And Nikitin's biography. Ivan Savvich Nikitin - interesting data and facts from life

01.10.2019 -

Nikitin Ivan Savvich (1824-1861), Russian poet, prose writer.

Born September 21 (October 3), 1824 in Voronezh. The son of the owner of a candle factory, who went bankrupt by the 1830s, he was educated at the Voronezh parish (1833) and district (1834-1839) theological schools and theological seminary (1839-1843; expelled for poor academic performance), in the literary life of which A. had participated somewhat earlier. V. Koltsov. He was engaged in housekeeping (up to the point of performing the duties of a janitor at the inn purchased by the family), replacing, accordingly, his recent appearance a freedom-loving “Westerner” into the appearance of a simple Russian peasant (hair “in a circle”, boots with high tops, a sheepskin coat on a naked body, etc.).

Joy has swift wings.

Nikitin Ivan Savvich

After the first publication (poem. Rus - “Under the big tent / Blue skies...”, 1853) he became close to the student of history, ethnography and folklore Voronezh region the circle of local historian N.I. Vtorov, among whose participants were the future executor, biographer and editor of the poet M.F. De-Pule and the publisher of his works A.R. Mikhailov.

Influence of A.S. Pushkin, M.Yu. Lermontov, F.I. Tyutchev (Slanderers, 1849; When sunset with farewell rays, 1850; When alone, in moments of reflection, 1851) and especially Koltsov (The Sadness of an Old Man, Duma, both 1849 ; Song, 1853) with its characteristic folk vocabulary and rhythm is replaced in Nikitin’s lyrics by his own intonations, recognizable “ethnographic” themes, attention to everyday life, religious motives (Old Friend, Winter Night in the Village, both 1853; Merchant at the Mill, 1854).

In 1854, N.V. Kukolnik published two collections of Nikitin’s poems in his “Library for Reading”; several poems were published in the magazine “Moskvityanin”. Quick fame inspired Nikitin, he persistently engages in self-education (including studying French and German, translations from Fr. Schiller and G. Heine), again dresses “in fashion” and becomes, in the words of his tireless trustee Vtorov, “a secular human." In the same time sharp deterioration health conditions, a consequence of heavy physical labor, contributed to the strengthening of the mournful tonality of Nikitin’s poetry.

In 1856, his first collection of Poems was published, which evoked both approving and harsh (for “lack of independence” - N.G. Chernyshevsky in the Sovremennik magazine) reviews from critics.

Trying to poeticize “unpoetical” material real life common people, Nikitin begins to focus on the lyrics of N.A. Nekrasov with a pronounced narrative beginning, colloquial everyday vocabulary, diversity of characters of the village “bottom” - the peasants, the poor, the dispossessed (The Story of a Peasant Woman, 1854; Burlak, both 1854; Street Meeting, 1855 ; My Friend's Story, 1856), focusing on the dramas of everyday life - betrayals, murders, selfish deceptions, etc. (often in the song genre - Quarrel, Treason, both 1854; Get rid of melancholy..., 1855).

According to the critic A.M. Skabichevsky, the autobiographical basis of many of Nikitin’s poems, who was in a difficult relationship with his father, a man of tough character, was the “eternal Russian plot of family tyranny,” which grew under Nikitin’s pen into the problem of the discrepancy between the high spiritual impulses of a creative personality and his rough egoistic environment, into the problem of the inescapable loneliness of a talented loser, characteristic of romanticism and specifically refracted in Nikitin’s “folk” lyrics.

Ivan was born into the family of candle merchant Savva Evtikhievich Nikitin (-).

Creation

The earliest surviving poems date from 1849, many of them imitative in nature. He made his debut in print with the poem “Rus,” written in 1851, but published in the Voronezh Provincial Gazette only on November 21, 1853, that is, after the start of the Crimean War. The patriotic pathos of the poem made it very topical. On December 11, 1853, it was reprinted in the St. Petersburg Gazette newspaper with the following comment:

Isn’t it true that something familiar can be heard in this poem, in the feeling with which it is imbued, in the techniques, in the texture of the verse? Is Koltsov really destined to be resurrected in Nikitin? .

Subsequently, Nikitin’s poems were published in the magazines “Moskvyatyanin”, “Otechestvennye zapiski” and other publications.

The first separate collection () included poems on the most different topics, from religious to social. The collection evoked mixed responses. The second collection of poems was published in 1859. The prosaic “Diary of a Seminarian” was published in “Voronezh Conversation for 1861.” ().

Nikitin is considered a master of Russian poetic landscape and successor to Koltsov. The main themes in Nikitin's poetry are native nature, the hard work and hopeless life of peasants, the suffering of the urban poor, and protest against the unjust structure of life.

Basically, being courageously restrained and careful, apparently, in the most intimate, deeply hidden, he hid his human suffering behind a sense of beauty in nature. The more piercingly nature sounded in him, and he in it, the deeper it all sank into the reader’s soul.

Poem "Fist"

Nikitin's largest poetic work, the poem "Fist", began in October 1854. The first edition was completed by September 1856. The second edition, to which the poet made significant corrections, was completed by the beginning of 1857. The first publication was a separate edition in the city . (date of censorship permission - August 25, 1857).

The word “kulak” in Nikitin’s time did not mean a wealthy peasant, as was established later, but a completely different social type. According to Dahl, the kulak is “a reseller, a reseller... in the bazaars and marinas, he himself is penniless, lives by deception, calculation, and measurement.” At the center of Nikitin’s poem is the image of just such a fist, the Voronezh tradesman Karp Lukich. This bankrupt merchant barely earns a living through petty fraud in the market, cannot get out of severe poverty, gets drunk and tyrannizes his family. The poet shows us in different life situations the character of this person inner life his home, the fate of his household (wife and daughter). The poem has strong autobiographical features: main character and his wife in many ways resemble the poet’s parents.

The poem received favorable reviews from Dobrolyubov and other critics. An anonymous review from the Moscow Review said:

Several scenes that are stunning in their drama, in places there is genuine comedy and always a warm feeling of universal love... a lively rendering of reality, typically outlined characters and wonderful descriptions of nature complete the charm produced by this fresh and truly poetic creation of a young writer who has already rapidly developed his creative powers.

Nikitin's poetry and Russian musical culture

More than 60 songs and romances have been written to Nikitin's words, many by very famous composers (Napravnik, Kalinnikov, Rimsky-Korsakov). Some of Nikitin's poems, set to music, became popular folk songs. The most famous is “Ukhar-merchant” (“Ukhar-merchant was going to the fair...”), which, however, in the popular version was shortened and reworked, which completely changed moral meaning poems.

Memory

In Voronezh in 1911, a monument to the poet was erected on Nikitinskaya Square according to the design of the sculptor I. A. Shuklin.
In Voronezh, in the house where the poet lived since 1846, the Nikitin Literary Memorial House Museum (Voronezh Regional Literary Museum named after I. S. Nikitin) has been operating since 1924.
A street in the city of Voronezh is named after Ivan Savvich.
The Voronezh Regional Universal Scientific Library is named after the poet.
In Lipetsk there is Nikitina Street.
In Novosibirsk there is Nikitina Street. Many Novosibirsk residents mistakenly believe that the name of the street is dedicated to Afanasy Nikitin.
There is a gymnasium named after I. S. Nikitin in Voronezh.
In 1974, postage stamps with the image of I. S. Nikitin were issued in the USSR.
In 2011, for the 425th anniversary of Voronezh, the Russian Post issued a postcard depicting the monument to I. S. Nikitin (sculptor I. A. Shuklin).
In Barnaul there is Nikitina Street.

Postage stamps of the USSR

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Excerpt characterizing Nikitin, Ivan Savvich

Prince Andrei felt that either of all the affairs that occupied the Minister of War, the actions of Kutuzov’s army could least of all interest him, or it was necessary to let the Russian courier feel this. “But I don’t care at all,” he thought. The Minister of War moved the rest of the papers, aligned their edges with the edges and raised his head. He had a smart and characteristic head. But at the same moment as he turned to Prince Andrei, the intelligent and firm expression on the face of the Minister of War, apparently habitually and consciously changed: the stupid, feigned, not hiding his pretense, smile of a man who receives many petitioners one after another stopped on his face .
– From General Field Marshal Kutuzov? - he asked. - Good news, I hope? Was there a collision with Mortier? Victory? It's time!
He took the dispatch, which was addressed to him, and began to read it with a sad expression.
- Oh my god! My God! Shmit! - he said in German. - What a misfortune, what a misfortune!
Having run through the dispatch, he put it on the table and looked at Prince Andrei, apparently thinking about something.
- Oh, what a misfortune! The matter, you say, is decisive? Mortier was not taken, however. (He thought.) I am very glad that you brought good news, although the death of Shmit is an expensive price to pay for victory. His Majesty will probably wish to see you, but not today. Thank you, take a rest. Tomorrow be on the way out after the parade. However, I'll let you know.
The stupid smile that had disappeared during the conversation reappeared on the face of the Minister of War.
- Goodbye, thank you very much. The Emperor will probably wish to see you,” he repeated and bowed his head.
When Prince Andrei left the palace, he felt that all the interest and happiness brought to him by the victory had now been abandoned by him and transferred to the indifferent hands of the Minister of War and the courteous adjutant. His whole mindset instantly changed: the battle seemed to him like an old, distant memory.

Prince Andrei stayed in Brünn with his friend, the Russian diplomat Bilibin.
“Ah, dear prince, there is no nicer guest,” said Bilibin, going out to meet Prince Andrei. - Franz, the prince’s things are in my bedroom! - he turned to the servant who was seeing Bolkonsky off. - What, a harbinger of victory? Wonderful. And I’m sitting sick, as you can see.
Prince Andrei, having washed and dressed, went out to the diplomat’s luxurious office and sat down to the prepared dinner. Bilibin calmly sat down by the fireplace.
Prince Andrei, not only after his journey, but also after the entire campaign, during which he was deprived of all the comforts of purity and grace of life, experienced a pleasant feeling of relaxation among those luxurious living conditions to which he had become accustomed since childhood. In addition, after the Austrian reception, he was pleased to talk, at least not in Russian (they spoke French), but with a Russian person who, he assumed, shared the general Russian disgust (now especially vividly felt) for the Austrians.
Bilibin was a man of about thirty-five, single, in the same company as Prince Andrei. They knew each other in St. Petersburg, but they became even closer during Prince Andrei’s last visit to Vienna together with Kutuzov. Just as Prince Andrei was a young man who promised to go far in the military field, so, and even more, did Bilibin promise in the diplomatic field. He was still a young man, but no longer a young diplomat, since he began serving at the age of sixteen, was in Paris, in Copenhagen, and now occupied a rather significant position in Vienna. Both the Chancellor and our envoy in Vienna knew him and valued him. He wasn't one of those people large quantity diplomats who are required to have only negative virtues, not do well-known things and speak French in order to be very good diplomats; he was one of those diplomats who love and know how to work, and, despite his laziness, he sometimes spent the night at his desk. He worked equally well, no matter what the nature of the work was. He was not interested in the question “why?”, but in the question “how?”. What the diplomatic matter was, he didn’t care; but to draw up a circular, memorandum or report skillfully, accurately and gracefully - he found great pleasure in this. Bilibin's merits were valued, in addition to his written works, also by his art of addressing and speaking in higher spheres.
Bilibin loved conversation just as he loved work, only when the conversation could be elegantly witty. In society, he constantly waited for an opportunity to say something remarkable and entered into conversation only under these conditions. Bilibin's conversation was constantly peppered with original witty, complete phrases of general interest.
These phrases were produced in Bilibin’s internal laboratory, as if on purpose, of a portable nature, so that insignificant secular people could conveniently remember them and transfer them from living rooms to living rooms. And indeed, les mots de Bilibine se colportaient dans les salons de Vienne, [Bilibin’s reviews were distributed throughout Viennese living rooms] and often had an influence on so-called important matters.
His thin, emaciated, yellowish face was all covered with large wrinkles, which always seemed as cleanly and diligently washed, like fingertips after a bath. The movements of these wrinkles constituted the main play of his physiognomy. Now his forehead wrinkled in wide folds, his eyebrows rose upward, now his eyebrows went down, and large wrinkles formed on his cheeks. Deep-set, small eyes always looked straight and cheerful.
“Well, now tell us your exploits,” he said.
Bolkonsky, in the most modest way, without ever mentioning himself, told the story and the reception of the Minister of War.
“Ils m"ont recu avec ma nouvelle, comme un chien dans un jeu de quilles, [They accepted me with this news, as they accept a dog when it interferes with a game of skittles,] he concluded.
Bilibin grinned and loosened the folds of his skin.
“Cependant, mon cher,” he said, examining his nail from afar and picking up the skin above his left eye, “malgre la haute estime que je professe pour le Orthodox Russian army, j"avoue que votre victoire n"est pas des plus victorieuses. [However, my dear, with all due respect to the Orthodox Russian army, I believe that your victory is not the most brilliant.]
He continued the same way French, pronouncing in Russian only those words that he contemptuously wanted to emphasize.
- How? You with all your weight fell upon the unfortunate Mortier with one division, and this Mortier leaves between your hands? Where is the victory?
“However, seriously speaking,” answered Prince Andrei, “we can still say without boasting that this is a little better than Ulm...
- Why didn’t you take us one, at least one marshal?
– Because not everything is done as expected, and not as regularly as at the parade. We expected, as I told you, to reach the rear by seven o'clock in the morning, but did not arrive at five in the evening.
- Why didn’t you come at seven o’clock in the morning? “You should have come at seven o’clock in the morning,” Bilibin said smiling, “you should have come at seven o’clock in the morning.”
– Why didn’t you convince Bonaparte through diplomatic means that it was better for him to leave Genoa? – Prince Andrei said in the same tone.
“I know,” Bilibin interrupted, “you think it’s very easy to take marshals while sitting on the sofa in front of the fireplace.” This is true, but still, why didn’t you take it? And do not be surprised that not only the Minister of War, but also the August Emperor and King Franz will not be very happy with your victory; and I, the unfortunate secretary of the Russian embassy, do not feel any need to give my Franz a thaler as a sign of joy and let him go with his Liebchen [sweetheart] to the Prater... True, there is no Prater here.
He looked straight at Prince Andrei and suddenly pulled the collected skin off his forehead.
“Now it’s my turn to ask you why, my dear,” said Bolkonsky. “I confess to you that I don’t understand, maybe there are diplomatic subtleties here that are beyond my weak mind, but I don’t understand: Mack is losing an entire army, Archduke Ferdinand and Archduke Charles do not show any signs of life and make mistakes after mistakes, finally, alone Kutuzov wins a real victory, destroys the charme [charm] of the French, and the Minister of War is not even interested in knowing the details.

Ivan Savvich Nikitin (1824-1861) was born and raised in a very wealthy merchant family. The young boy mastered reading and writing quite early - his love of reading and walks in picturesque surroundings would later manifest itself in brilliant poems in the style of landscape lyricism.

At eight years old in 1833, Ivan entered theological school, which he successfully completed, but he would not be able to finish the seminary - due to difficult family circumstances (the death of his mother, drunkenness and the ruin of his father), the boy was early forced to be the sole breadwinner of his family. After working a little in a candle shop, Ivan sells the family candle factory and becomes the owner of an inn, the wandering people and common surroundings of which will later lead to populist motifs in his work.

The first serious attempts at poetic creativity were noticed while studying at the theological seminary, although the first publication of poems took place only in 1853, in the newspaper Voronezh Provincial News. The first published poem “Rus” immediately brought fame and popularity to the young poet Ivan Nikitin; he was deservedly compared with the famous poet A.V. Koltsov. Also at the seminary, everyone noted the poet’s special musicality; subsequently, more than 60 poems would be set to music (“Hello, guest-winter,” “The nightingale fell silent in a dark grove,” “It became noisy, it went wild,” etc.).

Religious and philosophical motifs are very clearly visible in the writer’s work, their echo is present both in landscape lyrics (“Meeting of Winter”, “Morning”) and in works describing the hard life of ordinary people (“Plowman”, “Beggar”, “Mother” and daughter"). Being a deeply religious Christian, the author more than once turned in his work to the evangelical and spiritual theme (“Prayer”, “The Sweetness of Prayer”, “New Testament”).

The poet’s creativity did not pass by and love lyrics(“The candle has burned out”). A year before his death, the poet falls in love with a beautiful, educated girl, Natalia Antonovna Matveeva, a true connoisseur of his bright and at the same time deep talent.

The poet's creative path was far from cloudless - the first collection of poems was subjected to a devastating review by N. Chernyshevsky, which caused serious mental trauma to the poet. The flowering of creativity was very short-lived - the release of the last collection of poems dates back to 1859. Next, the poet is working on finishing the poem “Taras” and the story “The Diary of a Seminarian.” In 1861, A. Nekrasov was offered cooperation on any terms in the literary magazine Sovremennik. This event was a great creative victory for the young but already experienced writer, but due to a serious illness, he was never able to fully realize himself.

On November 16, 1861, the 37-year-old poet dies from a severe form of consumption. He will be buried next to the grave of the poet A. Koltsov at the Novo-Mitrofanyevskoye cemetery.

An ardent patriot, a sad soul of the Russian people, a sincerely believing Christian - Ivan Savvich Nikitin was not only a role model for his contemporaries, but also an inspirer of a host of followers of his brilliant work - Pleshcheev, Surikov, Minaev, Yesenin, Tvardovsky.

Ivan Savich Nikitin (1824-1861). Russian poet

The life and creative path of the poet is not rich in external events. Ivan Savvich Nikitin (21.09.(3.10)1824–16.10.(28.10)1861) was born in Voronezh into a middle-class, but fairly wealthy family. His father, Savva Evtikhievich, came from a clergy background, owned a candle factory and a shop. After graduating from the Voronezh Theological School (1839), Ivan Nikitin entered the theological seminary (1839), from which he was expelled for missing classes (1843). Later, in “The Diary of a Seminary” (1861), he reflected the unhappy impressions of his stay at the seminary. Soon his father’s trading business collapsed, his mother Praskovya Ivanovna died, his means of livelihood dried up, his dreams of entering the university became unrealistic, and Nikitin was forced first to trade in a candle shop, then to maintain an inn (from 1844).

Since 1853, Nikitin’s rapprochement with the historian, ethnographer and public figure N.I. Vtorov and his circle, which united representatives of the Voronezh intelligentsia.

It was Vtorov who inspired Ivan Nikitin for the first publication in the Voronezh Provincial Gazette on November 21, 1853 of the poem “Rus”, written during the beginning of Crimean War and its patriotic content was very topical.

Being a man of action, I. Nikitin opened a bookstore in February 1859, and with it a shop and a library. Soon the store turned from an ordinary retail outlet into a noticeable center of culture, the likes of which were not found in Voronezh.

I. Nikitin began to write rather late: his first officially known experiments date back to the age of 25, when two poems signed with the initials “I. N." His literary life itself lasted eight years, and during his lifetime he published two books of poetry (1856 and 1859), his most important work - the poem “The Fist” (1858) and the story “The Diary of a Seminarian” (1861).

The original and most essential feature of Nikitin’s poetry is truthfulness and simplicity, reaching the most strict direct reproduction of everyday prose. Almost all of Nikitin’s poems fall into two large blocks: some are dedicated to nature (“South and North” (1851) “Morning” (1854)), others are dedicated to human need, people’s suffering (“Plowman” (1856), “The Coachman’s Wife” ( 1854)). In both, the poet is completely free from any effects and idle eloquence.

Nikitin’s poems will not surprise you with their richness of colors, variety of techniques, virtuoso technique, elegance of style; they have more semantic directness, subject and psychological clarity. His poetic language is “a real revolution in Russian poetry, a revolution similar to that carried out later in the prose of A. Platonov.” (“My spirit will become akin to the spirit of the century.” Voronezh, 2004. P. 25).

In the early 60s, N. A. Nekrasov invited the poet to collaborate in the Sovremennik magazine. This was a real recognition, but I. Nikitin could no longer take advantage of the invitation. A serious illness undermined the poet’s strength. Ivan Savvich Nikitin died on October 16, 1861.

Kuznetsov, V. Imperishable lines: sketches about Alexei Koltsov and Ivan Nikitin / V. Kuznetsov. – Voronezh: Central-Chernozem. book publishing house, 1984. – 223 p.

Collected works: in 2 volumes / [comp. L. A. Plotkin; artist I. Glazunov]. – M.: Pravda, 1975.

Ivan Savvich Nikitin (1824-1861) - Russian poet.
Born into the family of candle merchant Savva Evtikhievich Nikitin (1793-1864). He studied at the theological seminary. The seminary gave Nikitin a lot, but the young man did not like the official and boring education system, and he would later express his attitude towards this way of life in “The Diaries of a Seminarian” (1861).
In 1844, Nikitin’s father bought an inn on Kirochnaya Street and settled here with his son. However, his father's drunkenness and violent character led the family to ruin, forcing Nikitin to leave the seminary and become an innkeeper.
The earliest surviving poems date from 1849, many of them imitative in nature. He made his debut in print with the poem “Rus,” written in 1851, but published in the Voronezh Provincial Gazette only on November 21, 1853, that is, after the start of the Crimean War. The patriotic pathos of the poem made it very topical.
Subsequently, Nikitin’s poems were published in the magazines “Moskvityanin”, “Otechestvennye zapiski” and other publications.
After his first publications, Nikitin entered the circle of local intelligentsia that formed around Nikolai Ivanovich Vtorov. Nikitin’s close friends were Vtorov himself and another member of the circle, Mikhail Fedorovich De-Pule (future executor, biographer and editor of publications of Nikitin’s works).
While remaining the owner of the inn, Nikitin did a lot of self-education, studying French and German languages, as well as works of Russian and foreign writers (Shakespeare, Schiller, Goethe, Hugo and others). In 1859, Nikitin took advantage of a loan of 3,000 rubles, received through the mediation of friends from the famous entrepreneur and philanthropist Vasily Aleksandrovich Kokorev, and opened a bookstore with a reading room in the center of Voronezh, which quickly became one of the centers of the cultural life of the city.
The first separate collection (1856) included poems on a variety of topics, from religious to social. The collection evoked mixed responses. The second collection of poems was published in 1859. The prosaic “Diary of a Seminarian” was published in “Voronezh Conversation for 1861.” (1861).
Nikitin is considered a master of Russian poetic landscape and Koltsov's successor. The main themes in Nikitin's poetry are native nature, the hard work and hopeless life of peasants, the suffering of the urban poor, and protest against the unjust structure of life.
Nikitin's largest poetic work, the poem "Fist", began in October 1854. The first edition was completed by September 1856. The second edition, to which the poet made significant corrections, was completed by the beginning of 1857. The first publication was a separate edition in 1858 (date of censorship permission - August 25, 1857).
In Nikitin’s time, the word “kulak” did not mean a wealthy peasant, as was established later, but a completely different social type. According to Dahl, the kulak is “a reseller, a reseller... in the bazaars and marinas, he himself is penniless, lives by deception, calculation, and measurement.” At the center of Nikitin’s poem is the image of just such a fist, the Voronezh tradesman Karp Lukich. This bankrupt merchant barely earns a living through petty fraud in the market, cannot get out of severe poverty, gets drunk and tyrannizes his family. The poet shows us in different life situations the character of this person, the inner life of his home, the fate of his household (wife and daughter). The poem has strong autobiographical features: the main character and his wife in many ways resemble the poet’s parents.
The poem received positive reviews from critics.
More than 60 songs and romances have been written to Nikitin's words, many by very famous composers (Napravnik, Kalinnikov, Rimsky-Korsakov). Some of Nikitin's poems, set to music, became popular folk songs. The most famous is “Ukhar-merchant” (“Ukhar-merchant went to the fair......”), which in the popular version was shortened and reworked, which completely changed the moral meaning of the poem.
In 2009, composer Alexander Sharafutdinov recorded an album of songs “Joy and Kruchina” based on Nikitin’s poems.
I.S. died Nikitin died of consumption on October 16, 1861 in Voronezh, where he was buried. Over time, the cemetery was liquidated and a circus was built in its place. Grave of I.S. Nikitin and several other graves, one of which is the burial of another famous poet A.V. Koltsov, were not touched. This place is fenced and is called the “Literary Necropolis”.