Specify the plays written by V. Mayakovsky
What type (genre) of a work can do without a plot?
Which of the poets of the 19th century expressed the aesthetic program of his artistic creativity in the words ʼʼI dedicated the lyre to my peopleʼʼ?
$ N.A. Nekrasov
$ F.I. Tyutchev
$ V.K. Kurochkin
$$$59. What works are included in the trilogy of Leo Tolstoy, which conveys the spiritual history of three periods in the life of Nikolai Irteniev, and at the same time the author himself?
$ ʼʼChildhoodʼʼ, ʼʼBoyhoodʼʼ, ʼʼYouthʼʼ
$ʼʼFreeloaderʼʼ, ʼʼResurrectionʼʼ
$ ʼʼPower of darknessʼʼ, ʼʼAnna Kareninaʼʼ
$ ʼʼDeath of Ivan Ilyichʼʼ
$$$60. The small epic genre form includes:
$ story
$ lyric
$$$61. Revolution of 1917 S. Yesenin:
$ accepted with ʼʼpeasant biasʼʼ
$ not accepted
$ did not understand
$ lyric poem
$ story
$ story
$$$63. Give the name of the main character in the story ʼʼ Garnet braceletʼʼ:
$$$64. The novel ʼʼAnna Kareninaʼʼ is written:
$ L. Tolstoy
$ F.Dostoevsky
$ I. Bunin
$ I.Turgenev
$$$65. The story ʼʼOlesyaʼʼ belongs to the writer's pen:
$ A.Kuprina
$ I. Bunina
$ M. Gorky
$ ʼʼKlopʼʼ, ʼʼBanyaʼʼ
$ ʼʼSeagullʼʼ, ʼʼUncle Vanyaʼʼ
$ ʼʼAt the bottomʼʼ, ʼʼPhilistsʼʼ
$ ʼʼPower of darknessʼʼ, ʼʼLiving corpseʼʼ
$$$67. A synonym for the proverb ʼʼ A coward and a cockroach will count as a giantʼʼ:
$ To be afraid of wolves, so do not go into the forest
$ A penny saves a ruble
$ Strike while the iron is hot
$ Our urchin ripened everywhere
$$$68. Event system in work of art- this is:
$ exposure
$$$69. Irony:
$ A kind of comic, an expression of mockery under the guise of a serious
$ Writing two vowels in one syllable
$ Primary accent
$ A figure of speech consisting of deliberate exaggeration
$$$70. The ʼʼMuse of revenge and sorrowʼʼ inspired the poet of the 21st century:
$ N.A. Nekrasova
$ F.I. Tyutcheva
$ M.Yu. Lermontov
$ E.A. Baratynsky
$$$71. The title is the antithesis of L.N. Tolstoy:
$ʼʼWar and Peaceʼʼ
$ʼʼAlive and deadʼʼ
$ʼʼThe principle and the beggarʼʼ
$ʼʼ Fathers and sonsʼʼ
$$$72. The three-syllable meter of the verse with the stress on the second syllable is:
$ anapaest
$ A. Bely $ S. Yesenin $ I. Severyanin $ V. Bryusov
$$$74. In the play by A. N. Ostrovsky ʼʼThunderstormʼʼ, the literary vocabulary of the 18th century with Lomonosov-Derzhavin tendencies is present in the speech:
$ Kuligina $ Feklusha $ Dikogo $ Katerina
$$$75. The character of the story by A.P. Chekhov ʼʼKhamelœonʼʼ, police officer Ochumelov, walked through the market square and carried in his hands:
$ bundle $ gun $ sword $ book
$$$76. To see the development of national self-consciousness, to determine the new moral guidelines of the people is the creative task of the poem by N. A. Nekrasov
$ ʼʼWho should live well in Russiaʼʼ $ ʼʼPeddlersʼʼ $ ʼʼSashaʼʼ $ ʼʼRussian womenʼʼ
$ ʼʼVestnik Evropyʼʼ
$ ʼʼRussian messengerʼʼ
$ ʼʼ Russian wealthʼʼ
$ʼʼContemporaryʼʼ
$$$ 78. Which poet ʼʼ silver age” belong to the prophetic lines “My poems, like precious wines, will have their turn”
$ M. Tsvetaeva
$ B. Pasternak
$ K. Balmont
$O. Mandelstam
$$$ 79. S. Yesenin dedicated the work to post-revolutionary peasant Russia:
$ʼʼLetter to motherʼʼ
$ ʼʼI don't regret, I don't call, I don't cryʼʼ
$ ʼʼAnna Sneginaʼʼ $ ʼʼThe scarlet light of dawn weaved itself out on the lakeʼʼ
Nikolai Alekseevich Nekrasov was born on November 28 (December 10), 1821 in the town of Nemirov, Podolsk province, into a wealthy family of a landowner. The writer spent his childhood years in the Yaroslavl province, the village of Greshnevo, in the family estate. The family was large - the future poet had 13 sisters and brothers.
At the age of 11, he entered the gymnasium, where he studied until the 5th grade. With the study of the young Nekrasov did not work out. It was during this period that Nekrasov began to write his first poems of satirical content and write them down in a notebook.
Education and the beginning of a creative path
The poet's father was cruel and despotic. He deprived Nekrasov of material assistance when he did not want to enter military service. In 1838, in the biography of Nekrasov, he moved to St. Petersburg, where he entered the university as a volunteer at the Faculty of Philology. In order not to die of hunger, experiencing a great need for money, he finds part-time jobs, gives lessons and writes poems to order.
During this period, he met the critic Belinsky, who would later have a strong ideological influence on the writer. At the age of 26, Nekrasov, together with the writer Panaev, bought the Sovremennik magazine. The magazine quickly became popular and had a significant impact in society. In 1862, the government issued a ban on its publication.
Literary activity
Having accumulated enough funds, Nekrasov published the debut collection of his poems Dreams and Sounds (1840), which failed. Vasily Zhukovsky advised most of the poems in this collection to be printed without the author's name. After that, Nikolai Nekrasov decides to move away from poetry and take up prose, writes novels and short stories. The writer is also engaged in the publication of some almanacs, in one of which Fyodor Dostoevsky made his debut. The most successful almanac was Petersburg Collection (1846).
In 1847 - 1866 he was the publisher and editor of the Sovremennik magazine, in which the best writers of that time worked. The journal was a hotbed of revolutionary democracy. Working at Sovremennik, Nekrasov publishes several collections of his poems. The works "Peasant Children", "Pedlars" bring him wide popularity.
On the pages of the Sovremennik magazine, such talents as Ivan Turgenev, Ivan Goncharov, Alexander Herzen, Dmitry Grigorovich and others were discovered. The already famous Alexander Ostrovsky, Mikhail Saltykov-Shchedrin, Gleb Uspensky were printed in it. Thanks to Nikolai Nekrasov and his journal, Russian literature learned the names of Fyodor Dostoevsky and Leo Tolstoy.
In the 1840s, Nekrasov collaborated with the Otechestvennye Zapiski magazine, and in 1868, after the closure of the Sovremennik magazine, he rented it from the publisher Kraevsky. The last ten years of the writer's life were associated with this magazine. At this time, Nekrasov wrote the epic poem “Who Lives Well in Russia” (1866-1876), as well as “Russian Women” (1871-1872), “Grandfather” (1870) - poems about the Decembrists and their wives, and some other satirical works , the peak of which was the poem "Contemporaries" (1875).
Nekrasov wrote about the suffering and grief of the Russian people, about the difficult life of the peasantry. He also introduced a lot of new things into Russian literature, in particular, he used simple Russian colloquial speech in his works. This undoubtedly showed the richness of the Russian language, which came from the people. In poetry, he first began to combine satire, lyrics and elegiac motifs. In short, the poet's work has made an invaluable contribution to the development of Russian classical poetry and literature in general.
Personal life
In the life of the poet there were several love affairs: with the owner of the literary salon Avdotya Panaeva, the Frenchwoman Selina Lefren, the village girl Fyokla Viktorova.
One of the most beautiful women in St. Petersburg and the wife of the writer Ivan Panaev, Avdotya Panaeva, was liked by many men, and the young Nekrasov had to make a lot of efforts to win her attention. Finally, they confess their love to each other and begin to live together. After the early death of their common son, Avdotya leaves Nekrasov. And he leaves for Paris with the French theater actress Selina Lefren, whom he had known since 1863. She remains in Paris, while Nekrasov returns to Russia. However, their romance continues at a distance. Later, he meets a simple and uneducated girl from the village - Fyokla (Nekrasov gives her the name Zina), with whom they later got married.
Nekrasov had many novels, but the main woman in the biography of Nikolai Nekrasov was not his legal wife, but Avdotya Yakovlevna Panaeva, whom he loved all his life.
last years of life
In 1875, the poet was diagnosed with intestinal cancer. In the painful years before his death, he writes "Last Songs" - a cycle of poems that the poet dedicated to his wife and last love, Zinaida Nikolaevna Nekrasova. The writer died on December 27, 1877 (January 8, 1878) and was buried in St. Petersburg at the Novodevichy Cemetery.
Chronological table
- The writer did not like some of his own works, and he asked not to include them in the collections. But friends and publishers urged Nekrasov not to exclude any of them. Perhaps that is why the attitude towards his work among critics is very contradictory - not everyone considered his works to be brilliant.
- Nekrasov was fond of playing cards, and quite often he was lucky in this matter. Once, playing for money with A. Chuzhbinsky, Nikolai Alekseevich lost a large sum of money to him. As it turned out later, the cards were marked with the enemy's long fingernail. After this incident, Nekrasov decided not to play with people who have long nails anymore.
- Hunting was another passion of the writer. Nekrasov liked to go on a bear, to hunt game. This hobby resonated in some of his works (“Peddlers”, “Hound Hunting”, etc.) Once Nekrasov’s wife, Zina, accidentally shot his beloved dog while hunting. At the same time, Nikolai Alekseevich's passion for hunting came to an end.
- A huge number of people gathered at the funeral of Nekrasov. In his speech, Dostoevsky awarded Nekrasov the third place in Russian poetry after
One of the largest editors of his time was N.A. Nekrasov. Of greatest interest is his work in Sovremennik, at the head of which he stood for twenty years - from 1847 to 1866. As already mentioned, it was one of the best domestic magazines. During the rise of the revolutionary movement, its circulation reached ten thousand copies - a huge figure for that time. The pages of the magazine reflected the program of the peasant revolution.
Nekrasov's merit is that he managed to rally a team of like-minded people around the editorial office - writers, publicists. The journal was an ideological organ; it embodied the program outlined by Belinsky. All the materials of Sovremennik expressed a single direction.
Nekrasov strove for collective editorial work. At the end of the 50s, an editorial board was created consisting of Nekrasov, Panaev, Chernyshevsky, Dobrolyubov. N.K. Mikhailovsky characterized the activities of the editorial board of the journal in the following way: "Due to the collegiality, individual characteristics were not reflected in any way in the general literary work, which was not based on temperaments and characters, but on convictions.
Nekrasov was not only involved in organizing the work of publications. He corrected articles, read proofs. He wrote to Turgenev in 1850: "... I assure you with honor that, in order to compile the first book, I read up to 800 written sheets of various articles, read 60 proof sheets (of which only 35 went into work), two once revised a novel (not mine), once in manuscript and another time already in typesetting, reworked a few more articles in proofs, finally wrote fifty letters ... ".
Nekrasov characterizes his work in Sovremennik as follows: "... All, so to speak, rough work on the journal: reading, correcting manuscripts, as well as obtaining them, reading proofs, explaining with censors, restoring meaning and connection in articles after their pencils lay on me, and I also wrote reviews and feuilletons ... "(From a letter to M.E. Saltykov).
Analyzing the materials proposed for publication, Nekrasov singled out the main aspects in them that are important for this particular topic, formulating his comments to the author clearly and definitely. So, the author of the article "Research on the complete network of railway communications in Russia" A.N. He writes to Yerakov: “... There are many proofreading errors in your article that need to be corrected; but I did not check the numbers, I think that there are errors there too; if they turn out, the article will lose a lot; I advise you to let someone else check the numbers with the original, for a rare author can himself be a proofreader of his work - this is verified by experience ... ". The given fragment of the letter is interesting from two points of view. First, Nekrasov emphasizes the importance of the accuracy of the factual material for an article that gives quantitative characteristics of railways. Secondly, he shows the specifics of the editorial preparation of the publication, rightly noting that proofreading is an independent stage and it is advisable to do this work not for the author, but for another person.
Nekrasov began his work as an editor in the journal F.A. Koni "Pantheon of Russian theaters".
In 1845, the collection "Physiology of Petersburg" compiled by him was published in two parts, which included 12 articles. Among the authors of the collection V.G. Belinsky, D.V. Grigorovich, N.A. Nekrasov, A.Ya. Panaev.
The collection brought together materials of a heterogeneous nature according to the principle of ideological orientation. "All articles, in addition to literary dignity, also have the dignity of truth, which is very important and most important in writings of this kind," Nekrasov wrote.
The duties of the editor of the collection were determined by V.G. Belinsky: "... Mr. Nekrasov did not consider himself entitled to touch on a single article published in the collection. The editor of the collection is not like the editor of the journal. According to the general opinion, to be the editor of the collection means to collect articles, make a choice for them and arrange them , and then look after the publication. Mr. Nekrasov did just that. "
Nekrasov's editorial work on the collection revealed new opportunities for such a publication and its quality as integrity.
As we can see from Belinsky's judgment cited above, at this time the work and duties of the editor occupy public opinion. The features of the preparation of publications of various types and types, the duties of the editor and the criteria for evaluating the work, the formation of the author's asset are considered.
Nekrasov possessed the ability necessary for an editor to create conditions for the manifestation of a writer's gift. “It was only thanks to his great mind, high nobility and intrepid firmness of character that I had the opportunity to write as I wrote. I served my homeland well and have the right to her gratitude, but all my merits to her are his merits,” wrote N.G. . Chernyshevsky.
Two lines can be traced at the basis of the selection of materials in Nekrasov's Sovremennik: taking into account the reader's interest and the general direction of the journal. Given that the magazine is less actively distributed in the summer, it published important program materials in other periods of the year. I tried to give in the journal materials written in line with its general direction, or at least not contradicting it.
Nekrasov pays great attention to the language of the works. This is especially evident in the evaluation of translations. For example, he writes to N. Satin about the translation of W. Shakespeare's drama "The Tempest": "We would like you to review and correct this translation, made by you 25 years ago ... Sometimes, changing one word or even making only permutation in words, you see that the verse wins; this is understandable, because at the age of 25 the Russian language and verse made progress.
In this fragment of the letter, two points appear to be important for the issue under consideration. First of all, attention is drawn to the poet's remark about how sensitive language is. fiction, especially poetry, to each word of the text. The poet himself, Nekrasov, however, does not correct the translation, but prefers that the translator himself finalize it. Thus, he achieves the integrity of the transmission of perception by the translator of the author's text. In addition, Nekrasov emphasizes that the Russian language is constantly evolving. These processes were especially active in the 19th century, as we have already mentioned earlier. And Nekrasov, acting in this case as an editor, emphasizes the use of modern vocabulary in translation.
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Moscow State University named after M.V. Lomonosov
Faculty of Journalism
Department of Editorial Publishing and Informatics
ESSAY
ON THE. Nekrasov - editor
Performed
4th year student d/o 413 groups
Noble Daria
Lecturer: Inshakova N.G.
Moscow 2015
In modern reality, the editor is most often a person with a special liberal education, whose task is directly editing, the transformation of the author's text. In addition, now in most editorial offices there is a separation of powers between the editor and the editor-in-chief - the latter is less and less engaged in editing, being responsible for the concept and course of the media.
In the century before last, the face of journalism was different, and writers often became editors (in this case, editors-in-chief). One of these editors was Nikolai Alekseevich Nekrasov, head of the literary and socio-political magazine Sovremennik (in 1847-1866) and editor of the Otechestvennye Zapiski magazine (from 1868 to 1877). The policy of publications was determined by Nekrasov, therefore, in addition to direct editing, he also dealt with the ideological side of the journals, refusing to publish authors collaborating with publications whose position was hostile to his two journals. Nekrasov can be considered one of the central figures in the history of editing in the 19th century.
Editor in Nekrasov could appear in three different hypostases. First, it's self-editing. Secondly, it is a text editor for magazines that reads and corrects manuscripts. And thirdly, he is an editor who runs one of the most influential magazines of his time.
Nekrasov's direct editorial activity - in the sense of the word "editor" that we have now - is known to us thanks to manuscripts with notes preserved in the archives. It was often closely connected with the implementation of Sovremennik's policy. In "Essays on the history of editing in Russia XVI-XIX centuries." K.M. Nakoryakova gives several examples of his editorial work on the text. She writes that Nekrasov made minor adjustments even to V.G. Belinsky, if the thoughts expressed in them contradicted, at least in particular, the general guidelines of the journal. So, he made corrections to Belinsky's article "A Look at Russian Literature of 1846", in those places that relate to the assessment of F.M. Dostoevsky's "Double"; in particular, he replaced the following sentence: "In the "Double" the author discovered the enormous power of creativity, the character of the hero is one of the deepest, strongest and true concepts that Russian literature can boast of, there is an abyss of mind and truth in this work, artistic skill - too" . Nekrasov made it much more restrained: "In The Double, the author discovered a remarkable power of creativity, the character of the hero is concentrated deeply and boldly, there is a lot of truth in this work." Nakoryakova K.M. Essays on the history of editing in Russia. XVI-XIX centuries M., 2004. 179 S.
Nekrasov began his editorial activity in 1840 in the journal F.A. Koni "Pantheon of Russian theaters", and Nekrasov's first serious editorial experience was the collection "Physiology of St. Petersburg". The two parts of the collection included 12 articles by various authors such as Belinsky, Grigorovich, Panaeva and Nekrasov himself. Diverse in nature, materials were united by a common focus: "All articles, apart from literary merit, also have the dignity of truth, which is very important and most important in writings of this kind," Nekrasov wrote about the works of writers of the "natural school", the declaration of which was in fact this collection. Defending Nekrasov, then a young writer, from the attacks of the Northern Bee, which called into question his right to be the editor of the almanac, V.G. Belinsky wrote that he “did not consider himself entitled to touch a single article published in the collection. The editor of the collection is not like the editor of the journal. By all accounts, being the editor of the collection means collecting articles, making a choice for them and arranging them, and then looking after publication. That is what Mr. Nekrasov did." There. 175 C.
The edits made by Nekrasov to other people's articles served not only to correct, but also to unify the style. Like any modern editor-in-chief, he was careful to ensure that the materials in his journal correlated with the anti-liberal orientation of the publication. It was impossible to reproach Nekrasov for not giving the author the opportunity to speak out if he himself did not consider the material worthy and interesting. In this respect, his job was precisely to maintain a single concept, regardless of his own tastes. Nekrasov never allowed himself to be lazy and rarely relied on co-editors - he always studied and edited articles in the utmost detail. In addition to managing the journal and editing articles, Nekrasov was engaged in the rest of the work of the journal: he was looking for new authors, actively corresponded with the creators of submitted manuscripts and communicated with censors, and also did not forget about independent work - he wrote articles and feuilletons. To create just one issue of Sovremennik, Nekrasov sometimes had to read more than a hundred pages of the material sent, select it and edit it, later select it again from the selected and edited, sometimes returning to the text of the articles many times, bring them to perfection.
In addition, Nekrasov knew how to interact with the reader, influencing his tastes, thereby confirming his undoubted talent as an editor. "Sovremennik" was issued in a beautiful lilac cover, a page with pictures of fashionable clothes was attached to it. It contained materials for every taste: stories, poems, and translated articles ... Nekrasov had an incredible talent - to breathe life into the magazine. Nekrasov understood the importance of proper distribution of materials and did not publish program materials during the summer months, when the magazine was less read. There. 176 C.
Word Search for the mature Nekrasov was a very important part of working on his own and edited texts. K.I. Chukovsky, in his fundamental work Nekrasov's Mastery, which to this day remains the main book on the work of this poet and editor, notes that Nekrasov's manuscripts show a huge difference between rough drafts and the final text. Even the early poems that were published, Nekrasov could rework later, rewrite almost completely the already completed text. In the first collection of Nekrasov, published in 1856, the poem "The Storm" was printed. It was not concise, had an imperfect syntax, and the images were inaccurate. Three years later, Nekrasov wrote "The Tempest" again, turning it into a real poetic masterpiece. "Here, in this reworking of unsuccessful poems, Nekrasov clearly revealed the great power of his skill and the infallibility of his literary taste, as well as that merciless severity towards himself, towards his work, towards his talent, without which he would not have been a great poet" Chukovsky K. AND. Mastery of Nekrasov. M., 1971. S. 229.
The Tempest is not the only example of Nekrasov's complete reworking of his texts. He later rewrote the poem "Meeting", creating "Wedding" - one size, almost unchanged first line and a similar plot, but two different works. The most interesting thing about these examples is that they are not draft and white versions - they are finished poems that have seen the light of day. Nekrasov magazine editorial censorship
Draft versions of Nekrasov's works are often strikingly different from those texts that appeared in collections and were included in the collected works. K. Chukovsky gives several examples demonstrating this. So, in the poem "Frost, Red Nose" at the end of the passage "There are women in Russian villages" instead of the lines:
And to the heart of this picture
To all who love the Russian people! (II, 171)
we see in the drafts the following options:
Paradise in the house of that family man,
Where does such a woman live!" (II, 561)
In a jar for a wedding for a son
The wretched surplus is growing...(II, 561)
We see the same thing with many other poems. In the work "Uncle Yakov" in the original text were the lines:
For the little ones
For all the boobies (II, 579)
In the final version, instead of them, we see lines that are much more consistent with the nature of the poem:
For the kids
Timoshek, Grishek (II, 290)
Chukovsky writes that we can not always see a draft version of a verse in manuscripts. Sometimes Nekrasov inserted words there that were not intended for the final version, but capable of "not weakening the inertia of the rhythm, not stopping the movement of the verse." Chukovsky calls it "pre-drafts". As an example, he cites an excerpt from the manuscript of the poem "How a coward is celebrated."
These huts, covered with straw,
Looks like they'll fall soon
These nags, countless beaten,
Little feed, barely deli[ut]. (II, 606)
The expressions "countlessly beaten" and "little fed" were not intended by Nekrasov for these verses, but they helped to maintain the rhythm in order to further work out the verses in detail. Probably, with other poems, the draft versions of which are known to us, Nekrasov did the same: he wrote down the main thoughts on paper, not even intending to save some fragments in the final version; in the future, intending to rewrite these passages, return to them, find a worthy replacement for these words and expressions.
Nekrasov remained faithful to his favorite aesthetic commandment:
…is important in the poem
Style to match the theme. (II, 439)
He never violated this commandment: the style of each of his works constantly depended on the ideological tasks that he set for himself when developing this or that plot. For example, Nekrasov gave the poem "Russian Women" a solemnly epic, elevated, but not at all pompous, style, which he achieved not only through the selection of ideally suitable words, but also through the size of the verse, and the chosen connection in the sentences Chukovsky K.I. Mastery of Nekrasov. M., 1971. S. 227.
Such a careful choice of words confirms that Nekrasov's editorial potential was revealed not only as the ability to achieve compliance of other people's texts with the idea of the magazine that he led, but also as perseverance in working on his own works and bringing them to perfection. Persistent work, which is aimed at improving their texts, is what distinguishes a born editor.
The merits of Nikolai Alekseevich Nekrasov for the entire Russian culture are not limited to the introduction of prose, folklore, appeal to the theme of the peasantry and the proof of the possibility of mixing moods within one poem. No less important is the editorial activity of Nekrasov and his work in the journals Sovremennik and Otechestvennye Zapiski. The appearance of these magazines is largely his personal merit.
Nekrasov himself was convinced that "there is no such thought that a person could not force himself to express clearly and convincingly for another." He wrote: “I am always annoyed when I come across the phrase “there are no words to express,” etc. Nonsense! There is always a word, but our mind is lazy, and one more thing: you need to have faith in the mind and insight of another at least as much , how many in their own" Nakoryakova K.M. Essays on the history of editing in Russia. XVI-XIX centuries M., 2004. 181 S. .
The path Nekrasov takes every time he edits someone else's text or the need to more clearly express his own thoughts on paper is recorded in archival sources and therefore allows us to get an idea of how this poet, writer, publicist and editor worked on the word. And the legacy left by him gives the right to assert that in the search for the most suitable word, Nekrasov reached the pinnacle of editorial and writing skills.
List of used literature
1. Nakoryakova K.M. Essays on the history of editing in Russia. XVI-XIX centuries M., 2004. S. 174-185.
2. Nekrasov N.A. Collected Works: In 15 vols. T. 10. L. Science. 1982.
3. Chukovsky K.I. Mastery of Nekrasov. M., 1971. S. 210-231.
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term paper, added 05/28/2013
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Nekrasov's publishing business was so successful that at the end of 1846 - January 1847, he, together with the writer and journalist Ivan Panaev, leased the Sovremennik magazine from Pletnev, founded by Alexander Pushkin. The literary youth, who created the main strength of the Notes of the Fatherland, left Kraevsky and joined Nekrasov. Belinsky also moved to Sovremennik, he handed over to Nekrasov part of the material that he collected for the Leviathan collection he had conceived. Nevertheless, Belinsky was at Sovremennik at the level of the same ordinary journalist as Kraevsky was. And this was subsequently reproached to Nekrasov, since it was Belinsky who most of all contributed to the fact that the main representatives of the literary movement of the 1840s moved from Otechestvennye Zapiski to Sovremennik.
Nekrasov, like Belinsky, became a successful discoverer of new talents. Ivan Turgenev, Ivan Goncharov, Alexander Herzen, Nikolai Ogaryov, Grigorovich found their fame and recognition on the pages of the Sovremennik magazine. The magazine published Alexander Ostrovsky, Nikolai Shchedrin, Gleb Uspensky. Nikolai Nekrasov introduced Fyodor Dostoyevsky and Leo Tolstoy into Russian literature. Nikolai Chernyshevsky and Nikolai Dobrolyubov also published in the magazine, who soon became the ideological leaders of Sovremennik.
From the very first years of publishing the magazine under the leadership of Nekrasov, he was not only its inspirer and editor, but also one of the main authors. His poems, prose, criticism are published here. In the years 1848-1855 of the "Gloomy Seven Years", the government of Nicholas I, being frightened French Revolution, began to pursue advanced journalism and literature. Nekrasov, the editor of Sovremennik, in this difficult time for freethinking in literature, managed at the cost of enormous efforts, despite the constant struggle against censorship, to maintain the reputation of the magazine, although it should be noted that the content of the magazine has noticeably faded.
The printing of very long adventure novels "Three Countries of the World" and "Dead Lake", written by Nikolai Nekrasov in collaboration with Stanitsky (pseudonym Golovacheva-Panaeva), begins. With the chapters of these long novels, Nekrasov covered the gaps that formed in the magazine due to censorship prohibitions.
Around the mid-1850s, Nekrasov became seriously ill with a sore throat, but his stay in Italy eased his condition. Nekrasov's recovery coincided with the beginning new era Russian life. A happy period also began in his work - he is put forward in the front ranks of literature.
But this period was not easy. Noticeably at that time, the aggravated class contradictions were also reflected in the journal: the editors of Sovremennik were split into two groups, one of which represented the liberal nobility, headed by Ivan Turgenev, Leo Tolstoy and Vasily Botkin, who advocated moderate realism, and the aesthetic "Pushkin » beginning in literature. They were counterbalanced by adherents of the satirical "Gogol" literature, which was promoted by the democratic part of the Russian "natural school" of the 1840s. In the early 1860s, the confrontation between these two currents in the journal reached its peak. In the split that occurred, Nekrasov supported the "revolutionary commoners", the ideologists of peasant democracy. During this difficult period of the highest political upsurge in the country, the poet creates such works as “The Poet and the Citizen” (1856), “Reflections at the Front Door” (1858) and “ Railway» (1864).
In the early 1860s, Dobrolyubov died, Chernyshevsky and Mikhailov were exiled to Siberia. All this was a blow to Nekrasov. The era of student unrest, riots of peasants liberated from the land and the Polish uprising began. During this period, the "first warning" was announced to Nekrasov's journal. The publication of Sovremennik was suspended, and in 1866, after Dmitry Karakozov shot at the Russian Emperor Alexander II, the magazine closed forever.
After the closure of the journal, Nekrasov converged with the publisher Andrei Kraevsky, and two years after the closure of Sovremennik, in 1868, he rented the Notes of the Fatherland from Kraevsky, making them the militant organ of revolutionary populism.