ua latest news. The price of insight, Ukrainian literature, Mikhail Kotsyubinsky, short story Laughter - VKurse.ua latest news Kotsyubynsky short stories
Kotsyubinsky Mikhailo Mikhailovich is a famous Ukrainian writer. Born in Vinnitsa into a poor family of a minor official; He spent his childhood in Ukrainian towns and villages of Podolia, at his father’s place of service. In 1880 he graduated from theological school - Bursa (in Shargorod, former Kamenets-Podolsk province); He was unable to continue his education, because he had to take care of his large family (his father had lost his job by this time, his mother had become blind). This forced the future writer to take private lessons after his family moved to Vinnitsa, and intensively expand his knowledge through self-education.
Even as a child, Kotsyubinsky was interested in Ukrainian as well as Russian populist literature; in addition, he read and was interested in Fourier, Feuerbach, and others. Living in Vinnitsa, Kotsyubinsky established connections with populist-minded youth; this attracted the attention of the police, who began to persecute him early (they searched his place, took a written undertaking not to leave the place and deprived him of the right to enter the service, so Kotsyubinsky was engaged mainly in private lessons). In the 80s Kotsyubinsky took part in the “walking among the people.” His first written experiments date back to this time: “Andriy Soloveyko, because the world is light, and the darkness is unknown” and his later ones - “21 breasts, for introduction”, “Uncle and aunt”. They were written under the strong influence of Ukrainian writers: Marko Vovchka, especially Ivan Nechuy-Levytsky and others. In these still student works, Kotsyubynsky pursues his populist-educational views. At the end of the 90s. Kotsyubinsky decides to get deeply involved in literary work and makes a trip to Western Ukraine (Galicia). Here he comes close, bypassing the radical democratic and revolutionary movements (Ivan Franko, M. Pavlik, etc.), with representatives and the press of the so-called. Narodovtsy (nationalist and opportunist-compromising direction, loyal to the Austrian monarchy, reflecting the ideology of the Western Ukrainian bourgeois intelligentsia). Kotsyubynsky began collaborating in their magazines “Dzvinok”, “Zorya” and others, where he published stories and poems for children and the main works of the first period of his literary activity (in Ukraine, under the conditions of the Russian Empire, Ukrainian printed publications were banned).
Literary performances gave Kotsyubinsky the opportunity to contact some figures of the national cultural movement (M. Komarov and others); the latter helped him get a job. From 1892-1897 Kotsyubinsky worked in the commission to combat phylloxera, first in Bessarabia, and then in Crimea. While engaged in literature during this period, he simultaneously took part in an illegal nationalist-cultural organization (the so-called “Brotherhood of Tarasivtsiv”), which, however, did not demonstrate either social activity or a clear platform and soon collapsed. The tasks of this brotherhood are presented in an idealized form in Kotsyubinsky’s fairy tale “Ho”.
Having left the phylloxera commission due to illness, Kotsyubinsky went to newspaper work as the head of the publishing house and the responsible employee of the Volyn newspaper (in Zhitomir). The unprincipled and financially insecure provincial newspaper does not satisfy Kotsyubinsky; he soon abandons it and moves permanently to Chernigov, where he hardly gets a position as a statistician in the provincial zemstvo government. There he served almost until his death.
- 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
Recommended list of dissertations in the specialty “Literary Theory, Textual Studies”, 01/10/08 code VAK
The concept of man in S. Vasilchenko’s short stories. Features of genre and style forms of expression 1984, Candidate of Philological Sciences Turgan, Olga Dmitrievna
A.P. Chekhov and Guy de Maupassant: national originality of short prose 2005, Candidate of Philological Sciences Sokolovskaya, Zhanna Viktorovna
National originality of artistic detail in Tuvan prose 2004, candidate of philological sciences Bady-Monge, Elena Tadar-oolovna
Specifics of the short story genre in the works of Isaac Bashevis Singer 2005, candidate of philological sciences Slepova, Alexandra Valerievna
The formation and development of the short story genre in English literature of the Victorian period: based on the work of C. Dickens, W.M. Thackeray, T. Hardy 2009, candidate of philological sciences Eremkina, Natalya Ivanovna
Conclusion of the dissertation on the topic “Literary Theory, Textual Criticism”, Kuznetsov, Yuri Borisovich
CONCLUSION
The evolution of detail in the artistic system of M. Kotsyubynsky as an element of realistic poetics is associated with the increase in its typifying functions, the strengthening of the figurative and expressive principle. The writer masters the artistic experience of realist prose writers of the 19th century, but goes further along the path of developing psychological realism, achieving special depth in revealing the psychology of character, developing original means of art. dozhestvennogo generalization of objective phenomena.reality. 7
M. Kotsyubinsky’s first stories “Charitya”, “Yalinka”, “P”ya-tizlotnik”, “Little sinner" were written in the spirit of social and everyday works of the 19th century. In them, the Ukrainian prose writer pays considerable attention to everyday, ethnographic details. They serve as a means - a truthful depiction of the actual circumstances of life, heroes, carry objective information about the cultural, historical, cultural and everyday features of a given era. And in this sense, details in early works appear mainly, in their mass, in a symbolic meaning. In the works of this period of creativity, the figurative and expressive principles are noticeably enhanced, although still only in individual details. First of all, the emotional and figurative side of the details, especially the landscape, becomes more vivid. As the notebooks testify, M. Kotsyubinsky works a lot to improve the figurative properties. details. He continues and develops the features of the realistic poetics of Nechuy-Levitsky with his desire for plasticity, relief of the image, play of light and shadow, and contrasts.
The expressive beginning of the detail also deepens. Without losing its iconicity and imagery, it becomes a means of artistic generalization. In this regard, M. Kotsyubinsky masters the artistic experience and socio-psychological features of Panas Mirny’s prose. The detail of the portrait /"Little Gryshnik"/, the realities of everyday life /"Pyatizlotnik"/, the landscape /"Tsshov"yaz// serve the writer as a means of conveying individual features of the heroes' psychology.
In the early works of M. Kotsyubinsky, various things are outlined. techniques for achieving artistic typification using detail. Among them, for example, are the following techniques for increasing the expressive qualities of a single detail: describing the history of some everyday reality; using a detail whose background can be easily reconstructed from the context; strengthening a detail with a trope; personification of a detail. Or. the use of interconnected through details /"Tsshov" language"/ for the purpose of artistic generalization. Such techniques were already known in realistic literature and were found in the works of L. Tolstoy, A. Chekhov, I. Franko. Here M. Kotsyubinsky, as - V. Stefanik, Marko Cherem-shina, Les Martovich... only mastered the artistic experience of their predecessors. However, the strengthening of the expressive principle of artistic detail fundamentally distinguished the works of realism from the latter. The detail acted in an informational sense. as an element of protocol recording of the details of everyday life, traditions. A certain element of naturalism was also inherent in the works of the social and everyday movement. M. Kotsyubinsky is moving further away from this trend in Ukrainian literature of the 19th century.
The work of M. Kotsyubinsky 1901-1908. in subsequent years it develops in line with the socio-psychological current in realism. The basis of this trend was laid in Russian literature by L. Tolstoy, F. Dostoevsky, A. Chekhov, in Ukrainian - by Panas Mirny, I. Franko. The psychologism of M. Kotsyubynsky's short stories was prepared both by the general trends in the development of literature and by socio-historical conditions, in which the writers' interest in personality psychology noticeably increased.
Detail c. works of the short story writer of this period, serves as a means of artistic generalization, first of all, of the psychology of character. - At the same time, M. Kotsyubinsky, within the framework of short stories, achieves special depth and almost scientific accuracy in the transfer of continuous mental processes. M. Kotsyubinsky succeeds. . recreate the personality of the hero in all its diversity. mental manifestations. The subject of artistic depiction in the writer's short stories are various mental phenomena, complex mental processes, consciousness and self-awareness, the dialectic of the hero's inner self. The short story writer does not limit himself to an artistic analysis of the mental sphere and heroes; on its basis, he reveals social processes that are relevant for his contemporary society. Its problems deepen and become more complex. works, from psychological, and moral-ethical problems./"Dv1t yabdun!"/ he.moves to.social problems^. psychological /"Lyalechka", "In the Age"/ and social-philosophical /"Lermero"/.
In this regard, the ideological and artistic load of details in M. Kotsyubinsky’s short stories is increasing. In addition to the symbolic, figurative, they also acquire a pronounced symbolic meaning. However, such realistic symbolism of the detail) is completely different from the functions of the detail in the system of symbolism.
In the latter, the detail-symbol is aimed at generalizing processes. individual psychological, self-examination of the heroes in their souls and does not address problems of social significance. In this. sense, although detail in symbolism is a means of typification, the results of such artistic generalization do not correspond to reality. . Human.behavior, its activities and mental processes are socially determined; to reveal such determination on the basis of a truthful reflection of the laws of the subjective sphere of the individual means to achieve.realism.of the image. Exactly.this. M. Kotsyubynsky succeeds with the help of various techniques of artistic detail. . . . . V. short stories 1901-1908 These techniques are qualitatively different from the techniques used in earlier works. Here M. Kotsyubinsky strives for the details to acquire a prior symbolic meaning due to their special organization, unification into a system of micro-images. M. Kotsyubinsky connects individual parts into integral, shaped microsystems. Cross-cutting interconnects to achieve new, artistic meanings. And, finally, he achieves an almost complete synthesis of microsystems of individual and end-to-end details, their fusion into a harmonious system with a capacious artistic meaning. These types of organization of details in each specific work manifest themselves differently, depending on the aesthetic principles that the writer places as their basis. At the same time, the development of the writer’s creativity is associated both with an increase in the degree of organization of details, methods of connecting them, and with an increase in the expressive beginning of the detail.
The methods of organizing details are not so much new; some of them are found in A. Chekhov, V. Stefanik,. M. Cheremshina, so much diversity, deeply thought-out synthesis and breadth of those artistic generalizations that the writer achieves with their help. Impressionistic effect. achieved through such a high degree of depiction and deep subtextual meaning of details, is for M. Kotsyubynsky only a stylistic device that allows the most powerful and truthful conveying of the mental processes of the hero’s spiritual life. .
The system of artistic details also determines the features of the poetics of M. Kotsyubynsky’s short stories as a whole. The logic of artistic generalization in the works of a writer reveals two main trends associated with two types of narrator, in whose field of vision artistic details are organized. For. The first type - a subjective narrator - is characterized by such a construction of the narrative, such a logic of artistic generalization, which is based on the real interconnection of events, the real course of life. For the second type - an objective narrator - the logic of artistic generalization is determined by facts and. the laws of the subjective life of the hero through whose prism the story is told. The first type of narrator determines the predominance of. the works of M. Kotsyubinsky have an epic beginning, the second - a lyrical one. In general, in the poetics of M. Kotsyubynsky’s short stories, there is a change in the position of the narrator, the interpenetration of the epic and lyrical principles, with the predominance of an objective type of narrator and increased lyricism of the narrative. In this sense, we can say that the writer created
177 - . gives a new type of short story - psychological and lyrical, distinguished by the depth of psychological analysis and special emotionality.
The logic of artistic generalization leaves its mark on the methods of organizing details, on the artistic structure of the Work as a whole. In the short stories of M. Kotsyubinsky, this artistic structure is also distinguished by an increased psychological load, synthesizing the semantic meanings of the system of artistic details. ,
During the last years of his creativity, M. Kotsyubinsky continues to improve the visual and expressive qualities of the detail. It achieves an organic combination in one micro-image of iconicity, vivid concrete imagery and a high degree of symbolism. At the same time, the artistic structure of his short stories becomes even clearer. Depending on the organization of the system of artistic details, the following structural types are distinguished: ring, mosaic and mixed. All three types. structures have high aesthetic properties: harmonious. great integrity, proportionality of parts, figurative plasticity, rhythm, etc. determines the emotional power of the impact of M. Kotsyubynsky’s short stories on readers. The art of detail of M. Kotsiubynsky enriched realistic poetics with new artistic techniques. It showed the unlimited possibilities, the depth of psychology that can be achieved with the help of a realistic image as a way of artistic reflection of life in the forms of life itself.
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The price of insight
Mikhail Kotsyubinsky's short story “Laughter” as an artistic prophecy
There is a pattern that has been noticed quite long ago: works of real high art (the art of words, in particular) make it possible to see the future path along which History itself will soon advance, to see its face and mysterious plan... And it is no coincidence that many historians, philosophers, sociologists, even economists in their own right time they sincerely admitted that the legacy of the great masters of world literature gave them more than hundreds of volumes of special (even very informative!) scientific “research”. Moreover, the historical and educational value of such works is by no means determined by their “parameters” (volumes); a small, miniature story can turn out to be a true artistic masterpiece, not just a “snapshot” of history, but an artistic prophecy that must still be carefully read, felt and understood.
In Ukrainian literature, such an incomparable master was Mikhail Mikhailovich Kotsyubinsky. To make sure that Kotsyubinsky does not have “passing”, insignificant things, it is enough to thoughtfully re-read, for example, his short story “Laughter”. (The volume is only 10 pages of text!) Before us is not just a moment of history that flashed brightly for only a second and then disappears with lightning speed; and not an artistic illustration on the topic “the drama of social conflicts of the Russian Revolution of 1905 on the territory of Ukraine.” Not at all... Here, rather, we are talking about the amazing foresight of the outstanding creator of the future “painful points” of history, and, however, only history. As we hope, the dear reader will soon be convinced, this short story can significantly facilitate the search for answers to the burning problems of today.
Therefore, let's talk about the short story "Laughter". It was written by Mikhail Mikhailovich in early February 1906 in Chernigov, and the work was published in the second book of the magazine “Nova Hromada” (by the way, financed by the outstanding Ukrainian public figure Yevgeny Chykalenko) for the same year. The time when the story was created must be noted right away: 1905-1906, the time of “shaking the foundations” of the hitherto indestructible Romanov empire, when the repressive state machine of Russia began to grind and falter, when the first weak shoots of civil society came together in an irreconcilable, tragic conflict and national freedoms declared (only declared!) in the manifesto of Tsar Nicholas II of October 17, 1905, and, on the other hand, the evil Black Hundred “foam” of the pogromists, who directed all their rage (in the surprising absence of “guardians of order”) against the intellectuals -freethinkers, radical student “inciters” and against Jews. In the minds of this insane crowd of “loyal subjects” there was no basis for unrest, much less revolution on the territory of the empire at all - the “Jews” and rebel intellectuals were to blame. (It’s an amazing thing these days, 100 years later, some supposedly “respectable” Russian publicists and historians take the same point of view, endlessly idealizing Nicholas II - the “martyr” who, by the way, more than once sent his congratulations to the Black Hundreds...)
What did these heart-rending “patriots” of the empire and “defenders” of the Tsar and Orthodoxy do? In Kotsyubinsky’s novella this is shown briefly, harshly and vividly. Here is student Gorbachevsky, running through the “back door” into the apartment of the main character of the work, lawyer Valeryan Chubinsky, radically opposed to the authorities (the windows in the apartment are very tightly closed, because “evil people now walk the streets every now and then. If only they wouldn’t come to us yet.” climbed in!”), talks about the latest events in the city - and these are turbulent times, such that they require each person to make a conscious, personal choice and full responsibility for all their actions. “The whole night,” says Gorbachevsky, “there was a Black Hundred rally. They drank and consulted about who should be beaten. First of all, it seems that they decided to destroy the “rators” and “domocrats”. There is some vague movement on the streets. They wander around in groups of three or four... Angry faces. Stern, and the eyes are wild, angry, and shine with fire, like seeing an intellectual... I walked through the bazaar. There are a lot of people. They serve vodka there. There are some secret meetings going on, but it’s hard to say what they’re talking about. I’ve only heard a few names of Machinsky, Zalkin, yours... You’re taking a risk, you’re taking a big risk,” student Gorbachevsky, addressing Chubinsky’s lawyer, concludes his excited, fragmentary story.
Valeryan Chubinsky really does take a lot of risks. After all, he is a public and passionate critic of the authorities, and also a good speaker. The author, reproducing his feeling, writes “And immediately a whole sea of heads flashed before his eyes... Heads, heads and heads... stubborn, warm faces and thousands of eyes, looked at him from the fog of bluish evaporation. He spoke. Some kind of hot wave hit his face and flew into his chest with a breath. Words flew out of my chest like birds of prey, boldly and accurately. The speech seemed to be a success for him. He managed to describe so simply and vividly the contrast of interests of those who give work and those who are forced to take it, that even this thing became clearer to himself (obviously, in his views, Mr. Chubinsky belongs to social democracy, and hardly to the most her moderate wing! - I.S.). And when they applauded him, he knew that it was an awakened consciousness hitting the palms of his hands.” Consequently, Valeryan Chubinsky is undoubtedly one of those “domocrats” and “rathores” and has every reason to be afraid of further developments of events.
And more and more alarming news is coming from the “street”! Here Tatyana Stepanovna, a “small round woman” (obviously an acquaintance of the Chubinsky family), says that “it has already begun... A crowd is walking along the streets with a royal portrait. I just saw how Cleaver, a student, was beaten - he did not take off his hat in front of the portrait. I saw how he, already without a hat, red, in a torn jacket, bent in half, was thrown from hand to hand and kept beating. His eyes are so big, red, crazy... I was gripped by horror... I couldn’t look... And you know who I saw in the crowd: People... Peasants in gray festive retinues, in big boots, simple sedate grain growers... There were people from our village, quiet, calm, hard-working... I know them, I’ve been teaching in that village for five years... And now I ran away from there because they wanted to beat me, it’s the old wild hatred for the master, whoever he was... Everything was destroyed for us. Well, there are also rich people there... But who I feel sorry for is our neighbor. Old widow, poor. One son is in Siberia, the second is in prison... All that remains is the old hut and garden. And so they destroyed everything, dismantled the hut piece by piece, cut down the garden, tore up her sons’ books... She didn’t want to ask like the others. And some came out to meet the crowd with icons, with small children, knelt in the dirt and begged for hours, kissed the hands of the men... And they were pardoned.”
Here, reader, is a vivid example of how a classic of our Ukrainian literature was able to literally reproduce in a few lines the tragedy of the era here and “the old, wild hatred of the master, whoever he was” (the main reason for the revolutions of both 1905 and 1917, and not any external influences), and under the royal banners (!), and the real, often cruel and fierce face of the people, which Kotsyubinsky, an impeccable democrat and humanist, knew very well, too well... By the way, another one arises, not at all a secondary question is who they were with, what position they took, who was supported by those “simple, sedate grain growers” in the “gray festive retinues” during the terrible social upheavals of 1917-1921, and even in the late 20s (if they lived to see that time)! Let us note, by the way, that Kotsyubinsky was not only a deep, insightful, prophetic artist, but also a man of extraordinary personal courage; During the Black Hundred pogroms in Chernigov at the end of 1905, Mikhail Mikhailovich and his wife Vera Ustimovna collected money from employees of the Chernigov Statburo, where both then worked, to purchase weapons for public self-defense units against the Black Hundreds. And to protect from the pogrom those who were especially threatened by it - the Jews - a peasant squad from the residents of the village of Lokniste near Chernigov was specially called in. (Consequently, both then and subsequently the Ukrainian peasantry should under no circumstances be considered as a single, monolithic, undivided mass; unity has long since ceased to exist!)
Therefore, it is understandable that it is with Varvara that Mr. Chubinsky wants to “mentally” talk in such a difficult moment. “You heard that Varvara Panov was being beaten... - Pan Valeryan explained plaintively - and with surprise he saw that Varvara’s well-fed body was trembling, as if from suppressed laughter... And suddenly that laughter broke out. - Ha ha! They beat... and let them beat... Ha-Ha-ha!.. Because it’s enough to dominate... ha-ha-ha... Thank you, God, the people have waited..."
The picture, reproduced further by Kotsyubinsky, is terrible and prophetic “She (Varvara. - I.S.) could not hold back her laughter, invincible, drunk, which cackled in her chest and only, like foam, threw out individual words Ha-ha-ha! everyone... to eradicate... ha-ha-ha... so that for seeds... everyone... a-ha-ha - she was already sobbing. This wild laughter galloped alone around the hut, and it was as painful and scary as from a mad dance of sharp knives, shiny and cold. This laughter rained down like a rain of lightning; there was something murderous and deadly in its overflows and terrified.”
It seems that this horror is to some extent “removed” in the following paragraphs of the story, because the author gives a rational and convincing explanation for Varvara’s “sudden” and strong hatred of the “gentry.” After all, Valeryan Chubinsky, whose “blind eyes” wearing glasses (it is no coincidence that Kotsyubinsky focuses our attention on this!) suddenly became “frightened, sharp and unusually seeing” (this is the price of insight), “saw what they passed by every day, like he's blind. These bare feet (Barbarians - I.S.), cold, red, dirty and cracked... like those of an animal. Shingles on the shoulders that did not provide warmth. Sallow complexion... bruises under the eyes... Blue smoke in the kitchen, the hard bench on which she slept... between slop, dirt and smoke... barely covered... Like in a den... Like that animal... Broken strength that went to others... A sad muddy life, century in a yoke... And he still wanted affection from her..."
Dogmatic Soviet “Kotsyubin studies” argued that in the short story “Laughter” “the powerlessness of abstract humanism in solving the fundamental contradictions of society and the insight of its bearers in a collision with real life are revealed” (here only the question of the cost of such insight is avoided, because people like lawyer Chubinsky, speaking at rallies, and could not imagine what a terrible volcano of popular anger, hatred towards the “gentry” - and therefore it does not matter who beats those “gentry”, whether the Black Hundred crowd, or those who, 13 years later, dealt with this matter more skillfully !). By the way, our outstanding contemporary, academician Ivan Mikhailovich Dzyuba, absolutely correctly, based on the testimony of Kotsyubinsky’s acquaintance, P. Bereznyak, poses the question on a completely different plane, because Mikhail Mikhailovich argued that “Laughter” is not a satire on Chubinsky, but a drama on Chubinsky, those Chubinese who at rallies openly oppose despotism, defending the rights of workers, and at the same time exploit people at home and do not notice it!
Mykhailo Kotsyubinsky would not have been a great writer, whose works have not in any way lost their artistic, aesthetic, educational and prophetic power, if he had not comprehended one fundamental truth: it is impossible to laugh at history (although one may get the impression that he managed to do this ). She, history, herself laughs at the cynical “jokers”. And he has the last laugh...
The short story “Intermezzo” occupies a special place in the work of M. Kotsyubynsky. It was written in sad times, when, after a freedom-loving revolutionary breakthrough in the political and artistic life of the Russian Empire, a time of reaction came, when many of the progressive artists and political figures declared the need for waiting tactics, when literature turned away from modernity and looked for themes in the idealized past or in frank perversions of individualism and selfishness.
The name "Intermezzo" comes from Italian. It was once a musical theater term that denoted a piece of music performed during a break between acts of a play or opera. Using the term as the title of the short story, Kotsyubinsky turned to the direct meaning of the word. It means “break”, and this coincides with the philosophical content of the novel. A break is a time to stop, reflect on what has been done, and reflect on the eternal theme of the artist’s calling, his responsibility to himself and the people. Kotsyubinsky has already used a unique form of philosophical and psychological prose in the short story “The Blossom of the Apple Tree” and the prose poems “From the Depths.” The short story “Intermezzo” is the pinnacle of this form in the writer’s work.
The plot of the novella is outwardly simple: the lyrical hero comes to the village with the goal of taking a break, thinking, and listening to the music of nature. Love for one’s native land, a keen perception of its beauty help a person gather strength, restore the desire to fight, and most importantly, help a person understand himself more deeply. Kotsiubynsky's hero, enjoying the singing of larks and the melody of the fields, analyzes his inner world and comes to the conclusion that isolation, individualism, loneliness are not for him. “I can’t miss a person. I can't be alone." These words seem to introduce a new theme into the music of the short story. The power of nature cannot distract the artist from the people dying on the beautiful earth. He hides in his heart the “suffering and pain, broken hopes and despair” of the offended people. This pain is personified in the short story in the image of an “ordinary man” who fought for the land, and now has only a scrap of land that cannot feed his family. The people's grief appears to the artist as a real, helpless, defenseless person, and Kotsyubynsky knows why God gave him talent and skill. The insignificance of the motto “art for art’s sake” becomes clear.
The break ends, the hero plunged into the world of nature for a while, drank from its sources, and enjoyed the sun, which he loves most. Sun worshiper - this is how Kotsyubinsky was called after the appearance of “Intermezzo”. There is one more side to this story: the sun for Kotsyubynsky is a symbol of freedom, love of life and man, a symbol of victory over the darkness of reaction.
The short story “Intermezzo” is one of the outstanding works in Ukrainian literature. This is the creative credo of the great artist, his vision of the relationship between life and poetry, society and art, embodied in beautiful images, outlined in a rich and pure language.
Mikhail Mikhailovich Kotsyubinsky was born on September 17, 1864 in Vinnitsa. His mother was Glikeria Maksimovna Abaz.
Later, the Kotsyubinskys left Vinnitsa and moved to live in the village, and then to the town of Bar. Here Mikhail was sent to elementary school (1875-1876).
In 1876-1880, Kotsyubinsky studied at the theological school in Shargorod. During this period, the works of Taras Shevchenko and Mark Vovchk made such a strong impression on Mikhail that he himself wanted to become a writer. After graduating from the Shargorod Seminary 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, which had been moving from place to place for some time, returned to Vinnitsa. In 1882, Kotsyubinsky was arrested for connections with Narodnaya Volya, and after his release he was placed under police supervision.
Due to the difficult financial situation of the family, the young man was unable to continue his education: his mother became blind, and subsequently (in 1886) his father died. Responsibility for a fairly large family (8 people) fell on Mikhail's shoulders. In 1886-1889, he gave private lessons and continued to study independently, and in 1891, having passed the exam as an external teacher at the Vinnitsa Real School, he worked as a tutor.
In 1892-1896, Kotsyubinsky was part of the Odessa Phylloxera Commission, which fought the grape pest phylloxera. Work in the villages of Bessarabia gave him material for writing a series of Moldovan stories: “For the common good,” “Pe-koptior,” “At a high price.” Then the writer worked in Crimea, which ignited the creative imagination of Kotsyubynsky, sensitive to the exotic. In 1898, Mikhail Mikhailovich moved to Chernigov. At first he 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 met Vera Ustinovna Deisha, fell in love, and she became his wife. His children grew up here - Yuri, Oksana, Irina, Roman. The literary youth of the city gathered weekly in the writer’s house. Such famous future writers and poets as Vasil Blakitny, Nikolai Voronoi, and Pavlo Tychina came here.
Subsequently, M. Kotsyubinsky began to travel. He traveled almost all of Europe. This was not only the call of his soul, but also the need for treatment. 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. He was tormented by asthma and tuberculosis.
In the hospital, M. Kotsyubinsky learns about the death of his best friend, composer N.V. Lysenko (N. Shurova talks about their friendship in detail in the book “I Was All Like a Song”).
- Two literary and memorial museums are dedicated to Mikhail Kotsyubinsky - in Vinnitsa (1927) and in Chernigov (1935).
- The following settlements were named in honor of Kotsyubinsky:
- urban-type settlement Kotsyubinskoye, Kiev-Svyatoshinsky district, Kyiv region;
- urban-type settlement Mikhailo-Kotsyubinskoe, Chernihiv district, Chernihiv region.
- The following streets are named in honor of Kotsyubynsky:
- Mikhail Kotsyubinsky Street in the center of Kyiv, as well as in several other cities of Ukraine;
- Kotsyubinskogo street in the west of Moscow
- Kotsyubynsky Avenue in Vinnitsa
- In 1970 at the Film Studio. Dovzhenko, a feature biographical film “The Kotsyubinsky Family” was shot (starring Alexander Gai).
- The name was given to the Nizhyn Mobile Ukrainian Musical and Drama Theater.
In the spring of 1913, M. Kotsyubinsky passed away. The writer was buried on Boldina Mountain in Chernigov.
