The Karamzin salon was unique both in terms of the longevity of its existence (from the late 1820s until the death of Katerina Andreevna Karamzina in 1851), and in its composition, which collected names significant for Russian culture.

"Karamzin read us his story"

One of the remarkable forms of cultural life of Russian society at the turn of the 18th-19th centuries. there were salons. Appearing at the end of the 18th century. (like the salon of G.R. Derzhavin) and focusing on the Parisian salons of the pre-revolutionary period, Russian salons especially flourished in the 1820-1830s. 1 Literary, musical, political, and more often harmoniously uniting discussion of new works by domestic and foreign writers, and playing music in living rooms, and disputes about the latest political news with foreign envoys, preserving a friendly, relaxed, playful atmosphere, salons became a significant fact of national culture, giving rise to new values, forming the historical, political, aesthetic consciousness of its participants 2. As S.S. wrote Uvarov, “private, so to speak, home societies, consisting of people united by free calling and personal talents... had and have not only here, but everywhere, a tangible, although in some way invisible, influence on contemporaries” 3.

The Karamzin salon occupied a special place in the cultural life of the capital. Established during the life of the historiographer, the salon finally took shape under his widow Katerina Andreevna from the late 1820s. and especially in the 1830-1840s, attracting the entire color of St. Petersburg society. In the first half of the 1820s. it was a circle united by the interests of literature and history and grouped around N.M. Karamzin, who “was some kind of life-giving, radiant focus” 4 for his young friends.

“At least our literary society,” the already mentioned S.S. Uvarov recalled about him, “consisted of Dashkov, Bludov, Karamzin, Zhukovsky, Batyushkov and me. Karamzin read us his story. We were still young, but so educated, so that he listens to our comments and uses them" 5. It was not for nothing that the future Minister of Education mentioned the “senior Arzamas residents” who were moderate in their political views: 6: right above the living room of the Karamzins, who then lived with Katerina Fedorovna Muravyova in house No. 25 on Fontanka, Decembrist youth gathered in the office of her son Nikita Muravyov, talking about the same thing , but from directly opposite positions. "The young Jacobins were indignant" at Karamzin's "History...": "several individual thoughts in favor of autocracy... seemed to them the height of barbarity and humiliation" 7 . The historiographer looked at the youth with the smile of condescension of a man wise in life 8 and “never, in the most heated debates, crossed the boundaries of polite objection” 9 . Only once, getting angry, did he allow himself a sharp phrase: “Those who cry out against autocracy more than others carry it in their blood and lymph” 10 .

The traditions of the salon were maintained by the widow

After Karamzin’s death in 1826, the traditions he established were supported by the historiographer’s widow, Katerina Andreevna. As Prince A.V. wrote Meshchersky, “being in this sweet and hospitable family, I immediately found myself in the most intelligent environment of St. Petersburg society, in which the memory of the unforgettable Nikolai Mikhailovich was still so fresh and where, according to legend, both the former friends of the late historiographer and young poets, writers and scientists gathered new generation" 11 - "Karamzin's spirit seemed to group them around his family" 12. Among the famous figures of Russian culture, in different time who visited the Karamzin salon, we can mention A.S. Pushkina, V.A. Zhukovsky, P.A. Vyazemsky, A.I. Turgeneva, E.A. Baratynsky, M.Yu. Lermontov, F.N. Glinka, V.F. Odoevsky, N.V. Gogol, F.I. Tyutcheva, A.S. Khomyakova, Yu.F. Samarina, P.A. Pletneva, S.A. Sobolevsky, V.A. Solloguba, E.P. Rostopchin, A.O. Smirnov-Rosset.

The Karamzin salon was unique both in terms of the longevity of its existence (from the late 1820s until the death of Katerina Andreevna Karamzina in 1851), and in its composition, which collected names significant for Russian culture. As V.A. wrote Sollogub, everything “that bore a well-known name in art in Russia diligently visited this hospitable, sweet, highly aesthetic house” 13. Sollogub was echoed by A.F. Tyutchev: “it so happened that in the modest salon of E.A. Karamzina, the most cultured and educated part of Russian society gathered for more than twenty years” 14. I.I. also wrote about the same thing, but with a feeling of obvious disapproval. Panaev, who accused the Karamzins’ salon and the writers who were part of it of “literary aristocracy”: “To get literary fame in the high society circle, it was necessary to get into the salon of Mrs. Karamzina, the widow of the historiographer. Diplomas for literary talents were issued there" 15.

There Pushkin “shunned the panache of speeches”

In the review by I.I. Panaev echoes the disputes of 1830-1831. around the Literaturnaya Gazeta, in which A.S. collaborated. Pushkina, P.A. Vyazemsky, A.A. Their opponents accused Delvig of “literary aristocracy,” and under this general formula completely different things were understood: N.A. Polevoy, publisher of the Moscow Telegraph, saw in “aristocratism” a rejection of romantic rebellion and love of freedom, N.I. Nadezhdin, on the contrary, meant by “aristocratism” lordly dissatisfaction with reality and disdain for people’s life, and F.V. Bulgarin presented the employees of Literaturnaya Gazeta almost as aristocratic conspirators against the existing order 16 .

A.S. Pushkin and P.A. Vyazemsky vigorously objected to his opponents. "Referring to biographical dictionaries Novikov and Grech, we will indicate,” wrote Prince P.A. Vyazemsky in the Literary Gazette - that most of our writers belonged to the aristocracy, that is, a title enjoying the advantages granted to the nobility: therefore, in Russia the expression literary aristocracy cannot in the least be a criticism, but on the contrary, it is commendable and, even better, fair criticism. Our noble living rooms are also not dens of darkness and ignorance: they connect us with educated Europe; Russian and foreign books are read in them; in them foreign travelers, such as: Humboldt, Madame Stahl, Statford Canning, Count Segur, find sympathy and correspondence to their concepts; in them echoes of European enlightenment are heard, in them, and not in the houses of merchants, not in the residences of the bourgeoisie, our artisans" 17.

Connected with the controversy surrounding the “literary aristocracy” are the draft stanzas of the eighth chapter of Eugene Onegin, designated in the white manuscript of the novel as XXVI and XXVII, in which A.S. Pushkin depicted Tatiana’s St. Petersburg living room as “truly noble”:

In a truly noble living room
They shunned the panache of speeches
And petty-bourgeois delicacy
Magazine prim judges
[In the living room, secular and free
The common syllable was adopted
And didn't scare anyone's ears
With its living strangeness...] 18

The prototype of this rough sketch was, most likely, the Karamzins’ salon, in which, according to the unanimous reviews of contemporaries, a homely, patriarchal tone was adopted, shunning the “panache of speeches,” and the Russian, “common” language for conversations, as evidenced by the notes of A. AND. Kosheleva (“these evenings were the only ones in St. Petersburg where they did not play cards and where they spoke Russian...”) 19 and poetic lines by E.P. Rostopchina:

They speak and think Russian there,
There hearts are imbued with a feeling of homeland;
There decorum is fashionable with its narrow chain
Doesn't suffocate, doesn't constrict... 20

Pushkin’s expression “in a truly noble living room” sounded like praise 21, as a reflection of the best qualities that were inherent in the ancient Russian nobility: a sense of honor and self-worth, noble noble pride, an honorable pedigree, decorated with the names of ancestors who became famous in the service of the Fatherland.

Disputes about the “literary aristocracy” continued after Pushkin’s death. “Make peace with Shevyrev for the sake of his wonderful article about the dark side of our literature, which he published in the first book of “Moskvityanin” for this year,” wrote Prince P.A. Vyazemsky to A.I. Turgenev in 1842. “Fedorov read it to us the other day at the Karamzins' 22. In the article by this S.P. Shevyrev, in particular, argued that the best representatives of Russian literature “in idle apathy cede the main roles to literary industrialists - and this is why our modern literature has become rich in money and bankrupt in thought” 23.

Public opinion was formed here

Literary problems were the main, but not the only, subject of conversation in the Karamzins’ salon. In addition to them, political and diplomatic issues were discussed, there were debates on topical topics: “Literature, Russian and foreign, important events here and in Europe, especially the actions of the then great statesmen of England Canning and Guskisson most often formed the content of our lively conversations,” recalled about the atmosphere in the salon at the turn of the 1820s-1830s. A.I. Koshelev 24.

The interest in politics and diplomacy inherent in the Karamzin salon does not allow it to be classified as a purely literary salon; discussion of current political problems turned the salon into an important factor in the formation of public opinion in the capital. According to Prince A.V. Meshchersky, “the Karamzin house was the only one in St. Petersburg in the living room of which society gathered not for secular gossip and gossip, but exclusively for conversation and exchange of thoughts” 25. “Nobles, diplomats, writers, socialites, artists - all met amicably on this common ground: here one could always find out the latest political news, hear an interesting discussion of the issue of the day or a book that had just appeared” 26, A.F. also testified. Tyutcheva.

What contributed to the attractiveness of the Karamzins' salon among the intellectual elite of St. Petersburg society in the 1830s-1840s? “Where did that charm come from, thanks to which the guest, having crossed the threshold of the Karamzins’ salon, felt freer and more lively, his thoughts became bolder, the conversation became livelier and wittier” 27? The answer, most likely, lies in the word “freedom” used. P.A. wrote about this. Pletnev Y.K. Groth: “In the society of the Karamzins there is something that is almost nowhere to be found: freedom, and therefore life” 28. The freedom from the tight confines of high society rules and conventions that the Karamzin salon gave its visitors was especially acutely felt in the 30s and 40s. XIX century, no wonder A.S. Khomyakov called it a “green oasis” “among the destructive sands” and “granite desert” 29 of St. Petersburg. In this salon one could observe the following picture: “After tea, the young people played burners, and then they started dancing” 30. According to A.I. Koshelev, evenings with the Karamzins “refreshed and nourished our souls and minds, which was especially useful for us in the stuffy atmosphere of St. Petersburg at that time” 31 .

Tea with tartines is an indispensable ritual

In addition to freedom, what made the Karamzin salon especially attractive was its emphatically homely character: “they were received simply, as a family” 32 . The regulars of the salon had their own language, which in a playful form reflected the features of the Karamzins’ home life, for example, “the habit of calling trousers chronicles.” The fact is that the Karamzins’ old servant Luka often sat “in the Turk’s pose” and cut out his trousers, to which V.A. Zhukovsky came up with a joke: “Karamzin,” said Zhukovsky, “saw something white and thought it was a chronicle.” After this, the youth of the Karamzin salon began to call pantaloons chronicles 33.

The Karamzins changed their place of residence several times, but the atmosphere of their receptions remained unchanged: in the center of the living room there was an oval table with a large samovar, at which Katerina Andreevna or the historiographer’s daughter Sofya Nikolaevna poured tea for the guests and treated them to thin tartines made of bread and butter - “and all the guests they found that nothing could be tastier than tea, cream and tartines from the Karamzin salon" 34. According to the poetic confession of E.P. Rostopchina,

At this sight our hearts come alive,
At the round table, by the bright fire,
It forgets the cold of winter, the cold of society
And, touched, suddenly comprehends
Poetry of home life... 35

Most likely, the comfort of home attracted young Pushkin to the Karamzins: “not having family life, he always looked for her from others, and he felt comfortable with the Karamzins,” 36, wrote A.O. Smirnova-Rosset. It is all the more offensive to realize that in front of the eyes of Katerina Andreevna, so respected by the poet, in this house close to him, the deathbed later unfolded tragedy of Pushkin 37 that the Karamzins accepted and treated Dantes kindly, about whom Sofya Nikolaevna wrote warm and sympathetic lines to her brother, but the understanding of Pushkin’s state and awareness of the catastrophe came only with the death of the poet.

After the death of Pushkin, V.A. went to the house of the Karamzins. Zhukovsky was introduced by M.Yu. Lermontov, who became a good friend of Sofia Nikolaevna. “Sophie Karamzin is crazy about his talent” 38, reported Y.K. Grotu P.A. Pletnev. In the spring of 1840, before his second exile to the Caucasus, Lermontov wrote his famous poem “Clouds” (“Heavenly clouds, eternal wanderers!”) in the Karamzin salon 39. The autograph of the poem has not survived, but there is a copy made by Sofia Nikolaevna 40.

It was Sofya Nikolaevna, the eldest daughter of N.M. Karamzin from his first marriage to E.I. Protasova, set the tone in the Karamzins’ salon. According to A.V. Meshchersky, “Sofya Nikolaevna was truly a driving spring, guiding and enlivening the conversation, both in general and in private conversation. She had an amazing talent for welcoming everyone, seating and grouping guests according to their tastes and sympathies, always finding new topics for conversation and showing the most lively and spontaneous participation in everything... In this case, she resembled the famous Madame Recamier" 41. The role of Sofia Nikolaevna and A.F. was determined in a similar way. Tyutcheva: “Poor and dear Sophie, I can now see how she, like a diligent bee, flutters from one group of guests to another, connecting some, separating others, picking up a witty word, an anecdote, noting an elegant dress... entering into conversation with some lonely lady, encouraging the shy and modest debutante, in a word, bringing the ability to get along in society to the level of an art and almost a virtue" 42 .

As noted by Yu.M. Lotman, “the picture described in Tyutcheva’s memoirs is so reminiscent of a scene from Tolstoy’s “War and Peace” that it is difficult to abandon the idea that Tolstoy had access to Tyutcheva’s then-unpublished memoirs. The emotional assessment in Tolstoy’s novel is exactly the opposite, but this is even more so emphasizes the similarity of the picture itself" 43. This testified to the degeneration of the Karamzins’ late salon into a “machine of faceless social communication.”

At the time of its heyday, the Karamzin salon was a remarkable phenomenon of Russian culture and socio-political thought. On the one hand, it was a significant fact in the history of Russian literature associated with the names of A.S. Pushkina, M.Yu. Lermontova, N.V. Gogol and other representatives of the golden age of Russian culture, who read their works here. On the other hand, it is important for the history of socio-political thought as one of the factors in creating public opinion in St. Petersburg. In both cases, the main thing seems to be that the Karamzins’ salon created a special intellectual and emotional atmosphere of dialogue, free exchange of thoughts and feelings, which is a necessary condition for any creativity.

Notes
1. Muravyova I.A. Salons of Pushkin's time: Essays on the literary and social life of St. Petersburg. St. Petersburg, 2008. P. 7.
2. Vatsuro V.E. S.D.P. From the history of literary life of Pushkin's time. M., 1989. P. 256.
3. Uvarov S.S. Literary memories // "Arzamas": Collection. In 2 books. Book 1. Memoir evidence; On the eve of "Arzamas"; Arzamas documents. M., 1994. P. 41.
4. Vyazemsky P.A. Notebooks // Karamzin: Pro et contra. Comp. L.A. Sapchenko. St. Petersburg, 2006. P. 456.
5. Quote. by: Aronson M.I. Circles and salons // Aronson M., Reiser S. Literary circles and salons. M., 2001. P. 67.
6. The Arzamas Society (1815-1818) united supporters of the Karamzin direction in literature.
7. Pushkin A.S. Karamzin // Collection. op. in 6 volumes. T. 6. M., 1969. P. 384.
8. For example, Karamzin spoke about N.I. Turgenev: “He is a terrible liberalist, but kind, although sometimes he looks askance at me, because I declared myself a non-liberalist” (Letters from N.M. Karamzin to I.I. Dmitriev. St. Petersburg, 1866. P. 253) .
9. Dmitriev M.A. Chapters from the memories of my life. M., 1998. P. 100.
10. Vyazemsky P.A. Notebooks (1813-1848). M., 1963. P. 24.
11. From my old days. Memoirs of Prince A.V. Meshchersky. 1841 // Russian archive. 1901. N 1. P. 101.
12. Smirnova A.O. Autobiographical notes // Smirnova-Rosset A.O. Diary. Memories. Ed. S.V. Zhitomirskaya. M., 1989. P. 192.
13. Memoirs of Count V.A. Sollogub // Literary salons and circles. First half of the 19th century. M.-L., 1930. P. 214.
14. Tyutcheva A.F. Memories. At the court of two emperors. M., 2008. P. 18.
15. Panaev I.I. Literary memories // Aronson M., Reiser S. Literary circles and salons. M., 2001. P. 206.
16. Lotman Yu.M. Alexander Sergeevich Pushkin. Biography of the writer // Lotman Yu.M. Pushkin. St. Petersburg, 1995. pp. 134-136.
17. Vyazemsky P.A. Explanation of some contemporary literary issues. Article I. On the spirit of parties; about the literary aristocracy // Vyazemsky P.A. Favorites / P.A. Vyazemsky. Comp., author entry. Art. and comment. P.V. Akulshin. M., 2010. pp. 138-139.
18. Lotman Yu.M. Roman by A.S. Pushkin "Eugene Onegin". Commentary // Lotman Yu.M. Pushkin. St. Petersburg, 1995. P. 711; Izmailov N.V. Pushkin and the Karamzin family // Pushkin in the Karamzin letters of 1836-1837. M.-L., 1960. P. 24-25.
19. Koshelev A.I. Notes // Aronson M., Reiser S. Literary circles and salons. M., 2001. P. 209.
20. Rostopchina E.P. Where I feel good. 1838 // Aronson M., Reiser S. Literary circles and salons. M., 2001. P. 208.
21. Izmailov N.V. Pushkin and the Karamzin family...S. 25-26.
22. Quote. by: Aronson M., Reiser S. Literary circles and salons. M., 2001. P. 214.
23. Ibid. P. 213.
24. Koshelev A.I. My memories of A.S. Khomyakov // Koshelev A.I. Selected works/ A.I. Koshelev; Comp., authors intro. Art. and comment. P.V.Akulshin, V.A.Gornov. M., 2010. P. 324.
25. From my old days. Memoirs of Prince A.V. Meshchersky. 1841... P. 101.
26. Tyutcheva A.F. Memories. At the court of two emperors... P.19.
27. Ibid. P.19.
28. Correspondence of Y.K. Grota with P.A. Pletnev. T. 1. St. Petersburg, 1896. P. 647.
29. Khomyakov A.S. To the album of S.N. Karamzina // Aronson M., Reiser S. Literary circles and salons. M., 2001. P. 215.
30. Correspondence of Y.K. Grota with P.A. Pletnev. T. 1... P. 260.
31. Koshelev A.I. My memories of A.S. Khomyakov... P. 324.
32. From my old days. Memoirs of Prince A.V. Meshchersky. 1841... P. 101.
33. Smirnova A.O. Autobiographical notes... P. 179.
34. Tyutcheva A.F. Memories. At the court of two emperors... P. 22.
35. Rostopchina E.P. Where I feel good... P. 208.
36. Smirnova A.O. Autobiographical notes... P. 179.
37. Muravyova I.A. Salons of Pushkin's time: Essays on the literary and social life of St. Petersburg. St. Petersburg, 2008. pp. 359-360.
38. Correspondence of Y.K. Grota with P.A. Pletnev. T. 1. St. Petersburg, 1896. P. 158.
39. Izmailov N.V. Pushkin and the Karamzin family... P. 27.
40. Muravyova I.A. Salons of Pushkin's time... P. 383.
41. From my old days. Memoirs of Prince A.V. Meshchersky. 1841...S. 102.
42. Tyutcheva A.F. Memories. At the court of two emperors... P. 19.
43. Lotman Yu.M. Culture and explosion // Lotman Yu.M. Semiosphere. St. Petersburg, 2004. P. 96.

On November 10 and 11, students of grades 6 and 6 of school No. 1 became guests of the literary and musical lounge "Salons of Pushkin's era" .

Irina Karpova, an employee of the city library named after E.R. Dashkova, told the children about the most interesting phenomenon of Russian cultural life of the first half of the 19th century - secular salons.

With the help of media presentation, music and poetry, it was possible to create an atmosphere that inspired the great writers, poets, artists and musicians of Pushkin's era.

The schoolchildren “visited” the living rooms of Zinaida Volkonskaya, Anton Delvig and Ekaterina Karamzina. We found out why these salons attracted Pushkin, Zhukovsky, Baratynsky, Gogol, Glinka and other people gifted with various talents. We “saw” them in a relaxed, friendly and creative atmosphere, saw new, significant touches in already familiar portraits.

At the end of the event, children were asked to share their impressions. I would like to quote one of the reviews: "I like it calm atmosphere lesson. I often got goosebumps. I really want to create the same salon. I really, really liked it. Thank you!" Shishanova Taya .

2017

I. Introduction.

II. Albums from the salons of Pushkin’s era and their echoes today:

1. Salons in the life of Russian society of Pushkin’s time.

2. The best Moscow and St. Petersburg salons.

3. Salon albums.

III. Conclusion.

IV. References.

Introduction

Culture - This is a multi-tiered structure. And if its highest manifestation is art, then “culture of everyday life” is its foundation.

The peculiarities of life in any society are interesting and educational, especially if they are distant from us for almost two centuries. They require decryption.

In what order were guests seated at the table during a dinner party? When were two coats of arms depicted on the carriage door and what did it mean? What is a ball and how is it similar to a parade?

All these are little things in everyday life, but without them much is incomprehensible in the works of Pushkin, Lermontov, Tolstoy... This is our history and the history of our culture, so the life of our ancestors is interesting to us, there are no little things in it.

The problems of everyday life as a cultural phenomenon were dealt with by Yu. Tynyanov, V. Vinogradov, V. Zhirmunsky, Yu. Lotman.

The literary life of Pushkin's time of the 19th century was reflected in works of art, letters, memoirs of Pushkin and his contemporaries.

Salons in the life of Russian society of Pushkin's time

In the 20-30s of the 19th century in St. Petersburg and Moscow, along with literary societies and circles, there was another form of them - salons, for whose visitors literature was not a profession, but a hobby or entertainment. A salon is a political or literary and artistic circle of people from a select circle, meeting in the house of a private person. (Ozhegov's Dictionary)

“There were about 30 people in the elegant salon. Some spoke to each other in low voices, others listened, some walked around...

There were no loud voices or arguments, just like there were no cigars. The hostess was sitting not far from the door...in the other corner there was a tea table; in his neighborhood several cute girls were whispering to each other; near the bronze clock, which had just struck half past ten, a graceful woman, sunken in velvet armchairs, was busy with three young men who had sat down next to her: they were talking about something.” This is how Carolina Pavlova, a famous poetess who herself was the owner of the famous Moscow salon on Sretensky Boulevard, describes the salon. On Thursdays it attracted a diverse crowd. Here Herzen met with Shevyrev, Aksakov with Chaadaev. There was a debate here about historical paths Russia, read poems and discussed articles. Karolina Pavlova’s poetic talent and her lively, educated conversation made her salon pleasant and attractive to writers.

On the announced day, without an official invitation, a certain group of people gathered to talk, exchange opinions, and play music. Such meetings did not include cards, feasts, or dancing. Traditionally, the salon was formed around a woman - she brought a spirit of intellectual coquetry and grace, which created an indescribable atmosphere of the salon.

The best Moscow and St. Petersburg salons of that time

Each salon had its own selection of visitors and its own character. If people came to Princess Volkonskaya to enjoy music and poetry, a society of literary friends gathered at Delvig’s, and a high-society salon gathered in the St. Petersburg salons of Elizaveta Khitrovo and Countess Fikelmon. All the vital life of European and Russian, political, literary and social had true echoes in these two related salons. In them one could stock up on information on all the issues of the day, from a political pamphlet and a parliamentary speech by a French or English speaker to a novel or drama by one of the favorites of that literary era.

The evenings with the writer V. Sollogub were completely different. In addition to people of art, there were many dignitaries here who could look at Russian writers up close. Only four women had access to Sollogub’s salon, and only on condition that they wore the most modest toilets. These are Countess Rastopchina, Countesses Dashkova, Musina-Pushkina and Demidova.

From the very beginning, only Russian was spoken in the Karamzins’ salon. After the writer’s death, his daughter Sofya Nikolaevna becomes the owner of the salon. For twenty years or more, this salon was one of the most attractive centers of St. Petersburg social life, a true oasis of literary and intellectual interests among the brilliant and lush, but little spiritualized St. Petersburg light.

There was always an atmosphere of trust in the salons. The salon of Sofia Dmitrievna Ponomareva occupied a special place in St. Petersburg during Pushkin’s time. A charming, intelligent woman, she herself created the society of her salon. She knew languages, translated and wrote well. Delvig, Baratynsky, and Kuchelbecker were in love with her. In her salon there was no hint of luxury or pretensions to fashion; here everyone felt happy, free and easy. The album that has survived to this day, which was filled out by visitors to her salon, also speaks about Ponomareva’s salon.

Salon albums

Albums in Pushkin's era spread the taste for reading and writing and created a desire for literature. Pushkin, Baratynsky, and Batyushkov wrote in albums. The hostess gave the album to one of the visitors to the salon with a request to write poetry for her. The person who received the “task” read other entries and reacted to them. It turned out to be a conversation. Album lyrics are various madrigals, puns, epigrams. The album provided scope for a kind of album playing. Here, in addition to poetry, one could meet with instructions and teachings. For example, in Ponomareva’s album there are the following “Teacher’s Instructions” by N.I. Grech: “Sit upright at the table, don’t fight with your neighbors and don’t eat anything without bread. While walking along the streets, do not look at the windows. Do not mock old people and your teachers.”

Albums of that time and now serve as a precious source of poetic texts - many of them never made it into print during the author’s lifetime, others were used by the author several times to different recipients. As time passed, relationships between people changed. Additions to existing recordings appeared in the albums. So A.S. Pushkin wrote in A.A. Olenina’s album under the poem “I loved you” in 1833: “Pluskvamperfe is a long time ago.”

The album took a long time to fill, passed from mother to daughter. Grave crosses appeared near the records - a sign that the author of the record was no longer in the world. The album not only accompanied a person through life - it signified his relationship with death. They were afraid to write on the first sheet - there was a belief that whoever filled in the beginning of the album would die. The first entry often appeared on the last sheet, then in the middle. The albums contained not only recordings, but also drawings that actively complemented the words. So to the poem

My soul would have withered long ago

And the blood in my heart cooled,

If only I weren't supported...

instead of the last line there was a drawing: an anchor, a cross and a flaming heart. The meaning is clear: the anchor is hope, the cross is faith, the flaming heart is a sign of love.

The albums sparked a conversation. One writes: “Be silent about people’s weaknesses, shout about virtues,” and the other replies: “Virtue will show itself without shouting.” In response to an unsuccessful poetic compliment:

They say that the eyes are the mirror of the soul.

Your wise and dear ones are so good, -

immediately came the rebuke:

I have seen many such eyes,

That they have quite a bit of soul:

And look for the hearts in them, -

It was as if the heart never existed.

This is already a reflection of salon culture - the album seems to freeze a conversation that just took place in the living room.

Conclusion

“Albums have spread our taste for reading and writing—they have given us a taste for literature. And this is clear!..Women, these light, fickle, flighty creatures, but always dear to us - women do whatever they want with us, their zealous fans... Thanks to the women! They introduced albums into use and provided a pleasant and useful activity for our young people. – I’m even sure that since the appearance of albums we have begun to write better, more pleasantly; express yourself more freely, more decently, closer to public conversation.”

These are lines from the article “On Albums,” published in 1820 in the magazine “Blagonamerenny”. Apparently, this topic was already occupied by Pushkin’s contemporaries. In 1846, in a letter to Wulf, the poet Yazykov complained: “The album containing Pushkin’s poems is a treasure, and it should be preserved as a monument to that golden time when girls had albums.”

The amazing thing is that the album form has passed through a century and reached our time. The current generation, fascinated by computers and players, continues to be interested in them. It is very good that the form of the 19th century salon album has reached our time, at least in such a slightly modified, even vulgarized form..

Those fashions did not go to albums,

At least we have advanced a hundred years.

The girls pour their souls into them year after year,

Without hiding, without hiding hopes.

There was a golden time then,

A time of stormy passions and intrigue.

I see and hear you at this moment.

Learning to live from salon albums,

Reading them to friends on the way,

I want at least according to these templates

Learn to save their souls.

It seems to me that by studying the albums of that time in more detail and promoting them among students, it would be possible to encourage my peers to write correctly and be creative.

References

1 . Lotman Yu.M. Conversations about Russian culture. – St. Petersburg, 1994.

2. Chereysky L.A. Contemporaries of Pushkin. – L., Det.lit., 1981.

3. Marchenko N.A. Literary life of Pushkin's time. – “Literature at school”, 1997 -4.

4. Lukovich I.E. In the salon of Z.A. Volkonskaya. – “Literature at school”, 2003 -2.

5. Vatsuro V.E. Literary albums in the collection of the Pushkin House. – L., 1979. (There is a presentation for the work)

Publications in the Literature section

Salon smarties: housewives literary salons Russia

What happened in the salons Russian Empire, modern reader can imagine from the description of Anna Pavlovna Scherer's living room from War and Peace. Let's find out what they actually did in literary salons, what it gave to Russian culture, and also remember their wonderful hostesses. Sofya Bagdasarova understands.

Time: 1820s
Address: Moscow, st. Tverskaya, 14

Mistress: Princess Zinaida Volkonskaya
Guests: Alexander Pushkin, Pyotr Vyazemsky, Evgeny Boratynsky, Ivan Kozlov, Vasily Zhukovsky, Pyotr Chaadaev, Adam Mickiewicz

Grigory Myasoedov. Pushkin and his friends listen to Mitskevich in the salon of Princess Zinaida. 1907. Oryol Museum

Dance and Amelie Romilly. Portrait of Princess Zinaida Volkonskaya. 1831. GMP

RECIPE No. 1. The tone of the salon was set by its hostess (saloniere, as such ladies were called in France, where this custom originated). Although "men's salons" existed in sufficient numbers, the atmosphere in the ladies' salons was much more refined, and the conversations were more subtle. After all, submitting to the will of a beautiful society lady who leads the conversation, chooses topics and does not allow arguments to break out is much more pleasant.

The most brilliant salons of the 19th century were located in the same place as the high society - in St. Petersburg. But Zinaida Volkonskaya, who, in defiance, moved to Moscow, broke this tradition. Everyone gathered in her luxurious house: officers and poets, showering her with delight and poetry. The princess, in addition to her beauty and intelligence, had a magnificent voice and could well have become a professional opera singer. In addition to readings and concerts, amateur performances of Italian operas were staged in her salon.

Time: 1810–20s
Address: St. Petersburg, st. Millionnaya, 30
Mistress: Avdotya Golitsyna
Guests: Alexander Pushkin, Pyotr Vyazemsky, Vasily Zhukovsky, Nikolai Karamzin, Konstantin Batyushkov, Alexander Turgenev, Vladimir Musin-Pushkin

High society salon. Watercolor by an unknown artist. 1830s

Marie Elisabeth Louise Vigée-Lebrun. Portrait of Avdotya Golitsyna. 1799

RECIPE No. 2. People belonging to different strata of society met in the salons: here nobles, diplomats and socialites met with musicians, writers and artists. The main thing was not the position in the hierarchy of the court, but intelligence, education, and a lively mind. Where else at that time could you meet to find out the latest political news, hear an interesting discussion of the issue of the day or a new book, or present your own fresh essay to the public?

Mistress: Grand Duchess Elena Pavlovna
Guests: Nikolai Milyutin, Alexander Gorchakov, Nikolai Muravyov-Amursky, Otto von Bismarck, Ivan Aksakov, Vladimir Odoevsky, Fyodor Tyutchev, Astolf de Custine

Unknown artist. Olenin Salon

Karl Bryullov. Portrait of Grand Duchess Elena Pavlovna with her daughter Maria. 1830. Timing

RECIPE No. 3. Salons had their own “specialization”: in addition to literary ones, they could be political, musical, etc. The salon always had both regulars and invited stars, whom the hostess chose in accordance with the topic of conversation planned for that evening. In order for the conversation to flow smoothly, the number of guests should not be too large.

For example, the “Thursdays”, which were organized by Grand Duchess Elena Pavlovna (the widow of Mikhail Pavlovich) in her Mikhailovsky Palace, had a political connotation. The peculiarity of her salons was that at them members of the imperial family could communicate with those who were not officially presented to the court, which is why they received the nickname “morganatic evenings.” Educated and progressive, a supporter of the liberation of peasants, Elena Pavlovna was a supporter of political changes - and it was in her living room, during the free conversations of politicians, that the ideas of many of the great reforms were born.

Time: 1810–50s
Address: Paris, Rue de Belchasse, hôtel de Tavannes
Mistress: Sofia Svechina
Guests: Archbishop of Paris, Prosper Gueranger, Victor Cousin, Ivan Gagarin, Sofia Rostopchina, Eugene de Segur

Fedor Solntsev. Living room in the Olenins' house in Priyutin. 1834. All-Russian Museum A.S. Pushkin

Francois Joseph Kinson. Portrait of Sofia Svechina. 1816

RECIPE No. 4. Before the evening began, an experienced hostess would arrange furniture, such as armchairs for guests who would be the center of attention, and light chairs for those who would surround them as attentive listeners. She knew how to arrange for cozy groups to be created for all interlocutors, so that everyone, quite naturally, as if by chance, ended up next to the interlocutor who suited him best.

Sofya Svechina, daughter of Catherine II's Secretary of State and granddaughter of the historian Boltin, herself a writer, became a Catholic and emigrated to Paris. Surprisingly, in the homeland of salons she managed to create her own, which was a huge success and was not lost among its French counterparts. Not only Russians, including those inclined towards Catholicism, but also French celebrities gathered in her Parisian house.

“Only a very enlightened woman can run a salon”

\ Prince P.A. Vyazemsky\

"And a provincial newcomer
The hostess was not embarrassed by her arrogance:
She was the same for everyone
Relaxed and sweet"

\ A.S. Pushkin\

Pushkin's time... This is what we now call the 20s - 30s of the 19th century... And then the golden age of Russian literature was just beginning... And it was in great demand national history... The era of reform and enlightenment bore fruit: a narrow layer of highly educated people appeared... And among them - amazing women...
Today we will remember them - those who were muses and first listeners... Thanks to whom the future great men of Russian literature could gather under one roof...

Olenin House

Fontanka, 101... This house has survived centuries unchanged. In it, from the director of the Public Library Alexey Olenin, young poet began to be accepted immediately after graduating from the Lyceum. The owner himself designed the title page of the first edition of Ruslan and Lyudmila. Here Pushkin first met Zhukovsky and Gnedich, Krylov and Batyushkov.
This was the center noble culture, where “opinions were formed on issues of literature and art.” Literary salons met the needs of mutual communication, exchange of opinions... They were able to have fun there (unlike our virtual)))))).
In the summer, meetings took place at the Priyutino country estate. It has now been well restored: both the house and even the oak trees planted by Olenin in memory of his sons have been preserved...
After exile in 1827, Pushkin returned to St. Petersburg. This time in Anna Olenina’s album he left the following dedication:

“You are afraid of love’s confession,
You will tear up the letter of love,
But the poetic message
You will read with a gentle smile...”

Then there will be many others, more serious, with the hope of a reciprocal feeling... And finally, the last one: “I loved you...”

Karamzin Salon

Contemporaries recognized Karamzin's wife, Ekaterina Andreevna, as one of the most outstanding women of the era. “Possessing her feelings and mind, she shone with perfection,” - this is how Pushkin sang about her in poetry. After the death of her husband in 1826, she completed and published the last (12th) volume of the History of the Russian State, continuing to expand Karamzin’s literary merits. Later, the historiographer’s daughters, Sophia and Ekaterina, helped run the Salon.
The Karamzin salon is mentioned in the sketches for “ Evgeniy Onegin»,

“In the living room, truly noble,
They shunned the panache of speeches
. . . . . . . . . . . .. . . . .
A secular and free mistress
The common folk style was adopted...”

This was the circle where they communicated native language and where ladies also took part in the discussion of new literature. Pushkin was also here with Natalie. Before last days The poet idolized Ekaterina Andreevna.

Voeikova and Ponomarev

Pushkin was unable to attend these St. Petersburg Salons - he was serving a southern exile. But his lyceum and literary friends were their regulars. These housewives had very different personalities and had never met each other.
Alexandra Voeykova, Zhukovsky’s niece (the ballad “Svetlana” is dedicated to her), is a gentle, sublime being, a draftswoman and musician... Her mansion was located next to the Anichkov Bridge. Evgeny Boratynsky wrote about her: “...And with you, the soul is full of sacred silence.” K. Ryleev dedicated the poem "Rogneda" to her. She was the muse of I. Kozlov and N. Yazykov. And she herself was fascinated by the poems of young Pushkin, recording them in her album.

Sofya Ponomareva... Cheerful, lively and flirty. She wrote poetry, knew 4 languages, and selected music. With the consent of her husband, she created the Salon "S.D.P." - “Class of Friends of Enlightenment”, where Masonic rituals were performed and humorous nicknames were assigned. Everything revolved around the hostess. And all... former lyceum students: M. Yakovlev, Kyukhlya and madly in love A. Illichevsky and A. Delvig. It is believed that the famous poem is dedicated to her: “Love’s days are short,\ But I can’t bear to see it cold...\”
Sonechka died on the threshold of her 30th birthday, leaving a bright mark in the souls of many poets...

"Princesse nocturne"

In the late evenings, the windows in the mansion of Princess Evdokia Golitsyna on Millionnaya Street, near the Winter Palace, glowed brightly... Guests came here in carriages, and among them was 18-year-old Pushkin. He met the hostess at the Karamzins'. The whole atmosphere of the palace was something mysterious... Starting with the fact that the princess received only at night. Not very happy in her personal life, she prioritized spiritual communication at the highest level.
The rare beauty and true patriot of Russia immediately captivated the Poet. In the same year, he dedicated a wonderful verse to Golitsyna (one of my favorites):
“Inexperienced lover of foreign lands
. . . . . . . . . . . . . . .. .
I said: in my fatherland
Where is the right mind, where will we find genius?
Where is the woman - not with cold beauty,
But fiery, captivating, lively?
. . . . . . . . . . . . . . . . . . . . ..
I almost hated the Fatherland -
But yesterday I saw Golitsyna
And reconciled with my fatherland."

The literary tastes of the “Princess of the Night” were very progressive: all her closest friends were members of “Arzamas”... The poet visited Golitsyna every day, and in 1818 he sent her the Ode “Liberty” - with dedication.
From his first exile in May 1820, he writes to Al. Turgenev:
“Far away from the fireplace, the book. Golitsyna will freeze under the skies of Italy”... And in 1823, already from Odessa: “What is the poetic, unforgettable, constitutional, anti-Polish, heavenly princess Golitsyna doing?” (The princess was indignant that Poland was given a Constitution, but Russia was not).
Returning to St. Petersburg, Pushkin most often visits Delvig.

Among their

On Saturdays, a circle of writers met at V.A.’s bachelor apartment. Zhukovsky - not far from St. Nicholas Cathedral, and on Wednesdays and Sundays - at the Delvigs, near the Vladimir Church (the house was saved in the 90s of the 20th century). Anton had already published Northern Flowers and was happily married to Sofya Saltykova. This is where Pushkin, Kuchelbecker, A. Bestuzhev, K. Ryleev and others poured in.
While visiting a friend, the Poet often saw Anna Kern (she lived either with the Delvigs or with Pushkin’s sister - at the other end of the same Kuznechny Lane), but now they were connected only by friendship. In 1828, Pushkin read Poltava here... Delvig began publishing the Literary Newspaper in 1830, but in January next year his life was cut short. Alexander could not find a place for himself from grief.

"Beauties of the Centuries"

This is what Bella Akhmadulina called the brilliant women of that time. The first in this row, without a doubt, is Zinaida Volkonskaya... Refined, romantic and gifted with talents:
singers, musicians, writers, and most importantly: the ability to support any conversation.
She opened her famous Salon in Moscow, on Tverskaya. We all remember the picture that captures the moment of the meeting of Pushkin and Mickiewicz there...
"Queen of muses and beauty,
You hold with a gentle hand
Magic scepter of inspiration..."
This is an offering from Pushkin. But most of all the poems were dedicated to Her by the lover Dmitry Venevitinov, who died early. The salon brought together D. Davydov and P. Chaadaev, Khomyakov and Zagoskin and other Moscow writers. It was in it that Pushkin presented “Boris Godunov” and the last chapters of “Eugene Onegin”... Living later in Rome, the Princess hosted Zhukovsky and Gogol, encouraged Russian artists, and created the “Patriotic Conversation” society.
Kutuzov's granddaughter, Countess Fikelmon, also maintained the high-society Salon... As the wife of the Austrian ambassador, she lived in Saltykov's house - near the Summer Garden. This is where Pushkin visited most often in the 1930s. These walls were the first to hear his new creations... In a letter from Moscow, the Poet is upset that he is “removed from the salon.” Calls the Countess "the most brilliant of noble ladies." And she regrets that “God made her sweeter” - she dreams of a simpler life.
In 1832, after her marriage, a good friend of Pushkin and Gogol, the independent and original Alexandra Rosset, opened the Salon in St. Petersburg on Liteiny.
She was interested in all types of arts and philosophy... Let us remember the famous lines of the Poet about her:
"... And like a child she was kind,
Laughed at the absurd crowd,
She judged sensibly and brightly,
And jokes of the blackest anger
I wrote straight out."

Friends called her "Donna Sol". This is what Vyazemsky emphasized in his verse:
“You are Donna Salt, and sometimes Donna Pepper!
. . . . . . . . . .
Oh, Donna Sugar! Donna Honey!

After Pushkin’s death that same year at the Karamzins’, Smirnova-Rosset met Lermontov, who dedicated beautiful poems to her:
"I can't occupy your mind...
All this would be funny
If only it weren't so sad..."

She loved Russian poetry selflessly. And after the death of two great Poets, she continued to serve her faithfully... Zhukovsky called her “The sweetest of the lovely, the smartest of the smart, the lovely of the lovely.” She even captivated Gogol, Belinsky and Aksakov - only later.

End of an era

In the mid-19th century, the Salons gradually “fell away”... along with Russian poetry. The famous expert on the world, Prince Peter Vyazemsky, noted: “That type of woman has disappeared. This ruler, this queen of secular sociability no longer exists.”