indigenous Pomors. The writer's great-grandfather Mikhail Starovsky, a "master of sailing art", moved to Solombala from the shores of the White Sea. His son Mikhail became a "3rd class sailmaker" and the owner of a sail making workshop.

When Boris was born on July 16 (28), 1893, his father, Viktor Vasilyevich, was forty-three years old. The Shergin family lived in a small house on Kirochnaya Street (now K. Marksa) not far from its intersection with St. Petersburg (now Lomonosov) Prospekt. Memories of the relationship of parents, their attitude towards children, their home leave forever in the soul of Boris Shergin a feeling of complete and uncomplicated happiness. A life full of love for each other, righteous labors, passion for "art", forever becomes for him the standard of life.

Love for the art of the North in all its diverse manifestations - folk poetry and Pomeranian "book writing", icon painting and folk painting on wood, music and words, all the richest folk culture was born in the future writer right here, in his native home. His mother, who “didn’t sing songs among the people, but at home or where she goes alone in a boat, she sings”, her friends, squirrels-strawfish, keepers of the richest northern folklore traditions, his father, who was fond of making models of ships, his sailor friends, that they will sing songs - “the dishes in the closet are ringing”, Pafnuty Osipovich Ankudinov, who knew “a good dozen old epics by voice”, gave young Boris Shergin the opportunity to adopt the riches of the folk word and folk art in the most direct way - from mouth to mouth and from hand to hand hands.

The future writer studied at the Arkhangelsk Provincial Men's Gymnasium, which in 1911 received the name of M.V. Lomonosov. Shergin’s autobiography contains the following lines: “As a student of the Arkhangelsk gymnasium, I sewed notebooks in the format of books and inscribed in block letters what seemed curious to me. I tried to decorate these “books” with my own drawings. ... Brushes, paints, chisels, any tool for woodcarving became my passion. In addition to ships, I made models of northern churches, utensils in the northern style. Passion for folk, original art led me to Moscow, to the Stroganov Art School. " Boris Shergin became a student of the oldest art educational institution in Russia - the Stroganov Central School of Industrial Art - in 1913 and never regretted his choice. “As a holiday, I remember the years of our stay in Moscow, at the Stroganov School. Talented art teachers, such as S.S. Goloushev, S.V. Noakovsky, P.P. Pashkov knew how to fan the spark of love for art into a flame. ... How much heartfelt fun we got from our trips to Abramtsevo, Sergiev Posad, Khotkovo, Bogorodskoye. We knew that the revival of folk art began here, "Shergin wrote in the story" Viktor the Citizen ". In the same story there are also such lines: "Moscow Rus has become my second homeland." Since 1913, he begins to "divide life" between Moscow and the North, coming home only for the holidays. This period of Shergin's life was probably the main time of the formation of his artistic self-awareness, the formation of a creative personality. He really deeply and fully realized the significance of folk culture and felt an urgent need to do everything in his power to not let the "fading beauty" perish.

In Moscow, Shergin was noticed. They appreciated not only his abilities as an artist, but also his excellent knowledge of the folk word, the ability to sing epics, and the talent of a storyteller. In 1915, a Stroganovite student met the amazing Pinega storyteller Marya Dmitrievna Krivopolenova, who was brought to Moscow by the folklorist O.E. Ozarovskaya. In the same year, the newspaper "Arkhangelsk" published an article by Shergin "Departing Beauty", which tells about Krivopolenova's speech at the Polytechnic Museum and the impression that she made on the audience.

Boris Shergin also meets the well-known folklorist brothers Boris and Yuri Sokolov, and in 1916, on the instructions of Academician A.A. Shakhmatova, goes on an expedition to record the dialect and folklore works in the Shenkur district of the Arkhangelsk province.

After graduating from college, where Shergin was engaged in painting and decorative, embossing, woodcarving and enamel workshops, he returned to Arkhangelsk and from 1917 to 1919 worked in the Arkhangelsk Society for the Study of the Russian North, and then in handicraft and art workshops.

In 1922, Boris Viktorovich moved to Moscow and became an employee of the Institute for Children's Reading of the People's Commissariat for Education. In 1924, his first book was published - "Near the Arkhangelsk city, at the ship's shelter", designed by him. With this book, containing not the author's own works, but recordings of texts and melodies of northern folklore ballads, Shergin affirms his artistic credo: to devote his life to ensuring that the works of oral folk poetry, "our sayings" "get into writings", so that the living the tradition of northern culture, the successor and custodian of which he felt himself. Half a century after the publication of Shergin's first book, Yuri Shulman writes: "Already in his first book, trying to preserve and capture the living fullness of folk art ... Shergin, in essence, does not transpose, but in an original way transforms antiquities, according to their own laws of beauty, enhancing the poetic impression" sparkling "folk word with notes of fast recitative, as well as author's artistic illustrations, incomparable in elegance and "light chime", concealing the genuine flavor of ancient Russian painting. ".

After the release of the second book - the collection of fairy tales "Shish of Moscow" (1930) - Boris Shergin becomes a member of the Writers' Union, works as a member of the organizing committee and is elected a delegate to the First All-Union Congress of Soviet Writers, held in the capital in 1934. From the same year he switched to professional literary work. He often performs in various audiences with oral performances of folk tales, epics, ballads and his own works, written both on the basis of folklore sources and under the impression of the stories of fellow Pomors or memories of childhood and youth spent in Arkhangelsk. One after another, collections of his works are published - "Arkhangelsk novels" (1936), "At song rivers" (1939), "Pomorshchina-ship" (1947).

The last of these books, published at the height of Shergin's talent, saw the light shortly after the release of the infamous resolutions of the Central Committee of the All-Union Communist Party of Bolsheviks on the magazines Zvezda and Leningrad, the film Bolshaya Zhizn, etc., which marked the beginning of an unprecedented state campaign of strangulation art. "Pomorshchina-Korabelshchina" was subjected to a crushing defeat by semi-official critics. Shergin was accused of love for the old Pomeranian way of life, conservatism, lack of ties with modernity. The traditional way of Pomeranian life, reflected on the pages of the book, its entire structure and meaning came into conflict with the ideas of striving for a classless and godless international future. And the critics were frightened: what if the modern reader finds such a life as Shergin's heroes live, faithful to the spiritual values of their grandfathers and great-grandfathers, too attractive, much more attractive than the blueprints of a faceless society of the future?

Only ten years later, in 1957, true connoisseurs of the writer's work managed to achieve the publication of another book by Boris Shergin - "There were Pomeranian legends", published in Detgiz with illustrations by the famous graphic artist V. Favorsky. In 1959, one of the most voluminous collections of Boris Shergin's works appeared - "Ocean Sea Russian", and in 1967 - the most complete of his lifetime publications - "Imprinted Glory".

For the first time in the homeland of Boris Viktorovich, in Arkhangelsk, a collection of his works, called "Gandvik - the icy sea", was published only in 1971 ...

In the late 1870s and early 1980s, Shergin's books were published both in Moscow and Arkhangelsk quite often and in large numbers. But in recent decades, the commercialization of the book publishing process has led to the fact that the release of such collections has become almost impossible. Meanwhile, the diaries of Boris Shergin prepared for publication are waiting in the wings - truly precious records that reveal to us the innermost spiritual riches of the writer. One can be convinced of the joy these diaries bring to modern man, how they are able to strengthen and enrich him, by getting acquainted with their texts from publications in the collection "Graceful Masters" (1990) and the magazines "Slovo" (1990) and "Moscow" ( 1994).

The uniqueness of Shergin, the uniqueness of his work lies in the fact that he managed to organically combine, merge two artistic systems - literature and folklore, give the folk word a new life - in a book, and enrich literature with the treasures of folk culture. Boris Shergin's books are more relevant and modern than ever, even topical today, because at the time of the loss of ideas about the spiritual and cultural values left to us by our great-grandfathers, they return us to these values, admonish, delight, enrich. Shergin's works are valuable not only by the authenticity of the portrayed and "good knowledge of the Pomeranian life", which the reviewers credited the writer with. He shows the reader a life filled with high meaning, a life based on impeccable moral principles. In 1979, Viktor Kalugin wrote: "The more you read into this peculiar Pomor chronicle, compiled by our contemporary, the more you are convinced that it belongs not to the past, but to the present and future." I think that this time - Shergin's time has come.

Galimova E.Sh.,
Doctor of Philology, Professor

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Slides captions:

The Pomor Side Boris Viktorovich Shergin was born on July 28 (July 16 O.S.), 1893, in Arkhangelsk. Little Boris from childhood comprehended the moral order, life and culture of Pomorie. He copied ornaments and headpieces from old books, learned to paint icons in the Pomeranian style, painted utensils; even in his school years, he began to collect and record northern folk tales, epics, songs.

The Russian North Shergin's father, a hereditary navigator and shipbuilder, passed on to his son the gift of a storyteller and a passion for any "art"; mother - a native Arkhangelsk, who introduced him to the folk poetry of the Russian North.

Boris Shergin studied at the Arkhangelsk male provincial gymnasium (1903-1912); graduated from the Stroganov Central School of Industrial Art (1917). He worked as an artist-restorer, was in charge of the artistic part of a craft workshop, contributed to the revival of northern crafts (in particular, the Kholmogory bone carving technique), was engaged in archeographic work (collected books of “ancient writing”, ancient sailing directions, notebooks of skippers, albums of poems, songbooks). bone carving

In 1922 he finally moved to Moscow; worked at the Institute of Children's Reading of the People's Commissariat of Education, spoke with stories about the folk culture of the North with the performance of fairy tales and epics in front of a diverse, mostly children's, audience. Since 1934 - in professional literary work. The first publication is the essay "Departing Beauty" about the concert of M. D. Krivopolenova (newspaper "Arkhangelsk", 1915, November 21). M.D. Krivopolenova - Russian storyteller, songwriter, storyteller

Shergin the storyteller and storyteller formed and became known earlier than Shergin the writer. His first book, "Near the Arkhangelsk City, at the Ship's Shelter" (1924), consists of his recordings of six Arkhangelsk antiquities with the notation of melodies sung by his mother (and included in the repertoire of Shergin's performances). First book

In the third book - "Arkhangelsk novels" (1936), which recreates the customs of the old bourgeois Arkhangelsk, Shergin appears as a subtle psychologist and writer of everyday life. The short stories of the collection, stylized in the style of the popular translated "histories" of the 17th-18th centuries, are dedicated to wanderings in the Overseas and the "cruel" love of characters from the merchant environment. The first three books by Shergin (designed by the author in the “Pomor style” with his own hand) represent the entire folklore repertoire of the Arkhangelsk Territory. Third book

The originality of Shergin's folklorism lies in the direct orientation of his texts to folk art. The goal of the artist is not to enrich literature at the expense of folklore outside of it, but to reveal folk poetry as an original, unique and invaluable way of seeing the world and man. The writer's texts contain an abundance of quotations from folklore texts (proverbs, sayings, excerpts from epics, lamentations, lyrical songs, fairy tales, etc.). Most of them are designed to be read aloud, and Shergin, who knew all his prose and poetry by heart, until the last years of his life often performed his works himself. For him, telling was not a reproduction of what had been created earlier, but the very process of creativity. Books by Boris Shergin