The best student essays. Mikhail Kotsyubinsky Into a sinful world

MM. Kotsyubinsky

INTO A SINNER WORLD

Novella

Translation from Ukrainian by E. Egorova

There, behind the mountains, it has long been day and the sun is shining, but here, at the bottom of the gorge, it is still night. She stretched out her blue wings and quietly covered the centuries-old pine trees, black, gloomy, motionless, which surrounded the white church, like a nun’s little child, and climbed in a ring along the rocks higher and higher, one after another, one above the other, to a piece of sky, so small, so blue here. A brisk cold fills this wild thicket, cold waters rush over the gray stones, and wild deer drink them. Alma rustles in the blue mists, and the pines bathe their shaggy branches in her. The mountain giants are still sleeping under the black beeches, and white clouds are crawling along the gray battlements of Babugan like thick smoke.

At the bottom of the gorge it is quiet and cloudy. Only the faint, plaintive sounds of the monastery bell can be heard sadly in the valley...

The monastery is no longer sleeping. The cell attendant ran out of Mother Superior’s cell and rushed around the courtyard like crazy. Sister Arkadia, modestly lowering her eyelashes over her lean face, hurried to mother with a bouquet of roses, still wet with dew; She was accompanied by unkind glances from the nuns she met. Smoke poured out of the summer kitchen, and novices in dark clothes wandered around the yard, lazy and sleepy. In the white chapel, where clean, healing water flowed into a stone cup, candles lit by one of the pilgrims burned evenly, like golden flowers.

Two novices were driving cows to pasture. The old monk, who had remained in the parish since the time the monastery was turned into a women's monastery, thin, hunched over, withered, as if dug out of the ground, dragged himself to church. Barely moving his trembling legs and knocking on the stones with a staff that shook in his withered hand, he threw the last sparks from his extinct eyes at the cows and scolded:

Uh-oh, damned ones!.. have spoiled... the female gender!..

And he poked his staff at them.

The novices chuckled.

A pale, guilty face with large eyes surrounded by blue, with disheveled hair, without a hood, looked out from the window of Mother Treasurer.

Mother Seraphima had a vision again,” the younger novice said quietly, exchanging glances with the older one.

The eldest's blue eyes smiled sadly.

They drove the herd high, to the peaks, to a mountain pasture. Slightly swaying their red sides, the cows climbed the steep paths, followed by the sisters. In front is the youngest - Varvara, a strong, stocky girl, behind her is Ustina, thin, fragile, in black clothes, just like a nun. The forest surrounded them - cold, sad and silent. Black beech trees, dressed in mourning shadows, gray mists from the bottom of cliffs, dewy grass, cold rocks were approaching them. Waves of cold black foliage rolled overhead. Even the blue bells spread chill on the grass. The stone path, like the path of a wild animal, wound along the slopes of the mountain back and forth, higher and higher. The variegated marble trunks of beech trees slid down from the road, as if they were collapsing, and spread a dark crown right at our feet. Tenacious roots wove into balls and crawled across the mountains like snakes. The nuns moved on. From one place they were able to see the bottom of the gorge, a small church and white houses where the sisters lived. They sang in the church. Women's voices, clear, high and strong, like angelic choirs, sang a sacred song. It sounded so strange up there, under the black dome.

Ustina stopped. Quiet, enlightened, she listened to the singing.

Let’s go,” said Varvara, “it’s already late... Mother Superior told me to pick raspberries when we return from the forest...

Ustina sighed.

And the silence, however, was mute. A pebble rolled down from under a cow’s hoof, a dry branch touched by a foot, made such a crashing sound, as if something huge was collapsing in the mountains and crumbled. This silence was irritating: I wanted to scream, make noise, I wanted to scare her away.

Further on we came across pine trees, old, red, shaggy. Their long branches descended into the abyss like arms. My foot slid over the dry needles. Pine cones, large and empty, rolled under their feet or looked out of the grass with dozens of eyes at the drooping heads of blue bells.

And Mother Superior is still angry today,” said Varvara. “How long ago did she make peace with Mother Treasurer... they cried, kissed, and again made a fuss... Yesterday she called Mother Seraphim to her: “Are you, he says, for your own again? Are you rebelling against me again sisters? Ah! I know they love you more than me - I, you see, am a despot, I torture everyone, I exhaust you at work, I starve... I eat better, I buy myself fish, I ate all the jam and tea... I ... I... I'll show everyone! I’m the abbess here... I’ll drive everyone away, I’ll scatter the vile tribe, I’ll scatter it all over the world...” And she turned yellow, knocked on the floor with a stick, and her hood, God forgive me, slid to one side... Well, it immediately became clear to Mother Seraphima whose hands this business. She says: “Arkadia made it all up...” Their name is Arcadia. That one - eyes to the ground, head to one side - and I’m not me... it’s probably Sekleta... Their name is Sekleta... She cries, swears... Then Sekleta, in front of everyone, called her sister Arkadia a liar and a spy... Almost didn't fight...

Mikhail Mikhailovich Kotsyubinsky(Mikhailo Mikhailovich Kotsyubinsky) - Ukrainian writer, public figure, classic of Ukrainian literature.

Born in Vinnitsa in the family of a minor official. Father - Mikhail Matveevich, mother - Glikeria Maksimovna Abaz; Besides Mikhail, they had four more children - two brothers and two sisters. The future writer spent his childhood and youth in the cities and villages of Podolia, where his father was transferred for service. He received his education at the Bar Primary School (1875 - 1876) and the Shargorod Theological School (1876 - 1880). At school, 12-year-old Mikhail fell in love with a girl 4 years older than him, this episode forced him to study harder in order to achieve something and attract her attention. During this period, Mikhail was greatly impressed by the books of Taras Shevchenko and Marko Vovchok, so that he himself wanted to become a writer.

After graduating from college in 1880, Kotsyubinsky went to Kamenets-Podolsky, intending to study at the university, but this dream did not come true. In 1881, the Kotsyubinsky family returned to Vinnitsa. Kotsyubynsky from a young age took an active civic position, propagated revolutionary and liberation ideas, and in 1882 he was arrested for connections with Narodnaya Volya. Several searches were made at the Kotsyubinskys’ apartment, and after his release, the Podolsk Gendarmerie Department established secret surveillance over Mikhail.

Due to the difficult financial situation of the family, the young man was never able to continue his education: his mother became blind, and subsequently, in 1886, his father died. Responsibility for a family of four fell on Mikhail's shoulders. In 1886-1889 he gave private lessons and continued to study independently. In 1891, as an external student, he took the exam at the Vinnitsa Real School to become a national teacher, and continued to tutor.

In the early 1890s, part of the young Ukrainian intelligentsia, imbued with liberal educational ideas, formed the “Brotherhood of Tarasovites,” with whose members Kotsyubinsky maintained contacts for some time. In 1892-1896, Kotsyubinsky was part of the Odessa Phylloxera Commission, which fought the grape pest phylloxera. Rich in creative achievements, the five-year service in the phylloxera commission became a period of intensive growth for the writer: work in the villages of Bessarabia gave him material for writing a series of Moldavian stories, then the writer worked in the Crimea, which ignited the creative imagination of Kotsyubinsky, sensitive to the exotic.

Leaving work on the commission in 1897, Mikhail Mikhailovich made an unsuccessful attempt to get a job in Chernigov, where he hoped to get the position of head of a book warehouse in the Chernigov provincial zemstvo government. After this, Kotsyubynsky temporarily settled in Zhitomir, where from November 1897 to March 1898 he held various positions in the editorial office of the local newspaper “Volyn”. In 1898, Mikhail Mikhailovich finally moved to Chernigov, where he first held the position of clerk at the zemstvo government, temporarily headed the public education desk and edited the “Zemstvo collection of the Chernigov province.” In September 1900, he got a job in the city statistical bureau, where he worked until 1911. In Chernigov he married Vera Ustinovna Deisha, a noble family, whom he met at the end of 1894 in Kyiv at the first congress of the Community. His children grew up here - Yuri, Oksana, Irina and Roman. Son Yuri - Ukrainian Soviet statesman and party leader, was a member of the first Soviet government of Ukraine, was repressed; the rest of the children are also somehow connected with the Soviet regime.

The literary youth of the city gathered weekly in the writer’s house. Such famous future writers and poets as Vasil Blakitny, Nikolai Voronoi, Pavlo Tychyna came here.

There was another woman in the writer’s life - Alexandra Ivanovna Aplaksina, 16 years younger than him. His numerous letters to her - more than 300 - became an important source of information for the writer's biography. Kotsyubinsky’s relationship with Aplaksina ended in 1907, when the writer’s wife learned about them from an anonymous letter.

Subsequently, M. Kotsyubinsky began to travel. He traveled throughout most of Europe, in particular he visited Austria, Germany, Italy, and Switzerland. It was not only the “call of his soul”, but also the need for treatment; he was tormented by asthma and tuberculosis. He often visited the Italian island of Capri, where he underwent treatment.

In 1911, the “Society of Supporters of Ukrainian Science and Art” awarded M. Kotsyubynsky a lifelong scholarship in the amount of 2,000 rubles per year so that he could retire from service. However, the writer felt worse and worse. The last time he was in the hospital, M. Kotsyubinsky learned about the death of his best friend, composer N.V. Lysenko. And soon, in the spring of 1913, the writer himself died. M. Kotsyubinsky was buried on Boldina Mountain in Chernigov, his favorite place for daily walks.

Kotsyubinsky is one of the most original Ukrainian prose writers. In addition to Ukrainian and Russian, he knew nine foreign languages, including Greek, Crimean Tatar, Gypsy; but he considered the main source of enriching the language of literature to be national speech. Kotsyubynsky was one of the first in Ukrainian literature to realize the need for its reform in the direction of modern European prose. His work has always been the subject of controversy among literary critics. Until now, some researchers of Kotsyubinsky’s modernism cautiously call him an impressionist in literature.

Kotsyubynsky began to try his hand at literature early, taking up poetry, translations, and essays, but soon fiction prose became the main field of his writing activity, his real vocation. From the first experiments of Kotsyubinsky as a prose writer, the stories “Andrei Soloveyko, or Learning is light, but ignorance is darkness” (written in 1884), “December 21, for introduction” (1885), “Uncle and Aunt” (1885) have reached us. He began publishing in 1890 - the Lviv children's magazine “Dzvinok” (Call) published his poem “Our Hut”. In the same year, he visited Lviv, establishing creative contacts with local writers and publishers, in particular Ivan Franko. The trip marked the beginning of Kotsyubinsky’s constant collaboration in Western Ukrainian publications. At the beginning of 1891 he went to the village. Lopatintsy in Vinnytsia, where he combined the work of a home teacher in the family of a local employee (accountant of a sugar factory) with the beginning of serious literary work. In 1891 alone, the stories “Charitya”, “Yolochka”, “Pyatizlotnik”, the story “On Faith”, and the poetic fairy tale “Envious Brother” came out from his pen.

The author’s first collection, consisting of only three stories (“Charitya”, “Yolochka”, “Little Sinner”), was published at the beginning of 1985 in Chernigov. The story “On Faith,” due to the problematic moral and ethical background of the work at that time, the author initially signed the pseudonym Zakhar Kozub when submitting the manuscript to the publishing house.

Kotsyubinsky's years in government service in Moldova and Crimea provided vital material for his works “For the Common Good”, “The Ambassador of the Black Tsar”, “The Witch”, “In the Bonds of Shaitan”, “At a Great Price”, “On the Stone”, “In sinful world”, “Under the minarets”. One of the evidence that Kotsyubynsky, with his works of the Moldavian-Crimean cycle, went beyond local problems is that his story “For the Common Good” was published in translation into Russian in the magazine “Life” (1899, book 12).

An important moment in Kotsyubinsky’s ideological and literary evolution was the story “The Doll.” In “The Doll,” Kotsyubinsky appeared as an outstanding master of psychological analysis. Focusing on psychological conflicts becomes a defining feature of his work. A romantic, sublime, heroic tonality unites works on themes from the past of the Ukrainian people - “On the Wings of Song” and “At a Great Price”.

The short story “The Blossom of the Apple Tree” was innovative in Ukrainian literature

I always read the works of G. Kotsyubinsky with great satisfaction. This is extraordinary. Writer-Patriot, thoughtful and subtle researcher, a truly unsurpassed master of artistic expression, creator of a socio-psychological novel. One of his most famous short stories is Intermezzo. This is not for fun. And it is impossible to understand it without reading it thoughtfully and carefully, without deeply understanding each part. But once you understand, you immediately feel the great pleasure and inspiration that this work gives.

The title of the novella comes from the name of a musical piece of arbitrary structure, which is performed by the orchestra between the individual parts of the opera. I realized that Kotsyubinsky rethought this term and gave it a different content. Kotsyubinsky's intermezzo is a break, a respite, this is the time when the hero gains strength for new work and struggle.

This work is about the participation of a democratic intellectual, an artist by vocation, in the liberation struggle of the people, which lasted during the brutal reaction of tsarism. The novella was written by Kotsyubinsky in 1908. It was a time of reaction - brutal reprisals by the Russian autocracy against revolutionaries and rebels. The prisons were overcrowded with yesterday's seekers of truth, the police and gendarmes, military courts carried out reprisals and lynchings: they shot, hanged, beat. It was precisely the times of political reaction that G. Kotsyubinsky created Intermezzo. It was for this phenomenon that the great artist of words was singled out. It is a consequence of his work on questions about the purpose of literature, about the moral character of the artist, and is a bright, deep answer to those who sought to reduce literature to a toy and deprive it of great social and educational power.

The lyrical hero of the story embodies the ideological and moral qualities of all the best artists of the entire era. The inner world is infinitely deep and significant. A blood connection with the people, a deep feeling of human grief, a fiery love for the Motherland, a subtle understanding of the beauty of nature, observation and a realistic reflection of life, a desire for the liberation of workers - these are the characteristic features of the literary hero of the work.

The lyrical short story “Intermezzo” is called a poem of the soul. Its content is not a unique poetic reflection of the artist’s inner state. For the lyrical hero of the work, a journey into nature is relaxation, an opportunity to renew physical and moral strength. He, a sensitive and impressionable artist, had his soul strings weakened by the horrors of the world around him (the Stolypin reaction, the grief of the people). He wants to forget about suffering even for a moment, but the “iron hand of the city” reaches out for him, the faces of people appear in the darkness through the walls and leave “traces of my soles” in his soul. The hero of the work goes to the field, but even there, looking at the shepherd dogs Averky and Irepov, he cannot drive away the memories of the hanged, human chains and the will covered with a dream. He strokes with his hands “the sable wool of barley, the silk of a spiky wave,” kisses cornflowers, the sky, clouds, drinks a warm, healing drink of the sun. This gives him strength, a feeling of himself as an integral part of a powerful nature.

The culmination of the work is the meeting of the lyrical hero with the peasant. The weakened strings of his soul are again trained, and he feels ready for life and fight. Maybe, having experienced a severe mental crisis, the hero is able to return to an active life. And a clear proof of this can be an encounter with human grief. They met, stood silently and looked at each other for a minute. The lyrical hero tests his readiness to return to people. It’s as if he himself can’t believe that he can again perceive human grief. He turns back to him as he lived before: the soul, the strings are taut. Harmonies have been achieved. So, this is not an escape, but only an intermezzo - a temporary respite, needed for anxiety, which the hero received by communicating with nature.

Kononevsky fields, which are in the Poltava region, became that link in the chain of life, which Kotsyubynsky aptly called “intermezzo”. They are the ones who give the hero of the work peace of mind. Since only in nature there is harmony, which is constantly sought, and without this harmony in the soul, normal human existence is impossible. You can get rid of nervous disorders, depression, and stress. To do this you need to go to nature.

This is the content of Kotsyubinsky’s short story “intermezzo”. Nature is perhaps the last link for those who have lost peace of mind, faith in their own strengths, faith in. I am sincerely grateful to the writer for his wonderful, life-affirming work, which taught me to overcome life’s difficulties, not to fall into despair under any difficult life circumstances, to love people and life, to bow to the sun and violent winds - to live and fight.

« There was so much warmth on the sea, so much light blue boundless joy, so much gentle splashing that my soul was laughing... Blue, unbearably blue, like the Crimean sky, it flickered in the heat of a summer day, twitched with haze, merging with the distant sky in gentle tones, enchanting and attracted to its pure, warm and joyful blue“- the wonderful writer, classic of Ukrainian literature Mikhail Mikhailovich Kotsyubinsky wrote so poetically and figuratively, so inspiredly and tenderly about the Crimean nature.

The young thirty-year-old writer’s first acquaintance with Crimea took place in the spring of 1895. Without work due to police persecution, Kotsyubinsky was forced to accept the position of inspector of the phylloxera committee and came to Crimea to work in the vineyards of the South Coast. Here, in the vicinity of Simeiz, his first acquaintance with Crimean nature takes place. " Crimea made such a strong impression on me that I walked here as if in a dream. The beauty of nature not only amazed me, but also overwhelmed me.“,” he wrote in a letter to the writer Komarov.

In 1896, Mikhail Mikhailovich was transferred to the Alushta Valley to fight phylloxera, from where he “migrated” to Kuru-Uzen, now Solnechnogorskoe.

In a letter to his young wife, he writes: “ Our life in Alushta is so-so; The places here are beautiful, there is a lot to read - but I don’t even have time to read. There is so much work that at times I can barely breathe». « The feet have the most impressions, and if the feet had the gift of words, they would tell a lot", he writes further.

In almost all his Crimean letters, Kotsyubinsky complains about his workload and the inability to devote himself to literary work. However, the writer absorbs the originality of life, morals and customs of the Crimean population, the unusualness of the Crimean landscape: narrow, crooked streets of cities, houses on the rocks, like honeycombs, the ruins of a Genoese fortress, medieval towers and, of course, the rich nature of Crimea, the constantly changing Black Sea.

« Today is our holiday, we didn’t go to work. I spent almost the whole day above the sea. Quiet, sunny. The air is so clear that Demerdzhi seems to be right behind his shoulders. The sea is blue to blackness, only hitting the shore with white foam. Very beautiful. Days like this only happen in Crimea, and then in the fall", he wrote to his wife.

Everything that Kotsyubinsky wrote down or preserved in his memory found its artistic reflection in his very first Crimean short stories, created, however, not immediately and not in Crimea, but much later - in Ukraine. These are the short stories: “In the Nets of Satan” and “On the Stone”. In them, the writer sings a hymn to everything beautiful, young, freedom-loving, rebelling against inertia and violence.

Kotsyubinsky, in his second short story “On the Stone,” talks about the bitter lot of a Tatar woman. If a Russian woman was given the right to freely communicate with people, if she “climbed mountains and forests, entered mosques, then the faithful daughter of Allah did not dare cross the threshold of the mosque, like an unclean creature,” Kotsyubinsky writes bitterly in his novella. The scenes of the tragic death of the novel's heroes are reminiscent of the plots of Crimean legends. Here, for example, is the picture of Fatma’s death. " Fatma was darting over the cliff like a seagull. On one side there was the sea, on the other - the hated, intolerable butcher. She saw his sheep's eyes, evil blue lips, a short leg and a sharp knife with which he cut sheep. She closed her eyes in despair and lost her balance. The blue robe with yellow crescents slid behind the rock and disappeared among the cries of frightened seagulls».

The short story “On the Stone” is replete with picturesque descriptions of the landscape and exoticism. " On the bare gray ledge of the rock lay Tatar houses, built of wild stone, with flat earthen roofs, one above the other, as if made of cards. No fences, no gates, no streets. Everything was black and bare. Women sat in groups on the flat roofs and, like colorful flowers, decorated the gray background of the bare village with festive dresses.».

In addition to the high artistic merit of both Kotsyubynsky's short stories, the social motives that are so characteristic of all his work are clearly perceptible.

Kotsyubinsky’s next visit to Crimea took place 8 years later, in 1904. Over the years, the writer has grown as a citizen and artist. He created such subtly psychological works, diverse in themes, as “The Duel”, “The Doll”, “At a Great Price”, “The Witch” and others, reflecting pre-revolutionary sentiments in all classes of society.

This time the writer came to Crimea in search of new relevant topics, taking advantage of his summer vacation. After a short stay in Sevastopol and Alupka, he and his wife headed deep into the Crimean protected forest, where the convent of Kosma and Damian nestled at the source of the Alma River in a cramped and wild gorge. The sharp contrast between the majestic beauty of the Crimean forest and the morals of the monastery served as the reason for the creation of the short story “Into a Sinful World.”

The description of nature in the short story matches the setting: “ For whole days and nights the snow fell and fell and finally filled up the gorge. It filled up the roads, filled up the forests, the valley and Alma. Cut me off from the whole world. And when the clouds broke and settled on the mountains, cold fell from the sky, like the wrath of God. The trees crackled in fear, the church crackled, the sisters withered... Secretly, at night, falling deep into the cold snow, they collected branches in the forest and warmed the cells».

And the ending of this most poetic of Crimean short stories sounds like a contrast to the gloomy scenes of monastic life. The harmony of colors and sounds of the morning forest is revealed to four novices expelled from the monastery. The culmination of this episode is the panorama of the sea and the Alushta Valley. " They suddenly stopped. Blinded. A sea of ​​light flooded their eyes. Before them lay that distant sinful world from which they had once fled - tempting, cheerful, all in radiance, like a dream, like sin itself. The distant sea opened its wide arms to the green earth and trembled joyfully, like a living blue sky... And this whole wonderful land floated somewhere in a sea of ​​warm light in a wide, boundless expanse».

After leaving the Kosmodamianovsky monastery, Kotsyubinsky went to Bakhchisarai “to look for nature,” in his own words. The creative result of the writer’s short stay in Bakhchisarai was his journalistic, poignant story “Under the Minarets.” In it, he decisively opposes the obscurantism and fanaticism of that time. His sympathies are with the young teacher Rustam, a supporter of an alliance with the Russians. " It is necessary to show, says the hero, how other peoples live, that they are not infidels, but older brothers, we must awaken consciousness" Kotsyubinsky saw that the Tatar nation is heterogeneous, that there is a struggle among various social groups, that a new progressive consciousness is being born. There is a struggle for life and death. That is why the passions in the story are so intense and its characters are so expressive.

These last Crimean works, “Into a Sinful World” and “Under the Minarets,” were included in the 1st volume of Kotsyubinsky’s stories, published by the Znanie publishing house, which was headed by Alexei Maximovich Gorky. " I read your book with great pleasure, with spiritual joy.", he wrote to the author.

Mikhail Mikhailovich made his last trip to Crimea in June 1911. This time the writer was brought to Crimea by a serious illness of his youngest son - pneumonia. The Kotsyubinskys came with the whole family and stayed in Simeiz, in the house of the merchant Gafurov. We lived secludedly, walked to Alupka and around the surrounding area. The writer felt a surge of fresh strength and reported in a letter to Aplaksina “ I feel good physically and have gotten stronger thanks to sunbathing. Blackened so much that you wouldn't recognize me. I walk through the mountains without much fatigue».

Kotsyubinsky’s spiritual connection with Crimea did not break even beyond its borders. Subsequently he wrote: “ These regions gave me a lot of impressions, and I remember with pleasure the time of my service in the phylloxera commission, although I also had to go through a lot of bitter things».

The popularity of Kotsyubinsky’s works over the years has crossed the borders of Ukraine and even Russia. It was translated into other European languages: Polish, German, Italian, Spanish. He became one of the progressive and educated people of his time.

« Among the prose writers of the 90s, Ivan Franko wrote about him, Kotsyubinsky comes first».

Having visited Italy for the first time, he compares the beauty of the Bay of Naples with the Crimean coast and gives a clear preference to Crimea.

2 years after the trip to Simeiz, Mikhail Mikhailovich died of severe heart disease. Difficult years of police persecution, hard work, and constant financial dependence took their toll. " Ukraine lost a great man, it will remember his good work for a long time and well", wrote Gorky. And he added in an article dedicated to Kotsyubinsky: “ Humanity, beauty, people, Ukraine - these are Kotsyubinsky’s favorite topics of conversation; they were always with him, like his heart, brain, his glorious gentle eyes... His Ukrainian heart of reds was always in his homeland - he lived in her sorrows, suffered from her torments».

FICTION OF CRIMINAL VINEYARDS

"Cream became so hostile to me (the beauty of nature didn’t just impress me, but rotten me), that I walked here like I’m hanging...."

(M. Kotsyubinsky)

There are various reasons why people are drawn to Crimea. Mykhailo Kotsiubynsky was first brought here by the phylloxera, the vineyard mischief maker, who was especially unsafe at the end of the 19th century. In the midst of the campaign to combat phylloxera, the writer has drunk enough of the beauty of our God-shaken land. And, just as sweet grapes are recreated by the Yankevino, so the Crimean sensibilities of the writers were recreated by the consummate artist.
Kotsiubynsky first arrived in Crimea at the warehouse of the phylloxer commission in the spring of 1895, after territorial work in Moldova. Having settled in Simeizi, which at that time had become a fashionable resort, he became surrounded by rich vineyards, most of which belonged to the magnate Maltsov.
The start of work in the Maltsovsky vineyards seemed awkward to Kotsyubinsky. At the same time, soldiers who were stationed with the Protestant sect of the Mennonites worked with him, among whom the writer considered himself to be his own. Nezabar Mikhailo Kotsyubinsky moved to Kastropol, but there he could not help feeling depressed: "... it’s boring for me, what’s wrong with me, why is it boring and boring in this luxurious nook?..." I felt the supernatural respect of the police agents for his person. Soon the selfishness became unbearable.

Fortunately, in the spring, Mikhail Kotsyubinsky was named Vira Deisha, after whom the dowkilla turned into a fairy tale. Particularly memorable for both was the walk in the Holy Trinity tract (24th spring), which the young people later remembered as an important milestone in their dormitory. who worked hard until the leaves fell. Day after day, the vineyards of Simeiz, Kastropol, Kuchuk-Koy, Kikeneiz. For the winter season, members of the phylloxer commission received a return from the wine that had grown in their homeland in Vinnytsia. Suddenly, before the Crimea, Mykhailo Kotsyubinsky and Vira Deisha, which has already become wow, the squad is coming to 1896 fate.

The young friend of the Aluptsi lorded over their temporary house, and in the dark stench settled in Alushta, star Kotsyubinsky informs B. Grinchenkov: “It’s just like that for us to live in Alushta; the place here is garni, read e scho (Moscow magazines) - but I only have to read. There are so many robots (not robots, like walkers) that I almost faint for an hour.” It’s true that every hour I had to walk up to 30 versts to the vineyard, so much so that the “African specie” had finished schooling. turbo. The Kotsyubinskys rented a small dacha, today they swam in the sea. At the spring, Vira Ustinivna moved to Vinnytsia, and now only the uneasy police were watching the letter. After the departure of the Kotsyubinsky team All of this can be written today, the city’s sense of its own identity and half-ness, the mittivost’s were recreated for the young man eternity. A month without friends Kotsyubinsky (in the sheets signed Musya) called “his hero” “without Virya”, on the sheets he designated them like this: “day 1”, “day 2”, etc.

These messages reveal the tender, loving heart of the writer, his spiritual closeness with his friends. The cream had to be preserved in the memory of the Kotsyubinskys, and they decided to spend the summer of 1904 here themselves, hoping for the beneficial influx of these charming enemies, who had been forgotten for eight years. And then the road went up along the Pivdennoe birch Crimea, mentioning the familiarity, where When the phylloxerna commission was working: in Aluptsia, Alushta. A later list to M. Mochulsky Kotsiubynsky admits that the main method of yoga in Crimea in 1904 was to establish the Kozmo-Dem "Yanivsky monastery ir. The scribe intends to become a novice, “put on a cassock, go to church, eat and sleep together with the brethren,” in order to collect material for a story, a plot for which has already been born and draws on the living warnings.

After all, I realized that at that time the monastery had already become a wife. That’s why from his pen only the poem “Into the Sinful World” came out, written “with conviction.” Alepragneniy will replenish his treasure trove of enemies for the further creativity of the driven writer further, and will continue his searches in Bakhchisarai. The Crimean Tatar flavor of this place does not deceive the spirit of the writer, open to other cultures. M. Kotsyubinsky’s stay on the Pivdenny coast of Crimea was born in 1911. For the first three days this year, I spent three days in Sevastopol, one in Yalta, and then settled in Simeizi, which at that time had already changed, transforming itself into a possibly utopian place-garden. A positive infusion of the seaside climate The writer wanted to continue his retirement in Crimea, aka Roslinna “He was tired of life, he wanted to discover new things, for which he planned to go out at night with the fishermen in the open sea. Often choosing mountain routes for walks, the two of them went with their children to Alupka.

Unsurprisingly, the creative plans of the creative writer were to deprive him of his family in Simeizia and leave by steamboat to Odessa, and leave the border in the Carpathians, which was announced by the origin of the tension. And leaving the ancient Taurian land from I live until the sunshine. The unrepeatable landscapes of the riverbank of Crimea often come to life in memory Mikhail Kotsyubinsky. The Crimean legends constantly accompanied him at the hour of foreign mandrivkas. It was at a resort in Italy, the writer told Simeiz, when in love with all the flower gorse, the palaces of Constantinople were given up to him similar to Bakhchisarai, the coast in Nice resembles Alushta, and the sea in Crimea is considered beautiful, lower in Italy .

The name of Mykhailo Kotsiubynskyi became a symbol of the high production of Ukrainian writing at the beginning of the twentieth century, and we continue to write, having deprived our gold traces on the Pivdenny birch Crimea, the zooms will create more richness a unique flavor in your creativity.

Oleksandra Visich , Candidate of Philological Sciences, Senior Scientific Specialist of the YaILM.

• Specialty of the Higher Attestation Commission of the Russian Federation10.01.08
• Number of pages 197

Chapter I. Detail in fiction, structure, novel. . leaves of M. Kotsyubinsky.13

Chapter P. The role of detail in the revelation of psychology. character in M. Kotsyubinsky’s short stories. 60

Chapter III. Compositional function of a part. V. novellas. .

M.Kotsyubinsky.134

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Conclusion of the dissertation on the topic “Literary Theory, Textual Criticism”, Kuznetsov, Yuri Borisovich

List of references for dissertation research Candidate of Philological Sciences Kuznetsov, Yuri Borisovich, 1984

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