Dmitry V. Venevitinov(14 (26) September 1805, Moscow - 15 (27) March 1827, St. Petersburg) - Russian poet of the romantic trend, translator, prose writer, philosopher.

Biography

Dmitry Venevitinov was born on September 14 (26), 1805 in Moscow. His father, a retired warrant officer L.-GV. Semenovsky regiment, Vladimir Petrovich Venevitinov, came from a wealthy noble provincial family, known from the beginning of the 17th century from the census and collapsible books of the city of Voronezh. Mother, Anna Nikolaevna, came from an ancient family of princes Obolensky - White. Through her, Dmitry Venevitinov was in a distant relationship (fourth cousin) with A.S. Pushkin. Venevitinov received a classical education at home, led by his mother. Venevitinov was taught French and Latin, as well as classical literature, by his tutor Dorer, a retired French officer. Greek - the Greek Beil (Baylo). Painting - artist Lapersh. Russian literature was taught by Professor of Moscow University A.F. Merzlyakov, and music, most likely, by I.I. Genishta. He perfectly studied Venevitinov and the German language, apparently under the guidance of Kh.I. Gerke - tutor of his early deceased brother Peter. In 1822, Dmitry Venevitinov entered Moscow University, where he became interested in German philosophy and romantic poetry. At Moscow University he attended individual lectures, in particular the courses of A.F. Merzlyakov, I.I.Davydov, M.G. Pavlov and Loder. Participated in the meetings of the student literary circle of N.M. Rozhalin. In 1823, Dmitry Vladimirovich Venevitinov successfully passed the exam at the university course and in 1824 entered the service in the Moscow archive of the College of Foreign Affairs (“archival youths” - this is how Pushkin ironically called the employees of this archive in his novel “Eugene Onegin”).

Together with Prince VF Odoevsky, he organized the secret philosophical "Society of Wisdom", which also included IV Kireevsky, AI Koshelev, VP Titov, NA Melgunov and others. Attended the meetings of the circle, not being formally its members, M.P. Pogodin and S.P. Shevyrev. The circle was engaged in the study of German idealist philosophy - the works of F. Schelling, I. Kant, Fichte, Oken, F. Schlegel and others.

Venevitinov took an active part in the publication of the Moscow Bulletin magazine.

An important role in the life of Dmitry Vladimirovich Venevitinov was played by his acquaintance with Princess Zinaida Alexandrovna Volkonskaya, an intelligent and highly educated woman. A wonderful singer and amateur dramatic actress, Volkonskaya was the center of one of the most famous literary and art salons in Moscow. Dmitry Venevitinov was fascinated by her intelligence and beauty, and his unrequited feeling for Princess Volkonskaya bothered his sensitive nature until his last days.

In November 1826 Venevitinov, under the patronage of Z.A. Volkonskaya, moved from Moscow to St. Petersburg, joining the Asian Department of the Ministry of Foreign Affairs. At the entrance to St. Petersburg, the poet, together with F.S. Khomyakov and librarian gr. Laval O. Voshe, who accompanied the wife of the Decembrist Prince to Siberia. S.P. Trubetskoy, Ekaterina Ivanovna (nee Laval), was arrested on suspicion of involvement in the conspiracy of the Decembrists. He spent three days under arrest, which affected the condition of his weakened lungs. After that, on March 2, returning lightly dressed from the ball, Venevitinov caught a bad cold.

The poet died on March 15 (27), 1827 in St. Petersburg, apparently from severe pneumonia, before he was 22 years old. He was buried in the cemetery of the Simonov Monastery in Moscow. He bequeathed to put on his finger at the hour of his death a ring from Herculaneum - a gift from Zinaida Volkonskaya. When he fell into oblivion, the ring was put on his finger. But suddenly Venevitinov woke up and asked: "Do they marry me?" And he died. A. Pushkin and A. Mitskevich attended the funeral. Reburied in the 1930s. at the Novodevichy cemetery.

Creation

In his literary activity Venevitinov showed versatile talents and interests. He was not only a poet, but also a prose writer, wrote literary, programmatic and critical articles (his polemics with N.A. (EA Maymin. "Dmitry Venevitinov and his literary heritage". 1980).

The Venevitinovs wrote only about 50 poems. Many of them, especially later ones, are filled with deep philosophical meaning, which is a distinctive feature of the poet's lyrics.

The central theme of Venevitinov's last poems is the fate of the poet. In them, the cult of the romantic poet-chosen one is noticeable, highly exalted above the crowd and everyday life:

... But in a pure thirst for pleasure

Trust not every harp

Not many true prophets

With the seal of power on your forehead,

With gifts of lofty lessons,

With the verb of heaven on earth.

A number of Venevitinov's poems of 1826-1827, written several months before the poet's death ("Testament", "To my ring", "Poet and friend") can rightfully be called prophetic. In them, the author seemed to foresee his early demise:

... The soul told me a long time ago:

You will rush in the world with lightning!

You are given to feel everything

But you won't enjoy life.

Venevitinov was also known as a gifted artist, musician, and music critic. When the posthumous edition was being prepared, Vladimir Odoevsky suggested including not only poems, but also drawings and musical works: “I would like to publish them together with the works of my friend, who miraculously combined all three arts”.

VENEVITINOV, Dmitry Vladimirovich - Russian poet, critic. Born into an old noble family. Received an excellent education at home. Seriously engaged in music and painting.

As an auditor, he attended lectures at Moscow University. Having passed the exams at the university in 1824, he entered the service in the Moscow archive of the Collegium of Foreign Affairs. In October 1826 he was transferred to the diplomatic service in St. Petersburg, where he died. Venevitinov's extraordinary talent manifested itself very early and amazed his contemporaries with its depth and versatility. Venevitinov was one of the initiators of the Society of Philosophy (founded in 1823), which studied philosophy, mainly German (F. Schelling, L. Oken, and others). In 1826 Venevitinov developed a plan for a literary and philosophical journal of a new type, partially implemented in the journal Moskovsky Vestnik; together with A. S. Pushkin he was one of the participants in the first issue (1827). Venevitinov's small literary heritage stands out among the romantic poetry of the 1920s for its philosophical orientation and social significance. According to VG Belinsky's characterization, “in his poems a really ideal, and not a dreamy ideal, direction shines through; in them one can see the content, which contained the independent force of development ”. Venevitinov's poetry reflected the freedom-loving ideas of the Decembrist era (,,, "Death of Byron"). The theme of the ancient Novgorod freemen is reflected in the poem, which was twice banned by the censorship. The cycle of poems is dedicated to the cult of friendship - a feeling that Venevitinoa elevated to an all-encompassing love for his fellow brothers. Many poems and theoretical statements of Venevitinov in his articles are devoted to the high purpose of poetry and poet. The philosophical motives of Venevitinov's lyrics were further developed in poetry E. A. Baratynsky, M. Yu. Lermontova, F. I. Tyutcheva... Venevitinov is the author of translations in verse and prose from Latin (Virgil), French (J. B. Gresset, C. Milvois), and German (E. T. A. Hoffmann and others). The best are the translations of Venevitinov from V. Goethe (excerpts from "Faust", from the tragedy "Egmont", the drama in verse "The Earthly Fate of the Artist" and "The Apotheosis of the Artist"). Among the literary critical articles of Venevitinov stands out "Analysis of an article about "Eugene Onegin""Highly appreciated A. S. Pushkin... Venevitinov also wrote about painting and music. In aesthetics, he put forward the idea of ​​the historical complication of art forms, opposing the normativity of the aesthetics of classicism. Speaking for the nationality and originality of art, he called the poet to civil service (article "Answer to Mr. Polevoy", etc.). In philosophical articles ("On the state of education in Russia", published under the title "Several thoughts in the plan of the journal", 1831) Venevitinov operates with dialectical categories, seeing in the struggle of contradictions the source of movement and development. The early death of Venevitinov, "strangled", according to A. I. Herzen, "by the rough grip of Russian life", caused poetic epitaphs A. A. Delviga, A. V. Koltsova, A. I. Odoevsky, Lermontov and others. NG Chernyshevsky wrote about him: "If Venevitinov had lived for at least ten years more, he would have moved forward our literature for decades ...".

Cit .: Complete. collection cit., ed. and with a note. B. V. Smirensky. Entry. Art. D. D. Blagogo, [M. - L.], 1934; Favorites. Entry. Art., prepared. text and notes. B. V. Smirensky, M., 1956; Poems. Articles, ed. and note. M. Aronson and I. Sergievsky, [L.], 1937; Poems. Entry. Art., ed. and note. V. L. Komarovich, L., 1940; Full collection poems. Entry. Art., preparation of the text and notes. B.V. Neumann, L., 1960.

Lit .: History of Rus. literature, t. 6, M. - L., 1953; Pyatkovsky A. P., Prince V. F. Odoevsky and D. V. Venevitinov, 3rd ed., St. Petersburg, 1901; Sakulin P.N., From the history of Russian. idealism, vol. 1, M., 1913; N. Fatov, D. V. Venevitinov's Love and Death, “Rus. philological. bulletin ", Warsaw, 1914, No. 3-4; Oksman Y., Censorship materials about D. V. Venevitinov, “Lit. museum ", 1, P., [b. g.], p. 340-47; Straten V. [V.], D. V. Venevitinov and “Mosk. bulletin "," Izv. ORYAS of the USSR Academy of Sciences ", Leningrad, 1925, v. 29; Mordovchenko N.I., Rus. criticism of the first quarter of the 19th century, M. - L., 1959.

B. V. Smirensky

Brief literary encyclopedia: In 9 volumes - T. 1. - M .: Soviet encyclopedia, 1962

In his theoretical statements Venevitinov is a convinced preacher of the study of German literature, in particular Goethe, opposed to them "the conditional shackles and ignorant self-confidence of the French", and the first theorist of "philosophical romanticism" in Russia. However, Venevitinov managed to embody these principles in his poetic work to a weak degree: they reach full bloom on Russian soil much later in philosophical lyrics. Tyutchev... The cult of friendship, passionate love, poetry and the poet, opposed to the "soulless and empty crowd" - these are the most typical motives of Venevitinov's poems, which, in their purely poetic qualities, are quite remarkable for a twenty-year-old poet, but in general do not distinguish him from the general stream of poetry of the 1920s. biennium Venevitinov did not remain alien to the freedom-loving tendencies of the Decembrist era in the coloring of embryonic Slavophilism (poem), but they also did not receive significant development in his work. The circumstances of his personal life - hopeless love, the charm that he showed on his writers' friends, untimely death - all this surrounded him with a special romantic halo, made him a living legend of Russian literature. To this, as well as to the promises that the highly gifted young man made, more than to the accomplishments, he owes the wide popularity that his name and his poetry enjoyed.

Bibliography: I. Complete. collection sochin., ed. Pyatkovsky, St. Petersburg, 1862 (the best available edition). Unpublished poems of Venevitinov were published in Gaz. The Day, St. Petersburg, 1913 (appendix to No. 219) and zhurn. "The Sun of Russia", No. 26/177, St. Petersburg., 1913 and "Russian antiquity", April, St. Petersburg., 1914.

II. Koshelev A.I., Literary Notes, Berlin, 1884; Barsukov N., Life and Works of Pogodin, St. Petersburg, 1888-1899 (see the index at the last XXII volume); Pyatkovsky A.P., Book. Odoevsky and Venevitinov, 3rd ed., St. Petersburg, 1901; Bobrov E., Literature and education in Russia of the XIX century, vol. I, Kazan, 1901; Kotlyarevsky N., Old portraits, St. Petersburg, 1907; Bobrov E., Philosophy in Russia, collection of works. II and Izvestia branch of Russian. lang. and verbal., vol. XV, book. 1, SPB., 1910; Sakulin P.N., From the history of Russian idealism, Vol. V.F. Odoevsky, t. I, M., 1913; Spitzer S., Materials for Venevitinov's biography, "Voice of the Past", No. 1, 1914; Oksman Y., Censorship materials about Venevitinov, "Literary Museum", I, P., 1921; Straten V.V., Venevitinov and "Moskovsky Vestnik", Izvestiya Branch of Russian. lang. and verbal. R. A. N., t. XXIX, L., 1924.

D. Blagoy

Literary encyclopedia: In 11 volumes - [M.], 1929-1939

Dmitry Vladimirovich Venevitinov lived a short, impetuous life. To educate the future poet, the best teachers were invited, who revealed to him the clear, harmonious, majestic world of antiquity and the secrets of ancient languages. Venevitinov knew modern European languages: French, German, English, Italian. Russian literature was taught to him by AF Merzlyakov, a well-known theoretician, critic and poet at that time, author of the song "Among the flat valley ...". Music - composer and pianist Genishta. Painting - the artist Lapersh ... What the teachers did not have time or could not give Venevitinov, made up for self-education: from the age of seventeen he attended lectures at Moscow University as a volunteer.

The completeness of knowledge about the culture of the past has become the basis for independent creativity; by 1824, when Venevitinov entered the service in the Moscow archive of the Collegium of Foreign Affairs and entered the circle of "archival youths" (expression Pushkin), he was already the author of several poems, mostly freely arranged by ancient and modern European authors.

His early poems capture the path that was usual for an aspiring poet of those years. From friendly messages (,), permeated with the usual motives of "serving the muses", worshiping freedom and joy, "pursuing sweet and peaceful", he easily moves on to a poem (1824), cut on the model of the Scottish "Poems of Ossian" (their author was a brilliant mystifier XVIII century J. MacPherson). Next to the Scottish epic - both Russian antiquity (), and the crystal-strict Western European form of the sonnet ...

By the time the Sonnets were created (1825), the unique literary world of the poet Dmitry Venevitinov had finally taken shape. This is a world where the word is freed from the burden of concreteness, and the events of real life are transferred into the space of human thought. The elegiac dictionary, quite traditional, is being transformed, filling with a philosophical meaning.

Venevitinov also creates several original philosophical works in prose, among which the dialogue "Anaxagoras" stands out, where, at the author's will, the interlocutors are the ancient Greek philosophers Anaxagoras and Plato who lived in different eras. The young poet does not care when the "real" Plato and Anaxagoras lived and whether they could exchange opinions. The main thing is that both of them loved wisdom more than all earthly pleasures and that in hoary antiquity they were worried about the possibility of the triumph of the harmonious "golden age", which in the 19th century is also occupied by Venevitinov's wisdom.

By 1823, a circle of lovers of wisdom - wisdom lovers had formed in Moscow, which, in addition to Venevitinov, included the prose writer V. F. Odoevsky, the critic I. V. Kireevsky, the writers N. M. Rozhalin and A. I. Koshelev; the prose writer and historian M.P. Pogodin, poet and philologist S.P. Shevyrev joined the circle. These young writers then challenged the philosophical tastes of the era. They turned their mental gaze to the works of the thinkers of "foggy Germany" - Schelling, Fichte, and partly Kant. Formally, the circle broke up in 1825, but spiritual unity continued to persist for some time.

For a short time he became close to the wisdom of the world Pushkin... He created a poem "Three Keys", clearly echoing in his reflections on the three epochs of human life with Venevitin's (1826), (1826 or 1827). Pushkin even became the initiator of the publication of the magazine "Moskovsky Vestnik" (Moscow Bulletin) (Venevitinov is the author of his program). But the "poet of reality" was alien to a certain speculation characteristic of Venevitinov, who addressed this (1826 or 1827):

If you knew that these sounds, Whenever their secret language You penetrated with a fiery feeling, - ... Then you would not want to flash with the Face of forced passion, But you would be in a corner, secluded, Thailand all-loving chest. You would secretly shed tears And to them warm embraces, As a friend of the universe, stretched out.

Everything is characteristic in this poem. And the desire is not just to experience the structure of music, but to know its "secret language". And the structure of the phrase, stylized under the "German syntax": "in the corner ... Thailand all-loving breast." And the expression “friend of the universe”, much more “vague” and romantically universal than the “friend of humanity” that came into Russian cultural life from France ... After all, even the dramatic feeling of unrequited love for Princess Zinaida Volkonskaya, the owner of one of the best literary salons in Moscow, becomes the theme of the lyrics, acquired a sublime and philosophical sound from Venevitinov (,, both - 1826 or 1827).

On the shaky foundation of this very expressive combination of dramatic sensations and clarity of thought, Venevitin's idea of ​​the role of the artist in the world, of his heavenly vocation and position in earthly society rests. It is no coincidence that the poet, who brilliantly translated a fragment of "Faust" by I.-V. Goethe, chose for free translation two other scenes of the brilliant German writer, which became one of his best poetic adaptations. The first scene - "The Earthly Fate of an Artist" (1826 or 1827) - shows the morning in the life of a wonderful painter who is forced to paint a portrait of "a fat, bad-looking coquette" for food, and only in snatches between commissioned works who has the opportunity to work on the image of Venus-Urania. The muse consoles the desperate master: “A living delight, an artist, rewards you. ... And you are rich in honor, although you are not famous. " Familiar from the literature of romanticism, the conflicts of genius and the crowd, righteousness and wealth, creativity and daily bread. Here they take on a complete, classically accurate embodiment. But then years and years pass, and the events shown in the scene of "The Apotheosis of the Artist" unfold. A young student copies a picture in the gallery when they bring in a canvas bought with the money of the prince-patron, depicting Venus-Urania. “The ceiling is opening. The muse, holding the artist's hand, appears on the cloud. " But for some reason the great painter does not rejoice at the same time; on the contrary, he asks bitterly:

Let all my creations glorify! But in life did I know glory? Tell me, my heavenly one, What is my comfort now, What is paid in gold for me?

And, destroying the romantic stereotype, he appeals to the Muse, "pointing at the student": "Prepare a wreath for him in heaven, But here give me a vessel of charm, Without poison, tears, without admixture of suffering!"

Venevitinov himself did not know poverty, was not bypassed by fame, but life brought a very personal and irreparably tragic implication to these lines of him.

At the entrance to St. Petersburg, the poet, who was already not distinguished by his health, was arrested by a misunderstanding, interrogated and kept for a day or two in a damp guardhouse. Later, with all his enthusiasm for the new service in the Asian Department, he suffered from a rotten northern climate. In the winter of 1827 he caught a cold; The illness could not be stopped, and soon the doctor warned the friends who had gathered in the patient's apartment that Venevitinov had several hours left to live. Tell him the terrible news fell A. S. Khomyakov. Khomyakov went to the dying man and put on his finger a ring presented by Volkonskaya, which the poet swore to wear either on the wedding day or on the day of death ...

A twenty-two-year-old youth has passed away, he was beautiful in himself, gave hope, declared himself in various fields. The elegiac formulas of his poetry were suddenly filled with an ominous meaning of divination: “The poet's prophecies have come true, And a friend in tears at the beginning of summer visited His grave. How he knew life! how little he lived! " This meaning was "consolidated" by numerous epitaphs and poetic responses to the death of the poet ( Delvig and Tumansky, Khomyakov and 3. Volkonskaya, Lermontov and Koltsov...). This is how the legend about the brilliant young singer Dmitry Venevitinov was born and finally took shape, a legend that has become no less significant fact in the history of Russian culture than his wonderful poems.

A. Arkhangelsky

Dmitry Venevitinov, poet, was born on 14 (26) .IX.1805 in Moscow in an old noble family.

He received his primary education at home under the guidance of experienced Moscow and foreign teachers. From childhood, Dmitry Vladimirovich mastered the ancient (Latin and Greek) and new (French and German) languages. Subsequently, he studied English and Italian. Foreign language studies contributed to the emergence of a deep interest in ancient and Western European literature and philosophy. In childhood, he studied music and painting a lot. His poetic talent manifested itself early on.

The first literary works of Venevitinov, which, unfortunately, did not survive, were, according to the testimony of contemporaries, translations of excerpts from Prometheus by Aeschylus (1818) and Horace (1819). Dmitry Vladimirovich's extraordinary talent and excellent education aroused deep respect from people who knew him. Outwardly, his life was not rich in events.

In 1822 he entered Moscow University as a volunteer and two years later passed the final exam.

Served in the Moscow Archives of the Collegium of Foreign Affairs.

In the fall of 1826 he moved to serve in St. Petersburg, where he soon died.

During his university years Venevitinov intensively studied literature and philosophy. He listens to lectures by A. F. Merzlyakov, S. Ye. Raich, I. I. Davydov and M. G. Pavlov. In 1823, together with VF Odoevsky, the poet founded a circle called the Society of Wisdom. It studied German classical philosophy (Kant, Fichte, Schelling, Oaken, Gerres). Schelling's philosophy aroused the greatest interest in any wisdom, whose early works aroused the suspicion of the authorities. Dmitry Vladimirovich and his friends were carried away by the ideas of universal connection and unity of nature, which Schelling developed. These ideas contradicted church dogmas and Christian doctrine, which, judging by the memoirs of a member of the society A.I. In Schelling's teachings Venevitinov was attracted by the idea of ​​man as a means of knowledge, which led him to the ideas of self-knowledge and self-improvement. These ideas were reflected in the works of Dmitry Vladimirovich

"Anaxagoras. Conversations of Plato ",

"Letter to Countess N",

"On the state of education in Russia",

in the unfinished novel:

"Vladimir Parensky".

From Schelling and the German romantics Venevitinov took the idea of ​​a poet - "the son of the gods", "the favorite of muses and inspiration", capable of becoming the leader of all mankind. According to Venevitinov, the poet is the chosen one of heaven, marked with the "seal of power on his forehead." The gift of inspiration raises him above the crowd of the uninitiated. Thoughts about art and the purpose of the poet have always been the subject of the poet's poetic and philosophical reflections. They expressed themselves in many of his poems and articles:

"Sculpture, painting and music",

"A few thoughts in a journal plan."

In his philosophical and aesthetic ideas, Dmitry Vladimirovich remained an independent and original thinker. Unlike Schelling, he saw in art the source of love for humanity. The poet dreamed of connecting philosophy with science and art.

Dmitry Vladimirovich Venevitinov combined the study of philosophy with poetic and critical activity. His service in the archive brought him closer to the talented youth who gathered at his place on Tuesdays.

The first printed work of Venevitinov was "Analysis of an article about" Eugene Onegin "(" Son of the Fatherland ", 1825, part 100, No. 8, March).

There is evidence that Pushkin read his article "with love and attention." The tragic events associated with the Decembrist uprising had a heavy impact on the poet's spiritual well-being. Although he did not belong to a secret society, but, according to A. I. Herzen, "was full of dreams and ideas of 1825."

At the end of October 1826 Venevitinov left Moscow for St. Petersburg together with the Frenchman Vauche, librarian gr. Laval, whose daughter E. Trubetskoy Venevitinov, shortly before that, accompanied her to Siberia to her Decembrist husband. When entering the capital, Dmitry Vladimirovich and Vosha were arrested. The interrogation and stay of Venevitinov in the guardhouse, albeit short-term, seriously affected his health.

A keen sense of confusion and depression - a grim consequence of the onset of the reaction - did not leave him. He tried to find peace of mind and find an application for his abilities, participating in the publication of the magazine "Moskovsky Vestnik". The poet reflected on the direction of the magazine, tried to oppose the “Moskovsky Vestnik” to the corrupt and low-quality journalism of the Bulgarin style, and attracted prominent writers to cooperate in the magazine.

Moving to St. Petersburg in the fall of 1826 deepened the poet's mental crisis, who experienced an oppressive melancholy "in the midst of a cold, soulless society." The poet was increasingly visited by thoughts of death and suicide. Dmitry Vladimirovich wanted to escape from official St. Petersburg to a foreign land, where he hoped to find strength for creativity and life.

In 1827, shortly before his death, his poems were first published in A. Delvig's almanac "Northern Flowers" and in M. Pogodin's journal "Moskovsky Vestnik".

As a poet, Dmitry Venevitinov was formed in a transitional era. In poems written before December 1825, that is, during the period of the rise of noble revolutionism, freedom-loving motives prevail.

After the December catastrophe in the work of Venevitinov, the philosophical principle is noticeably strengthened.

Poetry and philosophy Venevitinov reveal a connection with the Decembrist social and literary movement. The young poet praises the "prophet of freedom" - Byron, responds to the Greek uprising ("Song of the Greek", 1825, published in 1827). The Decembrist problematic penetrates into the poem "Liberation of the Skald" (1823 or 1824, published in 1914). Venevitin's "poet" appears as a poet-prophet "with the verb of heaven on earth", his mission is to ignite people's hearts, to unite people.

Dmitry Vladimirovich did not change his freedom-loving moods even after 1825. In accordance with the Decembrist poetic tradition, he glorified the Novgorod freemen ("Novgorod"). The poet writes about friendship and love, about art, about the meaning of life.

Friendship in his lyrics is contrasted with the cold and soulless relationships that prevail in secular society. The traditional genres of elegies and messages are filled with new content, complicated by philosophical reflections. The poet is not touched by either the banquets at a friendly table, or the "light fun" that was usually mentioned in the messages. He dreams of having a serious debate with a friend about philosophy and about art ("Letter to Rozhalin", 1826, published in 1829).

The poetry of Dmitry Vladimirovich Venevitinov evolved under the undoubted influence of Pushkin's creativity. The poet advocated the content of the lyrics, for the accuracy of the poetic word. At the same time, he prepared the way for the emergence of Lermontov's civic poetry with its tragic and tense reflections and, alongside Baratynsky and Tyutchev, was one of the founders of Russian philosophical lyrics. “In his poems,” wrote V. G. Belinsky, “a really ideal, and not a dreamy, ideal direction shines through ...”.

The short creative activity of DV Venevitinov is an important link in the history of Russian lyric poetry.

“If Venevitinov had lived for even ten years more, he would have pushed our literature forward for tens of years ...”.
N. G. Chernyshevsky

Dmitry Vladimirovich Venevitinov(14 (26) September 1805 - 15 (27) March 1827) - Russian poet, translator, prose writer.

Dmitry Vladimirovich Venevitinov was born in Moscow. His father, a retired warrant officer of the Semyonovsky regiment, Vladimir Petrovich Venevitinov (1777-1814), came from a wealthy Voronezh noble family. Mother, Anna Nikolaevna, came from the princely family of the Obolensky-Belykh. Through her, Dmitry Venevitinov was in a distant relationship (fourth cousin) with A.S. Pushkin.

Venevitinov received a classical education at home, in 1822-1824. as an auditor attended lectures at Moscow University. He was fond of not only history, philosophy and the theory of literature, but also mathematics and natural sciences. Having passed the exams for the university course, in 1824 he entered the service in the Moscow archive of the Collegium of Foreign Affairs, but his main occupation was literature. By this time, he was already the author of several poems, mostly freely arranged by ancient and modern European authors. Venevitinov was one of the organizers of the Moscow Society of Wisdom, which aimed to study idealist philosophy and romantic aesthetics.

In November 1826 Venevitinov moved from Moscow to St. Petersburg, joining the Asian Department of the Ministry of Foreign Affairs. At the entrance to St. Petersburg, the poet was arrested on suspicion of involvement in the conspiracy of the Decembrists. He spent three days under arrest in one of the guardhouses in St. Petersburg. Being away from family and friends oppressed the poet. In addition, Venevitinov caught a bad cold, which led to an early death on March 15 (27), 1827, apparently from severe pneumonia. The body was sent to Moscow. They buried Venevitinov on April 2, 1827 at the cemetery of the Simonov Monastery in Moscow. At the funeral were Pushkin, Mitskevich and other friends of the poet.

In his literary activity Venevitinov showed versatile talents and interests. His romantic poetry is full of philosophical motives. Many poems are dedicated to the high purpose of poetry and poet, the cult of friendship: "Poet" (1826), "Poet and Friend" (1827). He dedicated poems to friends, close people, beloved Zinaida Volkonskaya: "To my goddess" (1826), "Elegy" (1827), "Testament" (1826).

Venevitinov bequeathed to put a ring on his finger at the hour of his death - a gift from Zinaida Volkonskaya. When he fell into oblivion, A. S. Khomyakov put the ring on his finger. In the 1930s, during the demolition of the Simonov Monastery, the body of D.V. Venevitinov was exhumed and reburied at the Novodevichy Cemetery. During the exhumation, the ring was removed from the poet's finger and is now kept in the Literary Museum.

Venevitinov was not only a poet, but also a translator, prose writer, wrote literary and critical articles, translated the works of E. T. A. Hoffmann, I. V. Goethe and others. He was also known as a gifted artist, musician, and music critic.

The name of Dmitry Venevitinov is closely related to our region. The Venevitinovs had possessions in the Voronezh province. As a child, Dmitry stayed with his parents in the "family nest" - in Novozhivotinny. After the death of his father, the Venevitinov family stopped coming to the estate. But in August - September 1824, together with his younger brother Alexei, Dmitry Venevitinov visited Voronezh and his Voronezh estate. He lived in Novozhivotinnoye for about a month, often recalled his childhood, wrote letters to his mother and sister Sophia, and composed poetry. Now there is a monument of federal significance - the Museum-Estate of D.V. Venevitinov.

In 1994, in the outskirts of the Kominternovsky district of Voronezh, a new street was formed - Venevitinskaya. In 2005, in honor of the 200th anniversary of Dmitry Venevitinov, a monument to the poet was unveiled on the territory of the D.V. Venevitinov Museum-Estate.

Works by D.V. Venevitinov

Venevitinov D. V. Complete works / D. V. Venevitinov; ed. A.P. Pyatkovsky. - St. Petersburg: Printing house of O. I. Bakst, 1862 .-- 264 p.

The complete collection of the poet's works, published in 1862 in the St. Petersburg printing house of Bakst, edited by A.P. Pyatkovsky, also contains a portrait of the author, a facsimile and articles about his life and works.

D. V. VenevitinovPoems / DV Venevitinov. - Moscow: Soviet Russia, 1982 .-- 174 p. - (Poetic Russia).

D. V. VenevitinovPoems. Poems. Dramas / D.V. Venevitinov. - Moscow: Fiction, 1976 .-- 128 p.

The poet's books include his selected works.

Venevitinov D.V. Poems // Anthology of Russian poetry. - URL: http://www.stihi-rus.ru/1/Venevitinov/.

Poets of the Pushkin era: selected poems. - Moscow; Leningrad: Detgiz, 1949 .-- 286 p. - (School library).

The collection includes selected poems of sixteen of the greatest poets of the Pushkin era, including Dmitry Venevitinov.

Russian poetry of the first halfXIX century. - Moscow: Slovo, 2001 .-- 765 p. - (Pushkin Library).

The book presents the work of fifty-six poets of various directions, including Dmitry Venevitinov (pp. 379–389).

Literature about the life and work of D.V. Venevitinov

Akinshin A. N. Voronezh nobility in persons and destinies: historical and genealogical essays with the appendix of the List of noble families of the Voronezh province / A. N. Akinshin, O. G. Lasunsky. - Ed. 2nd, rev. and add. - Voronezh: Center for Spiritual Revival of the Black Earth Region, 2009. - 432 p.

The book of Voronezh scientists presents biographies of the noble families of the Voronezh province who lived on the territory of the region until 1917. The Venevitinovs and Stankevichs, the Raevskys and Tulinovs, the Potapovs and Somovs ... Poets and educators, manufacturers and the military. Among the illustrations, you can find drawings by the brother of the poet Dmitry Venevitinov Alexei Vladimirovich, who captured views of the village of Novozhivotinnoe in the middle of the 19th century.

Budakov V. V. Poet-philosopher Dmitry Venevitinov / V. V. Budakov // Voronezh: Russian provincial journal. - Voronezh, 2003. - Special. no. : Day of Slavic Writing and Culture. - S. 118.

Budakov V. V. "It's too early to die, but to live ..." (Dmitry Venevitinov) / V. V. Budakov // Ascetics of the Russian word / V. V. Budakov. - Voronezh, 2007. - pp. 110–116.

The book "Ascetics of the Russian Word" - lyrical sketches about writers and poets, related to the life and work of the black earth region, the Central Russian strip. One of the essays is dedicated to Dmitry Venevitinov.

Dmitry V. Venevitinov // Literary map of the Voronezh region. - URL: http://lk.vrnlib.ru/?p=persons&id=66.

Dmitry Venevitinov. The Venevitinovs' estates. The creative legacy of the poet / [entry. Art. EG Novichikhina]. - Voronezh: Center for Spiritual Revival of the Black Earth Region, 2010. - 215 p.

The poet's name is closely connected with the Voronezh region: four landowners' estates of the Venevitinov family were located in Ramon - on the picturesque Don banks. The peace of the noble estate was preserved only in the village of Novozhivotinnoe. This book offers not only an acquaintance with biographical materials and the work of a wonderful poet, critic, philosopher. For the first time, the reader will be able to look into all four estates, learn their history and modern life, walk through the halls of D. Venevitinov's house-museum.

Zhikharev V. In captivity of the "queen of muses and beauty": (Dmitry Venevitinov and Minyato Ricci) / V. Zhikharev // Rise. - Voronezh, 2012. - No. 12. - P. 218–223.

The essay by Vitaly Zhikharev brings new details to the love story of the twenty-year-old Russian poet Dmitry Venevitinov for Zinaida Volkonskaya, who, in turn, was carried away by the Italian chamber singer Count Miniato Ricci.

Lasunsky O. G. Venevitinov Dmitry Vladimirovich / O. G. Lasunsky // Voronezh encyclopedia: [in 2 volumes] / [Ch. ed. M. D. Karpachev]. - Voronezh, 2008 .-- T. 1. - P. 126.

Mordovchenko N. I. Venevitinov and the wisdom poets / N. I. Mordovchenko // History of Russian literature: in 10 volumes - Moscow; Leningrad, 1953 .-- T. 6: Literature of the 1820s - 1830s. - S. 448–459. - URL: http://feb-web.ru/feb/irl/il0/il6/il6-4482.htm.

An article on the website of the Fundamental Electronic Library (FEB) "Russian Literature and Folklore" tells about the literary and philosophical circle "Society of Wisdom" (1823–1825). Venevitinov took an active part in the organization and work of the circle. The members of the circle were engaged in the study of German idealist philosophy.

Museum-estate of D.V. Venevitinov. - http://muzeinikitin.vzh.ru/muzej-usadba-d-venevitinova.

Museum-estate of D.V. Venevitinov // Literary map of the Voronezh region. - URL: http://lk.vrnlib.ru/?p=post&id=4.

The Museum-Estate of D.V. Venevitinov, opened in 1994, is a monument of federal significance, one of the few noble estates of the 18th century that have survived in Russia. The museum is located in the village of Novozhivotinnoe, Ramonsky district, Voronezh region. His exposition includes the decoration of the halls of a noble noble estate of the 19th century and everything connected with the Venevitin family. The museum includes a two-story mansion (1760-1770), an outbuilding (1887), a park area with a pond. In 2005, a monument to the poet was unveiled on the territory of the estate.

Novichikhin E. Novozhivotinnoe / E. Novichikhin. - Voronezh: Central Black Earth Book Publishing House, 1994. - 114 p. - (Voronezh Land. Encyclopedia of Cities and Villages).

The book tells about the village of the Voronezh region, which originates in the second half of the 17th century. The fate of the poet Dmitry Venevitinov is closely connected with the history of this village.

Poet and philosopher Dmitry Venevitinov // Origins. Ethnocultural features of the Voronezh region. - Voronezh, 2014. - pp. 147–148.

An article from a collection telling about the ethnocultural characteristics of our region, about the life and traditions of our ancestors, about the people associated with the Voronezh land.

B. Udodov Dmitry Vladimirovich Venevitinov / B. Udodov // Voronezh residents: famous biographies in the history of the region. - Voronezh, 2007. - pp. 116–120.

Chernyshev M. A. "In the soul of an unsolved thought melting ..." / M. A.Chernyshev. - Saratov: Zavolzhye, 1992 .-- 280 p.

The book tells about the life and work of the famous poet of the XIX century Dmitry Venevitinov.

Dmitry V. Venevitinov (1805-1827), Russian poet, philosopher, critic.

Born September 14 (26), 1805 in Moscow into a noble family. Father died when Venevitinov was 9 years old. On the maternal side, Venevitinov was a distant relative of A.S. Pushkin. He received an excellent education at home, knew Latin and Ancient Greek, studied philosophy, Russian and Western European literature, painting, music.

It's hard to live when you've done nothing to deserve your place in life.

Dmitry Venevitinov

In 1822 he entered the Moscow University as a volunteer, where he attended the classes of Professor M.G. Pavlov and, under his influence, became interested in Schelling's philosophy. After graduating from the university in 1824, Venevitinov entered the Moscow archive of the Ministry of Foreign Affairs and became a member of the Society for Philosophy, headed by V.F. Odoevsky. The "Lubomudry" attached great importance to philosophy, which, as Venevitinov wrote, should force Russia "to develop its forces and form a system of thinking."

The romantic nature of Venevitinov's outlook was expressed in his understanding of the meaning of philosophical knowledge: "Philosophy is true poetry, and true poets have always been deep thinkers, they were philosophers." Venevitinov embraced Schelling's romantic idea of ​​the universal organic nature of the world ("absolute organism"). The tasks of philosophy are not limited, according to Venevitinov, only to the understanding of the essential laws of reality, but presuppose the achievement of global cosmic and historical goals: "The goal of all knowledge, the goal of philosophy is harmony between the world and man."

This kind of “harmonization” is achieved thanks to the process of philosophical “self-knowledge” taking place in history, about which the romantic thinker wrote with great enthusiasm: “Self-knowledge is an idea that alone can animate the universe; this is the goal and crown of man. "

In a romantic vein, Venevitinov interpreted the essence of artistic creativity, which in its historical development passes through three stages associated with the peculiarities of historical eras: poetry, and the future universal harmony should give rise to new, "synthetic" (epic and lyric) forms of art.

In 1825 Venevitinov published his first article Analysis of an article about Eugene Onegin, about which Pushkin wrote: “This is the only article that I have read with love and attention. All the rest is either abuse or game. " Venevitinov the critic considered it necessary "to evaluate literature by the degree of the philosophy of the time."

After the uprising of the Decembrists of 1825, Venevitinov was suspected of participating in a conspiracy, but the charge was not proven and, after spending some time under arrest, he was released. In 1827 he published his first poems, Favorite Color and Three Roses. The poet experienced unrequited love for Z. Volkonskaya, and this was reflected in the elegiac-disappointed tone of his poems. Freedom-loving motives were also an important component of Venevitinov's poetry (the poem Novgorod, 1826, and other verses). In his poetry, the influence of J.W. Goethe and J.G. Byron was felt. In 1829 he translated Goethe's dramatic poems The Artist's Earthly Fate and The Artist's Apotheosis, as well as several excerpts from Faust.