By ΠΡΠΈΠ³ΠΎΡΠΎΠ²ΠΈΡ ΠΠΌΠΈΡΡΠΈΠΉ ΠΠ°ΡΠΈΠ»ΡΠ΅Π²ΠΈΡ
ΠΠΌΡ ΠΠΌΠΈΡΡΠΈΡ ΠΠ°ΡΠΈΠ»ΡΠ΅Π²ΠΈΡΠ° ΠΡΠΈΠ³ΠΎΡΠΎΠ²ΠΈΡΠ° ΠΏΡΠΎΡΠ½ΠΎ Π²ΠΏΠΈΡΠ°Π½ΠΎ Π² ΠΈΡΡΠΎΡΠΈΡ ΡΡΡΡΠΊΠΎΠΉ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ ΠΊΠ°ΠΊ ΠΈΠΌΡ ΠΎΠ΄Π½ΠΎΠ³ΠΎ ΠΈΠ· ΠΎΡΠ½ΠΎΠ²ΠΎΠΏΠΎΠ»ΠΎΠΆΠ½ΠΈΠΊΠΎΠ² "Π½Π°ΡΡΡΠ°Π»ΡΠ½ΠΎΠΉ ΡΠΊΠΎΠ»Ρ", ΠΏΠΈΡΠ°ΡΠ΅Π»Ρ, Ρ Π±Π΅ΡΠΏΡΠ΅Π΄Π΅Π»ΡΠ½ΠΎΠΉ ΠΈΡΠΊΡΠ΅Π½Π½ΠΎΡΡΡΡ ΠΈ ΡΠΎΡΡΡΠ°Π΄Π°Π½ΠΈΠ΅ΠΌ Π·Π°ΠΏΠ΅ΡΠ°ΡΠ»Π΅Π²ΡΠ΅Π³ΠΎ ΡΡΠ°Π³ΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΡΠ΅Π°Π»ΠΈΠΈ ΠΊΡΠ΅ΡΡΡΡΠ½ΡΠΊΠΎΠΉ ΠΆΠΈΠ·Π½ΠΈ Π² Π ΠΎΡΡΠΈΠΈ XIX Π²Π΅ΠΊΠ°. ΠΠ³ΠΎ ΠΏΡΠΎΠ½Π·ΠΈΡΠ΅Π»ΡΠ½ΡΠΉ ΡΠ°ΡΡΠΊΠ°Π· "ΠΠ΅ΡΠ΅Π²Π½Ρ" (1846) β ΠΊΡΠΈΠΊ Π΄ΡΡΠΈ ΠΎ Π³ΠΎΡΡΠΊΠΎΠΉ ΡΡΠ°ΡΡΠΈ ΠΊΡΠ΅ΡΡΡΡΠ½ΠΊΠΈ, Π½Π°ΡΠΈΠ»ΡΠ½ΠΎ Π²ΡΠ΄Π°Π½Π½ΠΎΠΉ Π·Π°ΠΌΡΠΆ, β ΠΌΠ³Π½ΠΎΠ²Π΅Π½Π½ΠΎ Π·Π°Π²ΠΎΠ΅Π²Π°Π» ΠΏΡΠΈΠ·Π½Π°Π½ΠΈΠ΅ ΠΈ ΡΡΠ°Π» ΠΌΠ°Π½ΠΈΡΠ΅ΡΡΠΎΠΌ Π½ΠΎΠ²ΠΎΠ³ΠΎ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ½ΠΎΠ³ΠΎ Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ΠΈΡ.
ΠΠΎΠ²Π΅ΡΡΡ "ΠΠ½ΡΠΎΠ½-ΠΠΎΡΠ΅ΠΌΡΠΊΠ°" (1847) Π½Π΅ ΠΌΠ΅Π½Π΅Π΅ Π²ΠΏΠ΅ΡΠ°ΡΠ»ΡΠ΅Ρ. Π ΠΎΠ±ΡΠ°Π·Π΅ ΠΏΡΠΎΡΡΠΎΠ΄ΡΡΠ½ΠΎΠ³ΠΎ, Π½ΠΎ Π±Π»Π°Π³ΠΎΡΠΎΠ΄Π½ΠΎΠ³ΠΎ ΠΠ½ΡΠΎΠ½Π° ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΈΠΊΠΈ ΡΠ²ΠΈΠ΄Π΅Π»ΠΈ Π²ΠΎΠΏΠ»ΠΎΡΠ΅Π½ΠΈΠ΅ Π»ΡΡΡΠΈΡ ΡΠ΅ΡΡ ΡΡΡΡΠΊΠΎΠ³ΠΎ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ Ρ Π°ΡΠ°ΠΊΡΠ΅ΡΠ°, Π΅Π³ΠΎ ΡΡΠΎΠΉΠΊΠΎΡΡΡ ΠΈ ΡΠ΅ΡΠΏΠ΅Π½ΠΈΠ΅ ΠΏΠ΅ΡΠ΅Π΄ Π»ΠΈΡΠΎΠΌ Π½Π΅Π²Π·Π³ΠΎΠ΄. ΠΡΠΈΠ³ΠΎΡΠΎΠ²ΠΈΡ, ΠΎΠ΄Π½Π°ΠΊΠΎ, Π±ΡΠ» Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ Ρ ΡΠΎΠ½ΠΈΠΊΠ΅ΡΠΎΠΌ Π½Π°ΡΠΎΠ΄Π½ΡΡ ΡΡΡΠ°Π΄Π°Π½ΠΈΠΉ. ΠΠ±Π»Π°Π΄Π°Ρ ΡΡΠΊΠΈΠΌ Π°ΡΡΠΈΡΡΠΈΡΠ΅ΡΠΊΠΈΠΌ ΡΠ°Π»Π°Π½ΡΠΎΠΌ ΠΈ ΠΈΡΠΊΡΠΎΠΌΠ΅ΡΠ½ΡΠΌ ΡΠΌΠΎΡΠΎΠΌ, ΠΎΠ½ Ρ Π»ΡΠ³ΠΊΠΎΡΡΡΡ ΠΏΠ΅ΡΠ΅ΠΌΠ΅ΡΠ°Π»ΡΡ ΠΌΠ΅ΠΆΠ΄Ρ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ½ΡΠΌΠΈ ΡΠ°Π»ΠΎΠ½Π°ΠΌΠΈ ΠΈ ΡΠ²Π΅ΡΡΠΊΠΈΠΌΠΈ ΡΠ°ΡΡΠ°ΠΌΠΈ.
Π Π±ΠΎΠ»Π΅Π΅ ΠΏΠΎΠ·Π΄Π½ΠΈΠΉ ΠΏΠ΅ΡΠΈΠΎΠ΄ ΠΆΠΈΠ·Π½ΠΈ, ΠΎΡΡΠ°Π²ΠΈΠ² Π½Π° Π²ΡΠ΅ΠΌΡ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ, ΠΡΠΈΠ³ΠΎΡΠΎΠ²ΠΈΡ ΠΏΠΎΡΠ²ΡΡΠΈΠ» ΡΠ΅Π±Ρ ΠΈΠ·ΠΎΠ±ΡΠ°Π·ΠΈΡΠ΅Π»ΡΠ½ΠΎΠΌΡ ΠΈΡΠΊΡΡΡΡΠ²Ρ, ΡΠ΅Π΄ΡΠΎ Π΄Π΅Π»ΡΡΡ ΠΎΠΏΡΡΠΎΠΌ ΠΈ ΠΏΠΎΠΌΠΎΠ³Π°Ρ ΠΌΠΎΠ»ΠΎΠ΄ΡΠΌ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ°ΠΌ. ΠΠΎ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ½ΠΎΠ΅ ΠΌΠΎΠ»ΡΠ°Π½ΠΈΠ΅ ΠΎΠΊΠ°Π·Π°Π»ΠΎΡΡ Π½Π΅Π΄ΠΎΠ»Π³ΠΈΠΌ. Π 1880-Ρ Π³ΠΎΠ΄Π°Ρ Π΅Π³ΠΎ ΡΠ°ΡΡΠΊΠ°Π· "ΠΡΡΡΠ°ΠΏΠ΅ΡΡΠ΅Π²ΡΠΉ ΠΌΠ°Π»ΡΡΠΈΠΊ", Π½Π°ΠΏΠΈΡΠ°Π½Π½ΡΠΉ ΠΏΠΎΠ΄ Π²ΠΏΠ΅ΡΠ°ΡΠ»Π΅Π½ΠΈΠ΅ΠΌ ΠΎΡ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π° Π§Π°ΡΠ»ΡΠ·Π° ΠΠΈΠΊΠΊΠ΅Π½ΡΠ°, Π²ΠΎΡΡ ΠΈΡΠΈΠ» ΡΠΈΡΠ°ΡΠ΅Π»Π΅ΠΉ ΡΠ²ΠΎΠΈΠΌ ΡΠΎΠ½ΠΊΠΈΠΌ ΡΠΌΠΎΡΠΎΠΌ ΠΈ ΠΏΡΠΈΡ ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΎΠΉ Π³Π»ΡΠ±ΠΈΠ½ΠΎΠΉ, ΠΌΠΎΠΌΠ΅Π½ΡΠ°Π»ΡΠ½ΠΎ ΡΡΠ°Π² Ρ ΡΠ΅ΡΡΠΎΠΌΠ°ΡΠΈΠΉΠ½ΡΠΌ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠ΅ΠΌ ΠΈ ΠΏΠΎΠ΄ΡΠ²Π΅ΡΠΆΠ΄Π΅Π½ΠΈΠ΅ΠΌ ΠΌΠ½ΠΎΠ³ΠΎΠ³ΡΠ°Π½Π½ΠΎΠ³ΠΎ ΡΠ°Π»Π°Π½ΡΠ° ΡΡΠΎΠ³ΠΎ Π²ΡΠ΄Π°ΡΡΠ΅Π³ΠΎΡΡ Π΄Π΅ΡΡΠ΅Π»Ρ ΡΡΡΡΠΊΠΎΠΉ ΠΊΡΠ»ΡΡΡΡΡ.
The name of Dmitri Vasilyevich Grigorovich is firmly etched in the annals of Russian literature as one of the founding fathers of the "Natural School," a writer who captured with unyielding sincerity and compassion the tragic realities of peasant life in 19th-century Russia. His poignant short story, "The Village" (1846) β a heart-wrenching cry about the bitter fate of a peasant woman forcibly married β instantly gained recognition and became a manifesto of a new literary movement.
The novella "Anton the Unfortunate" (1847) is equally compelling. In the image of the simple yet noble Anton, contemporaries saw the embodiment of the best traits of the Russian national character: his resilience and patience in the face of adversity. Grigorovich, however, was more than just a chronicler of the people's suffering. Possessing a vibrant artistic talent and sparkling wit, he effortlessly navigated between literary salons and high society gatherings.
Later in life, temporarily setting aside literature, Grigorovich dedicated himself to visual art, generously sharing his expertise and mentoring aspiring young artists. But his literary silence proved short-lived. In the 1880s, his short story "The Gutta-Percha Boy," written under the influence of Charles Dickens, captivated readers with its subtle humor and psychological depth, instantly becoming a canonical work and a testament to the multifaceted talent of this outstanding figure in Russian culture.