Biography Pisarev

Until 11 years old, he grew up in a family, the only beloved son; was brought up under the influence of the mother - the former institution; By the age of 4, he had already read and spoke fluently in French. The boy was suppressed all sorts of relations with the serf people; He was prepared for a brilliant secular career. During the teaching at the gymnasium in St.

Petersburg, Pisarev lived in his uncle’s house and was brought up on his account, surrounded by the same lordly atmosphere as in the village. He was distinguished by exemplary diligence, unquestioning submissiveness to the senior, in his own expression, “belonged to the category of sheep” and at the age of 16 he graduated with a medal, but with extremely mediocre knowledge and very low mental development.

In the autobiographical article “Our University Science” Pisarev says that at the end of the gymnasium, his favorite pastime was painting pictures in illustrated publications, and his favorite reading was the novels of Cooper and, especially, Dumas. Pisarev entered the historical and philological faculty not at a conscious choice, but for the only purpose to avoid mathematics and legal dryness that hated him.

At the University of Pisarev, he languishes under the oppression of scholasticism, called pure science, is forced to translate a German book, the content of which is inaccessible and uninteresting to the "linguistics of Wilhelm Humboldt and Hegel's philosophy", exhausted over the translation of Strabo or, on the recommendation of the professor, to satisfy his attraction to the history of the primary sources and reading an encyclopedic dictionary.

Subsequently, Pisarev found that even reading of the "Petersburg" or "Moscow Vedomosti", which had not shown literary virtues, would bring much more benefit to his mental development than the first two years of university science. Literary education also moved little forward: Pisarev only managed to get acquainted with Shakespeare, Schiller, Goethe, whose names were constantly full of his eyes in any history of literature.

In the third year, Pisarev is accepted for literary activity, in the magazine for girls - "Dawn". The bibliographic department lies in his duties; In the first year of cooperation, he gives a report on Oblomov and the noble nest. The university has been left from then on the side; Pisarev decides not to leave literary field. Bibliographic work in a girl’s journal could not, however, differ in special freedom.

Pisarev learned a lot of facts, remembered other people's ideas, but personally remained in the "category of sheep". In the article: “misses of immature thought” “rather steep coup” in his mental development Pisarev attributes to G. The last definition should be recognized as more accurate. This summer, a romantic drama, deeply shocked by Pisarev, broke out - an unhappy love for a cousin.

Neither the subject of hobby, nor relatives sympathized with this passion, and Pisarev had to survive a brutal struggle with an unsatisfied feeling. Pisarev made much more for the ideological movement of Pisarev than his book experiments. In one of the letters to his mother, he puts his heart failure in a direct connection with his new moods. This theory gave me such self -articulation, arrogance and courage, which at the first meeting very unpleasant amazed all my comrades.

" This shows what a large role in Pisarev’s worldview played affects. In his life there is no history of the moral world, gradually, step by step that develops its content, but there are a number of explosions that immediately reflect on the ideological process of the writer. Yesterday's "Sheep" today feels "Prometheus." The idyllic humility of the eldest is suddenly replaced by unlimited skepticism, reaching the denial of the sun and moon.

All reality made the impression of mystification on the young man, and his "I" increased to grand dimensions. In the fit of mania, greatness Pisarev set to study Homer, in order to prove one of his "titanic ideas" about the fate of the ancients. Mania ended with a real mental illness; Pisareva was placed in a psychiatric hospital. Here he attempted to suicide twice and then, after 4 months, fled.

He was taken to the village; His health was restored, but some "oddities and eccentricity" of the expression of G. Skabichevsky remained until the end of his life; There was a habit of the most decisive interpretations. The later favorite subject of Pisarev - natural science - every time threatened him with misses and unreasonable hobbies, when the popularizer took the courage to say his word in some scientific dispute, it is enough to recall the article “Featers of European authorities”, which destroyed the contemptuous irony of Pasteur in the name of the scientific truth about arbitrary origin.

In the spring of G. Pisarev ended the course at the university, received a silver medal for the reasoning of Apollonius Tiansky. Even earlier, in the “Russian Word”, edited by Blagosvetlov, Pisarev was printed by the translation of the Heine poem: “Atta Troll”, and soon the increased cooperation of Pisarev in this journal began, although back in April.Pisarev was looking for cooperation in the "wanderer", an organ more than conservative.

When Pisarev subsequently reproached for this step, he made excuses for the fact that, before a close acquaintance with the Blagosvetlov, "had no idea about the serious responsibilities of an honest writer." Cooperation in the "Russian Word" was a gap for Pisarev with the nearest university comrades who considered journalism treason to science. Pisarev was persecuted for an article printed in the underground magazine, was put in the fortress and remained in prison for more than 4 years; But his writing did not stop, but on the contrary, it developed even more energetic, since it was the only matter and entertainment of the prisoner.

Pisarev did not complain about his position and found in him even that good side that he has concentration and serious activities. In the first two years of work in the "Russian Word" Pisarev, by moral worldview, an epicurean, not devoid of points of contact with aesthetics. He "respects" Maikova as a "smart and developed person, as a preacher of harmonious enjoyment of life." This preaching is called the "sober worldview" of Art.

Pushkin, so hated by Pisarev subsequently, now for him the author of the novel, standing "along with the most precious historical monuments" and, together with Ulrich Fon-Vytten, Voltaire, Goethe, Schiller, an example of a publicist. The characteristic article of this period is “Bazarov”. Pisarev was so carried away by Turgenev’s novel that he confesses to “some incomprehensible pleasure, which cannot be explained either by the entertainment of the events told or the amazing fidelity of the main idea”; It is caused, therefore, only with aesthetic feelings - the "nightmare" of the later criticism of Pisarev.

He perfectly understands the strengths and weaknesses of the Bazarov type, indicating in detail where Bazarov is right and where he "hugs". Pisarev also understands the source of "zealing": the extreme protest against the "phrases of the Hegelists" and "knitting in the sky -high heights." The extreme is understandable, but “funny” and “realists” should be more thoughtful of treating oneself and not to bang in the heat of dialectical battles.

To cut people to one measure with them means to fall into narrow mental despotism. "Pisarev was subsequently used by his opponents when he began to" destroy the aesthetics. "Now Pisarev is not yet an unconditional fan of Bazarov, as he will soon recognize him" extremely uneducated ", stands for" harmless t. In conclusion, Pisarev admires the author of the novel as an artist, “an unconsciously and involuntarily sincere man” - therefore, recognizes unconscious creativity, also one of his nightmares in the future.

In addition to clearly aesthetic trends, Pisarev during this period also shows a cultural worldview that is completely different from the later. Discussing the mutual relations of the individual and the environment, Pisarev considers the environment, society: individuals "do not deserve censure" as products of surrounding conditions. Hence the great interest of artistic types in which small, powerless and vulgar people are embodied: they are an illustration of the social atmosphere.

Actually, Pisarevsky ideas, during this time, expresses a little more. Pisarev rebels against speculative philosophy, stands for satisfying the needs of the crowd of “simple mortals”, i.e., all this is evidence of the truth, successfully formulated by the critic himself: “It always happens that the young man who ended the course of teaching becomes an irreconcilable enemy of the teaching system that he experienced on himself.” Pisarev brutally criticizes the classical system and reaches the preaching of natural science as the basis of the gymnasium program, Subsequently Pisarev will coolly change his opinion and require the removal of the natural sciences from the gymnasium course.

The change in the atmosphere is clearly felt from the article: "Flowers of innocent humor." The question of the comprehensive cultural role of natural science is sharply posed here; The idea of ​​a box reigns undividedly and unlimited; Natural science is “the most burning need for our society”, the popularization of natural sciences is the highest purpose of “thinking people”.

In the next article: “The Motives of the Russian Drama” The same idea is very figuratively expressed: young people should be imbued with “the deepest respect and fiery love for the flattened frog here, in the frog itself, is the salvation and renewal of the Russian people.” The new worldview is revealed in the entire fullness in the article "Realists".

This worldview is nothing more than a comprehensive development of the ideas and psychology of Bazarov. The author repeatedly refers to the Turgenev hero, identifies him with the concept of "realist", contrasts "aesthetics" and even Belinsky. The definition of "strict and consistent realism" as "saving mental forces" is confirmed earlier than the refuted saying of Bazarov to the expense of nature - the workshop.

Hence the idea of ​​usefulness, the idea of ​​what you need. And first of all, food and clothes are needed; Everything else, therefore, is "the need for absurd."All absurd needs can be combined with one concept: aesthetics. Hence the boundless series of dark forces that should be destroyed by a realist: Pigma, engaged in sculpture, painting, music, scientific phrases like "sirens" - MacLea and Granovsky, a parody of poets like Pushkin.

Pisarev stipulates that "realists" understand the benefit not in the narrow sense as their "antagonists" think. Pisarev also admits poets, only with the condition that they "clearly and vividly reveal before us those aspects of human life that we need to know in order to thoroughly reflect and act." But this reservation does not at all save art and poetry. Pisarev constantly puts the dilemma: either "feed hungry people", or "enjoy the miracles of art" - either the popularizers of natural science, or "exploiters of human naivety." A society that has hungry and poor in its environment and at the same time develops arts, Pisarev, following the example of Chernyshevsky, compares with a hungry savage, decorating itself with jewelry.

For the present, at least creativity is a "absurd need." When analyzing the works of the only art allowed by Pisarev - poetry, he requires that the critic treats them exclusively as actual material, read them, as we “run by the department of foreign news in the newspaper,” and did not pay any attention to the features of the author’s talent, his narrative manners: this is the “aesthetics” case, and not the “thinking person” “Puppeting person” “Puppy”.

A bouquet of civil sorrow "," Destruction of aesthetics. " Obviously, this requirement brings poetry to the degree of reporting and takes away from it any independent right to exist: "The dignity of the telegraph is that he convey the news quickly and correctly, and not in the fact that the telegraph wire depicts different gyrus and arabesques." Pisarev completely consistently reached the identification of architects with cooks, pouring cranberry jelly into intricate forms, painters with the old women who whiten and blush.

The history of art is also explained simply: the whole thing is in the capitalists-meters and in the cheap work of sales or cowardly architects and decorators "Destruction of aesthetics". Such decisive ideas should have been expressed in the appropriate form. Pisarev’s style was always distinguished by a remarkable brilliance of presentation, but in the heroic period of destruction of aesthetics he acquired, moreover, drama, as if a critic, destroying the drama and comedy, decided to take the place of the fiction writer himself.

In his opinion, “figures of science and life” do not write poetry and dramas, because the size of their mind and the power of their love for the idea do not allow them to engage in all this “aesthetics”. No wonder, however, the author himself was once intensified to compose a novel - now he constantly arranges scenes with his opponents, with the public, with the heroes of the works of disassembled works “My Friend of the Slovey Arkashenka”, “Oh, Anna Sergeevna!

On each page, the author’s rapture is felt with its task and the indestructible faith in the irresistible power of his sermon. Pisarev wants to “reason” the audience about Pushkin, to “cut” the issues resolved by Belinsky “from the point of view of consistent realism”. Articles about Pushkin are an extreme expression of Pisarevsky criticism. They are also curious because Pisarev discovered a wonderful originality here, tore with all the authorities, even with the most respected of them - with Chernyshevsky.

The author of "aesthetic relations of art to reality" supplied Pisarev with all ideas directed against aesthetics: Pisarev himself announced that Chernyshevsky had destroyed aesthetics before him. Chernyshevsky, in the eyes of Pisarev - both a brilliant thinker and the author of the classical novel, the creator of the ideal type - Rakhmetov. But Chernyshevsky, with all his realism, recognizes Pushkin and highly appreciated Belinsky's articles about him.

Pisarev does not speak in the press about this crime of Chernyshevsky, but in a letter to his mother he calls himself "the most consistent of Russian writers" and relies more on Bazarov’s authority than Chernyshevsky. Pisarev remains faithful to Bazarov even in the nature of the war: Bazarov attributed to Pushkin thoughts and feelings that were not expressed - Pisarev does the same.

All charges are built on identifying the author’s personality with his hero. Pushkin is to blame for everything that Eugene Onegin can be reproached for: he is responsible for the vulgarity and mental inertness of the highest Russian estate of the first quarter of the 19th century; He is to blame that his bored hero is not a fighter or an employee. Pisarev decisively does no condescension to Pushkin even in such cases when for others he earnestly searches for excuses and explanations.

The cult of pure poetry characteristic of Heine, Pisarev justifies with adverse external circumstances: even he does not criticize the real "real" attitude to Heine to a woman, and he falls on Pushkin for much less guilt.