Mikhail Petrovich Pogodin Biography

Mikhail Petrovich Pogodin M. Pogodin Unknown artist. Born in Moscow in the family of a serf manager, released with his family, he graduated from the Moscow provincial gymnasium, then the verbal department of Moscow University in Pogodin was invited by a home teacher to the I. Trubetskoy family, lived in their estate near Moscow and for 10 years he was a close person in this highly intelligent aristocratic family.

A. Trubetskoy Pogodin later called his student the heroine of his stories. Her fascination with a large extent explains the ambition of Pogodin, who dreamed of smoothing the social abyss that separated him from the circle of Trubetskoy. In Pogodin, the Archive youths come closer - the color of Moscow intelligent youth brothers Venevitinov, the Kireevsky brothers and others.

At the end of the university, Pogodin teaches at the Moscow noble guesthouse, defends the master's thesis “On the origin of Rus'” and begins to work at Moscow University C - Adjunct, C - an orderly professor about the Russian Federation of Russian stories; With becoming an academician. C, having left the university, is engaged exclusively with science and magazine. The strong side of Pogodin-Historik and his contribution to science was the search and criticism of sources, the publication of the monuments “Works of I.

Pososhkov”, -63; The Pskov Chronicle, etc. Pogodin also created an ancient storage - a collection of manuscripts, arts and material culture of Ancient Rus', which had a greater scientific value in ser. XIX century. In disputes about the origin of Rus', he defended the Norman theory, according to which our statehood was created “called up” to Rus' by the Varangians. The polemic of Pogodin began with N.

Kostomarov about the origin of serfdom and the Tatar influence on the emergence of statehood of Moscow Rus'. During a trip to Europe, Pogodin established, and then maintained ties with prominent Slavists V. Ganka, P. Pogodin's ideological position combined condemnation of serfdom and fidelity to patriarchal domestic foundations, monarchism, and orthodox religiosity. In him, together with D.

Venevitinov, A. Khomyakov, I. Kireevsky, S. Shevyrev and others. Pushkin reacted to the magazine with interest and supported him, hoping that he would be the opposition to publications of Bulgarin and Grech and N. Polevoi magazine “Moscow Telegraph” hostile to Pushkin. At first, in the “Moscow messenger”, poetry was brilliantly represented by the names of A. Pushkin, D. Venevitinov, E.

Baratynsky, D. Davydov, N. Language, A. Khomyakov, but with Pushkin and his friends are cooling to the “Moscow Bulletin”, fiction is supplanted by scientific articles, too special for some wide circle of readers, the magazine loses its subscribers and ceases to exist. In –39 Pogodin is an active participant in the Moscow Observer magazine, who fought with the “trade direction” in Russian journalism.

The government of Nicholas I and the Minister of Education S. Uvarov formulated the triad “Orthodoxy -self -contained - folk”, which Pogodin accepted and in his further activities, a journalist and publicist adhered to her. In –56, together with S. Shevyrev Pogodin, publishes the magazine Moskvityan. A characteristic of Pogodin, the assertion of the identity of Russian history, the interest of the magazine in antiquity and popular life attract Slavophiles to him, which periodically perform on its pages.

Pogodin’s writer's activity is limited to mi when he created 15 stories and 3 historical dramas, which played a role in the development of Russian literature. In Pogodin, he published a “letter of Russian novels” “Northern flowers for a year”. For stories and novels “In the spirit of Walter Scott”, according to Pogodin, Russian history gives rich material that Pogodin proves in this article a brief presentation of the most interesting, dramatic events, a description of the bright characters of historical figures of the past.

By this time, Pogodin was already the author of the novels “The Beggar”, “as it came up and responds” to both - in his stories, Pogodin partly realizes the intended program: they are quite diverse in terms of problems, the heroes belong to different layers of society, in the most original were the most original others. Pogodin also has the experience of the “secular story” “as it comes up and responds” and several stories, the plots of which resemble the ballads “narrowed”,; "Criminal",; “Vasiliev Evening”, the story “Psychological Phenomena” –32 consists of 6 short, unrelated chapters, each of them tells a certain “case”, in which an unusual psychological situation, however described from the outside, was clearly manifested, without any attempts to analyze the character’s mental life.

Types and plot situations found in Pogodin’s stories often represent the first, black options for future classic pages of Russian prose. The very variety of problems of the material of the stories of Pogodin was important during the formation of Russian prose. The historical tragedy in the verses of “Martha, Posadnitsa Novgorod” turns to the topic of the fall of the Novgorod Republic.But unlike the revolutionary-romantic interpretation of the Decembrists, the topic receives more complex historical lighting from Pogodin.

The tragedy is based on the real episode described in the "History of the Russian State" N. Pogodin also used the annals, trying to historically reliably recreate the color of the era.

The tragedy shows the social heterogeneity of the Novgorodians, the contradictions in Novgorod society. Pogodin understands and shows the historical exhaustion of such a phenomenon as the specific principalities, the fatigue of the people from civil strife. The genuine tragedy of the conflict of the play is that both Novgorodians and Muscovites have its own rightness. The play caused the hot approval of Pushkin, who saw in it the continuation of the path scheduled by the poet himself in Boris Godunov.

Regarding this play, Pushkin in an unfinished article about it, as well as in letters, expressed a number of significant considerations about the folk drama, its tasks and development prospects in Russia. The next historical tragedy of Pogodin "Peter I" was prohibited for publication. Pogodin’s last work - the prosaic “History in the Persons of Dmitry Empire” is inferior to the drama “Martha, Posadnitsa Novgorod” both in artistic and ideological terms.