Lermontov: Cargo 200

Colta.ru today is celebrated by the 200th anniversary of Mikhail Yuryevich Lermontov.

What do we know about the poet? “Hero of our time”, “Demon”, Caucasus, “Mtsyri”, Duel - by the way, check if you remember the “Lermontov” minimum, after passing the anniversary test “200 years together” . In fact, Lermontov - of course, is different. It is more, deeper and more multifaceted. Lermontoveda Alina Bodrova wrote about how the real Lermontov diverges, whose lively voice came to us in ironic-scabble letters, and the official literary canon. And independent musicians (from Peter Planich to the Metallists “Kursk”), composing new songs on the poet’s poetry , presented his Lermontov, a 26-year-old guy who rushes along the counter.

Eternally young poet Lermontov was approaching his 200th anniversary without excessive excitement and noise. It has long been noticed that either Lermontov is not lucky with large anniversaries, or he himself opposes the anniversary update of the “textbook gloss” - but also in the fall of 1914, on the centenary of his birth, and in the summer of 1941, in the centenary of the poet’s death, was not up to lush literary festivities. These unpleasant Lermontov associations have repeatedly come to mind this year ...

Nevertheless, now some anniversary rise in the academic and museum-cultural life is evident. In May, the Lermontov house-museum on Malaya Molchanovka , a huge exhibition under a cosmic scale, opened after the reconstruction, the name “My house is everywhere where there is a heavenly vault ...” can be visited in the A.S. Museum. Pushkin on the Prechistenka , updated the exposition of the Lermontovsky hall of the Literary Museum of the Pushkin House , a wonderful virtual exhibition of manuscripts and drawings made the manuscript department of the public library . A series of popularizer programs is shown and will also show the Culture channel , and on the radio of the same name, the weekly program “My Lermontov” has long been ongoing, where, among other things, you can listen to how the Deputy Minister of Agriculture Dmitry Yuryev competes with the first deputy chairman of the State Duma and Taxes of Oksana Dmitrieva in expressive reading of the poem "Homeland."

He revived the anniversary and academic book publishing and conference life. In Moscow and St. Petersburg, a huge international symposium (the program here and here ), which impressed the number of participants and the scope of the thematic range, was just responding-from textbooks like “Lermontov and Nature” to completely unexpected turns, like “Spear-shattered with M. Lermontov in the poetic experiences of the Marxist Jewish and Jewish Sionist.” The Lermontov documentary album and the catalog of manuscripts and drawings released the Russian State Archive of Literature and Art and the Pushkin House - the main vaults of the Lermontov creative heritage. Finally, the preparation of the new works of Lermontov’s works was dedicated to the anniversary, the need for which became more and more obvious as he was working on him (so far two volumes were released - with poems and playwright ).

The most amazing impression of working on the new meeting, and therefore, from reading and re-reading the previous publications and attentive acquaintance with old and new works about Lermontov, is a canonized limitations of research topics and plots with decisive unexplored historical and literary circumstances and facts.

Both in the academic tradition and in the wide cultural consciousness of Lermontov, a paradoxically turned out to be a textbook-canonic and rather one-dimensional figure.

Non-Bairon, non-Pushkin, another; vulnerable and always suffering from female insidiousness; sensitive, but forcedly cold; Until time, which has befell the reflective soul of his inactive generation and looking at him with the demonic-Pechorinsky high; Truly loving only grandmother, Varenka Lopukhin and, of course, his homeland-hot, albeit strange love.

Everything that is not very placed in such an image of Lermontov, in general, falls out of the research field and eludes reader attention. Yes, and what to wait for attention to, when in the publications of any ironic-scabble letters everywhere stiff bills, and Junker poems and poems are still not printed in any serious edition in full and textologically reliable form.

Lermontov in his verses turned out to be more convincing for later researchers and researchers than for his own contemporaries.

Is it easy, for example, to guess what “inconvenient for printing, a very sharp characteristic of Kleinmichel” is hidden behind the bill of bills in all publications of Lermontov’s letter to Svyatoslav Raevsky from the beginning of March 1837, when they are both waiting for translations and expulsions for the distribution of “impermissible verses” to Pushkin’s death:

“I had your misfortune on my conscience, I was tormented by the thought that you were suffering for me. God grant that your hopes come true. Grandmother was busy at Dubelt, and Afanasy Alekseevich also. What concerns me, I ordered a uniform and I am going soon. The commandant, I think, will allow me to see you - otherwise I will come. Today I was sent to say that I would not leave until I will come to Kleinmikhel, for he is now my boss of his mother>. ”

Or exactly how Lermontov scolds Moscow in a letter besides Raevsky (of course, loving her “as a son, as a Russian - strongly, fiery and gently”), which cannot do in Tarkhany in the winter of 1836 and what kind of household and universal meaning can stand behind the well -known invective formula “Farewell, UNITAL RUSSIA”:

“I now live in Tarkhany, in Chembarsky district (here you have the address in case you don’t know him), I listen to how the mint is howls under the window (there are terrible ones all the time, the snow in the fathom of the depths, the horses come in and“ pearls ”and the neighbors leave each other alone, which, in brackets, is very pleasant), I can’t eat, because I can’t because the girls are girls. They stink, I am writing the fourth act of a new drama taken from the incident that happened to me in Moscow. - O Moscow, Moscow, the capital of our ancestors, the golden -headed queen of Russia is the great, small, white, black, red, all colors, Moscow, and she presented me with me. You need to explain to you first that I'm in love. And what did I win this? - Some pollutions. True, my heart remained dutifully with reason, but in another no less important member of the body there is a fatal uprising. Now you clearly see my unfortunate position and, like a friend, rightly, you will regret it, or maybe you will envy, because everything is good that we do not have, this is true, and <p ** yes> we like it. Here is the very village philosophy! "

A good illustration of what happened to Lermontov in the domestic literary canon, it seems to me a scene from Mr. Kozintsev “Belinsky” (1951) for a long time, when a great Russian critic embodies the true service of Russia and literature, comes to the great Russian poet Lermontov sitting in the Ordonanceus for a duel with the son of a French messenger Ernest de Barant.

Of course, everything is fine here: and the exposure of Lermontov’s meaningless secular friends, who drained the French novels to him, and not so necessary feathers and papers, which, of course, stocked up by the prudent Belinsky, and the hints of the “enemies of Russia”, which only Lermontov’s links to the Caucasus could want ... but the choice of Lermontov’s poems, revealed to the enlisted viewer: not “not. It is clear to me, it is evident, freedom ... ”(“ neighbor ”) and, of course,“ homeland ” - they symbolize two main thematic complexes, persistently emphasized in the Lermontovsky heritage: patriotic and freedom -loving.

And what was behind this in reality? Belinsky, as follows from his letter V.P. Botkin dated April 16-21, 1840 and I.I. Panaeva really visited Lermontov in Ordinshaushaz, but he could neither bring him a collection of poems, published only in the fall1840, to hear the reading of the “homeland”, written, apparently, only in early 1841. It was not at all that there was a conversation with Lermontov, hotly described in the same letter from Belinsky Botkin, from which it follows that they discussed not only high literary matters:

“How he looks true at art, what a deep and purely direct taste of the elegant! <...> women scolds: some for what they give; others because they do not give ... So far for him a woman and give the same thing. He also despises men, but loves some women and only sees them in life. <...> My God, how below me is according to my concepts, and how I am endlessly lower than him in my superiority in front of him! His every word is himself, all his nature, in his entire depth and his wholeness. I am timid with him - I am crushed by such integral, full natures, I have reverent in front of them and humble myself in the minds of my insignificance. Do you understand me, oh bald and Moscow soul! ”

But an openly tendential film is half a bastard; It is much worse when the implicit and probably not fully realized tendency sneaks up in literary interpretations.

The story with love lyrics is characteristic here: Lermontov in his verses turned out to be more convincing for later researchers and researchers than for their own contemporaries. What kind of article about women-adhesives, you will almost certainly read about sincere and deep feelings and devoted dreams and hopes-an almost literal prose retelling of Lermontian lamentations (composed, in turn, from elegic stamps of the era).

And if it were only with verses to Varenka Lopukhina or favorite Irakli Andronikova N.F. Ivanova , from which there really is almost nothing, except for the Lermontov verses themselves, but also in those cases when we have documentary and memoir evidence at our disposal, slightly differently illuminating lyrical texts, poems still win the documents.

So, E.A. Sushkova still remains an insidious coquet, and Lermontov - an unhappy boy and an innocent sufferer (in memory of his enthusiasm for Sushkova in the summer of 1830), although everyone has long been known (from his own Lermontov epistolary story!), What a vindictive, small and distant performance, including the premise of anonymous letter, played Lermontov with it. In the fall - winter 1834-1835, wanting to upset the scheduled marriage of Sushkova with Alexei Lopukhin.

An exceptionally noble passion is often the hobby of Lermontov by Princess M.A. Shcherbatova, who is dedicated to the stans “to secular chains ...” and, probably, “Prayer” (“In a minute of life is difficult ...”) and which, in the general opinion, served as the subject of the duel Lermontov and Barant. Although still aware contemporaries recalled that Lermontov wrote about Shcherbatova not only in the sublime lyric tone, but, for example, as follows: “Ah, how dear my princess! / The Frenchman dragged behind it; / She has a face - like a melon, / but f ... a (so!) - like a watermelon. ” This “very immodest impromptu” was informed in 1862 to the famous bibliographer and Pushkinist P.A. Efremova Lermontov's fellow student at the school of Junkers A.M. Merinsky-to whom it is generally customary to believe in the rest (for example, according to Merinsky’s report in all publications, a number of readings in the “death of the poet” and the 11th line of the famous “Duma”, not missed by censorship in any lifetime edition) are restored.

And the point is not at all that the “face is like a melon” and “ass like a watermelon” should obscure “mature plums / blush on the cheeks of fluffy,” and that no texts should be taboo and completely silent as non -existent or insignificant.

Meanwhile, it was precisely such a fate that the entire corps of the Junker's works of Lermontov, written at the school of guards supporters and cavalry junkers and decorating the pages of the manuscript magazine “School Dawn”, which the poet’s fellow practitioners recalled not without nostalgia. Junker texts are three poems (“Peterhof holiday”, “Ulanha”, “Hoster”), two poems (“Oda to the needle”, “To T *** <Tizengauzen>), which were last printed in the collected works of Lermontov as a editorship of B.M. Eichenbauma (1935-1937), of course, with bills; The small collective impromptu “Thank you ...”, the only time published by the same Eichenbaum in the “Literary Heritage”; And, it seems, the not printed prosaic text “Border Izvestia. Remonies ”, about which is known from the note by Semevsky about the“ school dawn ”and by references in Western works.

In the junker texts, of course, there are a lot of clear and pedagogically uncomfortable - both a homo -eerotic theme in poems, and individual and collective sexual exploits in poems, illuminated by the description of the collective Afront of the same kind in the impromptu “thank you ...” (“We thank you, <Taves>, / and we will remember forever pits, where everyone went unsuccessfully / on the belly An insulted female ... ”), and a low -ostrous scatology in a prosaic essay on the exploits of Baron von der Bzdeh in the country of mediocre-but to a greater extent they require adequate historical and literary understanding and descriptions in the context of the evolution of Lermontian creativity.

The story with the Junker essays clearly shows that the problem of the completeness of the Lermontov texts corps has not yet been solved at all, but the problem is not limited to this plot.

Apparently, there are still Lermontov’s texts that remain non-printed-and not only the scatological “border news”, but also, for example, the French prosaic composition “Le Champ de Borodino” (“Borodino Field”) is probably the earliest appeal of Lermontov to the “Borodino” theme, presumably written in the university. noble boarding house.

On the other hand, not all that was considered Lermontovsky, in fact, belongs to him. As N.G. Okhotin , French poem “Non, Si J'en Crois Mon Espérance ...” , which decorates all Lermontov’s publication without exception, was actually written by not Lermontov, and the other, or rather, Eugene and Frederick de Curses, composing the vaudeville “Simple Histoire” , a bippet from which Lermonts from their hand Recorded to the album A.M. Vereshchagina ...

In all this - a large paradox of the current anniversary, in which, as usual, the idea of ​​summing up the results, it would seem, would have been invested, made by more than one generation of outstanding scientists - from Eichenbaum to V.E. Vatsuro - and not one change of academic commentators. But the further work on the new publication moved, the more clearly it became that the idea of ​​the results or the final assembly (if you should think about this at all) it was time to put it off until any other anniversary, and now immediately wipe the textbook gloss from the “Lermontov Encyclopedia” and other collected works and start looking at the canonized classic, “about which everything has long been known” And as on an extremely attractive hero of a wide variety of research searches.