Biography of the seeds of Nadson

Vengerov asked Semyon Yakovlevich Nadson - to write his autobiography for the “History of the latest Russian literature”, he spoke very vaguely about his origin: “I suspect that my great -grandfather or great -great -grandfather was a Jew. I remember very little grandfather and father ”[1]. In this declaration of his remoteness from the Jewish tribe, the poet is not quite logical: less than a year later, he will write his famous poem “I grew up to you by strangers, the outcast people ...”, where he will directly identify himself with persecuted Jews.

Over time, this text is recognized as a masterpiece of Russian-Jewish literature, and all Jewish encyclopedias and biographical reference books will be immortalized by its author. There is no doubt: in autobiography, Semen Yakovlevich was somewhat deceived, because he not only suspected his own Jewish roots, but knew quite firmly and definitely. It is reliably known: his grandfather was a Jewish-Vykrest, and his father was baptized at birth.

And although our hero really could not remember the retired court adviser Y. Nadson died in the mentally ill clinic, when the boy was barely two years old, he talked with his paternal lines first in Kyiv, where they had immovable property, and then in the Caucasus, where one of them was someone Jurassic served as tiflis in the army [2]. In addition, the Russian nobles of the Mamanth’s Russian nobles, on whose breads, who remained at the age of eight with a round orphan, grew, was raised about Jewishness Semen.

These words were especially acutely wounded by the boy “with a sensitive, painfully sensitive soul”, his “heart was torn from flour”, and he even intended to take his own life. I do not need the money of the damned - I need feelings, support, trust in me, respect for the memory of my late relatives! Mamantova, who considered Mother Semen’s marriage “with some Jewish cross” shameful, respect for Nadson's father.

Aunt every now and then blamed him with "Jewishness." According to his uncle, “he will be able to wash off the shameful spot of Jewry only by military service, for him this is the only way out” [4]. But Semen was painful for the custody of the Yidofo -Rodnie and their quoted councils. He called Marse craft the art of "killing people by the rules" and declared: "I am hated by the so -called military sciences." And in the year of the reign of the “fat serpent” on the throne - Emperor Alexander III, when a wave of pogroms swept across Russia and anti -Semitic hysteria swept a significant part of Russian society, he especially acutely felt his involvement in the persecuted people.

The case is known when Nadson was not afraid to admit his Jewry in the face of the overturned newspaper. In the summer of the year, shooting with his friend, army officer and writer I. Leontyev-Shchuglov, the poet heard from the last frankly anti-Semitic statements. In response, Semyon Yakovlevich recalls Leontyev-Prisuglov, “stood out of bed, pale as a dead man, and with feverishly hot eyes.

And he rushed a bewildered look at me, expecting to see an expression of horror. ” A friend hastened, however, immediately console the alarmed poet. Leontyev-Prisoglov was right: Nadson received purely Russian education and education. He began to read and began to read from the age of four! Semyon experienced intense interest primarily in domestic literature. He knew the child by heart almost all Pushkin, recited Lermontov’s poems, read out by Gogol's “immortal stories” and Belinsky’s “fiery articles”, and he revered him to Nekrasov.

It is significant that the hero of his children's stories, he “dreamed of writing”, from the age of nine years old a boy with an expressive name - Vanya. Over the years, his attention to the Russian word not only did not weaken, but significantly intensified. He was desperate with a book, and we can definitely say: there was no famous writer in Russia, whose books Nadson would not read or did not know him personally.

Particularly impression was made on him by the “virtuoso of the style” of the potter’s fragments from “Oblomov” and “ordinary history”, he even quoted from memory and “the greatest honest count” Tolstoy, as well as the works of Saltykov-Shchedrin, Korolenko, Dostoevsky, Turgenev to the last two poet dedicated poetic messages. Close creative bonds associated him with the “literary godfather” Pleshcheyev, with the assistance of which he began to be published in the authoritative journal “Domestic Notes”.

The poet “positively fell in love” with Garshin, who was called “Garshinka” and whose wonderful talent turned out to be akin to the muse of Nadson. He was close with Merezhkovsky, according to him, his “brother on suffering”, with whom he was in a friendly correspondence. However, the fact that Nadson eagerly absorbed great Russian literature into himself did not exclude his Jewry: after all, by the years, a whole generation of assimilated Jews grew on it and considered it its personal property.

Here's what he wrote about this, addressing the anti -Semites, the Jewish writer G. Badanes in his “Notes of the Rest”: “Here you are, gentlemen, Belinsky! .. Here is Dobrolyubov! .. Here you are Nekrasov ... Here you are also Turgenev, Lermontov! ..No, this was still a grandmother in two said whether these are exclusively belonging to you, Golovotapas! No, we won’t give these: they belong to all of humanity, therefore, to us Jews, because we are people too!

Together with Semyon Yakovlevich, then many writers and cultural figures of Jewish origin, and our hero, communicated closely with them. At the literary and musical evenings, he performed along with N. Minsky and P. But the poems of S. Frug whose irony was called the “Jewish supons” considered “bad” and found literary flaws and verbal stamps in them. However, even other briefings of Russian literature belonged to the Jewish literature, even baptized, as to strangers, convicting them in Farisanism and feigned commitment to Orthodoxy.

It seems that the classic is mistaken regarding Nadson: the poet was firm in the Christian faith, for he inherited it precisely in the family life, and then developed and was formed as a person in a non -Jewish environment. But in the New Testament he was primarily attracted by the motives of sacrifice, death for the truth in the name of love for people. The poet’s creative credo was: “I cry with the crying, I suffer with the suffering, and I give my hand a tired one.” It is in this vein that the famous poem of the year is written - the iconic in the poetry of Nadson: I grew up to you by strangers, the outcast people, and I did not sing to you in moments of inspiration.

Your legends of the world, your sadness is a bit to me, like your learning. And if you, as a row, were happy and strong, and if you were not humiliated by the whole light - it would warm and enthusiastic about other desire, I would not come to you with greetings. But these days, when under the burden of sorrows, you bend your brow and wait in vain of salvation, in those days when one name “Jew” in the lips of the crowd sounds like a symbol of the outbreak, when your enemies, like a flock of greedy dogs, tear you, cursing over you, let me stand in modestly in the ranks of your fighters, the people, offended by fate [8].

Jews appear in Nadson as a people of an unfairly persecuted and “offended by fate”. Such a definition is especially sharply contrasting with the already textbook in Russian literature and social thought-by the image of Jews as capitalists, exploiters and bloodsuckers, parasitizing on a virgin-unheated Russian people. Researchers note that some poems of Nadson are “painted in populist tones”, and find in his work the themes, motives and moods characteristic of the populist generation.

But the fact is that the Jew was perceived and interpreted as many populists as the quintessence of Torgash. Some revolutionaries perceived the pogroms of the early 10th years as a massive people's movement, the long-awaited rebellion against the exploiters and approved them, and some of them even participated in their preparation. Nadson certifies the new persecutors of Jewry “a flock of greedy dogs” - it is difficult to find in his poetry a more rough and destroying characteristic!

Evidence of the poet idiosyncrazia for any manifestations of chauvinism and xenophobia we find in his letters and journal publications. Interestingly, the poet put the words “quasi-patriotism and tribal intolerance” in one row and thereby identified, which now allows them to sound very topical. Nadson did not complain to the poets who “tasted from the fruit of Slavophilism”, in which he saw the soil fanaber.

Thus, reviewing the poetic collection of A. Golenishchev-Kutuzov, he noted his lack of constraint, the abundance of poems “with a specific Slavophile smell”, “literary trifles”, “miserable words, crackling monologues, designed for the horror effect”. And he characterizes the writer I. Aksakov as “a person who has completely gone into the scholasticism of Slavophilism” and finds in his creations a “decent confusion” [9].

The internationalist is convinced that he at one time studied the Volyapyuk international language artificially created in the year, Nadson deeply accepted the fate of Jewry to the heart. He carefully monitored the publications of the influential Russian-Jewish monthly “Sunrise”. And it must be assumed that the program of this magazine is “a firm, free word to fight against all internal barriers that interfere with the correct development of Jewry” was close to him.

He paid attention to the image of Jews in literature. So, in the collection of K. Sluchevsky “Poems, Chronicles, Poems”, Semyon Yakovlevich unpleasantly struck the following lines of the poet: your carriage, as if a baptized Jew, was sewn with a blue galloon, the footman is highly sitting. The ultra -right newspaper A. Suvorin “New Time”, who won the liberals and Jews, caused Semyon Yakovlevich special hatred and even disgust.

ReSON was burdened and bitter from the unpleasant fact that his first poetic collection was published by the initiative of the critic-Judophoba V. Burenin, at A. the poet wanted to dissolve from these former “benefactors” in every way, to belittle their role. This is evidenced by the memoirist I. Yasinsky: “Yes, yes, this is terrible,” Nadson remarked nervously.

Finally, what is the fact that the Suvorin is the publisher, and he had benefits on my book, because the book diverged.Tell me, please, should I be grateful to the publisher for the fact that he had acquired on my book? The flare of the terry reaction was for Nadson the famous critic of the “New Age” V. Burenin, who has gained the reputation of the “Literary Hooligan” with the characteristic bias and rudeness for him.

There was a testimony that Semyon Yakovlevich once dropped in a conversation: "I would give dearly to make Burenin finally become my enemy." To this, his interlocutor remarked: “So, it’s easy to do. You should only say a few words in your critical articles at Burenin. ” The poet replied: “I will do so. Yes, yes, I'll write something right now. My hand is already itching! Burenin clearly jerks here, for it was he who led the polemic with the most doubtful methods, spreading the deliberate lies and slander that, as many contemporaries believed, accelerated the untimely death of the poet.

Jewish pogrom. Let us dwell only on those of them in which the anti -Semitic lining is clearly visible. However, before turning to the attacks of Burenin, who was leaning in the intrigues, we will focus on the performance of another writer against Nadson. We are talking about the little -known Kiev poet S. Berdyaev -, printed under the pseudonym Aspid. In the June issue of the Observer magazine, his parody poem “The Refhonsonia” appeared, which was frankly Yudophobic in nature.

Kulisher - Berdyaev dismissively calls it the “Kulisher newspaper”, behind which there are “dirty gesheftmans”.