Mikhail Mikhailovich Zoshchenko. Presentation on creativity M
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Presentation slides
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Zoshchenko Mikhail Mikhailovich
Born in 1895 in St. Petersburg, in the family of a poor itinerant artist Mikhail Ivanovich Zoshchenko and Elena Iosifovna Surina. The family had eight children. On February 17, 1939, in the Kremlin, M. I. Kalinin presented the Order of the Red Banner of Labor to the writer Mikhail Zoshchenko.
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Occupations and professions.
Train controller on the railway line Kislovodsk - Mineralnye Vody; in 1914 - platoon commander, warrant officer, and on the eve of the revolution - battalion commander, wounded, gassed, holder of four military orders, staff captain; chief of post and telegraph, commandant of the Main Post Office in Petrograd; border guard in Strelna, Kronstadt, commander of a machine-gun team and regimental adjutant on the Narva front; after demobilization (heart disease, a defect acquired as a result of gas poisoning) - an agent of the criminal investigation department in Petrograd, an instructor in rabbit breeding and chicken breeding at the Mankovo state farm in the Smolensk province, a policeman in Ligov, a shoemaker, a clerk and an assistant accountant in the Petrograd port.
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About creativity
Zoshchenko's first book, The Stories of Nazar Ilyich, Mr. Sinebryukhov (1922), and the stories that followed brought the author wide fame. Often the author contrasts the stupidity, rudeness and selfishness of his "heroes" with dreams of bright friendliness and spiritual subtlety, which will be imbued with relationships between people in the future. All works were written in various genres, and also translated into foreign languages. The reader laughed at what, in the opinion of the writer, was the problem of the present day.
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Success in literature
The share of Mikhail Mikhailovich Zoshchenko fell to fame, rare for a person of the literary profession. Journals contested their rights to publish his works. Books sold out at lightning speed. Glory followed him around. The postman brought bundles of letters, called on the phone, pursued on the streets. He had to leave Leningrad. Some citizens pretended to be him.
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Reasons for his success.
An unusually great variety of professions, which made it possible to learn all the features of the life of the people. He knew how to get used to the role of a person and understand his point of view. People were very eager to "get on his pencil." MM Zoshchenko felt guilty before the poor for his birth on white sheets. By the beginning of the 20th century, he had a lot of experience to create great works for which the language of the people was necessary. Zoshchenko's cheerfulness made it possible to saturate his works with laughter. Timeliness of writing stories.
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Sources.
Description of the presentation on individual slides:
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Creativity of Mikhail Mikhailovich Zoshchenko Completed by: Gaisarova M.G., teacher of the Russian language and literature, MKOU secondary school No. 9, Ashi, Chelyabinsk region
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Mikhail Mikhailovich Zoshchenko Mikhail Mikhailovich Zoshchenko (1894-1958) - Russian writer, satirist and playwright. In the stories of the 1920s, mainly in the form of a tale, he created a comic image of a philistine hero with poor morals and a primitive view of the environment. The Blue Book (1934-35) is a series of satirical short stories about the vices and passions of historical characters and a modern tradesman. The stories "Michel Sinyagin" (1930), "Returned Youth" (1933), the story-essay "Before Sunrise" (part 1, 1943; part 2, entitled "The Tale of the Mind", published in 1972). Interest in the new linguistic consciousness, the widespread use of tale forms, the construction of the image of the "author" (the bearer of "naive philosophy"). The works of Mikhail Zoshchenko were subjected to devastating criticism in the resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) (VKP(b) “On the magazines Zvezda and Leningrad” (1946) as a slander on Soviet reality.
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Early years Mikhail Zoshchenko was born on July 28 (August 10), 1894, in St. Petersburg (according to other sources - in 1895, in Poltava) in a poor, intelligent family (father is an itinerant artist, mother is a writer; burdened with a family with eight children , she sometimes published her stories in the newspaper "Kopeyka"). In 1894, at the age of 20, interrupting his studies at the university, Zoshchenko went to the front, where he was a platoon commander, ensign and battalion commander. For personal courage he was awarded five orders, among which was the rarest - the soldier's St. George's Cross. Then he was wounded, poisoned with gases, received a heart disease and depression, which worsened during the abrupt changes in his fate. After the February Revolution, under the Provisional Government, he worked as the head of the post and telegraph, the commandant of the Main Post Office in Petrograd, and the secretary of the regimental court in Arkhangelsk. After the October Revolution, Mikhail Zoshchenko served as a border guard in Strelna and Kronstadt, then volunteered for the Red Army, where he was commander of a machine gun team and adjutant near Narva and Yamburg. In 1919 he was demobilized and began to write. The first experiments - literary-critical articles (the book "At the Break", not completed). In 1921, he published his first story in the Petersburg Almanac. After demobilization, he tried himself in many professions and never regretted it: the inner experience of the war and the first post-revolutionary years formed the basis of his artistic vision. .
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Zoshchenko's literary environment The desire to become a professional writer led Zoshchenko (1921) to the Serapion Brothers group (Lev Natanovich Lunts, Vsevolod Vyacheslavovich Ivanov, Veniamin Aleksandrovich Kaverin (real name Zilber), Konstantin Aleksandrovich Fedin, Mikhail Leonidovich Slonimsky, Elizaveta Grigorievna Polonskaya, Nikolai Semenovich Tikhonov, Nikolai Nikolaevich Nikitin, Vladimir Pozner). The "Serapion Brothers" shied away from demagoguery and vainglorious declarativeness, tried to make art independent of politics, and in depicting reality deliberately proceeded from the facts of life, and not from slogans. Their position was conscious independence, which they opposed to the early-formed ideological conjuncture in Soviet literature. Critics, while wary of the "Serapions", nevertheless believed that Zoshchenko was the "most powerful" figure among them.
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Zoshchenko's Creative Direction Zoshchenko's self-awareness took shape in the socio-cultural context of Russian life-creation. The revolution strengthened in him the idea of direct participation in the transformation of life. Breaking with his class even before the revolution, as he repeatedly stated, Zoshchenko perceived it as "the death of the old world", "the birth of a new life, new people, country." His worldview was in line with the "intellectual populist" (Alexander Konstantinovich Voronsky) trend of the 1920s. “I always,” he wrote to Maxim Gorky in 1930, “sitting down at my desk, I felt some kind of guilt, some kind of literary guilt, so to speak. I remember old literature. Our poets wrote about flowers and birds, and along with this, wild, illiterate and even terrible people walked. And then something terribly launched. And all this made me redraw my work and neglect the respectable and convenient position ”(Literary heritage, T. 70, M., 1963, p. 162). This is how Zoshchenko's prose was born, which parodists called literature "for the poor" ("Literaturny Leningrad", 1935, January 1, p. 4). The former literature was rejected by the writer as sluggish and passive. He was afraid of the "noble restoration" in literature, considered Alexander Blok "a knight of a sad image" and pinned his hopes on literature with heroic pathos, modeling it after Gorky and Vladimir Mayakovsky (the book "At the Break"). In the early stories of Mikhail Zoshchenko (“Love”, “War”, “Female Fish”, etc.), the school of Anton Pavlovich Chekhov was palpable, but soon rejected: the big form of the Chekhov story seemed to Zoshchenko not corresponding to the needs of the new reader. He chose a short form of 100-150 lines, which for a long time became the canonical form of his satirical stories. He wanted to write in a language that would reproduce the "syntax of the street ... of the people" (Before Sunrise. "October", No. 6-7, p. 96). He considered himself a person temporarily replacing the "proletarian writer."
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Zoshchenko the satirist The first victory of Mikhail Mikhailovich was "The Stories of Nazar Ilyich, Mr. Sinebryukhov" (1921-1922). The loyalty of the hero, the "little man" who had been in the German war, was told ironically, but without malice; the writer, it seems, is rather amused than saddened by the humility of Sinebryukhov, who “understands, of course, his rank and position”, and his “boasting”, and what comes out to him from time to time is “a mishap and a regrettable incident”. The case takes place after the February Revolution, the slave in Sinebryukhov still seems justified, but it already acts as an alarming symptom: a revolution has taken place, but the psyche of people remains the same. The narrative is colored by the word of the hero - a tongue-tied person, a simpleton who finds himself in various curious situations. The author's word is folded. The center of artistic vision is moved to the mind of the narrator.
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The structure of M. Zoshchenko's satirical stories In the context of the main artistic problem of the time, when all writers were solving the question "How to emerge victorious from the constant, exhausting struggle of the artist with the interpreter" (Konstantin Alexandrovich Fedin), Zoshchenko was the winner: the ratio of image and meaning in his satirical stories was extremely harmonious. The main element of the narrative was linguistic comedy, the form of the author's assessment - irony, the genre - a comic tale. This artistic structure has become canonical for Zoshchenko's satirical stories.
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Zoshchenko the satirist The gap between the scale of revolutionary events and the conservatism of the human psyche, which struck Zoshchenko, made the writer especially attentive to that area of life where, as he believed, lofty ideas and epoch-making events are deformed. The writer's phrase, "And we are quietly, and we are little by little, and we are on a par with Russian reality," which made a lot of noise, grew out of a feeling of an alarming gap between the "rapidity of fantasy" and "Russian reality." Without questioning the revolution as an idea, M. Zoshchenko believed, however, that, passing through "Russian reality", the idea encounters on its way obstacles that deform it, rooted in the age-old psychology of yesterday's slave. He created a special - and new - type of hero, where ignorance was fused with readiness for mimicry, natural grasp with aggressiveness, and old instincts and skills were hidden behind the new phraseology. Such stories as "Victim of the Revolution", "Grimace of NEP", "Brake of Westinghouse", "Aristocrat" can serve as a model. The heroes are passive until they understand “what is what and who is not shown to be beaten”, but when it is “shown” they stop at nothing, and their destructive potential is inexhaustible: they mock their own mother, a quarrel over a brush turns into "solid battle" ("Nervous people"), and the pursuit of an innocent person turns into a vicious pursuit ("Terrible Night").
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A new image in literature The new type was the discovery of Mikhail Zoshchenko. He was often compared with the "little man" Nikolai Vasilyevich Gogol, Fyodor Mikhailovich Dostoevsky, and later - with the hero of Charlie Chaplin. But Zoshchenko's type - the farther, the more - deviated from all models. Linguistic comedy, which became an imprint of the absurdity of his hero's consciousness, became a form of his self-disclosure. He no longer considers himself a small person. “You never know what the average person has to do in the world!” - exclaims the hero of the story "Wonderful Rest". Proud attitude to the "case" - from the demagogy of the era; but Zoshchenko parodies her: “You understand yourself: either you drink a little, then the guests will come, then you need to glue the leg to the sofa ... The wife, too, will sometimes begin to express complaints.” So in the literature of the 1920s, Zoshchenko's satire formed a special, "negative world", as he said, so that he would be "ridiculed and repelled from himself."
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"Sentimental Stories". Starting in the mid-1920s, Mikhail Zoshchenko published "sentimental stories". Their origins were the story "The Goat" (1922). Then appeared the stories "Apollo and Tamara" (1923), "People" (1924), "Wisdom" (1924), "A Terrible Night" (1925), "What the Nightingale Sang About" (1925), "Merry Adventure" (1926 ) and Lilac Blooms (1929). In the preface to them, Zoshchenko for the first time openly spoke sarcastically about the "planetary missions", heroic pathos and "high ideology" that were expected of him. In a deliberately simple form, he posed the question: how does the death of the human in a person begin, what predetermines it and what can prevent it. This question appeared in the form of a reflective intonation.
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"Sentimental stories" Heroes of "sentimental stories" continued to debunk the allegedly passive consciousness. The evolution of Bylinkin (“What the nightingale sang about”), who at the beginning walked in the new city “timidly, looking around and dragging his feet”, and, having received “a strong social position, public service and a salary of the seventh category plus for the load”, turned into a despot and a boor, convinced that the moral passivity of the Zoshchensky hero is still illusory. His activity revealed itself in the rebirth of the spiritual structure: it clearly showed signs of aggressiveness. “I really like,” Gorky wrote in 1926, “that the hero of Zoshchenko’s story “What the Nightingale Sang About” - the former hero of the “Overcoat”, in any case, a close relative of Akaki, arouses my hatred thanks to the clever irony of the author”
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New types of heroes But, as Korney Ivanovich Chukovsky noted in the late 1920s and early 1930s, Zoshchenko has another type of hero - a man who "lost his human appearance", a "righteous man" ("Goat", "Terrible Night") . These heroes do not accept the morality of the environment, they have other ethical standards, they would like to live by high morality. But their rebellion ends in failure. However, unlike Chaplin’s “victim” rebellion, which is always fanned with compassion, Zoshchenko’s hero’s rebellion is devoid of tragedy: the personality is faced with the need for spiritual resistance to the mores and ideas of his environment, and the writer’s harsh demands do not forgive her compromise and capitulation.
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Heroes - righteous The appeal to the type of heroes-righteous gave out the eternal uncertainty of the Russian satirist in the self-sufficiency of art and was a kind of attempt to continue Gogol's search for a positive hero, a "living soul". However, it is impossible not to notice: in the "sentimental stories" the writer's artistic world has become bipolar; the harmony of meaning and image was broken, philosophical reflections revealed a preaching intention, the pictorial fabric became less dense. The word fused with the author's mask dominated; it was similar in style to stories; meanwhile, the character (type), stylistically motivating the narrative, has changed: this is an average intellectual. The former mask turned out to be attached to the writer.
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Tragic misunderstanding The attitude of criticism towards the talent of Mikhail Zoshchenko is a tragic misunderstanding. Until the last days, he was accused of philistinism, vulgarity, everydayism, apoliticality (the first reason was the article “On Myself and My Work”, the last - the works of the 1940s). He was advised to stop writing about "the petty-bourgeois swamp, which is already obsolete and does not interest anyone" ("Literaturny Sovremennik", 1941, No. 3, p. 126). A real refutation of this point of view was laid in a wide range of Zoshchenko's heroes: their social circle was large and went beyond those who have "any small property" - there were workers, and peasants, and employees, and intellectuals, and NEP landlords, and "former".
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Zoshchenko and Criticism Defending his commitment to portraying a special type of hero, Zoshchenko wrote: “I don't want to say that we are all philistines and swindlers, and all proprietors. I want to say that almost every one of us has this or that trait, this or that instinct of a tradesman and owner. He explained the rootedness of philistinism by the fact that it "accumulated over the centuries." With this understanding, philistinism was taken out of the boundaries of class partitions and included in a different series - ethical, socio-psychological. “Petishism” became not so much an attribute of the hero’s consciousness, but a sign of a special form of human existence in the world, a special way to see and feel the world, a system of life where life is not spiritualized and where it has not risen to the level of being. Consequently, the real reason for the discrepancy between Zoshchenko and criticism was his focus on human nature: it did not fit into the orthodox Soviet idea of a quick “remaking” of a person, his hero fell out of the canonized model of Soviet literature - a bearer of advanced views, a representative of the “selective qualities” of his class. Criticism also reproached Zoshchenko for the vagueness of the author's assessment. Sarcastic intonation, irony seemed to her an insufficiently energetic form of the author's tendency.
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The search for a "bright formula" This led to a deep and fruitless reflection of the writer on his work. He obeyed her. He began to feel the "ironic" fold of his character as his own insufficiency. In his reflections, the search for a “bright formula” occupied a huge place. “The mind should not stop at a gloomy decision,” he wrote in an article about Nikolai Alekseevich Zabolotsky (1937). “Gloomy qualities are unsuitable for the Soviet satirist ... - he wrote in an article of the same years about Ilya Ilf, - and commented: “This worldview is unusual for the people.” Previously, confidently rejecting the "loose," as he said, idea of the necessary presence of a positive hero in satire, Zoshchenko over the years began to identify the requirement of official criticism with "popular opinion."
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The body of Zoshchenko's works written in the 1930s is quite large: it includes about two dozen plays ("Dear Comrade", 1930; "Crime and Punishment", 1933; "Fallen Leaves", 1941; "Under the Limes of Berlin" ( together with Yevgeny Lvovich Schwartz, 1941), "Soldier's Happiness", etc.), as well as the stories "Returned Youth", "The Story of One Life", "The Black Prince", "Kerensky", "The Sixth Tale of Belkin", "Taras Shevchenko ". Stylistically, they are written in a neutral style, they do not contain Zoshchenko's linguistic comedy, their rhetoric is moralistic and banal. More than others, The Blue Book (1935) attracted attention. In order to increase the impact of his ideas on a person, Zoshchenko, on the advice of Gorky, grouped the stories into the cycles "Money", "Love", "Deceit", "Failure", "Amazing Events". Novels on historical and edifying themes side by side with old stories censored by the writer himself. In the name of an optimistic sound, a satirical sting was taken out of them. Optimistic sounding of works by M. Zoshchenko
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The contradictions in the narrative fabric of Zoshchenko's works of the late 1930s testified to deep internal shifts in the structure of his artistic world: as if ceasing to trust the crushing power of laughter, Zoshchenko brings moralism to the surface. And then edification appears in his stories, the restructuring of the hero in front of the readers (“City Lights”) and preaching intonation (“Commemoration”). Occasionally appearing in its true form, Zoshchenko's satire nevertheless turned out to be deeper and more accurate, and such stories as "The Case History" convinced of the unspent forces of Zoshchenko the satirist. The resemblance to Gogol that has passed through the whole life of the writer makes itself felt tangibly in the last period as well. Exploring the human in man, Zoshchenko, judging by the works of the 1930s and 1940s, in particular, the book Before Sunrise, used himself as a research model. Having survived the revolution, he himself knew both the feeling of fear of the “chance”, and the feeling of “shakyness”, and “some kind of cunning trick in life”, and the mismatch of a person with himself, and the “laziness” of consciousness, unable to overcome the terrible truth real life. Similarity with N.V. Gogol
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His personal non-coincidence with the surrounding life, gnawing his impossibility of merging with it, he elevated to his "gloom". Just as Gogol believed that, fighting the disease, he was engaged in "casting out demons", Zoshchenko in the book "Before Sunrise" (1943-1944), descending into the depths of his subconscious, according to Freud, exploring his childhood traumas, clothe early impressions in a word, hoped to get rid of depression. He shared the Soviet view of the subconscious as a damp basement that must be invaded and resisted by the mind. In this he saw the significance of his work during the Great Patriotic War. But the publication of the story in the magazine "October" (1943) caused sharp criticism. The second part never saw the light of day during the life of the writer (it was first published in 1972, not textually verified, under the title "The Tale of the Mind"). A wave of political accusations also swept through the press in 1945 - after the reprint in Zvezda of Zoshchenko's children's story "The Adventures of a Monkey" (originally - the magazine "Murzilka"). The wary attitude of critics towards his “mocking”, as they wrote, “jokes” about the revolution was put in direct connection with the “apolitical nature” of the “Serapion Brothers” (which were recalled in 1944 in connection with the publication of the first part of the book by Konstantin Alexandrovich Fedin “Bitter among US"). Mismatch with the environment
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The last works of M. Zoshchenko In 1946, thunder struck, which cost Zoshchenko his health and greatly shortened his life. In the report of Andrei Aleksandrovich Zhdanov “On the magazines Zvezda and Leningrad” and the subsequent resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of August 14, 1946, Zoshchenko was called a “scum”, “slanderer” and “scoundrel”. He was expelled from the Writers' Union and deprived of his pension and cards. The resolution was canceled only during the years of perestroika. In a state of severe depression, Zoshchenko tried to write (feuilletons and partisan stories). His pen also includes translations of the novels “For Matches” and “Risen from the Dead” by Mayu Lassila, “From Karelia to the Carpathians” by Antti Nikolaevich Timonen and others (translation work, which was arranged for him by friends, in particular Veniamin Aleksandrovich Kaverin, was the only means of subsistence his family). Zoshchenko's health was thoroughly undermined. Poverty, undeserved insults and the loneliness in which he found himself intensified his morbid condition. Mikhail Zoshchenko died on July 22, 1958, in Leningrad. Buried in Sestroretsk. The satirical types of Zoshchenko complicated the traditional Russian search for people. The satirical depiction of life already in the method itself carried the debunking of populist illusions. It was intensified by Zoshchenko's focus on the study of the individual and his conviction that only in the spiritual, moral renewal of a person lie the prospects for the revival of society.
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Zoshchenko Mikhail Mikhailovich Born in 1895 in St. Petersburg, in the family of a poor itinerant artist Mikhail Ivanovich Zoshchenko and Elena Iosifovna Surina. The family had eight children. On February 17, 1939, in the Kremlin, M. I. Kalinin presented the Order of the Red Banner of Labor to the writer Mikhail Zoshchenko.slide 2
Occupations and professions. Train controller on the railway line Kislovodsk - Mineralnye Vody; in 1914 - platoon commander, warrant officer, and on the eve of the revolution - battalion commander, wounded, gassed, holder of four military orders, staff captain; chief of post and telegraph, commandant of the Main Post Office in Petrograd; border guard in Strelna, Kronstadt, commander of a machine-gun team and regimental adjutant on the Narva front; after demobilization (heart disease, a defect acquired as a result of gas poisoning) - an agent of the criminal investigation department in Petrograd, an instructor in rabbit breeding and chicken breeding at the Mankovo state farm in the Smolensk province, a policeman in Ligov, a shoemaker, a clerk and an assistant accountant in the Petrograd port.
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About creativity Zoschenko's first book "Stories of Nazar Ilyich, Mr. Sinebryukhov" (1922) and the stories that followed it brought the author wide fame. Often the author contrasts the stupidity, rudeness and selfishness of his "heroes" with dreams of bright friendliness and spiritual subtlety, which will be imbued with relationships between people in the future. All works were written in various genres, and also translated into foreign languages. The reader laughed at what, in the opinion of the writer, was the problem of the present day.
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Success in Literature Mikhail Mikhailovich Zoshchenko fell to fame, rare for a man of the literary profession. Journals contested their rights to publish his works. Books sold out at lightning speed. Glory followed him around. The postman brought bundles of letters, called on the phone, pursued on the streets. He had to leave Leningrad. Some citizens pretended to be him.
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Reasons for his success. An unusually great variety of professions, which made it possible to learn all the features of the life of the people. He knew how to get used to the role of a person and understand his point of view. People were very eager to "get on his pencil." MM Zoshchenko felt guilty before the poor for his birth on white sheets. By the beginning of the 20th century, he had a lot of experience to create great works for which the language of the people was necessary. Zoshchenko's cheerfulness made it possible to saturate his works with laughter. Timeliness of writing stories.
Project work in literature: "The life and work of Mikhail Zoshchenko" Completed by:
Kukin Roman
Student 9 "A" class
Checked:
Teacher of Russian language and literature
Zharkova Marina Evgenievna
Purpose: To summarize information about Mikhail Zoshchenko
Tasks:1. Study and select material
2. Check out the material
3. Submit a project Mikhail Mikhailovich
Zoshchenko was born
on the Petrograd side,
in house number 4, apt. one,
along Bolshaya Raznochinnaya
street In 1913 Zoshchenko
graduated from the 8th gymnasium in
Petersburg. One year
studied law
Faculty of Emperors
whom St. Petersburg
university (was
charged for non-payment) February 5, 1915
sent to
order
headquarters of the Kiev
military district,
from where he was sent
for replenishment
to Vyatka and Kazan,
106th Infantry
reserve battalion,
as commander of the 6th
marching company. Debuted in print
in 1922.
belonged to
literary group
"Serapion brothers".
From left to right: K. Fedin, M.
Slonimsky, Tikhonov, E. Polonskaya,
M. Zoshchenko, N. Nikitin, I. Gruzdev, V.
Kaverin August 14, 1946
the Decree is issued
Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks
Zvezda magazines and
"Leningrad", in which
"providing
literary platform
writer Zoshchenko"
subjected to the most severe
devastating criticism of the editors
both magazines - magazine
"Leningrad" in general was
closed forever Mikhail Zoshchenko for his life
received many awards:
Combat:
Order of St. Stanislaus III class.
Order of St. Anne IV class. Order
St. Stanislaus II Art. with swords.
Order of St. Anne III class. Order
Saint Vladimir IV Art.
For literary work:
January 31, 1939 - Order of Labor
Red Banner.
April 1946 - Medal "For
valiant work in the Great
Patriotic War 1941-1945" Zoshchenko is a writer
only comic style,
but also comic
provisions. Style it
stories are not
just funny
words are wrong
grammatical turns
and sayings. Zoshchenko of the 30s completely
rejects not only
familiar social mask, but
and from worked out over the years
storytelling manner. The author and his
the heroes speak now
correct literary
language. At the same time, of course,
speech fades a little
gamma, but it became apparent that
old Zoshchenko style
could no longer be implemented
a new circle of ideas and images. High and pure
didactics with special
perfection
embodied in a cycle
touching and affectionate
stories for children
written in 1937 -1938
years. In June 1953
Zoshchenko was again
admitted to the Union
writers. Boycott
briefly
stopped. In the spring of 1958 Zoshchenko
it gets worse -
got poisoned
nicotine, which resulted in
a short-term
spasm of cerebral vessels. At
Zoshchenko finds it difficult to speak,
he ceases to recognize
surrounding.
July 22, 1958 at 0:45
Mikhail Zoshchenko died from
acute cardiac
insufficiency.
links to sites used in the project
http://www.krugosvet.ru/enc/kultura_i_obrazovanie/literatura/ZOSHCHENKO_MIHAIL_MIHALOVICH.html?page=0,1
http://www.litrasoch.ru/tvorchestvo-mixaila-zoshhenko/
https://ru.wikipedia.org/wiki/%D0%97%D0%BE%D1%89%D0%B5%D0
%BD%D0%BA%D0%BE,_%D0%9C%D0%B8%D1%85%D0%B0%D0%B8
%D0%BB_%D0%9C%D0%B8%D1%85%D0%B0%D0%B9%D0%BB%D0%
BE%D0%B2%D0%B8%D1%87
http://to-name.ru/biography/mihail-zoschenko.htm
M. Zoshchenko - satirist (1894-1985)
Writer's family. Born on July 29 (August 10 NS) in Poltava in the family of the artist-wanderer Mikhail Ivanovich Zoshchenko and the writer Elena Iosifovna Surina. Large family: eight children. When the boy was 12 years old, his father dies.
The military merit of the writer. In 1915, after completing accelerated military courses, Zoshchenko went to the front. Participated in many battles, was wounded and gassed. He had four military orders.
military posts. In 1915 - 1917 he held various military positions, and after the February Revolution he was the commandant of the Main Post Office and Telegraph of Petrograd. After the October Revolution, he joined the Red Army and served in the border troops in Kronstadt, then transferred to the active army and was at the front until the spring of 1919.
Zoshchenko during the war.
The beginning of literary activity. In April 1919 he was demobilized due to heart disease and began his service as an investigator in the Criminal Supervision. In 1920 he entered the Petrograd military port as a clerk, from that time he began to engage in literary activities.
Zoshchenko in his youth.
Creative activity. In 1922, the first book of short stories by M. Zoshchenko, Stories of Nazar Ilyich, Mr. Sinebryukhov, was published, followed by a number of collections of short stories: Sentimental Tales (1923 - 1936), Blue Book (1935), Historical Tales, etc. In total, from 1922 to 1946, there are 91 editions and reprints of his books.
Popularity Zoshchenko. From 1922 to 1946, his books went through about 100 editions, including a collected work in six volumes. By the mid-1920s, Zoshchenko had become one of the most popular writers. His stories were known and loved by all walks of life.
Zoshchenko is a playwright. In 1944 - 1946 he worked a lot for theaters. Two of his comedies were staged at the Leningrad Drama Theatre, one of which - "Canvas Briefcase" - withstood 200 performances in a year.
Zoshchenko's appointment. In the 30s, the nature of Zoshchenko's works changes: people are indifferent to each other, their actions are controlled by envy. People themselves cannot get rid of the old, they should be helped. And Zoshchenko saw his purpose in this. After the war, a wave of repressions swept across the country, and Zoshchenko was openly banned from publishing.
“I write very briefly. My phrase is short… Maybe that's why I have a lot of readers.”
creativity in recent years. In July 1953, Zoshchenko was again admitted to the Writers' Union, which brought temporary relief to his state of health. In the last years of his life he was published in the magazines "Crocodile" and "Spark".
The deterioration of the writer's health. In the period 1946 - 1953 the writer was mainly engaged in translation activities. The exacerbation of mental illness did not allow the writer to work fully. Zoshchenko died in Leningrad on July 22, 1958.
Dedication to Zoshchenko. As if to a distant voice I will listen, And there is nothing around, no one. In this black good land you will put his body. Neither hurts, nor weeping willow The lightest dust will not overshadow, Only sea winds from the bay, To mourn him, will fly ... (A. Akhmatova).
