Russian literature of the 19th century
Vikenty Vikentievich Veresaev
Biography
Veresaev (real name - Smidovich) Vikenty Vikentievich (1867 - 1945), prose writer, literary critic, critic. Born on January 4 (16th NS) in Tula in the family of a doctor who was very popular both as a doctor and as a public figure. There were eight children in this friendly family. Veresaev studied at the Tula classical gymnasium, teaching was easy, he was the "first student". Most of all succeeded in ancient languages, read a lot. At the age of thirteen he began to write poetry. In 1884, at the age of seventeen, he graduated from the gymnasium and entered the St. Petersburg University at the Faculty of History and Philology, went to the history department. At this time, he enthusiastically participated in various student circles, "living in a tense atmosphere of the most acute social, economic and ethical issues." In 1888 he graduated from the course with a candidate of historical sciences and in the same year entered the University of Dorpat at the Faculty of Medicine, which was shining with great scientific talents. For six years he was diligently engaged in medical science. During his student years he continued to write: first poetry, later - stories and stories. The first printed work was the poem "Thought", a number of essays and stories were placed in the "World Illustration" and books of "Week" by P. Gaideburov. In 1894 he received a medical degree and practiced for several months in Tula under the guidance of his father, then went to St. Petersburg and entered the Barachnaya hospital as a supernumerary resident. In the fall he finishes the big story "Without a Road", published in "Russian wealth", where he was offered permanent cooperation. Veresaev joined the literary circle of Marxists (Struve, Maslov, Kalmykova, and others) and maintained close relations with workers and revolutionary youth. In 1901 he was dismissed from the Barachnaya Hospital by order of the mayor and expelled from St. Petersburg. He lived in Tula for two years. When the expulsion period ended, he moved to Moscow. Veresaev became very famous for the "Notes of a Doctor" (1901), created on autobiographical material. When the war with Japan began in 1904, Veresaev, as a reserve doctor, was drafted into military service. Returning from the war in 1906, he described his impressions in "Tales of the War." In 1911, on the initiative of Veresaev, the "Book Publishing House of Writers in Moscow" was created, which he headed until 1918. During these years he performed literary and critical research ("Living Life" is devoted to an analysis of the works of F. Dostoevsky and L. Tolstoy). In 1917 he was chairman of the Khudprosvetkomissiya under the Moscow Soviet of Workers' Deputies. In September 1918, he went to Crimea, intending to live there for three months, but was forced to stay in the village of Koktebel, near Feodosia, for three years. During this time, Crimea passed from hand to hand several times, the writer had to go through a lot of difficult things. In 1921 he returned to Moscow. Completes a cycle of works about the intelligentsia: the novels "At a Dead End" (1922) and "Sisters" (1933). He published a number of books, compiled from documentary, memoir sources ("Pushkin in life", 1926 - 1927; "Gogol in life", 1933; "Pushkin's Companions", 1934 - 1936). In 1940 his "Non-Fictional Tales of the Past" appeared. In 1943 Veresaev was awarded the State Prize. Veresaev died in Moscow on June 3, 1945.
Versaev Vikenty Vikentyevich was born on January 4 (January 16) 1867 in the city of Tula. The real name is Smidovich. Versaev grew up in a large and friendly family. His father was a famous Tula doctor.
In 1884 Vikenty Vikentievich graduated from the Tula classical gymnasium. During his studies he was one of the best students. He studied ancient languages \u200b\u200bwith interest. At the age of thirteen he began to write poetry.
After grammar school Versaev entered the St. Petersburg University at the Faculty of History and Philology. Here he actively participated in public life. In 1888 he graduated from the university and received a Ph.D. in history.
Versaev decided to continue his studies and immediately after graduating from St. Petersburg University entered the Dorpat University at the Faculty of Medicine. During the years of studying medicine, he continues his creative activity: he writes poems, stories, stories.
The poem "Thought" became his first printed creation. In 1894 he received a medical degree. He returned to his homeland and for several months engaged in medical activities with his father. Then he moved to St. Petersburg and got a job in the Barachnaya hospital. In St. Petersburg, his creative activity continues, he becomes a member of the literary circle of Marxists.
In 1901 he was dismissed from the Barachnaya hospital and expelled from the city. He lived in Tula for two years, and when the settlement ended, he moved to Moscow. In 1901 he wrote Notes of a Doctor. It was this work that brought him fame.
From 1904 to 1906 spent in the Russo-Japanese War as a doctor.
Since 1911 he began to actively engage in creative work. Creates the "Book Publishing House of Writers in Moscow", is engaged in critical activities.
In 1918 he left for Crimea for three months, but returned to Moscow only in 1921. In Moscow he wrote the novels "In a Dead End", "Sisters". In 1940, one of his famous stories was published - "Non-fictional stories about the past."
In 1943 he was awarded the Stalin Prize of the first degree. Versaev died on June 3, 1945 in Moscow.
Vikenty Vikentievich Veresaev (pseudonym; real name Smidovich) - Russian writer, literary critic, translator - was born 4 (16) January 1867 in Tula in the family of a doctor who was very popular both as a doctor and as a public figure. There were eight children in this friendly family. Veresaev studied at the Tula classical gymnasium, teaching was easy, he was the "first student". Most of all succeeded in ancient languages, read a lot. At the age of thirteen he began to write poetry.
In 1888 Veresaev graduated from the Faculty of History and Philology of St. Petersburg University, and in 1894 - Faculty of Medicine, University of Dorpat. In 1894 receives a medical degree and practices for several months in Tula under the guidance of his father, then goes to St. Petersburg and enters the Barachnaya hospital as a supernumerary resident.
The first publications of V. Veresaev - the poem "Reflection" ( 1885 ), the story "Riddle" ( 1887 ). Since 1903 V. Veresaev lived in Moscow, was a member of the Sreda literary group. He combined literary activity with medical practice, as a doctor he participated in the Russian-Japanese war of 1904-1905. In 1917 Veresaev was the chairman of the Khudprosvetkomissii under the Moscow Council of Workers' Deputies. September 1918 leaves for Crimea, intending to live there for three months, but is forced to stay in the village of Koktebel, near Feodosia, for three years. In 1921 the writer returned to Moscow.
Personal experience formed the basis of publicistic works, in which sharp social criticism is combined with humanistic pathos: "Notes of a Doctor" ( 1901 ), "Tales of War" ( 1913 ), "At war. (Notes) "( 1907-1908 ), "In the Japanese War" ( 1928) ... The main theme of Veresaev's fictional prose, sustained in realistic traditions, is the spiritual quest of the Russian intelligentsia during periods of social upheaval: the story "Without a Road" ( 1895 ), "At the turn" ( 1902 ), the novel "At a Dead End" ( 1923-1924 ) and etc.
Veresaev's philosophical views are set forth in the book "Living Life" (1st part - "About Dostoevsky and Leo Tolstoy", 1910 ; 2nd - “Apollo and Dionysus. (About Nietzsche) ", 1914 ), where Veresaev, accepting the artistic experience of Leo Tolstoy and rejecting the world of F.M. Dostoevsky, affirms the "intrinsic value of life" and opposes its wealth to the "dead" truths of reason. The books "Pushkin in Life" ( 1925-1926 ), "Gogol in Life" ( 1933 ), "Pushkin's Companions" ( 1937 ). Veresaev is the author of memoirs ("Memories" ( 1936 ), "Fictional stories about the past" ( 1941 ), "Notes for myself" (published in 1968 )), translations from ancient Greek poetry (Homer, Sappho, Hesiod, Homeric hymns). In 1943 was awarded the USSR State Prize.
Artworks
Vikentiy Vikentievich Veresaev (real name - Smidovich). Born on January 4 (16), 1867, Tula - died on June 3, 1945, Moscow. Russian and Soviet writer, translator, literary critic. Laureate of the last Pushkin Prize (1919), the Stalin Prize of the first degree (1943).
Father - Vikenty Ignatievich Smidovich (1835-1894), a nobleman, was a doctor, founder of the Tula city hospital and sanitary commission, one of the founders of the Society of Tula doctors. Mother organized the first kindergarten in Tula in her home.
The second cousin of Vikentiy Veresaev was Pyotr Smidovich, and Veresaev himself is a distant relative of Natalya Fedorovna Vasilyeva - the mother of Lieutenant General V.E. Vasiliev.
He graduated from the Tula classical gymnasium (1884) and entered the history and philology faculty of St. Petersburg University, from which he graduated in 1888.
In 1894 he graduated from the medical faculty of the University of Dorpat and began medical work in Tula. Soon he moved to St. Petersburg, where in 1896-1901 he worked as a resident and head of the library in the City Barracks Hospital in memory of S.P. Botkin, and in 1903 he settled in Moscow.
Vikenty Veresaev became interested in literature and began writing in his gymnasium years. The beginning of Veresaev's literary activity should be considered the end of 1885, when he published the poem "Meditation" in the "Fashion magazine". For this first publication Veresaev chose the pseudonym “V. Vikentiev ". He chose the pseudonym "Veresaev" in 1892, signing his essays "Underworld" (1892) dedicated to the work and life of Donetsk miners.
The writer developed on the verge of two eras: he began to write, when the ideals of populism collapsed and lost their charming power, and the Marxist worldview began to stubbornly take root in life, when bourgeois-urban culture was opposed to the noble-peasant culture, when the city was opposed to the village, and workers to the peasantry.
In his autobiography, Veresaev writes: “New people came, cheerful and believing. Rejecting the hopes of the peasantry, they pointed to a rapidly growing and organizing force in the form of the factory worker, welcomed capitalism, which creates the conditions for the development of this new force. Underground work was in full swing, there was agitation in factories and workshops, circle classes were held with workers, tactical issues were vividly debated ... Many who were not convinced by theory were convinced by practice, including me ... In the winter of 1885, the famous Morozov weavers' strike broke out. , which amazed everyone with its multiplicity, consistency and organization ".
The work of the writer of this time is the transition from the 1880s to the 1900s, from a closeness to social optimism to what he later expressed in Untimely Thoughts.
In the years of disappointment and pessimism, he adjoins the literary circle of legal Marxists (P. B. Struve, M. I. Tugan-Baranovsky, P. P. Maslov, Nevedomsky, Kalmykova and others), enters the literary circle "Sreda" and collaborates in magazines : "New Word", "Beginning", "Life".
In 1894, a story was written "Without a road"... The author gives a picture of the painful and passionate searches of the young generation (Natasha) for the meaning and ways of life, turns to the older generation (doctor Chekanov) for the solution of the "damned questions" and waits for a clear, firm answer, and Chekanov throws at Natasha words heavy as stones: “ After all, I have nothing. Why do I need an honest and proud outlook, what does it give me? It's been dead for a long time. " Chekanov does not want to admit “that he is lifeless mute and cold; however, he is unable to deceive himself ”and dies.
During the 1890s, events took place: Marxist circles were created, "Critical Notes on the Economic Development of Russia" by P. B. Struve appeared, G. V. Plekhanov's book "On the Development of a Monistic View of History" was published, the well-known strike of weavers broke out in Petersburg, the Marxist "New Word" is published, then "Beginning" and "Life".
In 1897 Veresaev publishes the novel "Poetrie". Natasha no longer languishes in "restless searches", "she has found a way and believes in life", "she still breathes with cheerfulness, energy, happiness." The story sketches a period when young people in their circles pounced on the study of Marxism and went with the propaganda of the ideas of Social Democracy to the masses of the workers - to factories and factories.
All-Russian fame came to Veresaev after the publication in 1901 in the magazine "Peace of God" works "Doctor's notes" - a biographical story about experiments on humans and about a young doctor's encounter with their monstrous reality.
"A doctor - if he is a doctor and not a medical official - must first of all fight for the elimination of those conditions that make his activity senseless and fruitless, he must be a public figure in the broadest sense of the word", - the writer notes.
Then in 1903-1927 there were 11 editions. In the work that condemned medical experiments on humans, the moral position of the writer was also manifested, who opposed any experiments on humans, including against social experiments, whoever conducted them - bureaucrats or revolutionaries. The resonance was so strong that the emperor himself ordered to take action and stop medical experiments on humans.
It is no coincidence that the writer received the Stalin Prize for this work in 1943, in the midst of the struggle against the monstrous experiments of the Nazis. But this work received worldwide fame only in 1972. Indeed, over the years, the relevance of Veresaev's position increases, if we bear in mind those scientific research and those new technologies that in one way or another affect human health, well-being, dignity, and safety. Such research in our time is carried out far beyond the scope of proper medical and biomedical science. In a polemic with opponents, Veresaev showed the squalor of supporters of the right of the strong to experiment allegedly "in the interests of the public good" over "useless members of society", "old women-usurers", "idiots" and "backward and socially alien elements."
By the beginning of the century, a struggle was unfolding between revolutionary and legal Marxism, between orthodox and revisionists, between "politicians" and "economists". In December 1900, Iskra began to appear. Osvobozhdenie, the organ of the liberal opposition, is published. The society is fond of the individualistic philosophy of F. Nietzsche, in part it is read out by the cadet-idealist collection "Problems of Idealism".
These processes were reflected in the story "At the Turn", published at the end of 1902. The heroine Varvara Vasilievna does not put up with the slow and spontaneous rise of the labor movement, it annoys her, although she realizes: "I am nothing if I do not want to recognize this spontaneous and its spontaneity."
Closer to 1905, society and literature were embraced by revolutionary romanticism and the song “to the madness of the brave” sounded; Veresaev was not carried away by "uplifting deception", he was not afraid of the "darkness of low truths." In the name of life, he values \u200b\u200bthe truth and, without any romanticism, draws the paths and roads along which various strata of society went.
In 1904, during the Russo-Japanese War, he was drafted into military service as a military doctor, and he went to the fields of distant Manchuria.
The Russo-Japanese War and 1905 are reflected in the notes "In the Japanese War"... After the 1905 revolution, a reassessment of values \u200b\u200bbegan. Many of the intelligentsia withdrew from revolutionary work in disillusionment. Extreme individualism, pessimism, mysticism and churchliness, eroticism have colored these years.
In 1908, in the days of the triumph of Sanin and Peredonov, the novel was published "To life"... Cherdyntsev, a prominent and active Social Democrat, at the moment of disintegration, having lost the value and meaning of human existence, suffers and seeks consolation in sensual pleasure, but everything is in vain. Inner confusion occurs only in communication with nature and in communication with workers. The acute question of those years was raised about the relationship between the intelligentsia and the masses, “I” and humanity in general.
In 1910 he made a trip to Greece, which led to a fascination with ancient Greek literature throughout his later life.
During the First World War he served as a military doctor. He spent the post-revolutionary time in Crimea.
In the first years after the 1917 revolution, Veresaev's works were published: In the Young Years (Memoirs); "Pushkin in Life"; translations from ancient Greek: "Homeric hymns".
From 1921 he lived in Moscow.
In 1922 the novel was published "At a dead end", which shows the Sartanov family. Ivan Ivanovich, a scientist, a democrat, understands nothing at all about the unfolding historical drama; his daughter Katya, a Menshevik, does not know what to do. Both are on the same side of the barricade. Another daughter, Vera, and nephew Leonid are communists, they are on the other side. Tragedy, collisions, disputes, helplessness, dead end.
In 1928-1929 he published in 12 volumes the complete collection of his works and translations. Volume 10 includes translations from the ancient Greek Hellenic poets (excluding Homer), including Hesiod's Works and Days and Theogony, which were then reprinted several times.
Veresaev is a realist in the manner of writing. What is especially valuable in the writer's work is his deep truthfulness in the display of the environment, persons, as well as love for everyone who is rebelliously seeking a solution to "eternal questions" from the standpoint of love and truth. His heroes are given not so much in the process of struggle, work, as in the search for ways of life.
Veresaev also writes about workers and peasants. In the story "The End of Andrey Ivanovich", in the sketch "On a dead road" and in a number of other works, the writer portrays a worker.
The essay "Lizar" depicts the power of money over the countryside. Several more essays are devoted to the village.
Of great interest is the work on FM Dostoevsky, LN Tolstoy and Nietzsche, entitled "Living Life" (two parts). This is a theoretical justification for the story "To Life" - here the author, together with Tolstoy, preaches: "The life of mankind is not a dark pit from which it will get out in the distant future. This is a bright, sunny road, ascending higher and higher to the source of life, light and integral communication with the world! .. "" Not away from life, but into life, - into its very depths, into its very depths. " Unity with the whole, connection with the world and people, love - this is the basis of life.
In 1941 he was evacuated to Tbilisi.
He died in Moscow on June 3, 1945, and was buried at the Novodevichy cemetery (plot number 2). 13 years later, a monument to the writer was erected in Tula.
Personal life of Vikenty Veresaev:
He was married to his second cousin - Maria Germogenovna Smidovich.
Veresaev described his relationship with his wife in the 1941 story "Eytimiya", which means "joyfulness."
The Veresaevs did not have children.
Bibliography of Vikentiy Veresaev:
Novels:
Dead End (1923)
Sisters (1933)
Dramas:
In the sacred forest (1918)
The Last Days (1935) in collaboration with M. A. Bulgakov
Stories:
No Road (1894)
The Fever (1897)
Two ends: The End of Andrei Ivanovich (1899), The End of Alexandra Mikhailovna (1903)
At the Bend (1901)
In the Japanese War (1906-1907)
Alive (1908)
Isanka (1927)
Stories:
Riddle (1887-1895)
Rush (1889)
To the Hurry (1897)
Comrades (1892)
Lizar (1899)
Vanka (1900)
On the stage (1900)
Mother (1902)
Star (1903)
Enemies (1905)
The Contest (1919)
Dog Smile (1926)
Princess
Fictional stories about the past.
(real name - Smidovich) (1867-1945) russian writer
In the minds of most writers, the name of Vikentiy Vikentievich Veresaev occupies a prominent place among the famous artists of the word of the early 20th century. Only in recent years it became obvious that he occupied a prominent place in Soviet literature, but was deliberately excluded from it in the thirties.
Vikenty Veresaev was born in Tula, where his father worked as a zemstvo doctor. The boy began to read early, as the house had a wonderful library. The family had many children, and they all received an excellent education, at first at home, and then at the gymnasium.
After graduating from the Tula classical gymnasium, Vikenty Veresaev entered the history and philology faculty of St. Petersburg University. Already in his second year, he published his first work - the poem "Reflection", and a year later the first stories of the young writer "Nasty Boy" and "Riddle" were published. Already at this time, the young man realized that literary creativity is his real vocation.
After graduating from St. Petersburg University, with a Ph.D. in History, Vikentiy Veresaev entered the medical faculty of the University of Dorpat (Tartu). At that time he was strongly influenced by the ideas of the populists and believed that he should bring practical benefits to people with his work.
In 1894 Veresaev received a medical degree and returned to Tula. Disappointment soon sets in with the Narodnik ideas. The writer reflects his moods in the story "Without a Road" (1895). She introduced him to the circle of the most famous Russian writers of that time - Ivan Bunin, Maxim Gorky, Vladimir Korolenko, Anton Chekhov. The story opened a cycle of works by Vikenty Vikentyevich Veresaev, dedicated to the moods of the Russian intelligentsia, - "Poetrie" (1898), "Lizar" (1899) and "On the Bend" (1902).
He becomes an active participant in N. Teleshov's literary circle "Wednesday", is constantly published in the collections of the association "Knowledge", and after the release of "Notes of a Doctor" (1901) finally entered the environment of democratically minded writers of the early 20th century. From that time on, Veresaev stopped practicing medicine and devoted himself entirely to literary creativity.
During the Russo-Japanese War of 1904-1905. the writer was drafted into the army, where he again had to return to medical practice. He proved himself as a pacifist, an opponent of the war, reflecting his observations in his autobiographical notes "At War" and a collection of essays "Tales of the War" (1906).
After demobilization, Vikenty Veresaev lives in Moscow and is actively involved in journalism, and also writes the story "To Life" (1909), which tells about revolutionaries.
In 1911, on his initiative, the "Writers' Book Publishing House in Moscow" was created. In it, he actively appears not only as a writer, but also as a literary critic: he publishes books about Dostoevsky, Tolstoy, as well as translations from the ancient Greek language. Veresaev developed an interest in antiquity after a trip to Greece in 1912. A collection of his translations from Greek poetry was awarded the Pushkin Prize, the highest literary award in Russia.
Vikenty Vikentievich Veresaev accepted the October Revolution at first and even; entered the leadership of the All-Russian Union of Writers. However, the policy of the new government, aimed at suppressing the intelligentsia, soon pushed the writer away from participation in public life. In addition, in 1918 his publishing house was closed, which caused a well-founded protest from the writer. In 1926 he begins to write "Memoirs", in which, like other writers of the older generation - M. Gorky and V. Korolenko, he talks about significant events of the early 20th century.
A deliberate departure from modernity to the past led to Veresaev's transition to artistic journalism. He composes the books "Pushkin in Life" and "Gogol in Life", where an entertaining story about the life of the writer is created through a skillful selection of quotations. This method of creating a biography was completely innovative, so the works of Vikentiy Veresaev were published several times in Soviet times and practically began to be perceived as the only ones that he wrote. The rest of his stories and novels were published much later.
In 1933, Vikenty Vikentievich Veresaev completed the novel Sisters, in which he continued the main theme of his work. He always wrote about the intelligentsia during difficult dramatic periods in history. But what he told was layered on one of the most, perhaps, terrible periods in the development of Russian society in the 20th century. Veresaev describes the beginning of the process of creating totalitarian thinking and at the same time makes a kind of verdict on what is happening.
The consequences were easy to predict. Like many other works of that time, the novel was banned and remained unknown to the general reader, just like the works on the same topic by A. Platonov. It was only in 1988 that it was first published in full.
The writer had no choice but to go back into the past. He continues to write memoirs that will be collected by his loved ones. For the reader, Vikenty Veresaev becomes known as the author of translations of Homer's poems Iliad and Odyssey, as well as Hesiod's poem Works and Days. At this time, the writer lived in the village of Nikolina Gora near Moscow, where later his widow opened a museum.
At the end of the thirties, stories about children begin to be published, then it turns out that these were the initial chapters from his memoirs, which opened with descriptions of the writer's childhood. The last of the stories was published in the Pionerskaya Pravda newspaper just a few days before Veresaev's death.
Pure fiction is forced to always be on the alert in order to maintain the reader's confidence. And the facts are not responsible and laugh at the disbelievers.
Rabindranath Tagore
Every year novels and stories become less and less interesting to me; and more and more interesting - living stories about the really former. And the artist is not interested in what he tells, but how he himself was reflected in the story.
In general, it seems to me that fiction writers and poets talk an awful lot and stuff an awful lot of lime into their works, the only purpose of which is to solder bricks with a thin layer. This even applies to such, for example, stingy in words, succinct poet like Tyutchev.
The soul, alas, does not suffer happiness,
But he can suffer himself.
This poem to D. F. Tyutcheva would only gain in dignity if it consisted of all of the couplet given.
I am not going to argue with anyone about this and am ready to agree in advance with all objections. I myself would be very glad if Levin hunted for a whole printed page, and if Chekhov's Yegorushka also drove across the steppe for a whole printed page. I just want to say that this is my current mood. For many years I was going to "develop" much of what fits here, to furnish it with psychology, descriptions of nature, everyday details, to accelerate the pages by three, four, or even a whole novel. And now I see that all this was completely unnecessary, that it was necessary, on the contrary, to squeeze, squeeze, respect both the reader's attention and time.
Here, by the way, there are many very short notes, sometimes just two or three lines. With regard to such notes, I have heard the objections: "It's just from a notebook." No, not at all "just" from a notebook. Notebooks are material that a writer collects for his or her work. When we read the published notebooks of Leo Tolstoy or Chekhov, they are most interesting to us not in themselves, but precisely as a material, like bricks and cement, from which these huge artists built their wonderful buildings. But in these books there are a lot of things that are of independent artistic interest, which is valuable in addition to the names of the authors. And is it possible to devalue such records by indicating that they are “just from a notebook”?
If I find in my notebooks a valuable thought, an observation that is interesting in my opinion, a bright touch of human psychology, a witty or funny remark, do I really need to refuse to reproduce them just because they are expressed in ten, fifteen, or even two- three lines, just because to a stranger's eyes it is - "just from a notebook"? It seems to me that only conservatism speaks here.
It turns out: the daughter of a general, graduated from the Pavlovsk Institute. She married unhappily, parted, got along with the captain of the Uhlans, drank a lot; then he passed it on to another, gradually lower and lower - became a prostitute. For the last two or three years she lived with the murdered person, then they quarreled and parted. He took another one.
This other one killed him.
Emaciated, with big eyes, about thirty. The name was Tatiana. Her story is like this.
As a young girl she served as a maid for wealthy merchants in Yaroslavl. She got pregnant from the master's son. She was presented with a fur coat, dresses, given a little money and floated to Moscow. She gave birth to a child and sent to an orphanage. She herself went to work in a laundry. Received fifty kopecks a day. She lived quietly, modestly. For three years I saved up seventy-five rubles.
Here she met the famous Khitrovsky "cat" Ignat and loved him dearly. Stocky, but beautifully built, a gray bronze face, fiery eyes, black tendrils in a frog. In one week, he dumped all her money, fur coat, dresses. After that, out of her fifty-kopeck salary, she kept five kopecks for herself for grub, a dime for the shelter for him and for herself. I gave the remaining thirty-five kopecks to him. So I lived with him for six months and was happy for herself.
Suddenly he disappeared. At the market she was told: arrested for theft. She rushed to the police station, sobbing, begged to be admitted to him, broke through to the bailiff himself. The police threw it into her neck and pushed her out.
After that, she has fatigue, a deep desire for peace, a quiet life, her own corner. And she went to the maintenance of the mentioned old man.
