... Natalia from neighboring village, about ten years ago, she immediately lost her husband and three children: in her absence, they died of intoxication. Since then, she has sold the hut, left the household and wanders.
Natalya speaks softly, melodiously, ingenuously.
Composition
Our whole life is a series of ups and downs, black and white stripes, and our entire future existence depends on how we treat our problems. How to treat life's difficulties? These are the questions that A.K. Voronsky in the text given to me.
The writer introduces us to the story of a woman in whose life, at first glance, everything did not work out so well that most of us, probably, would have given up long ago. However, Natalia at one point lost her husband and three children, after which she embarked on a lonely journey. Was she disappointed, broken and depressed? On the contrary, the author focuses our attention on the fact that innocence and melodiousness were preserved in his head, purity in words, simplicity, warmth, calmness and majesty in all its appearance. We understand that despite the serious difficulties in life, Natalia retained the harmony of her soul and continued to live, referring to the black stripes of her life as a bygone past. She speaks willingly on any topic, but she prefers not to talk about the origins of her wanderings - probably, a whole life is not enough to quench the pain of loss.
A.K. Voronsky is convinced that no misfortune deserves to be devoted to him a whole life, and even part of it. It is better not to think about problems at all, and if you remember, then only as a bygone past. No difficulties should change the appearance of a person: they must be fought, and if the struggle is meaningless, cross them out of your life.
I, like the author, am convinced that any, even the most unsolvable problems are not worthy of sorrow, and even more so of human life. No matter what happens, no matter how circumstances arise, it is worth continuing to live, love, dream, strive, maybe discover new page and change everything, continuing to enjoy every moment, because, in fact, this is all we have.
As an example of this thesis, I would like to cite the story of A.I. Solzhenitsyn " Matrenin yard". In it, the author tells us about the story of a woman whose life, at first glance, is a continuous series of tragic circumstances. The war separated Matryona from her fiancé, and the heroine was forced to marry his brother, who also soon irrevocably left for the war. One by one, the woman's children die, and Matrena is left alone, having only a shaky estate with cockroaches and mice and a "crooked goat." It would seem that a woman doomed to eternal loneliness, broken under the weight of circumstances, should despair and stop making any attempts to her own happiness. But that doesn't happen. Matryona, in spite of all the difficulties, takes her niece Kira to bring up, and the girl becomes the happiness and meaning of the heroine's life. For the entire work, Matrena did not utter a single swear word, she did not complain and did not hang her problems on others. On the contrary, the woman helps the entire district, while not demanding any reciprocal help in return.
In the same way, the hero of the story, M.A., treats his problems. Sholokhov "The Fate of Man". At the very beginning of the war, Andrei Sokolov loses his entire family, and later, having met his only son, he learns that he, too, died. The hero experiences all the hardships of war, but even in captivity does not lose human face. Through hunger and torture, he carries mercy and kindness in his heart, and, having met a homeless person, as lonely as himself, little boy, Andrey Sokolov gives him his love and support. The circumstances of life changed the appearance and look of the hero, but did not break his spirit, because this fighter knew how to relate to life's difficulties and, in spite of everything, kept faith in his soul in a happy future.
It is always worth remembering that our existence is conditioned by our perception of life. And, no matter how circumstances develop, no matter what burden falls on our shoulders, we should always remember that it is never too late to start all over again. You can change course, style and way of thinking - but you should never worry about something, and, moreover, blame yourself for the circumstances.
Alexander Konstantinovich Voronsky was a romantic man, firmly confident in direct action. artwork on the soul of a person, on his deeds and deeds. With faith in this ennobling beginning of literature, Voronsky acted.
He condemned Lassalle because he died in a duel over a woman, did not forgive Pushkin's passions that led him to death, but he himself was ready to die in a duel in a dispute for some classical ideal, like Andrei Bolkonsky.
He was a stranger to Dostoevsky's heroes, shunned all this dark force did not understand and did not want to understand.
Voronsky was a romantic dogmatist.
In essence, Voronsky did not have any other assessments, except for useful - not useful.
He treated poetry as he would treat prose, following the example of Belinsky.
Yesenin's talent recognized, but did not want to see that Yesenin's successes like poems about 26, about 36 and even "Anna Snegina" - all this is out of the question. great literature that "Moscow Tavern", "Inonia", "Sorokoust" will not be surpassed.
The collision with this poetics led Yesenin to death.
And “Soviet Rus'”, “Persian motifs” and “Anna Snegina” are much lower in their artistic level than “Sorokoust”, “Inonia”, “Pugachev” or Yesenin’s peak of creativity - the collection “Moscow Tavern”, where each of 18 poems that make up this amazing cycle - a masterpiece of Russian lyrics, distinguished by extraordinary originality, dressed in personal fate, multiplied by the fate of society - using everything that has been accumulated by Russian poetry of the 20th century - expressed with the brightest force.
But not only "Anna Snegina" and "Soviet Rus'" - here some satisfactory compromise was also found at the expense of artistry, of course, for all their verbose, essentially anti-Yesenin style - Yesenin does not have plot descriptive poems.
Yesenin is the concentration of artistic energy in a small number of lines - that is his strength and sign.
But it's not even about "Anna Snegina". Yesenin wrote and hastily, with the help of Voronsky and Chagin, published /577/ the fruits of his perestroika and "renounced his views" - in the then fashionable expression.
"The Ballad of Twenty-Six", "The Ballad of Thirty-Six", all this, as before made attempts in the same direction - the poem "Comrade", - is beyond art.
Attempts to rape themselves and led to suicide. Now we know that along with this hack, Yesenin also wrote "Yesenin's" poems "Snowstorm", "Black Man" ...
At that time, each "leader" provided patronage to some writer, artist, and sometimes provided material assistance.
Trotsky patronized Pilnyak, Bukharin - Pasternak and Ushakov, Yagoda - Gorky, Lunacharsky and Stalin - Mayakovsky.
Trotsky wrote several articles about Pilnyak, demanding mutual love and her evidence.
"Pilnyak is talented - but much will be asked of him" - this is how Trotsky's article about Pilnyak's "Naked Year" ended.
Yagoda patronized Gorky. One should not think that Gorky's name opened anyone's doors in the twenties. Gorky was never forgiven for his positions in 1917, his speech in defense of the war of 1914. Gorky's position was more than precarious, and the RAPP and Mayakovsky persecuted Gorky, not to mention Sosnovsky, in essence carrying out a party decision.
The party point of view on Gorky was outlined in a special article by Teodorovich “The Class Roots of Gorky’s Creativity” (lumpen, the Volga bourgeois anti-Leninist speeches, friendship with Bogdanov, who is an anti-Leninist school on the money of the millionaire Gorky).
Genrikh Yagoda took over to provide Gorky with a quiet life. It was solid support.
Gorky quickly conspired with Stalin, and after the execution of his friend Yagoda, he made the well-known statement "If the enemy does not surrender, he is destroyed."
Here, Gorky did not need the help and support of minor persons. Gorky was terrified of Stalin.
Vsevolod Ivanov left a story about his invitation to breakfast with Gorky at Nikolina Gora. /578/
During breakfast, Gorky's son, the famous amateur motorist Maxim, entered the dining room and said: "Dad, I just overtook the car, it seems, Joseph Vissarionovich."
Gorky's and Stalin's dachas were nearby.
Gorky turned pale, ran to apologize, breakfast was interrupted, and when the host returned, his face was gone, and the guests hurried to leave. This colorful episode was described in the magazine "Baikal" in 1969 in No. 1.
But what happened in the second half of the thirties, it became possible to tell in a short form only after thirty years.
About the twenties and now nothing truthful has been printed.
But back to the patrons, the party politics of the very top.
Nikolai Ivanovich Bukharin, in his report at the 1st Congress of Writers, called Pasternak the first name in Russian poetry. But together with Pasternak, Nikolai Ivanovich called Ushakov the hope of Russian poetry.
There was nothing unusual about this.
With his first books "Spring of the Republic" and "50 Poems" Ushakov immediately entered the front ranks of modern Russian poetry. People from Lefov, Constructivists, and Rappov stretched out their hands to him, hurrying to flood the new fearless talent into their nets.
Nikolai Nikolaevich Ushakov, a modest man, was afraid of cheerful glory and retreated into the shadows, not daring to take his place in the struggle of titans like Mayakovsky and Pasternak. A lot was expected from Ushakov. He didn't write anything better than the first their collections.
Stalin patronized Mayakovsky. Both figures exchanged compliments. Stalin, on the statement of Lily Brik, wrote a resolution addressed to N. I. Yezhov: “Mayakovsky is the best talented poet of our Soviet era. Indifference to his memory is a crime.”
Mayakovsky even earlier composed a poem on the same theme:
I want a pen to be equated with a bayonet,
With cast iron so that and with steel dressing, / 579 /
On the work of poetry at the Politburo
To make reports Stalin.
Pasternak decided to protect himself from Stalin's vengeful hostility expressed against all those who are praised by enemies, and wrote the poem itself about Stalin in 1934, calling the cycle "Artist":
Not a person lives - an act,
An act of growth in the globe of the earth.
This poem not only saved Pasternak, but honored him with a personal telephone conversation with Stalin, although not about his ode.
Until now, no one can understand how the poet, to whom Lenin had a sharply negative attitude, is inscribed in history and later even in a school textbook.
Mayakovsky was entered by Stalin and Lunacharsky.
When Gorky lived in Capri and negotiations began on such a delicate matter as Gorky's return to Soviet Union, Mayakovsky published his letter to Gorky in Novy Lef.
Voronsky received a letter from Gorky stating that he, Gorky, would reconsider his decision to return if he was not guaranteed that such demarches would be excluded from anyone.
Voronsky replied that he had informed the members of the government about this and Alexey Maksimovich did not have to worry. Mayakovsky will be put in his place.
Both letters are in Gorky's archive.
To which member of the government did Voronsky address? Not to Stalin... And hardly to Lunacharsky.
In any case, negotiations were conducted through Voronsky, and Voronsky was by no means an admirer of Gorky, neither as an artist nor as a public figure.
In a crowded dispute with Averbakh and the Rappovites, Voronsky challenged Gorky's belonging to proletarian literature (Gladkov, Lyashko, Bakhmetiev, etc.). Voronsky shook his finger, and the bekesha thrown over for warmth fell from his shoulders. In the end, Voronsky threw off the bekesha, put it on the pulpit and finished his speech without the bekesha - and then only put it on his sleeves and sat down at the wooden, unpainted table of the presidium.
In 1933 I was at the purge of Voronsky in Goslit. Last work Alexander Konstantinovich in Moscow /580/ - senior editor of Goslit. Goslit himself was then located in Vetoshny Lane.
The purge was led by Magidov, an old Bolshevik.
And Magidov, like Teodorovich - yes, everyone, without exception, people whose names were in the forefront of the builders of a new life - were all destroyed by Stalin, physically destroyed.
Voronsky told about his life, that, they say, he was mistaken, he worked there and there.
No questions were asked, there were few people, sixty people in the hall, or even less. Magidov was already preparing to dictate to the secretary: “Consider verified,” when suddenly a hand rose from the back rows, asking for words for a question.
A young guy got up. It was written on his face sincere desire comprehend the situation, do not prick, do not hint, but simply understand - for yourself.
Tell me, Comrade Voronsky, you were an outstanding critic. Your critical articles have not been seen in the Soviet press for a long time. So you wrote a book about Zhelyabov - that's good. The memories are even better. Tale, finally, the chapter of "Hurricane". All this very well proves a large reserve of creative energy. But criticism, where is your criticism?
Voronsky paused and answered calmly, unhurriedly and coldly:
The guy in the back rows enthusiastically nodded his head, sat down, disappeared from sight, and Magidov called another one for a check.
Alexander Konstantinovich Voronsky as the editor of two magazines - "Krasnaya Nov" and "Projector", as the head of a large publishing house ("Circle") and leader literary group"Pass" devoted a huge amount of time, energy, moral and physical strength to reading other people's manuscripts. A lot of poetry has always been written, and the drift of the twenties represented the same stormy sea as it is now.
I myself have been a consultant fiction at the Central Working Reading Room. Gorky in the House of Unions in the thirty-second and thirty-third years. The flow of manuscripts, conversations with authors, and more. But the library is not a magazine.
Alexander Konstantinovich read day and night and, of course, did not find anything worthwhile, he did not pick up a single name from /581/ by chance and could not pick it up - because in a hodgepodge such quantity and quality are special. It was this feature of art that dogmatists and theorists, realists and romantics, hermits and businessmen did not want to accept.
Not a single new name in literature that came out ordained by Voronsky.
Reading other people's manuscripts is the worst of worst jobs. A thankless job. But theoretical convictions forced Voronsky to turn in new searches and with new attention. However, this attention began to corrode skepticism over time. Voronsky's daughter tells how her father sometimes accepted someone's voluminous manuscript.
Pupyrushkin.
Alexander Konstantinovich weighed the paper weight on his hand.
Send back. Won't go.
Why? - the daughter was perplexed.
Because, - Voronsky said instructively, - if this is a talented author with a literary taste, he would write under a pseudonym.
There is a reason here, of course.
Then everyone was waiting for Pushkin: just about five years will pass- and a new Pushkin will appear, because capitalism is such a system that "crumpled and choked", and now ...
Time passed, but Pushkin was not there. Gradually they began to understand that art lives according to special laws, outside public conflicts and not defined by them.
He paid the same attention in his correspondence, in his writing activity and Gorky. It was the same policy and the same failures.
Whom did Gorky introduce into literature? Gorky's successors brought neither honor nor glory.
More than once we started a conversation with Voronsky about the future. Voronsky did not hope for new figures, but for the fact that all talented writers would go over to the Soviet side. And if they don’t pass, they won’t be allowed to write - “Who is not with us!”.
Therefore, Mandelstam and Akhmatova were also alien to Voronsky Soviet power element.
The future Alexander Konstantinovich drew before us in classical style general flourishing, the growth of all needs, the satisfaction of all tastes.
Somehow it happened to have a talk with Rakovsky on the same subject. Rakovsky politely listened to our boyish dreams and smiled. /582/
“I have to say, guys,” he said “guys”, even though he had university students, “that the picture you painted is attractive. But don't forget,” and Rakovsky smiled, “that these are the ideas of the people of bourgeois society. And mine and, most importantly, yours, yours, even though you are forty years younger than me - such are the ideas, the ideals of bourgeois society. No one knows what a person in a communist society will be like. What will be his habits, tastes, desires. Maybe he will love the barracks.
We don’t know its tastes, we can’t imagine it.”
Many years after this conversation I came across Gandhi's autobiography. Gandhi writes about his religion like this. “A person should be interested in self-denial, and not in the afterlife, which must be earned by self-denial. If an ascetic on earth fulfills his duty, then what afterlife better than this he can imagine ... "
How did it happen that Voronsky was so well acquainted with Lenin that even the organizational meeting of the first Soviet literary and artistic magazine Krasnaya Nov was at Lenin's apartment in the Kremlin? This first meeting was attended by Lenin, Krupskaya, Gorky and Voronsky. Voronsky made a report on the program of the new magazine, which he was supposed to edit and where Gorky supervised the literary and artistic part.
For this first issue, Lenin gave his article on the tax in kind.
In some memoir, I read that Lenin looked closely at the newspaper Rabochy Krai - in Ivanovo, which was led by Voronsky, and called him to new job. I guessed in him the author of yet unwritten books on art.
In fact, Alexander Konstantinovich Voronsky, a professional revolutionary, a Bolshevik underground worker, a member of the party since 1904, was one of the organizers of the party. Voronsky was a delegate to the Prague Conference in 1912, a party conference held by Lenin at one of the most poignant moments in party history. There were only eighteen deputies of the Prague Conference.
Voronsky's personal qualities are unmercenary, principled, modest in the highest degree- illustrated based on the stories of Krupskaya, Lenin. Voronsky became a close personal friend of Lenin, who was in Gorki in /583/ recent months 1923, when Lenin had already lost his speech. Krupskaya wrote about those who visited Lenin in Gorki at that time: Voronsky, Evgeny Preobrazhensky, Krestinsky.
Now all this is included in the reference books, Voronsky's visit to Lenin on December 14, 1923 is recorded. But another visit, later, at the end of December, when Alexander Konstantinovich was at Lenin's at the Christmas tree, is not recorded. This fact is not yet legally verified.
The first part of the memoirs of A. K. Voronsky "For living and dead water" was published by the publishing house "Circle", which was organized by Voronsky himself as the head of the "Pass" in 1927. The first part was written in 1926 - the beginning of stormy party and literary battles.
The so-called opposition, the young underground, first of all needed the most popular pamphlets outlining the elementary rules of conspiracy.
Kravchinsky, Bakunin, Kropotkin - all this was studied, studied by young people, especially students.
The task of quickly writing the catechism of the underground, where the reader could learn the elementary rules of conspiracy, behavior during interrogations, was undertaken by Alexander Konstantinovich Voronsky.
Fishelev gave a printing house, where he typed platform 83, the main opposition document. Trotsky and his friends Radek, Smilga, Rakovsky came forward with letters, and these platforms were reprinted and sent to the links.
Alexander Konstantinovich Voronsky took upon himself the special task of giving a popular guide to conduct.
Such guidance was the second and third parts of the memoirs "For living and dead water."
The second part was published in the magazine " New world» in No. 9-12 of 1928. This second part had a special epigraph from Lermontov.
And the marshals do not hear the call.
Others died in battle, /584/
Others cheated on him
And they sold their sword.
This eminently [expressive] epigraph was removed in separate editions.
The second part, where any arrested and exiled person can receive a good practical advice, was highly valued among the opportunistic youth.
This - main book, a desk guide for young underground workers of those days.
There is an example of the delegates of the Prague Conference, which decided the fate of Russia - all the delegates were eighteen people.
Voronsky wrote in his book extremely briefly about his closeness to Lenin. Lenin was very modest, but Voronsky himself was even more modest. The traits of modesty are the same for both of them.
In opposition, A. K. Voronsky was the chairman of the underground Central Control Commission. After all, the opposition was built as a parallel organization with the same "states", but "shadow".
There is no doubt that, renouncing views according to the then fashionable formula, Voronsky did not occupy even a shadow post in the underground. But once, on some day and hour, he occupied this underground shadow post.
I also know about the exclusive attitude of V. I. Lenin to A. K. Voronsky. Georges Kasparov, the son of Stalin's secretary Varia Kasparova, whom Stalin drove into exile and killed, told me in the Butyrka prison in the spring of 1937 that Nadezhda Konstantinovna Krupskaya, at the request of Lenin, and Voronsky visited Gorki with Lenin during his illness, as a personal friend , personal friend -<спасала Воронского, пока могла>.
From many years of reading publishing and magazine drift, Voronsky correctly concluded that talent is a rarity. And Voronsky paid particular attention to the approach of the so-called "fellow travelers" to the revolution.
RAPP broke his neck on fellow travelers, and also the nihilists from the LEF.
The dissolution of the RAPP went past Voronsky and did not bring any benefit to Voronsky.
Voronsky by this time - the beginning of the thirties - was imputed worst sin, in comparison with which literary battles were considered, and indeed were, less important. /585/
1928 - arrests throughout Moscow, the defeat of the university. Voronsky got his share. Rakovsky, Radek, Sosnovsky - in political isolators. Voronsky - in exile in Lipetsk. This is due to the energetic intercession of Krupskaya, who, according to her, was instructed by Lenin to look after Voronsky's health.
Krupskaya, who herself signed the main program - platform 83 - saved Voronsky's life as long as she could. In 1938 Krupskaya died.
According to the press, Voronsky's death is attributed to 1944. In fact, none of the comrades met with Voronsky after 1937. Voronsky's personal investigation file was destroyed by an unknown hand.
Voronsky signed platform 83, the main program of the left opposition, under this name the program went down in history. However, this initial program was called platform 84. The eighty-fourth was Krupskaya's signature, which Krupskaya later withdrew under Stalin's pressure. In Moscow, they gloomily joked that Stalin threatened Krupskaya that he would announce Artyukhina as Lenin's wife. These gloomy witticisms were not very far from the truth. There have been many examples of this throughout history.
Krupskaya even spoke in defense of the opposition at some party conference, but was immediately disavowed by Yaroslavsky.
By a special decision - the clarification of this delicate and bloody subject - the leaders, that is, those who signed the platform, letters to the Central Committee, and so on, were deprived of the right to party rehabilitation and were restored to their civil rights only.
But this decision was not taken immediately. Long before this decision, a petition for party rehabilitation was initiated by Voronsky's daughter, on the basis of failed exclusions in the thirties, when execution, destruction overtook formalities, such as expulsion from the party.
Voronsky's wife died long ago in the camps, his daughter endured twenty-two years in Kolyma - five in the camp on Elgen and seventeen in Kolyma itself.
She went there as a seventeen-year-old girl - she returned as a gray-haired and sick mother of two girls.
If Voronsky, with his principles, high moral demands on himself, would have considered it possible for himself to make a statement about rehabilitation - I don’t know. I cannot answer /586/ to this question. But the daughter applied, and Alexander Konstantinovich Voronsky received a full party rehabilitation.
Before 1967, Voronsky was not written about. His books were published very slowly. "For living and dead water" was published only in 1970 - fifteen years after rehabilitation; the collection of critical articles was carefully filtered to blot out the dubious spirit.
A year or two after the rehabilitation of Voronsky's daughter, some kind of certificate was needed in the PC about her father's party experience. An employee of the secretariat involved in these matters said that he could not issue certificates, because her father was rehabilitated incorrectly: "He, as a signatory of the platform, is not subject to rehabilitation."
Ivan did not closely converge with anyone, did not make friends; intractable, obstinate, he had no attachments; he respected, perhaps, not out of fear, but out of conscience, only his grandfather. Seeing him, Ivan got up, with difficulty straightened his lower back and back, earnestly bowed to his grandfather, followed him with a gaze and did not sit down until he was hiding. Ivan never got up in front of the others.
Ivan died suddenly. In the morning they found him under the barn shed, already cold and covered with dew. Long before his death, he was completely dry, and his corpse resembled relics: the temples collapsed, his cheeks were deeply sunken, his cheekbones protruded sharply, his collarbones protruded; his eyes went under his forehead, his bent knees stuck out like sticks. In the corners of the blue-black lips swarming green flies and wood lice crawled across the face ... What a lonely, bitter and untold life can be!
... Behind the gardens - a hemp plant. Ripe rye. On the hillock, the mill keeps waving and waving its wings tirelessly, it would fly in, but the earth holds firmly. There is a hint of dill, cucumber blossom, and sometimes the wind brings a hot, bitter smell of wormwood. The sky is about to open up, surrounded by mirages.
I decided to make humanity happy. Raw eggs are excellently lathered. From under the hens I stole three eggs "for experiments." In a tin - yolks, salt, blue, cherry glue is added to them, the glue will harden, the liquid will turn into solid, and excellent soap is ready. Shall I add ink for coloring?.. So, I will become a famous soap maker, get rich, I will travel ... Maybe add sugar as well? For what? We'll see there. Better yet, lime. However, quicklime, if poured with water, sizzles and burns. Wouldn't lime produce something explosive instead of soap, say gunpowder? Well, that's not bad for a young chemist! It's even wonderful to invent gunpowder. Some people sweat all their lives over stench, but they don’t invent gunpowder ... We must be careful: what if the tin explodes! I put a piece of lime in the mixture and I even close my eyes from fear. Thank the creator, nothing happened!..
A woman descends from the mill from the hillock; closer and closer it flickers in the thick and tall rye. No one should guess about my secret chemistry classes. I diligently hide the tin under the bump. Soap and gunpowder failed today - there is no trace of discouragement: they will certainly succeed tomorrow. In a woman, I recognize the wanderer Natalya. Her head is tied with a gray calico scarf, the ends of the scarf stick out with horns above her forehead, and a wicker knapsack is behind her back. Natalya walks quickly, easily, leaning on the staff. She is in her forties, but it is difficult to determine her age by her face: she is tanned, weather-beaten almost black. She is wearing a homespun plaid skirt, a white woolen zipun, her feet in dusty bast shoes, tightly and neatly wrapped with onuchs and twine. I call Natalia.
Hello, dear, hello, master, - Natalya affably replies, wiping her lips tightly in small wrinkles. - Will you welcome a guest into your house? Is everyone alive and well?
Thank you. All are alive and well. I'll take a visit.
I speak solidly, as if indeed I am the owner. I waddle next to Natalya, like a peasant.
Natalya from a neighboring village, about ten years ago she immediately lost her husband and three children: in her absence they died of intoxication. Since then, she has sold the hut, left the household and wanders.
Natalya speaks softly, melodiously, ingenuously. Her words are pure, as if washed, as close, understandable as the sky, the field, the bread, the village huts. And all Natalia is simple, warm, calm and majestic. Natalya is not surprised at anything: she has seen everything, experienced everything, she tells about modern affairs and incidents, even dark and terrible ones, as if they are separated from our life for millennia. Natalya does not flatter anyone; it is very good in her that she does not go to monasteries and holy places, does not look for miraculous icons. She is worldly and talks about worldly things. There is no excess, no fussiness. The burden of the wanderer Natalya bears easily and she buries her grief from people. She has an amazing memory. She remembers when and how children fell ill in such and such a family, where during the Great Lent Kharlamov or Sidorov went to work, whether they lived well, whether they lived well and what kind of renovation they brought to the housewives.
In the text proposed for analysis, the well-known Soviet writer and literary critic Alexander Konstantinovich Voronsky raises the problem of a person's moral stamina.
Reflecting on this issue, the author tells about the life of a village woman Natalya, who began to wander after the death of her husband and children. The writer tries to create the image of the heroine as accurately as possible, reflecting her attitude to own life: "Natalya carries the burden of the wanderer easily, and she buries her grief from people." At the same time, the literary critic clearly shows the reader how attentive the wanderer is to other people: “Natalya was walking from afar, from Kholmogory, she remembered me, and although she had to give a hook about eighty miles, how could she not visit the orphan.”
A. K. Voronsky is convinced that a person who is strong in spirit cannot be made more callous by any blows of fate.
It is impossible not to agree with the opinion of the writer. If a person has at least some moral values, he will not become indifferent to other people's troubles, even having experienced many misfortunes.
Quite a few literary works devoted to the problem of moral stability. Main character works by M. A. Sholokhov “The Fate of Man” Andrei Sokolov, despite the difficulties he had to face, managed to retain the ability to empathize with someone else's grief. Having survived the war and the death of his entire family, Andrei remained a truly highly moral person: he took in an unfortunate orphan who suffered from the blows of fate.
This example proves that the moral the strong man under no circumstances will not lose the ability to sympathize with other people.
A similar incident also happened in the life of my friend Sergey. Many troubles fell to his lot. He survived the death of his parents, he was unfairly expelled from the university, with early years he had to earn money by hard work. But in spite of everything, he continues, as before, to help others. He is ready to give the last thing he has if he understands that the other person is in an even more serious situation than himself. All this in once more confirms that no trials of fate can break a highly moral person.
Thus, it is safe to say that a truly resilient person will never become indifferent towards others.
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Updated: 2018-01-22
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- The problem of the influence of the social environment on a person. “... Natalya from a neighboring village, about ten years ago she immediately lost her husband and three children ...” (according to A. K. Voronsky).
Politician, prose writer and publicist A. K. Voronsky was born on September 8, 1884 in the village of Khoroshavka, Kirsanovsky district, Tambov province, in the family of a priest. After the death of their father, the family settled in the village of Dobrinka, Usmansky district, where numerous relatives lived, including the last rector of the Chuevsky Nikolsky Church, Nikolai Ivanovich Dobrotvortsev. There the childhood of A.K. Voronsky passed.
After graduating in 1900 from the 1st Tambov religious school he entered the Tambov Theological Seminary, from which he was expelled in 1905 for "political unreliability."
Since 1904, Alexander Konstantinovich was a member of the RSDLP (b) and conducted party work in St. Petersburg, Vladimir, Saratov, Tambov, Odessa, and in the Crimea. Was in exile for 4 years imprisonment for 2.5 years, including a year in the fortress.
In 1911, he began publishing his first articles and essays in the Odessa newspaper Yasnaya Zarya. In 1912, A. K. Voronsky was a delegate to the Prague Conference.
After the revolution, he worked as the editor-in-chief of the newspaper Rabochy Krai in Ivanovo-Voznesensk, making it one of the best in Russia. In the early 1920s, Alexander Konstantinovich withdrew from party organizational work and devoted himself entirely to literature. He had the idea to publish the first Soviet "thick" magazine Krasnaya Nov, which began to appear in July 1921 and A.K. Voronsky was its editor. Alexander Konstantinovich contributed to the fact that all the best that was in the literature of those years was published in it. He wrote many articles about writers who, largely due to his support, became classics of Soviet literature.
Critical and theoretical articles by A. K. Voronsky of these years were collected in the books “At the Junction” (1923), “Art and Life” (1924), “ Literary types"(1924)," Literary Records "(1926)," Mr. Britling drinks the cup to the bottom "(1927)," Literary portraits"(T. 1-2. 1928-1929), "The Art of Seeing the World" (1928).
In 1927, A. K. Voronsky was removed from the leadership of Krasnaya Novyu, removed from the editorial office of the Krug publishing house, expelled from the party for belonging to the Trotskyist opposition, and after his arrest in January 1929, he was exiled to Lipetsk.
The Lipetsk exile regime was not very strict, but he was forbidden to speak at meetings and in the local press. In Lipetsk, Alexander Konstantinovich and his family lived first in a hotel on Petrovsky Spusk, then in the wing of the lawyer M.A. Dyachkov on Pervomaiskaya Street (the house has not been preserved). I. Babel, L. Seifullina, B. Pilnyak, members of the group "Pass" close to him - I. Kataev, N. Zarudin and others came to visit him.
In Lipetsk, he wrote the stories “Exhibit”, “Factory”, “Prison Trivia”, “Fedya Gverillas”, in which Lipetsk and its inhabitants are recognizable, as well as a short story about A. I. Zhelyabov “Sleepless Memory”, three stories: "At the crossroads", "Weekdays", "Olga".
In the autumn of 1929, due to illness, he was allowed to return to Moscow, he was reinstated in the party and appointed editor of the department classical literature in Goslitizdat.
In 1927, his first book was published, created on the basis of autobiographical material, "For Living and Dead Water", reprinted in an enlarged form in 1934. Its logical continuation - the story "The Eye of the Hurricane" was published in 1931. In 1931-1933 his collections of stories were published, in 1933 a magazine publication of the novel "Bursa" appeared, in which the impressions of Dobrinsky's childhood came to life. In 1934, in the series "Life wonderful people The books "Zhelyabov" and "Gogol" were published.
In 1935, he was again expelled from the party, suspended from work and arrested on February 1, 1937. On August 13, 1937, A.K. Voronsky was shot. His personal investigation file was destroyed. 20 years later, on February 7, 1957, he was fully rehabilitated.
For decades, the name of A.K. Voronsky was "crossed out" from Soviet history. After the execution, his works were confiscated, long time not republished.
In the name of A.K. Voronsky in the village. The street is called Dobrinka.
Author's works
- Gogol. - M. : Journal and newspaper association, 1934. - 496 p.
- Zhelyabov. - M. : Journal and newspaper association, 1934. - 403 p. – (The life of remarkable people. A series of biographies; issues 3, 4).
- Literary-critical articles / entry. Art. A. G. Dementieva. – M.: Sov. writer, 1963. - 423 p.
- Bursa: novel / entry. Art. A. Dementieva. - M .: Art. lit., 1966. - 320 p.
- For living and dead water: a story / entry. Art. F. Levina. - M .: Art. lit., 1970. - 432 p.
- Selected articles about literature / entry. Art. A. G. Dementieva. – M.: Artist. lit., 1982. - 527 p.
- Selected lyrics / comp. and prepare. text by G. Voronskaya; intro. Art. V. Akimova. - M .: Art. lit., 1987. - 655 p. : portrait – Contents : Bursa; For living and dead water: stories; First work; bombs; From old letters; From Valentine's stories; Battleship; Fedya Guerillas: Stories.
- Eye of the hurricane: stories / comp., prepared. text, note. G. A. Voronskoy; intro. Art. V. Akimova. - Voronezh: Central-Chernozem. book. publishing house, 1990. - 234 p.: ill. – Contents: At the crossroads; Weekdays; Olga; Eye of the hurricane: a story.
- The art of seeing the world: portraits. Articles. – M.: Sov. writer, 1987. - 704 p.
- Sleepless Memory: Stories. – M.: Marekan, 2004. – 80 p.
- Strada: [lit.-crit. Art.]. - M. : Antikva, 2004. - 359 p.
- For living and dead water. – M. : Antikva, 2005. –
- T. 1. - 170 p.
- T. 2. - 375 p.
- Mr Britling Drinks the Cup to the Bottom: Sat. Art. and feuilletons / entry. Art. N. Kornienko. – M.: Antikva, 2005. – 243 p.
- Literary notes. - M. : Antikva, 2006. - 211 p. : ill.
- Collection of articles published in the newspaper "Working Land": 1918-1920. – M.: Antikva, 2006. – 388 p.
- Gogol / ed. intro. Art. V. A. Voropaev. - M. : Young Guard, 2009. - 447 p. : ill. – (Life of remarkable people. A series of biographies. Small series; issue 1).
Literature about life and work
- Volokitin V. A. A. K. Voronsky // Journey through Lipetsk region. - Voronezh, 1971. - S. 267-272.
- Kupriyanovsky P. Pages of the biography (writer) A. K. Voronsky // Russian literature. - 1982. - No. 4. - S. 246-247.
- Efremov E.P. The founder of Bolshevik criticism // Rise. - 1984. - No. 8. - S. 128-129.
- Literary activity of A. K. Voronsky // Questions of literature. - 1985. - No. 2. - S. 78-104.
- Medvedeva L. Lipetsk short story by A. K. Voronsky // Rise. - 1985. - No. 10. - P. 115-118.
- Akimov V. Our contemporary Voronsky: touches to the portrait // Neva. - 1989. - No. 8. - P. 178.
- Belaya G. Don Quixotes of the 20s: "Pass" and the fate of his ideas / G. Belaya. – M.: Sov. writer, 1989. - 415 p.
- Inanimate E. S. Alexander Voronsky. Ideal. Typology. Individuality / E. S. Nezhivoi. – M.: VZPI, 1989. – 180 p.
- “Maybe later, much will become more obvious and clear”: (from the document “party affairs of A.K. Voronsky”) // Questions of Literature. - 1995. - Issue. 3. - S. 269-292. - From the contents: [about the eviction of A.K. Voronsky to Lipetsk]. – S.: 274, 282.
- Dinershtein E. A. A. K. Voronsky. In search of living water / E. A. Dinershtein. – M.: Rosspen, 2001. – 360 p. : ill. - (People of Russia).
- Povartsov S. Preparatory materials for the biography of Babel I. E. // Questions of Literature. - 2001. - No. 2. - S. 202-232. - From the contents: About the trip of I. Babel to Lipetsk to see A.K. Voronsky.
- Vetlovsky I. Alexander Voronsky // Dobrinsky region: pages of history / I. Vetlovsky, M. Sushkov, V. Tonkikh. - Lipetsk, 2003. - S. 299-303.
- What the old walls will tell about: [A. I. Levitov and A. K. Voronsky in the Tambov Theological Seminary] // History of the Tambov Territory: essays on the history of culture and literature: textbook. allowance for historical and literary and cultural studies of local lore. - Tambov, 2005. - S. 113-114.
- Shentalinsky V. Shooting Nights // Star. - 2007. - No. 5. - S. 67-102.
Reference materials
- Lipetsk encyclopedia. - Lipetsk, 1999. - T. 1. - S. 233.
- Tambov encyclopedia. - Tambov, 2004. - S. 106-107.
- Zamyatinskaya encyclopedia. Lebedyansky context. - Tambov-Yelets, 2004. - S. 110-118.
- Glorious names of the land of Lipetsk: biogr. ref. about the known writers, scientists, educators, artists. - Lipetsk, 2007. - P. 124.
- The pride of the Usman land: short. ref. biogr. famous people who glorified their fatherland. - Usman, 2005. - Prince. 2. - P. 54.
