home Women A white biography briefly. Andrey Bely

A white biography briefly. Andrey Bely

Real name and surname – Boris Nikolaevich Bugaev.

Andrei Bely - Russian poet, prose writer, symbolist theorist, critic, memoirist - was born October 14 (26), 1880 in Moscow in the family of mathematician N.V. Bugaev, who 1886-1891 - Dean of the Faculty of Physics and Mathematics of Moscow University, founder of the Moscow School of Mathematics, who anticipated many of the ideas of K. Tsiolkovsky and Russian “cosmists”. The mother studied music and tried to contrast the artistic influence with the “flat rationalism” of her father. The essence of this parental conflict was constantly reproduced by Bely in his later works.

At the age of 15, he met the family of his brother Vl.S. Solovyova – M.S. Solovyov, his wife, artist O.M. Solovyova, and son, future poet S.M. Soloviev. Their house became a second family for A. Bely, here his first literary experiments were sympathetically met, they came up with a pseudonym, and introduced him to the latest art and philosophy (A. Schopenhauer, F. Nietzsche, Vl.S. Solovyov). In 1891-1899 Bely studied at the Moscow private gymnasium L.I. Polivanova. In 1903 He graduated from the natural sciences department of the Faculty of Physics and Mathematics of Moscow University. In 1904 entered the Faculty of History and Philology, however in 1906 submitted a request for dismissal.

In 1901 Bely submitted “Symphony (2nd, dramatic)” to print. The genre of literary “symphony” created by A. Bely (during his lifetime the “Northern Symphony (1st, heroic)” was published ( 1904 ), "Return" ( 1905 ), "Blizzard Cup" ( 1908 )), demonstrated a number of significant features of his poetics: a tendency towards the synthesis of words and music (a system of leitmotifs, rhythmization of prose, transfer of structural laws of musical form into verbal compositions), a combination of plans of eternity and modernity.

In 1901-1903. was part of the Moscow Symbolists grouping around the Scorpion publishing house (V. Bryusov, K. Balmont, Y. Baltrushaitis) and Grif; then he met the organizers of the St. Petersburg Religious and Philosophical Meetings and the publishers of the magazine “ New way» D.S. Merezhkovsky, Z.N. Gippius. Since January 1903 began correspondence with A. Blok (personal acquaintance took place 1904.), with whom he was connected by years of “friendship and enmity.” Autumn 1903 Andrei Bely became one of the organizers and ideological inspirers of the “Argonauts” circle (Ellis, S.M. Solovyov, A.S. Petrovsky, E.K. Medtner, etc.), which professed the ideas of symbolism as religious creativity (“theurgin”), the equality of “texts of life” and “texts of art”, love-mystery as the path to the eschatological transformation of the world. “Argonautic” motifs developed in Bely’s articles of this period, published in the magazines “World of Art”, “Scales”, “Golden Fleece”, as well as in the collection of poems “Gold in Azure” ( 1904 ).

The collapse of the “Argonautic” myth in the minds of Andrei Bely ( 1904-1906 ) occurred under the influence of a number of factors: a shift in philosophical guidelines from the eschatology of F. Nietzsche and Vl.S. Solovyov to neo-Kantianism and the problems of epistemological justification of symbolism, the tragic vicissitudes of unrequited love for L.D. Blok (reflected in the collection “Urna”, 1909 ), a split and fierce journal polemics in the Symbolist camp. Events of the Revolution 1905-1907 gg. were initially perceived by Bely in line with anarchic maximalism, but it was during this period that social motives and “Nekrasov” rhythms and intonations appeared in his poetry (the collection of poems “Ashes”, 1909 ).

1909-1910. – the beginning of a turning point in A. Bely’s worldview, the search for new positive life paths. Summing up the results of his previous creative activity, he published three volumes of critical and theoretical articles (“Symbolism”, “Green Meadow”, both 1910 ; "Arabesque" 1911 ). Attempts to find “new soil”, a synthesis of West and East are palpable in the novel “Silver Dove” ( 1909 ). The beginning of the revival was the rapprochement and civil marriage with artist A.A. Turgeneva, who shared years of wanderings with him ( 1910-1912 , Sicily – Tunisia – Egypt – Palestine), described in two volumes of “Travel Notes”. Together with her, Andrei Bely experiences years of enthusiastic apprenticeship with the creator of anthroposophy, R. Steiner. The highest creative achievement of this period is the novel “Petersburg” ( 1913-1914 ), which concentrated historiosophical issues related to understanding Russia’s path between the West and the East, and had a huge influence on the largest novelists of the 20th century (M. Proust, J. Joyce, etc.).

In 1914-1916. lived in Dornach (Switzerland), participating in the construction of the anthroposophical temple "Goetheanum". In August 1916 returned to Russia. IN 1915-1916. created the novel “Kotik Letaev” - the first in a planned series of autobiographical novels (continuation - the novel “Baptized Chinese”, 1921 ). Bely perceived the beginning of the First World War as a universal human disaster, the Russian Revolution 1917 – as a possible way out of a global catastrophe. Cultural and philosophical ideas of this time were embodied in the essayistic cycle “At the Passage” (“I. Crisis of Thought”, 1918 ; "II. Crisis of Thought" 1918 ; "III. Crisis of culture", 1918 ), essay “Revolution and Culture” ( 1917 ), the poem “Christ is Risen” ( 1918 ), collection of poems “Star” ( 1922 ).

In 1921-1923. In Berlin, Andrei Bely experienced a painful separation from R. Steiner, a break with A.A. Turgeneva and found himself on the verge of a mental breakdown, although he continued his active literary activity. Upon returning to his homeland, he made a number of hopeless attempts to find his place in Soviet culture, created the novel duology “Moscow” (“Moscow Eccentric”, 1926 ; "Moscow is under attack" 1926 ), the novel "Masks" ( 1932 ), acted as a memoirist (“Memories of Blok”, 1922-1923 ; trilogy “At the turn of two centuries”, 1930 ; "Beginning of the Century" 1933 ; "Between two revolutions" 1934 ), wrote theoretical and literary studies “Rhythm as dialectics and “ Bronze Horseman»» ( 1929 ) and "Gogol's Mastery" ( 1934 ). These studies had a largely decisive influence on literary studies of the 20th century. (formalist and structuralist schools in the USSR, “new criticism” in the USA), laid the foundations of modern scientific poetry (distinction between meter and rhythm, etc.). The work of Andrei Bely expressed the feeling of a total crisis of life and the world order.

Andrey Bely (real name Boris Nikolaevich Bugaev). Born October 14 (26), 1880, Moscow - died January 8, 1934, Moscow. Russian writer, poet, critic, memoirist, poet, one of the leading figures of Russian symbolism and modernism in general.

Born into the family of mathematician Nikolai Vasilyevich Bugaev (1837-1903), dean of the Faculty of Physics and Mathematics at Moscow University, and his wife Alexandra Dmitrievna, née Egorova (1858-1922).

Until he was twenty-six years old, he lived in the very center of Moscow, on Arbat, in the apartment where he spent his childhood and youth; there is currently a memorial apartment. Bugaev Sr. had wide acquaintances among representatives of the old Moscow professorship; Leo Tolstoy visited the house.

In 1891-1899 Boris Bugaev graduated from the famous Moscow gymnasium L.I. Polivanov, where in the last grades he became interested in Buddhism and the occult, while simultaneously studying literature. Dostoevsky, Ibsen, and Nietzsche had a special influence on Boris at that time. Here he awakened an interest in poetry, especially in French and Russian symbolists (Bryusov, Merezhkovsky).

In 1895, he became close to Sergei Solovyov and his parents, Mikhail Sergeevich and Olga Mikhailovna, and soon with Mikhail Sergeevich’s brother, the philosopher Vladimir Solovyov.

In 1899, at the insistence of his father, he entered the natural sciences department of the Faculty of Physics and Mathematics of Moscow University. WITH teenage years tried to combine artistic and mystical moods with positivism, with the desire for exact sciences. At the university he works on invertebrate zoology, studies the works of Darwin, chemistry, but does not miss a single issue of the World of Art. In the fall of 1899, Boris, as he put it, “devotes himself entirely to the phrase, the syllable.”

In December 1901, Bely met the “senior symbolists” - Bryusov, Merezhkovsky and Gippius. In the fall of 1903, a literary circle called the “Argonauts” was organized around Andrei Bely.

In 1904, the “Argonauts” gathered in Astrov’s apartment. At one of the meetings of the circle, it was proposed to publish a literary and philosophical collection entitled “ Free conscience", and in 1906 two books in this collection were published.

In 1903, Bely entered into correspondence with, and a year later they met personally. Before that, in 1903, he graduated from the university with honors. Since the founding of the Libra magazine in January 1904, Andrei Bely began to work closely with him.

In the fall of 1904, he entered the Faculty of History and Philology of Moscow University, choosing B. A. Fokht as the head, but in 1905 he stopped attending classes, in 1906 he submitted a request for expulsion and began to engage exclusively in literary work.

After a painful break with Blok and his wife Lyubov Mendeleeva, Bely lived abroad for six months. In 1909 he became one of the co-founders of the Musaget publishing house.

In 1911 he made a series of trips through Sicily - Tunisia - Egypt - Palestine (described in " Travel notes»).

In 1910, Bugaev, relying on ownership mathematical methods, gave lectures on prosody to aspiring poets - according to D. Mirsky, “the date from which the very existence of Russian poetry as a branch of science can be counted.”

Since 1912, he edited the journal “Works and Days”, the main topic of which was theoretical issues of the aesthetics of symbolism.

In 1912 in Berlin, he met Rudolf Steiner, became his student and devoted himself to his apprenticeship and anthroposophy without looking back.

In fact, moving away from the previous circle of writers, he worked on prose works. When the war of 1914 broke out, Steiner and his students, including Andrei Bely, were in Dornach, Switzerland, where construction of the Goetheanum began. This temple was built with the own hands of Steiner's students and followers. Before the outbreak of the First World War, A. Bely visited the grave of Friedrich Nietzsche in the village of Röcken near Leipzig and Cape Arkona on the island of Rügen.

In 1916, B. N. Bugaev was summoned to Russia “to check his attitude towards military service” and arrived in Russia by a roundabout route through France, England, Norway and Sweden. His wife did not follow him. After the October Revolution, he taught classes on the theory of poetry and prose at the Moscow Proletkult among young proletarian writers.

From the end of 1919, Bely thought about returning to his wife in Dornach; he was released abroad only at the beginning of September 1921. From the explanation with Asya, it became clear that the continuation of the joint family life impossible. Vladislav Khodasevich and other memoirists remembered his broken, buffoonish behavior, “dancing” the tragedy in Berlin bars: “his foxtrot is pure Khlystyism: not even pandemonium, but Christ-dancing,” said.

In October 1923, Bely unexpectedly returned to Moscow to pick up his girlfriend Claudia Vasilyeva. “White is a dead man, and he will not be resurrected in any spirit,” wrote Pravda at the time.

In March 1925, he rented two rooms in Kuchina near Moscow.

Among latest works Andrei Bely - theoretical and literary studies “Rhythm as dialectics and The Bronze Horseman” (1929) and “The Mastery of Gogol” (1934), which made it possible to call him a “genius of corrosiveness.” A shortened summary of Bely’s theoretical calculations on the rhythm of Russian verse is given by Nabokov in the appendix to the translation of “Eugene Onegin” into English language(Notes on Prosody).

The writer died in the arms of his wife Claudia Nikolaevna on January 8, 1934 from a stroke - a consequence of sunstroke that happened to him in Koktebel. This fate was predicted by him in the collection “Ashes” (1909).

Personal life of Andrei Bely:

Bely was in “love triangles” with two brothers downstream - Valery Bryusov and Alexander Blok. The relationship between Bely, Bryusov and Nina Petrovskaya inspired Bryusov to create the novel The Fiery Angel (1907).

In 1905, Nina Petrovskaya shot Bely.

The triangle Bely - Blok - Lyubov Mendeleev was intricately refracted in the novel “Petersburg” (1913). For some time, Lyubov Mendeleeva-Blok and Bely met in rented apartment on Shpalernaya Street. When she informed Bely that she was staying with her husband, and wanted to erase him from her life forever, Bely entered a period of deep crisis, which almost ended in suicide.

Feeling abandoned by everyone, he went abroad.

Upon his return to Russia in April 1909, Bely became close to Anna Turgeneva ("Asya", 1890-1966, niece of the great Russian writer). In December 1910, she accompanied Bely on a trip to North Africa and the Middle East. On March 23, 1914 he married her. The wedding ceremony took place in Bern.

In 1921, when the writer returned to her in Germany after five years in Russia, Anna Alekseevna invited him to separate forever. She remained to live in Dornach, devoting herself to serving the cause of Rudolf Steiner. She was called the "anthroposophical nun." Being a talented artist, Asya managed to develop a special style of illustrations, which she supplemented with anthroposophical publications. Her “Memories of Andrei Bely”, “Memories of Rudolf Steiner and the construction of the first Goetheanum” contain interesting details of their acquaintance with anthroposophy, Rudolf Steiner and many talented people Silver Age. Her image can be recognized in Katya from The Silver Dove.

In October 1923, Bely returned to Moscow. A woman appeared in his life who was destined to spend time with him. last years- Claudia Nikolaevna Vasilyeva (nee Alekseeva; 1886-1970) became Bely’s last girlfriend. Quiet, caring Klodya, as the writer called her, became Bely’s wife on July 18, 1931.

, poet; one of the leading figures of Russian symbolism and modernism in general.

Biography

In 1899, at the insistence of his father, he entered the natural sciences department of the Faculty of Physics and Mathematics of Moscow University. From his youth, he tried to combine artistic and mystical moods with positivism, with the desire for exact sciences. At the university he works on invertebrate zoology, studies the works of Darwin, chemistry, but does not miss a single issue of the World of Art. In the fall of 1899, Boris, as he put it, “devotes himself entirely to the phrase, the syllable.”

In December 1901, Bely met the “senior symbolists” - Bryusov, Merezhkovsky and Gippius. In the fall of 1903, a literary circle called “Argonauts” was organized around Andrei Bely. In 1904, the “Argonauts” gathered in Astrov’s apartment. At one of the meetings of the circle, it was proposed to publish a literary and philosophical collection called “Free Conscience”, and in 1906 two books in this collection were published.

In 1903, Bely entered into correspondence with Alexander Blok, and a year later they met personally. Before that, in 1903, he graduated from the university with honors. Since the founding of the magazine “Libra” in January 1904, Andrei Bely began to work closely with him. In the fall of 1904, he entered the Faculty of History and Philology of Moscow University, choosing B. A. Fokht as its director; however, in 1905 he stopped attending classes, in 1906 he submitted a request for expulsion and began to engage exclusively in literary work.

After a painful break with Blok and his wife Lyubov Mendeleeva, Bely lived abroad for six months. In 1909 he became one of the co-founders of the Musaget publishing house. In 1911 he made a series of trips through Sicily - Tunisia - Egypt - Palestine (described in “Travel Notes”). In 1910, Bugaev, relying on his mastery of mathematical methods, gave lectures on prosody to aspiring poets - in the words of D. Mirsky, “the date from which the very existence of Russian poetry as a branch of science can be counted.”

Since 1912, he edited the journal “Works and Days”, the main topic of which was theoretical issues of the aesthetics of symbolism. In 1912 in Berlin he met Rudolf Steiner, became his student and devoted himself to his apprenticeship and anthroposophy without looking back. In fact, moving away from the previous circle of writers, he worked on prose works. When the war of 1914 broke out, Steiner and his students, including Andrei Bely, were in Dornach, Switzerland, where construction of the Goetheanum was beginning. This temple was built with the own hands of Steiner's students and followers. Before the start of the First World War, A. Bely visited the grave of Friedrich Nietzsche in the village of Röcken near Leipzig and Cape Arkona on the island of Rügen.

From the end of 1919, Bely thought about returning to his wife in Dornach; he was released abroad only at the beginning of September 1921. From the explanation with Asya, it became clear that the continuation of family life together was impossible. Vladislav Khodasevich and other memoirists remembered his broken, buffoonish behavior, “dancing” the tragedy in Berlin bars: “his foxtrot is pure Khlystyism: not even pandemonium, but Christ-dancing” (Tsvetaeva).

In October 1923, Bely unexpectedly returned to Moscow to pick up his girlfriend Claudia Vasilyeva. “White is a dead man, and in no spirit will he be resurrected,” wrote the all-powerful Leon Trotsky at that time in Pravda. In March 1925, he rented two rooms in Kuchina near Moscow. The writer died in the arms of his wife Claudia Nikolaevna on January 8, 1934 from a stroke - a consequence of sunstroke that happened to him in Koktebel. This fate was predicted by him in the collection “Ashes” (1909):

Believed in golden glitter
And he died from solar arrows.
I measured the centuries with the Duma,
But I couldn’t live my life.

Personal life

In the years when the Symbolists enjoyed the greatest success, Bely was in “love triangles” with two brothers along the stream - Valery Bryusov and Alexander Blok. The relationship between Bely, Bryusov and Nina Petrovskaya inspired Bryusov to create the novel “Fire Angel” (1907). In 1905, Nina Petrovskaya shot Bely. The triangle Bely - Blok - Lyubov Mendeleev was intricately refracted in the novel “Petersburg” (1913). For some time, Lyubov Mendeleeva-Blok and Bely met in a rented apartment on Shpalernaya Street. When she informed Bely that she was staying with her husband, and wanted to erase him from her life forever, Bely entered a period of deep crisis, which almost ended in suicide. Feeling abandoned by everyone, he went abroad.

Upon his return to Russia in April 1909, Bely became close to Anna Turgeneva (“Asya”, 1890-1966, niece of the great Russian writer Ivan Turgenev). In December 1910, she accompanied Bely on a trip to North Africa and the Middle East. On March 23, 1914 he married her. The wedding ceremony took place in Bern. In 1921, when the writer returned to her in Germany after five years in Russia, Anna Alekseevna invited him to separate forever. She remained to live in Dornach, devoting herself to serving the cause of Rudolf Steiner. She was called the "anthroposophical nun." Being a talented artist, Asya managed to develop a special style of illustrations, which she supplemented with anthroposophical publications. Her “Memories of Andrei Bely”, “Memories of Rudolf Steiner and the Construction of the First Goetheanum” contain interesting details of their acquaintance with anthroposophy, Rudolf Steiner and many talented people of the Silver Age. Her image can be recognized in Katya from The Silver Dove.

In October 1923, Bely returned to Moscow; Asya remains forever in the past. But a woman appeared in his life who was destined to spend his last years with him. Claudia Nikolaevna Vasilyeva (nee Alekseeva; 1886-1970) became Bely’s last girlfriend. Quiet, caring Klodya, as the writer called her, became Bely’s wife on July 18, 1931.

Creation

Literary debut - “Symphony (2nd, dramatic)” (M., 1902). It was followed by “Northern Symphony (1st, heroic)” (1904), “Return” (story, 1905), “Blizzard Cup” (1908) in the individual genre of lyrical rhythmic prose with characteristic mystical motifs and a grotesque perception of reality. Having entered the circle of symbolists, he participated in the magazines “World of Art”, “New Path”, “Scales”, “Golden Fleece”, “Pass”.

The early collection of poems “Gold in the Azure” () is distinguished by its formal experimentation and characteristic symbolist motifs. After returning from abroad, he published collections of poems “Ashes” (1909; the tragedy of rural Rus'), “Urna” (1909), the novel “Silver Dove” (1909; separate edition 1910), essays “The Tragedy of Creativity. Dostoevsky and Tolstoy" (1911). The results of his own literary critical activity, partly of symbolism in general, are summed up in collections of articles “Symbolism” (1910; also includes poetry works), “Green Meadow” (1910; includes critical and polemical articles, essays on Russian and foreign writers), “ Arabesques" (1911).

In 1914-1915, the first edition of the novel “Petersburg” was published, which is the second part of the trilogy “East or West”. In the novel "Petersburg" (1913-14; revised, shortened edition 1922) a symbolized and satirical image Russian statehood. The novel is widely recognized as one of the peaks of prose of Russian symbolism and modernism in general.

The first in the planned series of autobiographical novels is “Kotik Letaev” (1914-15, separate edition 1922); the series was continued with the novel “The Baptized Chinese” (1921; separate edition 1927). In 1915, Bely wrote a study “Rudolf Steiner and Goethe in the worldview of modern times” (Moscow, 1917).

Influence

Bely's stylistic style is extremely individualized - it is rhythmic, patterned prose with numerous fantastic elements. According to V.B. Shklovsky, “Andrei Bely is the most interesting writer of our time. All modern Russian prose bears its traces. Pilnyak is a shadow from smoke, if White is smoke." To indicate the influence of A. Bely and A. M. Remizov on post-revolutionary literature, the researcher uses the term “ornamental prose”. This direction became the main one in the literature of the first years of Soviet power. In 1922, Osip Mandelstam called on writers to overcome Andrei Bely as “the pinnacle of Russian psychological prose” and to return from weaving words to pure plot action. Since the late 1920s. Belov's influence on Soviet literature is steadily fading.

Addresses in St. Petersburg

01.1905 - Merezhkovsky’s apartment in the apartment building of A.D. Muruzi - Liteiny Prospekt, 24;
01. - 02.1905 - furnished rooms “Paris” in the apartment building of P. I. Likhachev - Nevsky Prospekt, 66;
12.1905 - furnished rooms “Paris” in the apartment building of P. I. Likhachev - Nevsky Prospekt, 66;
04. - 08.1906 - furnished rooms “Paris” in the apartment building of P. I. Likhachev - Nevsky Prospekt, 66;
30.01. - 03/08/1917 - apartment of R.V. Ivanov-Razumnik - Tsarskoe Selo, Kolpinskaya street, 20;
spring 1920 - 10.1921 - apartment building of I. I. Dernov - Slutskogo Street, 35 (from 1918 to 1944 it was called Tavricheskaya Street).

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Notes

(original in the ImWerden library)

Excerpt characterizing Andrei Bely

The adjutant looked back at Pierre, as if not knowing what to do with him now.
“Don’t worry,” said Pierre. – I’ll go to the mound, okay?
- Yes, go, you can see everything from there and it’s not so dangerous. And I'll pick you up.
Pierre went to the battery, and the adjutant went further. They did not see each other again, and much later Pierre learned that this adjutant’s arm was torn off that day.
The mound that Pierre entered was the famous one (later known among the Russians under the name of the kurgan battery, or Raevsky’s battery, and among the French under the name la grande redoute, la fatale redoute, la redoute du center [the great redoubt, the fatal redoubt, the central redoubt ] a place around which tens of thousands of people were positioned and which the French considered the most important point of the position.
This redoubt consisted of a mound on which ditches were dug on three sides. In a place dug in by ditches there were ten firing cannons, stuck out into the opening of the shafts.
There were cannons lined up with the mound on both sides, also firing incessantly. A little behind the guns stood the infantry troops. Entering this mound, Pierre did not think that this place, dug in with small ditches, on which several cannons stood and fired, was the most important place in the battle.
To Pierre, on the contrary, it seemed that this place (precisely because he was on it) was one of the most insignificant places of the battle.
Entering the mound, Pierre sat down at the end of the ditch surrounding the battery, and with an unconsciously joyful smile looked at what was happening around him. From time to time, Pierre still stood up with the same smile and, trying not to disturb the soldiers who were loading and rolling guns, constantly running past him with bags and charges, walked around the battery. The guns from this battery fired continuously one after another, deafening with their sounds and covering the entire area with gunpowder smoke.
In contrast to the creepiness that was felt between the infantry soldiers of the cover, here, on the battery, where a small number of people busy with work are white limited, separated from others by a ditch - here one felt the same and common to everyone, as if a family revival.
The appearance of the non-military figure of Pierre in a white hat initially struck these people unpleasantly. The soldiers, passing by him, glanced sideways at his figure in surprise and even fear. Senior artillery officer, tall, with long legs, a pockmarked man, as if to look at the action of the extreme weapon, approached Pierre and looked at him curiously.
A young, round-faced officer, still a complete child, apparently just released from the corps, very diligently disposing of the two guns entrusted to him, addressed Pierre sternly.
“Mister, let me ask you to leave the road,” he told him, “it’s not allowed here.”
The soldiers shook their heads disapprovingly, looking at Pierre. But when everyone was convinced that this man in a white hat not only did nothing wrong, but either sat quietly on the slope of the rampart, or with a timid smile, courteously avoiding the soldiers, walked along the battery under gunfire as calmly as along the boulevard, then Little by little, the feeling of hostile bewilderment towards him began to turn into affectionate and playful sympathy, similar to that which soldiers have for their animals: dogs, roosters, goats and in general animals living with military commands. These soldiers immediately mentally accepted Pierre into their family, appropriated them and gave him a nickname. “Our master” they nicknamed him and laughed affectionately about him among themselves.
One cannonball exploded into the ground two steps away from Pierre. He, cleaning the soil sprinkled with the cannonball from his dress, looked around him with a smile.
- And why aren’t you afraid, master, really! - the red-faced, broad soldier turned to Pierre, baring his strong white teeth.
-Are you afraid? – asked Pierre.
- How then? - answered the soldier. - After all, she will not have mercy. She will smack and her guts will be out. “You can’t help but be afraid,” he said, laughing.
Several soldiers with cheerful and affectionate faces stopped next to Pierre. It was as if they did not expect him to speak like everyone else, and this discovery delighted them.
- Our business is soldierly. But master, it’s so amazing. That's it master!
- In places! - the young officer shouted at the soldiers gathered around Pierre. This young officer, apparently, was fulfilling his position for the first or second time and therefore treated both the soldiers and the commander with particular clarity and formality.
The rolling fire of cannons and rifles intensified throughout the entire field, especially to the left, where Bagration’s flashes were, but because of the smoke of the shots, it was impossible to see almost anything from the place where Pierre was. Moreover, observing the seemingly family (separated from all others) circle of people who were on the battery absorbed all of Pierre’s attention. His first unconscious joyful excitement, produced by the sight and sounds of the battlefield, was now replaced, especially after the sight of this lonely soldier lying in the meadow, by another feeling. Now sitting on the slope of the ditch, he observed the faces surrounding him.
By ten o'clock twenty people had already been carried away from the battery; two guns were broken, shells hit the battery more and more often, and long-range bullets flew in, buzzing and whistling. But the people who were at the battery did not seem to notice this; Cheerful talk and jokes were heard from all sides.
- Chinenka! - the soldier shouted at the approaching grenade flying with a whistle. - Not here! To the infantry! – another added with laughter, noticing that the grenade flew over and hit the covering ranks.
- What, friend? - another soldier laughed at the man who crouched under the flying cannonball.
Several soldiers gathered at the rampart, looking at what was happening ahead.
“And they took off the chain, you see, they went back,” they said, pointing across the shaft.
“Mind your job,” the old non-commissioned officer shouted at them. “We’ve gone back, so it’s time to go back.” - And the non-commissioned officer, taking one of the soldiers by the shoulder, pushed him with his knee. There was laughter.
- Roll towards the fifth gun! - they shouted from one side.
“At once, more amicably, in the burlatsky style,” the cheerful cries of those changing the gun were heard.
“Oh, I almost knocked off our master’s hat,” the red-faced joker laughed at Pierre, showing his teeth. “Eh, clumsy,” he added reproachfully to the cannonball that hit the wheel and the man’s leg.
- Come on, you foxes! - another laughed at the bending militiamen entering the battery behind the wounded man.
- Isn’t the porridge tasty? Oh, the crows, they slaughtered! - they shouted at the militia, who hesitated in front of the soldier with a severed leg.
“Something else, kid,” they mimicked the men. – They don’t like passion.
Pierre noticed how after each cannonball that hit, after each loss, the general revival flared up more and more.
As if from an approaching thundercloud, more and more often, lighter and brighter, lightning of a hidden, flaring fire flashed on the faces of all these people (as if in rebuff to what was happening).
Pierre did not look forward to the battlefield and was not interested in knowing what was happening there: he was completely absorbed in the contemplation of this increasingly flaring fire, which in the same way (he felt) was flaring up in his soul.
At ten o'clock the infantry soldiers who were in front of the battery in the bushes and along the Kamenka River retreated. From the battery it was visible how they ran back past it, carrying the wounded on their guns. Some general with his retinue entered the mound and, after talking with the colonel, looked angrily at Pierre, went down again, ordering the infantry cover stationed behind the battery to lie down so as to be less exposed to shots. Following this, a drum and command shouts were heard in the ranks of the infantry, to the right of the battery, and from the battery it was visible how the ranks of the infantry moved forward.
Pierre looked through the shaft. One face in particular caught his eye. It was an officer who, with a pale young face, walked backwards, carrying a lowered sword, and looked around uneasily.
The rows of infantry soldiers disappeared into the smoke, and their prolonged screams and frequent gunfire could be heard. A few minutes later, crowds of wounded and stretchers passed from there. Shells began to hit the battery even more often. Several people lay uncleaned. The soldiers moved more busily and more animatedly around the guns. Nobody paid attention to Pierre anymore. Once or twice they shouted at him angrily for being on the road. The senior officer, with a frowning face, moved with large, fast steps from one gun to another. The young officer, flushed even more, commanded the soldiers even more diligently. The soldiers fired, turned, loaded, and did their job with tense panache. They bounced as they walked, as if on springs.
A thundercloud had moved in, and the fire that Pierre had been watching burned brightly in all their faces. He stood next to the senior officer. The young officer ran up to the elder officer, with his hand on his shako.
- I have the honor to report, Mr. Colonel, there are only eight charges, would you order to continue firing? - he asked.
- Buckshot! - Without answering, the senior officer shouted, looking through the rampart.
Suddenly something happened; The officer gasped and, curling up, sat down on the ground, like a shot bird in flight. Everything became strange, unclear and cloudy in Pierre’s eyes.
One after another, the cannonballs whistled and hit the parapet, the soldiers, and the cannons. Pierre, who had not heard these sounds before, now only heard these sounds alone. To the side of the battery, on the right, the soldiers were running, shouting “Hurray,” not forward, but backward, as it seemed to Pierre.
The cannonball hit the very edge of the shaft in front of which Pierre stood, sprinkled earth, and a black ball flashed in his eyes, and at the same instant it smacked into something. The militia who had entered the battery ran back.
- All with buckshot! - the officer shouted.
The non-commissioned officer ran up to the senior officer and in a frightened whisper (as a butler reports to his owner at dinner that there is no more wine required) said that there were no more charges.
- Robbers, what are they doing! - the officer shouted, turning to Pierre. The senior officer's face was red and sweaty, his frowning eyes sparkling. – Run to the reserves, bring the boxes! - he shouted, angrily looking around Pierre and turning to his soldier.
“I’ll go,” said Pierre. The officer, without answering him, walked in the other direction with long steps.
– Don’t shoot... Wait! - he shouted.
The soldier, who was ordered to go for the charges, collided with Pierre.
“Eh, master, there’s no place for you here,” he said and ran downstairs. Pierre ran after the soldier, going around the place where the young officer was sitting.
One, another, a third cannonball flew over him, hitting in front, from the sides, from behind. Pierre ran downstairs. "Where am I going?" - he suddenly remembered, already running up to the green boxes. He stopped, undecided whether to go back or forward. Suddenly a terrible shock threw him back to the ground. At the same instant, the brilliance of a large fire illuminated him, and at the same instant a deafening thunder, crackling and whistling sound rang in his ears.
Pierre, having woken up, was sitting on his backside, leaning his hands on the ground; the box he was near was not there; only green burnt boards and rags were lying on the scorched grass, and the horse, shaking its shaft with fragments, galloped away from him, and the other, like Pierre himself, lay on the ground and squealed shrilly, protractedly.

Pierre, unconscious from fear, jumped up and ran back to the battery, as the only refuge from all the horrors that surrounded him.
While Pierre was entering the trench, he noticed that no shots were heard at the battery, but some people were doing something there. Pierre did not have time to understand what kind of people they were. He saw the senior colonel lying with his back to him on the rampart, as if examining something below, and he saw one soldier he noticed, who, breaking forward from the people holding his hand, shouted: “Brothers!” – and saw something else strange.
But he had not yet had time to realize that the colonel had been killed, that the one shouting “brothers!” There was a prisoner who, in front of his eyes, was bayoneted in the back by another soldier. As soon as he ran into the trench, a thin, yellow, sweaty-faced man in a blue uniform, with a sword in his hand, ran at him, shouting something. Pierre, instinctively defending himself from the push, since they, without seeing, ran away from each other, put out his hands and grabbed this man (it was a French officer) with one hand by the shoulder, with the other by the proud. The officer, releasing his sword, grabbed Pierre by the collar.
For several seconds, they both looked with frightened eyes at faces alien to each other, and both were at a loss about what they had done and what they should do. “Am I taken prisoner or is he taken prisoner by me? - thought each of them. But, obviously, the French officer was more inclined to think that he had been taken prisoner, because Pierre’s strong hand, driven by involuntary fear, squeezed his throat tighter and tighter. The Frenchman wanted to say something, when suddenly a cannonball whistled low and terribly above their heads, and it seemed to Pierre that the French officer’s head had been torn off: he bent it so quickly.
Pierre also bowed his head and let go of his hands. Without thinking any more about who took whom prisoner, the Frenchman ran back to the battery, and Pierre went downhill, stumbling over the dead and wounded, who seemed to him to be catching his legs. But before he had time to go down, dense crowds of fleeing Russian soldiers appeared towards him, who, falling, stumbling and screaming, ran joyfully and violently towards the battery. (This was the attack that Ermolov attributed to himself, saying that only his courage and happiness could have accomplished this feat, and the attack in which he allegedly threw the St. George crosses that were in his pocket onto the mound.)
The French who occupied the battery ran. Our troops, shouting “Hurray,” drove the French so far behind the battery that it was difficult to stop them.
Prisoners were taken from the battery, including a wounded French general, who was surrounded by officers. Crowds of wounded, familiar and unfamiliar to Pierre, Russians and French, with faces disfigured by suffering, walked, crawled and rushed from the battery on stretchers. Pierre entered the mound, where he spent more than an hour, and from the family circle that accepted him, he did not find anyone. There were many dead here, unknown to him. But he recognized some. The young officer sat, still curled up, at the edge of the shaft, in a pool of blood. The red-faced soldier was still twitching, but they did not remove him.
Pierre ran downstairs.
“No, now they will leave it, now they will be horrified by what they did!” - thought Pierre, aimlessly following the crowds of stretchers moving from the battlefield.
But the sun, obscured by smoke, still stood high, and in front, and especially to the left of Semyonovsky, something was boiling in the smoke, and the roar of shots, shooting and cannonade not only did not weaken, but intensified to the point of despair, like a man who, straining himself, screams with all his might.

The main action of the Battle of Borodino took place in the space of a thousand fathoms between Borodin and Bagration’s flushes. (Outside this space, on the one hand, the Russians made a demonstration by Uvarov's cavalry in mid-day; on the other hand, behind Utitsa, there was a clash between Poniatowski and Tuchkov; but these were two separate and weak actions in comparison with what happened in the middle of the battlefield. ) On the field between Borodin and the flushes, near the forest, in an area open and visible from both sides, the main action of the battle took place, in the most simple, ingenuous way.
The battle began with a cannonade from both sides from several hundred guns.
Then, when the smoke covered the entire field, in this smoke two divisions moved (from the French side) on the right, Dessay and Compana, on fléches, and on the left the regiments of the Viceroy to Borodino.
From the Shevardinsky redoubt, on which Napoleon stood, the flashes were at a distance of a mile, and Borodino was more than two miles away in a straight line, and therefore Napoleon could not see what was happening there, especially since the smoke, merging with the fog, hid all terrain. The soldiers of Dessay's division, aimed at the flushes, were visible only until they descended under the ravine that separated them from the flushes. As soon as they descended into the ravine, the smoke of cannon and rifle shots on the flashes became so thick that it covered the entire rise of that side of the ravine. Something black flashed through the smoke - probably people, and sometimes the shine of bayonets. But whether they were moving or standing, whether they were French or Russian, could not be seen from the Shevardinsky redoubt.
The sun rose brightly and slanted its rays straight into the face of Napoleon, who was looking from under his hand at the flushes. Smoke lay in front of the flushes, and sometimes it seemed that the smoke was moving, sometimes it seemed that the troops were moving. People's screams could sometimes be heard behind the shots, but it was impossible to know what they were doing there.
Napoleon, standing on the mound, looked into the chimney, and through the small circle of the chimney he saw smoke and people, sometimes his own, sometimes Russians; but where what he saw was, he did not know when he looked again with his simple eye.
He stepped off the mound and began to walk back and forth in front of him.
From time to time he stopped, listened to the shots and peered into the battlefield.
Not only from the place below where he stood, not only from the mound on which some of his generals now stood, but also from the very flashes on which were now together and alternately the Russians, the French, the dead, the wounded and the living, frightened or distraught soldiers, it was impossible to understand what was happening in this place. For several hours at this place, amid incessant shooting, rifle and cannon fire, first Russians, sometimes French, sometimes infantry, sometimes cavalry soldiers appeared; appeared, fell, shot, collided, not knowing what to do with each other, screamed and ran back.
From the battlefield, his sent adjutants and orderlies of his marshals constantly jumped to Napoleon with reports on the progress of the case; but all these reports were false: both because in the heat of battle it is impossible to say what is happening at a given moment, and because many adjutants did not reach the real place of the battle, but conveyed what they heard from others; and also because while the adjutant was driving through the two or three miles that separated him from Napoleon, circumstances changed and the news he was carrying was already becoming incorrect. So an adjutant galloped up from the Viceroy with the news that Borodino had been occupied and the bridge to Kolocha was in the hands of the French. The adjutant asked Napoleon if he would order the troops to move? Napoleon ordered to line up on the other side and wait; but not only while Napoleon was giving this order, but even when the adjutant had just left Borodino, the bridge had already been recaptured and burned by the Russians, in the very battle in which Pierre took part at the very beginning of the battle.
An adjutant who rode up from a flush with a pale, frightened face reported to Napoleon that the attack had been repulsed and that Compan was wounded and Davout was killed, and meanwhile the flushes were occupied by another part of the troops, while the adjutant was told that the French had been repulsed and Davout was alive and only slightly shell-shocked. Taking into account such necessarily false reports, Napoleon made his orders, which either had already been carried out before he made them, or could not and were not carried out.
Marshals and generals, who were at a closer distance from the battlefield, but just like Napoleon, did not participate in the battle itself and only occasionally drove into the fire of bullets, without asking Napoleon, made their orders and gave their orders about where and where to shoot, and where to gallop on horseback, and where to run to foot soldiers. But even their orders, just like Napoleon’s orders, were also carried out to the smallest extent and were rarely carried out. For the most part, what came out was the opposite of what they ordered. The soldiers, who were ordered to go forward, were hit by grapeshot and ran back; the soldiers, who were ordered to stand still, suddenly, seeing the Russians suddenly appearing opposite them, sometimes ran back, sometimes rushed forward, and the cavalry galloped without orders to catch up with the fleeing Russians. So, two regiments of cavalry galloped through the Semenovsky ravine and just drove up the mountain, turned around and galloped back at full speed. The infantry soldiers moved in the same way, sometimes running completely different from where they were told. All the orders about where and when to move the guns, when to send foot soldiers to shoot, when to send horse soldiers to trample Russian foot soldiers - all these orders were made by the closest unit commanders who were in the ranks, without even asking Ney, Davout and Murat, not only Napoleon. They were not afraid of punishment for failure to comply with orders or for unauthorized orders, because in battle it concerns what is most dear to a person - own life, and sometimes it seems that salvation lies in running back, sometimes in running forward, and these people, who were in the very heat of battle, acted in accordance with the mood of the moment. In essence, all these movements back and forth did not facilitate or change the position of the troops. All their attacks and attacks on each other caused them almost no harm, but harm, death and injury were caused by cannonballs and bullets flying everywhere throughout the space through which these people rushed. As soon as these people left the space through which cannonballs and bullets were flying, their superiors standing behind them immediately formed them, subjected them to discipline and, under the influence of this discipline, brought them back into the area of fire, in which they again (under the influence of the fear of death) lost discipline and rushed about according to the random mood of the crowd.

Bely Andrey (real name and surname Boris Nikolaevich Bugaev) (1880-1934), writer, symbolist theorist.

Born on October 26, 1880 in Moscow in the family of a famous mathematician, professor at Moscow University Nikolai Vasilyevich Bugaev. In 1899, on his father’s initiative, he entered the natural sciences department of the Faculty of Physics and Mathematics of Moscow University.

IN student years he began to write "symphonies" ( literary genre created by himself). Lyrical rhythmic prose (the writer turned to it constantly) sought to convey the musical harmony of the surrounding world and the unsteady structure human soul. "Symphony (2nd, dramatic)" was Bely's first publication (1902); “Northern Symphony (1st, heroic),” written earlier, appeared in print only in 1904.

The literary debut caused mocking reviews from most critics and readers, but was highly praised in symbolist circles. In 1903, a group of like-minded people formed around Bely, consisting mainly of students from Moscow University. They called themselves “Argonauts” and began searching for the “Golden Fleece” - the highest meaning of symbolism, which ultimately meant the creation of a new man. Bely’s poetry collection “Gold in Azure” (1904) is filled with the same motifs. The year the book was published was significant for the author: he met A. A. Blok and began publishing in the new Symbolist magazine “Scales.”

The writer vigorously welcomed the revolution of 1905, perceiving it in the spirit of his quest - as a cleansing storm, a fatal element.

In 1906-1908 Bely experienced a personal drama: he fell hopelessly in love with Blok’s wife Lyubov Dmitrievna. This entailed a tragic breakdown in the relationship with a poet friend and ultimately resulted in piercing lyrics (collection “Urna”, 1909).

The novel “Silver Dove” (1909) is an attempt to comprehend the catastrophic state of Russia as a prologue to its future spiritual revival.

In the first half of the 10s. Bely's most famous novel was created, which represents one of the highest achievements of Russian symbolism - “Petersburg”, combining grotesque and lyricism, tragedy and comedy.

In the October Revolution of 1917, Bely saw another phenomenon of the cleansing element. He sincerely tried to adapt to life in new Russia, participating in “cultural construction,” even wrote a poem permeated with revolutionary pathos, “Christ is Risen” (1918). However, in the early 20s. went abroad again.

Those who met him in Berlin noted his spiritual breakdown. The reasons were his wife’s betrayal, disappointment in the teachings of the German mystic R. Steiner and others. “Burnt talent” - this is what Bely said about himself after returning to Russia (1923).

In the last years of his life, he published three books of memoirs: “At the turn of two centuries” (1930), “The beginning of the century” (1933), “Between two revolutions” (1934). These memoirs are an invaluable source of information about the era and literary quests.

In the summer of 1933 in Koktebel, Bely suffered from sunstroke. On January 8, 1934, after several brain hemorrhages, the “brilliant and strange” (according to Blok) writer passed away.

Andrey Bely short biography outlined in this article.

Andrey Bely biography brief

Andrey Bely(real name Boris Nikolaevich Bugaev- Russian writer; one of the leading figures of Russian symbolism and modernism in general.

Born on October 14, 1880 in Moscow in the family of scientist, mathematician and philosopher Nikolai Bugaev.

In 1891-1899 graduated from the famous Moscow gymnasium of L.I. Polivanov, he developed an interest in poetry.

In 1899, at the insistence of his father, he entered the natural sciences department of the Faculty of Physics and Mathematics of Moscow University. Which he graduated with honors in 1903.

In 1902, Andrei Bely, together with his friends, organized the Argonauts literary circle. And after 4 years, members of the circle published two collections “Free Conscience”.

In 1903 White started correspondence with Alexander Blok, and a year later they met personally.

In 1904, Andrei Bely’s first poetry collection, “Gold in Azure,” was published.

In the fall, he re-entered Moscow University at the Faculty of History and Philology, but in 1905 he stopped attending lectures, and in 1906 he submitted a request for expulsion in connection with a trip abroad.

Two years later, Bely returned to Russia. And then he married Asa Turgeneva. He traveled a lot until one day he met Rudolf Steiner and became his student.

In 1909 he became one of the co-founders of the Musaget publishing house. Since 1912, he edited the magazine “Works and Days”.

In 1916, Andrei Bely returned to Russia, but alone, without his wife.

From the end of 1919, Bely thought about returning to his wife in Dornach; he was released abroad only in 1921. In 1921-1923, he lived in Berlin, where he experienced a break with Turgeneva,

In October 1923, Bely unexpectedly returned to Moscow to pick up his friend Claudia Vasilyeva. In March 1925, he rented two rooms in Kuchina near Moscow. The writer died in the arms of his wife Claudia Nikolaevna on January 8, 1934 from a stroke - a consequence of sunstroke that happened to him in Koktebel.

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