Boris Sadovsky. Samovar.

Boris Sadovsky. Samovar.
Moscow. Alcyone, 1914 24 p. Soft cover, album format (23.5 x 28 cm). The condition is satisfactory: parts of the cover and the first and last sheets are separated from the block, have dirt, loss, traces of existence.

[Boris Alexandrovich sadovskoy (current FAM. Sadovsky( 1881-1952) was a Russian poet, novelist, critic and literary critic of the Silver age.

A hereditary nobleman in the second generation, he was born on February 10 (22), 1881 in the city of Ardatov, Nizhny Novgorod province in the family of an inspector of An appanage office.

His literary debut was the poem "John the terrible" (1901) in the Nizhny Novgorod newspaper "Volgar".

in 1904, at the invitation of V. Bryusov, he wrote critical notes in the magazine "Libra". Later he collaborated with the magazines "Russian thought" and "Northern notes".

In 1909, Sadovsky's first collection of poems, " Late morning", was published, at the same time the poet took a pseudonym, changing the ending of his last name to" OI "(in accordance with the image of Sadovsky, a" reactionary " and monarchist, this gave his priestly family name a noble flavor). He was a member of the circle of symbolists and was associated with many of them (Blok, Bely, Bryusov, Solovyov).

By 1918, he had published six books of poetry (the last, "the Abode of death", in 1917) and several collections of short stories. Despite his personal connections with the poets of Russian symbolism and collaboration in leading symbolist magazines (as not only an author, but also a critic who sarcastically opposed the opponents of the movement), in his work he focused mainly on the poetry of the XIX century, primarily A. FET, whose fan and biographer he was (even the names of most of his books are taken from FET's poems). Already in the book of poems "Samovar" fundamentally declared its commitment to Patriarchy. For poetization of Russian life in the XVIII—XIX centuries. he was called a "romantic conservative". Sadovsky's prose (collections "Pattern cast iron" , etc.) is among the fashionable in the Silver age "stylizations" for documents of the past: the narrative is sustained in language on behalf of the narrators of the XVIII and XIX centuries, among the characters — Russian writers and statesmen, a favorite place of action — Petersburg of the Pushkin era. Thus, the "Two chapters from unpublished notes" are based on the real facts of the biography of E. Baratynsky, and the "Petersburg fortune — teller" is based on an episode from the life of Pushkin. Other stories and novellas by Sadovsky bear the imprint of parody, mystical fiction in the spirit of E. T. A. Hoffman and E. PoE. "Ilya's day" is a stylization of Gogol's fiction; "the Double" satirically describes trips to the past and future.

A characteristic feature of Sadovsky's personality and creative image is an accentuated aesthetic monarchism (his constant idol was Nicholas I), right-wing political views and romanticization of the nobility; this image was deliberately shocking (see memoirs of V. F. Khodasevich — Sadovsky's friend). By the 1910s, Sadovsky's relationship with the masters of symbolism (primarily with Bryusov) had soured, and he took a distinct position "outside of groups". Sadovsky's collection of literary and critical articles, Russian Kamena, is entirely dedicated to the poets of the 19th century.

Suffering from dryness of the spinal cord as a result of syphilis in 1903 and intensive treatment with mercury, Sadovsky was paralyzed in 1916 and lost the ability to walk. In the late 1920s, being almost completely isolated from public and literary life (in 1925, even rumors of his death spread abroad, and Khodasevich published an obituary for Sadovsky), he settled with his wife in an apartment located in one of the cells of the Novodevichy monastery. There he continued to write unpublished poems and prose (during his lifetime, only a parody of historical fiction from the era of Peter I was published, "the adventures of Karl Weber", 1928-Sadovsky's last book; the full novel was published only in 1990 as "Karl Weber"), imbued with increasing right-wing sentiments. In the early 1930s, sadovskoy experienced a spiritual crisis and felt like an "Orthodox monk of the era "before the Antichrist." For the late Sadovsky, even Pushkin and Lermontov are embodiments of the diabolical principle, encroaching on the Orthodox-monarchical world order; the novel "Wheat and tares" (1936-1941, publ. 1993) is dedicated to the justification of Lermontov's murderer Martynov. Sadovsky's later works are no strangers to artistic experiments: for example, he developed a form of short "novel" (less than five printed pages), built on the rapid change of episodes and voices of characters. For the official Soviet press, using his talent as a stylist, he created a number of successful hoaxes. So, one parody poem composed by him in 1913, he alternately passed off as the text of Blok, Yesenin (and it was included in the collected works of both poets), published mystified memories of Bryusov, invented the friendship of his father with Lenin's father I. N. Ulyanov, and others. He communicated with Korney Chukovsky and Marina Tsvetaeva, who came to Moscow in 1939, and kept part of the archive.

In 1941, he joined the secret monarchist organization "Throne", whose members were preparing for the arrival of the Germans in Moscow. This organization was created by the NKVD, who planned to use it in a large-scale intelligence and counterintelligence operation "Monastery". In fact, this organization and Sadovskaya personally were not involved in real intelligence activities. Not knowing about the fictitiousness of the "Throne" Sadovskaya, however, was not persecuted and died on March 5, 1952. ]