Biography of Bogdanovich. Key themes of Bogdanovich's works

Maxim Bogdanovich, his contribution to Belarusian literature is sometimes compared with the contribution of A. S. Pushkin to Russian or Taras Shevchenko to Ukrainian.

Maxim Adamovich Bogdanovich was born on November 27 (December 9, according to the new style), 1891 in Minsk. The maternal great-grandfather of the poet was an Orthodox priest, and his grandfather was a minor official. Maxim's father Adam Yegorovich served as a teacher. He outlived his son, subsequently writing his biography. Maxim had two brothers - Vadim and Lev.

On the move

When the child was only a few months old, his father was transferred to Grodno. Here the boy first joined the books. Adam Yegorovich was a great book lover, a collector of Belarusian folklore. The house had a rich library. The first books of little Maxim were "Primer", " Child's world"K. Ushinsky and written in Belarusian "Native Word".

The boy was not even five years old when his mother died of tuberculosis. After the loss of his wife, Adam Yegorovich and his sons moved from Grodno to Nizhny Novgorod. Here, by the way, he met Gorky - literally on the eve of the deafening all-Russian glory of the latter. In Nizhny in 1902, Maxim Bogdanovich went to the first grade of the gymnasium. Then he wrote his first poems in the Belarusian language.

In 1905, when the revolution was blazing in Russia, the aspiring poet joined one of the revolutionary gymnasium circles - all the youth then “joined” somewhere. Two years later, Adam Yegorovich was transferred to Yaroslavl. Alas, consumption did not leave the family: in 1908, brother Vadim died of it, and Maxim fell ill with tuberculosis. A trip to Yalta helped him recover.

great poetry

While studying at the gymnasium, the young man did a lot of literary work. In 1907, the Belarusian newspaper Nasha Niva, published in Vilna, published his first story, Music. Two years have passed, and the collection "From the songs of the Belarusian peasant" saw the light. At home, Maxim spoke exclusively Belarusian, which surprised even his relatives.

Bogdanovich was always incredibly drawn to his homeland. After graduating from the gymnasium in 1911, he spent several months in Vilna, which was then considered the center of Belarusian national life, and in the town of Rakutevshchina near Molodechno. Subsequently, the poet recalled the trip with pleasure - after all, it was she who inspired him with the image of the Slutsk weavers described in the poem of the same name - many years later it turned into a song performed by the Pesnyary vocal and instrumental ensemble.

Wanting to study history native land Bogdanovich was recommended famous historian, Professor of St. Petersburg University Alexei Shakhmatov. However, the disastrous climate of the Russian capital did not suit the sickly young man at all. In addition, the father insisted that his son learn to be a lawyer. Maxim had to enter the legal department of the Yaroslavl Demidov Lyceum against his will.

In his free time, Bogdanovich led an extremely secluded life. He wrote extensively, studied foreign languages, collaborated with a number of newspapers and magazines in St. Petersburg, Moscow, Kyiv. The poet turned out to be a good publicist; not alien to the idea of Slavic brotherhood, he wrote the pamphlets "Ugric Rus", "Chervonnaya Rus" and "Brothers-Czechs".

Loyalty to the Belarusian word

In 1913, the only lifetime poetry collection Bogdanovich - "Vyanok" ("Wreath"), He was the first Belarusian-speaking author who used such poetic forms like a sonnet and a rondelle. The poet devoted much of his time to translating into Belarusian language world classics - ancient Roman and Polish poets, Heinrich Heine, Paul Verlaine, A. S. Pushkin.

Bogdanovich did his best to help get out of the underground, onto the pages of books, newspapers and magazines, the Belarusian language, Belarusian culture. He took up writing the history of Belarusian literature from ancient times to the beginning of the 20th century. His searches are reflected in the articles “Deeps and Layers”, “A Brief History of Belarusian Writing before the 16th Century”, “For a Hundred Years. Essay on the history of Belarusian writing”, “ new period in the history of Belarusian literature.

When in 1914 the First World War, many Belarusians appeared in Yaroslavl - both wounded soldiers and ordinary refugees. Bogdanovich tried to communicate with them as much as possible. When, in 1916, after graduating from the Demidov Lyceum, the opportunity arose to leave Yaroslavl, Bogdanovich immediately took advantage of it and moved to Minsk. Here, in close proximity from the front line, he worked in the Committee for the Relief of War Victims.

Recognition of Maxim Bogdanovich

And the poet's health was getting worse. In February 1917, friends and colleagues of Bogdanovich raised funds for his trip to the Crimea. Realizing that he had little left, Bogdanovich worked literally to the point of wear and tear. On the last day of his life, he corrected poetry with a trembling hand, continued to compose a Belarusian primer. On May 12 (25), 1917, Maxim Bogdanovich died in Yalta. He was only 25 years old...

A friend of the poet A. A. Titov wrote then in the newspaper "Voice":

The Belarusian poet was buried in Yalta at the Aut fraternal cemetery. His name, the date of death and a stanza from the sonnet "Last Piaskow of the Egyptian Land" were carved on the tombstone. Many of his works were published only after the death of the writer. Among them are the poem "Pahonia", the cycle "On the Quiet Danube", as well as "Poppies i Magdalena", "Stracim the Swan".

In 1981, in the Trinity suburb of Minsk, practically on the site that has not survived to our time home poet, the Maxim Bogdanovich Museum was opened. On Rabkorovskaya Street, in the house where the poet lived for some time, today there is a branch of the museum called "Belarusian House". Another branch was opened in the very place of Rakutevshchina near Molodechno, where Maxim Bogdanovich came in 1911.

On December 9, 1981, on the day of the 90th anniversary of the poet, the grand opening of the monument to Maxim Bogdanovich took place in front of the National Opera and Ballet Theatre. The classics of Belarusian literature were depicted with arms crossed on the chest. In his right hand he holds a cornflower - a flower, sung by him. In 2008, the monument was sent for restoration, and a fountain was built in its place. Soon the monument found a new location 150 meters from the former one.

Outside of Belarus, Bogdanovich's poetry became known largely thanks to the famous Belarusian vocal and instrumental ensemble "Pesnyary". So, at the festival "Song-77" the musicians performed the song "Verashka", written to the poems of the poet.

Bogdanovich Maxim Adamovich - Belarusian poet. The lyrics of Bogdanovich are connected with folk poetry, imbued with love for working people.

Bogdanovich Maxim Adamovich was born on November 27 (December 9), 1891. Poet, translator, literary critic and publicist, classic of Belarusian literature. Born in the family of a famous ethnographer and historian, one of the leaders of the local organization " People's Will» A. E. Bogdanovich. Graduated from the Yaroslavl Law Lyceum. At the age of 25, he died of pulmonary tuberculosis.

He first appeared in print in 1907 with a poem in prose "Musician" in the gas. "Our field", published in Vilna. The only lifetime collection of poems "Wreath" was published in Vilna in 1913 in the Belarusian language in the printing house of Martin Kukhta.

The literary heritage of Bogdanovich was first fully collected and published by the Academy of Sciences of the BSSR in 1927-29 with the participation of the poet's father.

Bogdanovich is known as a translator into Belarusian poetry from Russian, Ukrainian, Polish, French, other European languages. He wrote poems in Belarusian and Russian, but the latter is much less.

Passion for Slavic folk poetry prompted Bogdanovich to create a poetic transcription of an excerpt from "The Tale of Igor's Campaign" - "A Song about Prince Izyaslav of Polotsk." "The Tale of Igor's Campaign", according to the poet's father, Bogdanovich read as a child (in the original and translated by A. Maikov). The arrangement was first published in the Nasha Niva calendar for 1911. Bogdanovich perceived The Tale of Igor's Campaign as a work equally belonging to three Slavic cultures: Russian, Ukrainian and Belarusian and closely related to the oral folk tradition. Bogdanovich drew attention to the socio-aesthetic foundations poetic imagery monument: "Many places in the "Word" are full of images and comparisons ... taken from the life of the agricultural people." Bogdanovich wrote about the intonational and rhythmic richness of the text "The Tale of Igor's Campaign". In another article ("Chervonnaya Rus. Austrian Ukrainians") Bogdanovich called "The Word" an old epic song. The poetic arrangement of Bogdanovich, which I. P. Eremin considered a “free translation”, reproduces a fragment about Prince Izyaslav Vasilkovich (“One is Izyaslav, son of Vasilkov ... Trumpets blow the city”). “It can be assumed that Bogdanovich preferred the “Song” because of its last lines. The translated passage from the Lay acquired for the poet himself the shade of a lyrical reminder of ancient city who saw the Teutonic knights and the Mongols, the Swedes and Napoleon, who carefully kept the memory of the great Belarusian revolutionary Kastus Kalinovsky and his friends. In the commentary to the "Song" in the publication "Belarusian Poets" it is noted that Bogdanovich we are talking not about Grodno, but about Gorodnya. The translation of the fragment by Bogdanovich is generally close ancient text. However, at its beginning, the word “one” was omitted, thereby not conveying the opposition of Izyaslav to other princes, Bogdanovich did not reproduce the game with the verb “trepati”. The phrase "and with a desire for a bed ...", which is one of the "dark places" of the Lay, was not included in the transcription. Speaking about how Izyaslav “destroyed” the soul, Bogdanovich omitted the epithet “pearl”, while removing the orientation towards the Christian idea of the soul-pearl, which is important for the poetics of the Lay. The epithet "brave" (about the body of Izyaslav) Bogdanovich replaced with "daring" (soul). Bogdanovich's transcription of a fragment of the "Word" is the first poetic reproduction of the text of the monument into the Belarusian language. A complete translation into Belarusian was published only in 1921 by Yanka Kupala. Bogdanovich translated “The Song about Prince Izyaslav of Polotsk” into Russian by N.V. Bannikov.

Maxim Bogdanovich is a classic of Belarusian literature. His contribution to the genre and structural diversity in Belarusian literature is reasonably compared with the contribution of A. S. Pushkin to Russian literature.

Maxim Bogdanovich is a classic of Belarusian literature. He lived a short life (only 26 years), but during this time he managed to do so much for Belarusian literature like no one else. His contribution to the genre and structural diversity in Belarusian literature is reasonably compared with the contribution of A. S. Pushkin to Russian literature. It was M. Bogdanovich who, for the first time in Belarusian literature, tried various forms poems, including sonnets, rondels, etc. He left behind a rich artistic legacy.

Maxim Bogdanovich was a contemporary and friend of Yanka Kupala and Yakub Kolas. His poetry, truthful and humane, conceals a huge wealth of thoughts and experiences, tells about our country and its people in pre-revolutionary times.

The biography of M. Bogdanovich was written by his father, Adam Yegorovich. In 1923, at the request of the leadership of Soviet Belarus, he brought from Yaroslavl to Minsk the archive of the poet, his manuscripts, letters, and other materials, which were later included in the first Collection of works by M. Bogdanovich in two volumes (1927-1928)

Maxim Bogdanovich was born in 1891, on December 9 in Minsk, in a family of teachers. They lived then on Aleksandrovskaya Street (now Maksim Bogdanovich Street). The poet's early childhood was spent in Grodno, where his parents moved eight months after Maxim's birth. Along with the service, scientific and socio-political activities, the head of the family, Adam Yegorovich, paid much attention to his children, and there were three of them: Vadim, Maxim and Lyova. Maxim from childhood showed an extraordinary interest in books, in Belarusian folklore and literature. Often, without asking, he climbed into the vast father's library, although Adam Yegorovich was strict in this matter.

Maxim began to study at the age of six. His first books were "Primer", "Native Words" and "Children's World" by Ushinsky. His father also taught him, trying to teach "a small but complete overview of knowledge."

In October 1896, Maria Afanasievna, the poet's mother, died of tuberculosis. After that, the Bogdanovich family moved to Nizhny Novgorod. In 1902, Maxim entered the first class of the Nizhny Novgorod Men's Gymnasium. At this time, he writes his first poems in the Belarusian language. A variety of interests and hobbies did not tear the teenager away from political events associated with the revolution of 1905. Maxim, following his older brother Vadim, is interested in politics, accepts Active participation in the work of gymnasiums. For his activities, he falls into the lists of "unreliable", which will later still respond, especially when transferred to the Yaroslavl gymnasium in 1908.

Soon misfortune came to the family: 18-year-old Vadim died of tuberculosis, and a year later (in 1909) Maxim also fell ill. He went to Yalta for treatment, and it seemed that the trip helped him.

In the Yaroslavl period, M. Bogdanovich was engaged in literary work more and more persistently, peering more attentively into his future, linking it with his homeland, with Belarusian literature. Even living far from his native places, he thought and spoke Belarusian, and some critics see this as a big mystery for Bogdanovich. What and when made the boy feel his affection for native word, his insatiable need for the Belarusian language? .. Even the poet's father did not know the answers to these questions, noting only that he noticed the "Belarusian" inclinations of his son early, when he was still 10-11 years old. However, it should be noted that the Bogdanovich family always maintained the spirit of “Belarusian” in their home. Maxim was also greatly influenced by some of his teachers in Nizhny Novgorod and in Yaroslavl. For example, a history teacher, himself a Belarusian, aroused and maintained in the boy an interest in everything Belarusian - history, culture.
Back in 1907, the Belarusian newspaper Nasha Niva, which was published in Vilna, published the first work of Maxim Bogdanovich - Music.

It was short story in which the author expresses his view of art. This fact is considered the beginning literary activity M. Bogdanovich, since his early works have not been preserved. Active work began in Yaroslavl. In 1907, Maxim's father was transferred there. After graduating from the gymnasium, in 1911, M. Bogdanovich visited Belarus, which he always aspired to. For about two months he lives in Vilna and in the village of Rakutevshchina, not far from Molodechno. He enjoyed this trip very much. Adam Yegorovich recalled with what enthusiasm his son told him about the figures of Belarusian culture, about Vilna, about the Slutsk belts ... Probably, the images of the Slutsk weavers ( famous poem M. Bogdanovich) appeared to him after this trip.

M. Bogdanovich faced the question of further life path. He was attracted by the prospect of studying at St. Petersburg University. He was recommended to academician Shakhmetov to specialize in Belarusian studies. However, financial difficulties, as well as the state of health of the poet, did not allow him to study in the capital. In addition, and younger brother Lyova, a capable mathematician, was going to study at Moscow University. Priority was given to him.

Maxim had to submit to the will of his father and enter the Yaroslavl Legal Lyceum, although none of them legal professions never attracted him, and the poet openly declared this. Therefore, Maxim the student leads a quiet, reclusive life, focused on his own interests. The poet is completely devoted to science and literature. Bogdanovich's reference book was Nosovich's dictionary, according to which he studied the Belarusian language. Maxim Bogdanovich sincerely wanted to become a scientist or a poet. He consciously prepared himself for this responsible work, deeply studied literature, history, and languages.

During his lyceum years, M. Bogdanovich writes and publishes a lot, collaborates with local newspapers and magazines (“Russian excursionist”, “Voice”), as well as with many Moscow, St. Petersburg, Kyiv publications. One of the publications in Moscow published brochures by M. Bogdanovich: "Ugric Rus", "Chervonnaya Rus", "Brothers-Chehn". In 1913, the first and only lifetime collection of his poetry "Wreath" was published.

Maxim Bogdanovich becomes a famous author. He is accepted into the All-Russian Association of Periodical Press and Literature, whose honorary members were M. Gorky and V. Korolenko. However, the poet remains faithful to the direction chosen once and for all - his "Belarusian studies". He visited the Belarusian community, which existed in Yaroslavl in the years imperialist war to help refugees and listen to the lively conversation of Belarusians.

In October 1916, after graduating from the legal lyceum, Maxim Bogdanovich returned to Belarus, to Minsk, where he got a job in the provincial food committee. Here, in 1915, the Committee for Assistance to War Victims was organized, where M. Bogdanovich worked together with Belarusian writer Ludwika Wojtik, known as pseudonym Zoska Veras. The work was difficult, selfless and very necessary. The sick poet gave her a lot of time and energy, and in the evenings he sat down to write. He lived at that time in the apartment of Zmitrok Byaduli, also a well-known Belarusian writer.

The poet's health was deteriorating. He understood that a tragic denouement was approaching, and he worked even more persistently. Friends raised money and sent Maxim for treatment in the Crimea.
The spring of 1917 proved to be his last spring. On May 25, in Yalta, the poet Maxim Bogdanovich died of pulmonary tuberculosis. In the last days, lying in bed, he corrected his poems, continued to compile a Belarusian primer ... Some of the works written after the publication of the collection, he still managed to print, but not all. Only after the death of the poet were published in the newspapers "Free Belarus" and "Gaumont" his poems "Pahonia", the cycle "On the Danube's Tsikhim", as well as "Maxim and Magdalena", "Stracim-swan".

Maxim Bogdanovich was buried in Yalta at the Autsky fraternal cemetery. On the gray tombstone - the name, date of death and a stanza from his sonnet "The Last of the Piaskoў Egyptian Land" about the unquenchable power, rushing towards the light and the sun. 12 kilometers from Yalta, in Miskhor, on the territory of the sanatorium "Belarus", a monument-bust of the outstanding Belarusian poet Maxim Bogdanovich was erected.

Brought up on the best samples Russian and world literature, M. Bogdanovich forever remained a national Belarusian poet, a "songwriter" of his native land. He is the author of landscape, love, socio-philosophical, civil lyrics, prose writer, essayist, translator, literary critic and publicist.

The monument to Maxim Bogdanovich, in addition to Miskhor, is also installed in Minsk. In addition, streets in Grodno and Minsk were named after him, and literary museums of M. Bogdanovich were opened in these cities.

Every year on May 25, the employees of the capital's museum celebrate the Day of Remembrance of Maxim Bogdanovich. On this day, a memorial service is usually held in the Minsk Cathedral of Peter and Paul; flowers are laid at the poet's monument. Toward evening, a party is organized with the participation of Belarusian writers, scientists, culturologists and everyone who is interested in the life and work of the brilliant Belarusian poet.

In addition, every summer in the village of Rakutevshchina, Molodechno district (where the branch of the museum is located), a poetry festival "Rakutev Summer" is held, dedicated to the memory of M. Bogdanovich. Conventionally, it consists of two parts: the actual literary and artistic, when pop, folk, professional and amateur groups- sing, dance, put on theatrical mini-performances.

According to his stepfather Nikifor Bogdanovich, as a tax unit included in his "court"; on his father's side he was Skoklich. Great-grandfather Lukyan Stepanovich was a courtyard gardener; his wife was Arina Ivanovna Yunevich. Grandfather Yuri Lukyanovich was a courtyard, a cook, belonged to the Kosarich rural society of the Lyaskovichi volost of the Bobruisk district; Maxim's father, Adam Yegorovich, was also assigned to this society until his dismissal for entering the civil service.

Grandfather Yuri Lukyanovich, still a young man, was brought by his landowner, Pan Lappo, to serve in the purchased estate near the towns of Kholopenichi, Borisov district, where he settled, marrying the poet's grandmother Anelya (Anna) Fomina Osmak. According to the memoirs of Adam Bogdanovich, she was “a person of surprisingly meek and sublime soul, with subtle feeling tact, at the same time possessed remarkable mathematical abilities.

Plus, she was a great storyteller. folk tales, having inherited this gift partially from his mother Ruzali Kazimirovna Osmak. The transfer of a fairy tale plot for the latter was a creative act; each time she introduced new features into the processing of the plot; she spoke strongly and in a singsong voice, giving the narrative a noticeable rhythm, which Adam Bogdanovich tried to preserve in the notes of her fairy tales. Through these tales, Maxim first got acquainted with Belarusian speech. She also knew many Belarusian songs and in general was the bearer and keeper of folk antiquity: rituals, customs, divination, legends, proverbs, sayings, riddles, folk medicines etc. She was known in the Kholopenichsky district as a witch doctor and guardian of the folk rite in outstanding moments of her life (“radzshy, hresbshy, vyaselli, haўtury, seўby, zazhyshy, dazhynyu, talaka, ulazshy”, etc., etc.); they came to her for advice and guidance, and on all solemn occasions they invited her to be the manager - “paradak give”. Much of huge stock Adam Bogdanovich used her knowledge in his ethnographic works, through them she also influenced her great-grandson, who in a peculiar way processed the received material in his work. For example, "Zmyashy the king" from the cycle "In the enchanted kingdom" is a poetic reworking of popular belief, placed in the father's work "Remnants of the ancient worldview among Belarusians" (1895).

Maksim's mother Maria Afanasyevna, father Myakota, mother Tatyana Osipovna - Malevich. Tatyana Osipovna was a priest. Her father was a petty official (provincial secretary), served as caretaker of the hegumen district hospital. Already in adulthood, he married a second time to a young popadyanka Tatyana Osipovna Malevich, 17 years old, and had four daughters and a son from her. The serious illness of the father, who received a penny salary, led to a difficult financial situation, and the children were taken to an orphanage even before the death of their father. The boy soon died in the hospital, and the girls remained until the age of 14 in an orphanage where living conditions were poor.

The poet's mother - Maria Afanasyevna

Maxim's mother, being a living talented child with luxurious hair, attracted the attention of the trustee of the orphanage, the governor's wife Petrova, who took her to her house and sent her to study at the Alexander Women's School, and after completing her studies, sent her to St. Petersburg to the women's teacher's school, having settled in an apartment with his relatives, the Petrovs.

Maria Afanasievna read a lot. As Adam Bogdanovich noted, "her letters were striking both with the accuracy of observations, and with the liveliness, and with the picturesqueness of the language." She even had a story written, which, in her husband's opinion, showed that she had "pictures" and could become a good writer. Adam Bogdanovich also made special mention of her "excruciating vivacity of imagination."

Unusual liveliness of perception, feelings and movements was the main, outstanding feature of her nature. Mobile, always cheerful, with sparkling eyes, with an oblique monstrous size, in addition, she possessed the grace of a kitten and that irresistibly charming charm, which is usually called femininity. Her cards do not give any idea not only about her spiritual appearance, but even about her external. It is a mask devoid of life; and she was all sparkling, singing life, all movement, joy, delight.

Childhood

At the time of the wedding, Adam Bogdanovich was 26, and Maria was 19 years old. He recalled marriage as one of the happiest periods of his life. Adam Egorovich Bogdanovich (1862-1940) and his wife Maria Afanasyevna (1869-1896) were financially secure: Adam earned up to 1,500 rubles a year with a finished apartment with heating and lighting, located on Troitskaya Hill on the street Aleksandrovskaya in the house of Korkozovich, which is in the courtyard, on the second floor; at that time it housed the 1st parish school and teachers' apartments, later it was house 25 (now there is a section of M. Bogdanovich street (Belarusian) Russian opposite the square near the Opera and Ballet Theatre. The first-born Vadim was born on March 6 (18), 1890, Maxim - November 27 (December 9), 1891 at 9 pm.

In 1892 the family moved to Grodno, where Adam Bogdanovich got a job at the Peasants' Land Bank. They lived on the outskirts of the city, in Novy Svet 15 along Sadovaya. Here, on November 14 (26), 1894, the third son Leo was born, and in May 1896 - daughter Nina. The conditions were good for raising children: a mild climate, a garden in the yard, and around gardens, fields, near the forest and the Neman. The mother tried to apply the Froebel system to children for educating feelings, but they preferred live communication to educational toys.

Both in Grodno and in Minsk, many people gathered at the Bogdanovichi. There were a lot of revolutionary-minded intelligentsia in Minsk - Narodnaya Volya and those who sympathized with them, but after the “Lopatin failure”, due to arrests and fear that had arisen, their circle gradually thinned and decayed. In Grodno, mainly cultural workers gathered: doctors, the best officers, teachers. A lot of young people came, especially in Minsk. There were recitations literary works, chants, discussions were held. “Diverse, colorful, tempting, interesting life,” recalled Adam Bogdanovich.

A month after the birth of her daughter, Maria Bogdanovich was diagnosed with consumption (pulmonary tuberculosis). Treatment (“village, kefir, quayakol, codeine”) did not help, and on October 4 (16), 1896, the mother of the future poet died. She was buried at the Grodno Orthodox cemetery in front of the church, to the right of the main gate and the road to the church; under oak cross with a tablet (the grave was preserved and updated by the public).

According to his father, Maxim resembled him in more external features: gait, demeanor, gestures, speech, etc., on the contrary,

in terms of his character, soft and feminine, in the cheerfulness of his disposition, liveliness, responsiveness and impressionability, in the completeness and softness of his observations, in the power of imagination, plasticity and, at the same time, picturesqueness of the products of his work, he was most reminiscent of his mother, especially in childhood.

In his opinion, the poetic gift, dormant in her, Maxim also inherited from his mother, or perhaps from his great-grandmother Ruzali.

In November 1896, Adam Bogdanovich and his children moved to work in Nizhny Novgorod. Here he struck up friendly relations with Maxim Gorky, with whom they soon became related, marrying the sisters of E. P. and A. P. Volzhin. Gorky often visited them at home, he influenced the boy's love of literature.

Adam Bogdanovich was a scientist who studied the history, ethnography and folklore of the Belarusian people. Maxim liked to read his notes. In one of his letters to a friend, Maxim noted:

Gymnasium student

In 1902, Maxim entered the Nizhny Novgorod Men's Gymnasium. During the Revolution of 1905, he took part in student and student demonstrations, for which he received the certification of an "unreliable student." In 1906, the godmother of Maxim V. Syomov subscribed for him the newspaper Our Share, and then Nasha Niva. At the end of the year, Bogdanovich sends Belarusian books and newspapers to the Nizhny Novgorod prison to a revolutionary Belarusian origin Stepan Zenchenko.

The first of the translations sent to the editors of Nasha Niva was S. Yu. Svyatogor’s poem “Two Songs”, published with stylistic corrections by Yanka Kupala, but with a different signature: proofreader Yadvigin Sh. signed the poem with a pseudonym he invented for Maxim Bogdanovich Maxim Krinitsa(Belarusian krynitsa - spring, well, source). He wrote:

Each with his pseudonym defines his credo, his direction, but what is the soul of this young man, a lyceum student, an esthete? These Byaduli and Harunas will not suit him. He needs a clean, clean pseudonym, clear as youth. Let there be Krinitsa! This will be a hint pseudonym: he needs to draw his poems from folk sources!
original text(Belarusian)

You give out your credit to your pseudonyms, your kirunak, but what is behind the soul of a getaga young man, a lyceist, an aesthete? Do not fall into the pit of gety Byaduli dy Haruna. The pit needs clean-clean pseudonym, clear, like a youth. Hai Budze Krynitsa! Geta budze pseudanim-padkazka: from the folk roofs of the pit, you need to scoop piles of tops!

In subsequent letters to the editorial office of the newspaper, the poet protested that he had been remade into Maxim Krinitsa.

In 1909, Maxim fell ill with tuberculosis.

After graduating from the gymnasium in 1911, he visits Vilna, gets acquainted with Vaclav Lastovsky, Anton and Ivan Lutskevich and other figures of the Belarusian Renaissance. While in Vilna, the young poet got acquainted with the collections of ancient rarities in the private museum of the Lutskevich brothers, and under their impression he wrote the poem “Slutsk weavers”. In this work, the author tells the sad story of serf weavers, poeticizing the skill of craftswomen to weave golden belts, where they add "instead of the Persian pattern, the native cornflower flower".

In the same place, Bogdanovich met with the patriarch of the Belarusian national revival Bronislav Epimakh-Shipilo, with whom he would later correspond. In November 1911, already in Yaroslavl, Bogdanovich wrote a letter to the editors of the almanac "Young Belarus" with a request to print two of his poems, along with a small literary essay on the sonnet form of the poems sent. :504

lyceum student

Cover of "Wreath"

In the same year, Maxim Bogdanovich intended to enter the Faculty of Philology of St. Petersburg University, but due to lack of funds and the damp climate of the capital, he returned to Yaroslavl, enrolling in the Demidov Law Lyceum.

According to the father, " inner side The life of Maxim Bogdanovich was almost completely absorbed by his teaching as a preparation for social and literary work, his writing, his work; for everything else, there was very little time and energy left.

Much time was spent on studying Western European and Slavic languages and literature, especially for the study of the Belarusian language of history, ethnography, and literature.

During his studies, he collaborates in the Yaroslavl newspaper "Voice"; writes a lot, is published in various Russian and Belarusian publications, gaining fame.

During that period, poetic lyrical stories "In the Village" and "Veronica" were written. Both are a tribute to the poet's admiration for women. A poetic description of a woman's deep feelings for a child, inherent even in a little girl, is the ideological concept of the work "In the Village". The plot of "Veronica" is a memory of a girl who, imperceptibly for the author, "in the beauty of her spring" grew up, awakening the first love in the poet's soul, and with it - a craving for the ideal, the beautiful, for poetry. The muse for Maxim Bogdanovich was Anna Kokueva, the sister of his classmate, a talented pianist. In the same period, poems were written “Yesterday happiness only looked timidly”, “I want more than anything in the world” and the famous work of lyrics of love experiences - the poem “Romance”. At the same time, poems were created, which later made up the cycle “Old Belarus”, “City”, “Sounds of the Fatherland”, “Old Heritage”. The main content of the works was the struggle for humanistic ideals, the theme of the forced life of the Belarusian people came to the fore, the ideas of the national liberation struggle against the tsarist empire sounded.

In the period 1909-1913, the poet translated into Belarusian the poems of Ovid, Horace, French poet Fields of Verlaine. In addition, during this period, Maxim Bogdanovich was developing a concept for the history of the development of Belarusian literature from antiquity to the beginning of the 20th century. This was reflected in the articles “Depths and Layers” (published in “Nasha Niva”), “A Brief History of Belarusian Writing Before the 16th Century”, “For a Hundred Years. An Essay on the History of Belarusian Literature” and “A New Period in the History of Belarusian Literature”.

In his "Memoirs of M. Bogdanovich" Vaclav Lastovsky told the story of the creation of "Wreath":

A few months after leaving Vilnius, Maxim Bogdanovich sent to the editors of Nasha Niva a manuscript in which his poems were collected ... under the heading "Book of Selected Poems" with a request to issue a separate book. This manuscript lay in the editorial office for more than six months, since there was no money to print it. And only in 1913, money was obtained for the publication of the manuscript.
original text(Belarusian)

For a few months, after leaving Vilnius, Maksim Bagdanovich adslav at the editorial office of Nasha Niva a handwritten note, which had collected tops ..., under the headings "The Book of Selected Tops" with a request to publish a special book. The manuscript of the geta was sent by the editorial staff for a long time, for there was no penny to overrule the yago. Only in ў 1913 were pennies given on the oversleeve of the sleeve.

According to Lastovsky, Ivan Lutskevich allocated 150 rubles for the publication of "Wreath", and during the recruitment, Vatslav Ivanovsky and Ivan Lutskevich found "another amount" of money from Magdalena Radziwill. In gratitude to the princess, it was decided to place the sign of a swan on the title page of the book - a reference to the coat of arms of Zawisze, to which Magdalena Radziwill belonged.

I gave the drawing for the lining from my collection. This drawing was made in 1905 by one of the students (I don't remember his last name) of the Shtyglitsavskaya school. The drawing reminds a little of a wreath, for the sake of this I decided, using the rights of the publisher, to place on the book before the author's also my title - "Wreath". There was an inscription: "A wreath, a book of selected poems."
original text(Belarusian)

Rysunak on laying I give sa svaygo sabrannya. Geta rysunak in 1905, he worked as an adzin z vuchnya (I don’t remember his nickname) of the Shtyglitsa school. The rysunak reminds me of the roof of the vyanok, the dzelya getaga i and pastanavіў, with the rights of the issuer, the inscription on the books and the autarskaga yashche and my agalovak - “Vyanok”. Vyodzila nyazgorsh: "Vyanok, the book of the chosen vershau".

In 1914, in "Nasha Niva" No. 8, a note was placed under the title "The Singer of Beauty." This was the first review of the collection "Wreath", written by Anton Lutskevich: "... not social topics mainly occupy the poet: he is primarily looking for beauty."

The theme of death in Maxim went through his entire creative life. “Cupid, both sad and beautiful, stands with a bandage over his eyes at the crypt ...” The poet believed in eternal life. The poem "In the cemetery" has a mighty power, like death itself. The poems "Thoughts", "Free Thoughts" by Maxim Bogdanovich are saturated with Christian calmness, a sense of divine immortality. He constantly communicates with the stars, with the sky, looks up, not under his feet. The strongest verse in terms of the power of influence is “Come, bachu, pazayzdrostsіt to Mark the Byzdolny”. .

In 1914-1916, the poet wrote a cycle of poems "On the Quiet Danube", the poem "Maxim and Magdalena", and other works. Maxim Bogdanovich also wrote poems in Russian, for example, “Why was she sad”, “I remember you so beautiful, slender”, “Green Love”, “Autumn”. The translations into Belarusian of the works of A. Pushkin and E. Verharn also belong to this time. In addition, journalistic articles by Maxim Bogdanovich in Russian appear in the press, devoted to questions of the history of literature, national and socio-political problems; Historical and local lore-ethnographic brochures are published, as well as literary reviews, feuilletons.

In December 1915, Bogdanovich traveled to Moscow to visit Belarusian historian Vladimir Picheta. The researcher influenced the views of the poet, which he expressed in the article "Belarusian Renaissance". :75

Maxim Bogdanovich supported close connection with the Yaroslavl Belarusian Rada, which united Belarusian refugees of the First World War: 6, provided all kinds of assistance to fellow countrymen; fell very seriously ill, contracting typhus, but recovered and continued to work.

Last year

In the summer of 1916, after graduating from the Lyceum, Maxim Bogdanovich returned to Minsk (he had long dreamed of returning to his native land), where he lived in the apartment of Zmitrok Byaduli. Although he was already seriously ill, he worked a lot in the Minsk Provincial Food Committee and in the Belarusian Committee for Assistance to War Victims, and free time gave away literary creativity. He organizes youth circles, which he tries to give a social-educational and national-revolutionary character.

At this time, Maxim Bogdanovich wrote such famous works as The Lost Swan and The Chase.

“The Lost Swan” is a poetization of the biblical myth about the swan, according to which only one swan refused Noah's Ark, he himself entered into combat with the elements of the flood, but died tragically. Although the swan itself died, it gave life to other birds. The myth condemns disobedience, while Bogdanovich glorified it.

"Pursuit" is one of the most temperamental and dramatic works poet. The author refers to the heroic pages of the Belarusian past (the title image is the Lithuanian grand ducal coat of arms “Pursuit”), calls to defend their Mother Country. The words of the poet were set to the music of the Belarusian musical ensemble "Pesnyary", the Belarusian male choir conducted by Nikolai Ravensky, the male chamber choir "Uniya" and others.

In February 1917, the poet's friends raised money so that he could go to the Crimea to be treated for tuberculosis. But the treatment didn't help. Maxim Bogdanovich died at dawn on May 13 (25), 1917, at the age of 25 (there was blood in his throat).

The funeral service was held in the Alexander Nevsky Cathedral in Yalta. He was buried in the new city cemetery of Yalta. Placed on the grave white cross. In 1924, the cross on the grave was replaced by a gray limestone monument with a red star and four lines from the poet's poem "Between the Sands of the Egyptian Land...", which stood until 2003, when a monument to the sculptors Lev and Sergei Gumilevsky was erected on the poet's grave. In the early 1980s, the question of transferring the ashes of the poet from Yalta to Minsk was raised, but the organizers did not receive an official answer. .

Among the papers left after the deceased, materials were found for the Belarusian primer, on which he apparently worked in Lately. And on the armchair near the bed itself there is a book, and on it is a short verse, in one stanza, in which the poet says that he is not alone before his death - he has a book with his poems. This dying confession is unique in its kind in all world poetry.

The fate of the creative heritage

The literary heritage of Bogdanovich is significant: in addition to the collection "Wreath", published during his lifetime (1913), more than fifty poems and a significant number of critical and journalistic articles published in various periodicals(“Our Niva”, “Free Belarus”, “Gomon” and others), in the manuscripts handed over to the Institute of Belarusian Culture by the father of the late poet, more than 150 poems and a number of prose articles and notes have been preserved.

The poet's works have been translated into two dozen languages of the world, published in Great Britain, Germany, Poland, Russia, France, Yugoslavia and other countries.

Back in the 1950s in Moscow was published big compilation his selected works in Russian translated by the best Soviet poets.

Published in 1991-1995 complete collection works of the poet in three volumes.

Creation

According to the literary critic I. I. Zamotin (1873-1942), the work of Bogdanovich reflected literary search and pre-revolutionary moods of the beginning of the century, the Belarusian revival and antiquity, personal experiences; on many of his poems and stories there is a general sad coloring caused by a contradictory era, as well as due to the poet's illness and a premonition of a near end; but Bogdanovich believes in the renewal of life and waits for it with hope.

Maxim Bogdanovich created many excellent examples of civil, landscape, philosophical lyrics; wrote a number of love poems dedicated to Anna Kokueva (Yaroslavl acquaintance of the poet, with whom he was in love).

The lyrics of Bogdanovich are closely connected with oral folk poetry, national liberation ideas, and are imbued with love for the working people. In some verses there is a protest against the world of violence and social injustice: "Pan and the peasant" (1912), "Let's move, brothers, hurry!" (1910), "Boundaries".

Despite the fact that Bogdanovich's command of the Belarusian language was not perfect, he deliberately attached it to the achievements of the poetic form (especially in the field of strophics) and artistic style, carried out in ancient and Western European literature, in which he had great success. In addition, he left many imitations and translations.

Bogdanovich's poetry was influenced by the works of the French Symbolists, Russian Acmeists. However, he wanted to create his own Belarusian poetry, an organic fusion of Belarusian and foreign traditions, urged in his articles "to stick to the folk song, like a blind man holding on to a fence." Bogdanovich created beautiful landscapes of his native Belarus and made a great contribution to the development of the poetic culture of the Belarusian people.

For the first time in Belarusian literature, Bogdanovich used such forms as sonnet, triolet, rondo, free breeze and other classical poetic forms. The poem "In Vilna" became the first example of the genre of urban poetry in the new Belarusian literature.

In the opinion of the poet's father, the best side of his soul was reflected in his son's work, “or maybe all of it as a whole. His lyrics are his story emotional experiences, picturesquely told by himself, and his other writings testify to his views and convictions, to his public interests.

Memory

In 1927, 10 years after the poet's death, "Portrait of Maksim Bogdanovich" was created by Valentin Volkov, which is now kept in the National Art Museum of the Republic of Belarus.

There are museums of Bogdanovich in Minsk, Grodno, Yaroslavl; streets in all regional centers of Belarus, in Nizhny Novgorod, Yaroslavl and Yalta, schools and libraries in various Belarusian cities bear the name of the poet. The operas The Star of Venus (Yuri Semenyako - Ales Bachilo) and Maxim (Igor Palivoda - Leonid Pronchak) are dedicated to him. In 1991, the name of Maxim Bogdanovich was included in the UNESCO calendar list "Anniversaries of prominent persons and events".

In April 2008, the Moscow State Historical Museum agreed to donate 6 full-fledged belts from the Slutsk manufactory, which inspired Maxim Bogdanovich to create the poem "Slutsk weavers" to the private Belarusian museum of the Lutskevich brothers. The agreement on the exposition of the Slutsk belts in the National Art Museum was signed for only a year.

Monument in Minsk

On December 9, 1981, in honor of the 90th anniversary of the birth of Maxim Bogdanovich, a monument was erected to him on the Place de Paris Commune, in front of the Opera and Ballet Theatre, not far from the place where the poet was born and lived. The authors of the monument are sculptor S. Vakar, architects Yu. Kazakov and L. Maskalevich. The bronze statue of the poet, 4.6 meters high, is set on a red granite pedestal. The poet is depicted with his arms crossed on his chest, in his right hand is a bouquet of cornflowers - flowers sung in his poetry. In April 2008, in accordance with the decision of the Minsk City Executive Committee, the monument to the classic of Belarusian literature was sent for restoration. Instead of the monument, it was planned to install a fountain. This decision of the authorities caused indignation among the leaders of the Belarusian opposition in exile, who compared the dismantling of the monument to Bogdanovich with the replacement of the white-red-white flag after the 1995 referendum. In June 2008, the monument was reinstalled at the corner of Maxim Bogdanovich Street and Paris Commune Square. Relative to its former location, the monument was moved 150 meters to the northwest, closer to the poet's birthplace, and turned to face Svisloch in the direction between the house at 27 M. Bogdanovich Street and the Suvorov School.

Museums

Rakutevshchina

Museum of Maxim Bogdanovich in Rakutevshchina

In the summer of 1911, Maxim Bogdanovich wrote two cycles of poems: “Old Belarus” and “City” (17 poems in total) and two poems “In the Village” and “Veronika”, when he lived in the Lychkovsky estate in the village of Rakutevshchina (now in the Krasnensky village council (Belarusian) Russian Molodechno region).

The museumification of Rakutevshchensk places began in the 1970s. In June 1977, at the suggestion of the employees of the Minsk Regional Museum of Local Lore, a monument was erected in the village - two boulders: one as an eternal candle of memory, on the second - lines from M. Bogdanovich's "Sonnet" were engraved. In 1981, near the monument to famous Belarusian writers"Maximov's garden" was planted.

Since 1983, lovers of Belarusian culture have been gathering on the border of July and August. The village of Rakutevshchina these days, fans of his work are turning into a large festival site.

After a fire in the early 2000s, about 70 unique exhibits were lost.

Minsk

Museum of Maxim Bogdanovich in Minsk

The Maxim Bogdanovich Literary Museum was opened in 1980 in the Trinity suburb of Minsk, in a two-story house of the 19th century, not far from the poet's original house that has not survived. In addition, the house in which Maxim Bogdanovich lived (Rabkorovskaya Street, 19) has been preserved in Minsk, where a branch of his museum is located - “Belarusian House” (after the name of the literary circle in which the poet participated). The well-known artist Eduard Agunovich became the author of the museum's artistic concept. For the implementation of his idea, he was awarded the State Prize of the Republic of Belarus.

The museum has 5 rooms:

Branch of the Museum of M. Bogdanovich on Rabkorovskaya 17. A quote from a poem by M. Bogdanovich is carved on the monument: “You won’t gas, you clear little ear. You yashche asvetsish native land. Belarus May! Kraina-branachka! Stand up, free way for yourself, shukai.

Childhood of the poet. The origins of talent Cycles "Sounds of the Fatherland" and "In the enchanted kingdom".

The exposition begins with the art work of Pyotr Drachev "Minsk 1891", which is a reconstruction of the ancient center of Minsk - the Upper Town. Above the panorama is the coat of arms of Minsk, which was assigned to the city in 1591.

The dominant feature of the first hall is the stand with the materials of Belarusian folklorists (J. Chechota, E. Romanova, P. Sheina), which convey the mood of the first cycles of "Wreath". In the center of the stand is a book - an ethnographic essay by Adam Bogdanovich "Remnants of the ancient worldview among Belarusians" (Grodno, 1895).

Artistic decoration of the hall: gypsum molding on the ceiling partially repeats the ornament of the towel; straw products resemble the Serpent King, mermaid braids, forest, swamp and wild flowers. Mother's belt symbolizes the memory of the Motherland. Above it are two photographs of Maxim: the original - Maxim with his brothers and aunt Maria (Nizhny Novgorod); model-cutting in a round frame in an enlarged view.

First hall.

Formation of creative individuality.

The compositional core of the hall is a graphic row of 12 figures of religious and cultural figures of ancient Belarus. The second row - photographs of Belarusian figures of the 19th - early 20th centuries. Exhibits-symbols - the Slutsk belt and the Third.

The rise of creative talent.

There are two main dominants in this hall - the collection "Wreath" on a separate stand and a niche stand with exhibits that reflect creative individuality"Singer of creative beauty."

Also exhibited are "Wreaths" with the poet's autograph, presented to aunts - Maria and Magdalena, as well as to cousin Anna Gapanovich. The “Wreath”, which belonged to the poet Vladimir Dubovka, is also kept in the museum.

The Wreath is exhibited with an autograph-dedication to Nyuce Gapanovich. The collection is shown in an embossed leather frame on a separate stand. Drawing from the cover of The Wreath, made in 1905 by an unknown person Belarusian artist(a student of the Stieglitz school, according to the memoirs of V. Lastovsky) was repeated on the stand.

The stand-niche in its center contains a photograph of M. Bogdanovich in 1911, on both sides of it "Our Field" with "The Story of the icon-maker and the goldsmith" and "Christmas story" from Apocrypha. The symbolic exhibit is a reproduction of the engraving "Christ Who Knocked" (illustration for the Apocrypha, 19th century), which belonged to the poet's closest friend, Dyyador Debolsky.

Madonnas.

This hall differs from the previous ones by the introduction of two interior units with personal belongings of Anna Kokueva and Anna Gapanovich.

Rays of daylight enter the hall through polychrome (light colors) stained-glass windows depicting ears of corn and cornflowers. The cross composition, formed by stucco molding on the ceiling (dark crimson cross), divides the hall into three conditional parts and unites the dominants of the hall: the engraving "Sistine Madonna"; handwritten collection "Zelenya" dedicated to Nyutse Gapanovich (in an oval gilded niche); portrait of Anna Kokueva. The cross on the ceiling connects the engraving with the collection "The Crown" in the third room, they are on the same exposition line.

Since January 1, 1995, the museum has been operating as independent institution culture. The literary department was located in 4 rooms of the house (exposition area 56 m²).

Date of construction of the house: around 1883. Wooden rectangular house, completed by a 2-pitched roof. The central entrance is solved by a veranda, the flat covering of which is a terrace in front of the mezzanine, covered with a 2-pitched roof. Outside, the walls are horizontally sheathed with boards, the corners are processed with panel blades. In 1965, the house was installed Memorial plaque on which the following inscription "At this house from 1892 to 1896 Zhyu Maxim Bagdanovich."

The well-known Belarusian poetess Larisa Genyush had a hand in the creation of museum collections in Grodno. Even her embroideries were handed over, on which cornflowers are flowers that Maxim liked so much. But the rare collection of poems by Bogdanovich "Wreath" of 1913, Larisa decided to leave as a legacy to her son Yurka, who lived abroad. After the death of the poetess, her son was going to transport the "Wreath" to Poland, but under the threat of confiscation of the collection on the Polish border, he decided to leave it as a legacy of the museum.

The house was opened to visitors in 1986. The exposition is located in 4 rooms of the house (56m²). She introduces us to the appearance of Grodno. On the walls are photographs and postcards of the 19th - early 20th centuries, recreating the spiritual world in which Maxim grew up and grew up. Also on display is the issue of the newspaper Grodno Gubernskiye Vedomosti dated December 29, 1893 with the story of the poet's mother "On the Eve of Christmas", photocopies of early poems written in Nizhny Novgorod, as well as personal belongings of the family and Maxim. Exposition halls: portrait gallery of famous people; literary and social movement late XIX- the beginning of the twentieth century; Grodno period in the life of the Bogdanovich family. There are four memorial rooms: father's study, mother's room, children's room, guest room, as well as the Grodno Literary: Past and Present department.

Yaroslavl

In 2008, after repairs in Yaroslavl, the second exposition was opened in the memorial House-Museum of Maksim Bogdanovich (the Museum of M. Bogdanovich in the city of Yaroslavl was opened in December 1992).

The memorial museum is located in a small wooden house on Tchaikovsky Street, 21, in which the Bogdanovich family lived from 1912 to 1914. Since 1995, the Center of Belarusian Culture has been operating on the basis of the museum. There you can hear Belarusian songs, read books by Belarusian authors, get acquainted with the publications of the Belarusian press. The Center hosts the Days of National Belarusian Cuisine, musical and poetry evenings, holidays dedicated to significant dates in the history of Belarus.

Other

Memorial plaque in Yalta

Bibliography

Text sources

Vyanok. Book of selected peaks. Vilnya, 1919.
Creations. T. 1-2. Minsk, 1927-1928.
Chosen creations. Minsk, 1946.
Selected works. M., 1953.
Creations. Minsk, 1957.
The collection of creativity. U 2 t. Mn., 1966.
The collection of creativity. T. 1-2. Minsk, 1968.
Vyanok. Book of selected peaks. Facsimile issued. Minsk, 1981.
Pouny is the collection of creativity. In 3 volumes. Minsk, 1992-1995.

Biographical literature

Way of paet. Uspaminy and biographical materials of the great Maxim Bagdanovich. - Mn.: Mast. lit., 1975.

Archival documents

Peralik of archival documents with the collection of materials by Maksim Bagdanovich
Peralik of archival documents from the collection of materials M. A. Bagdanovich (mother of Maksim Bagdanovich)
Peralik of archival documents from the collection of materials by A. Ya. Bagdanovich (father of Maksim Bagdanovich)
Peralik of archival documents from the collection of materials by L. A. Bagdanovich (brother)
Peralik of archival documents from the collection of materials by P. A. Bagdanovich (brother of Maksim Bagdanovich)

Literary criticism

Loika A. A. Maxim Bagdanovich. Mn., І966.
Vatatsy N. B. Shlyakhi. Mn., 1986.
Straltsov M. L. The riddle of Bagdanovich. Mn., І969.
Byarozkin R. S. Chalavek in the spring. Mn., 1986.
Maykhrovich S. K. Maxim Bogdanovich. Mn., 1958.
Mushysky M. I. Belarusian Literature of Knowledge and Krytka. Minsk, 1975; Iago Kardynaty for a joke. Mn., 1988.
Sachanka B.I. Living life. Mn., 1985.
Melezh I. Zhytstsevyya shovels. Mn., 1975.
Adamovich A. Far and near. Mn., 1976.
Pogodin A. Belarusian poets. Vestnik Evropy, І9 P, No. I.
Kolas Ya. Outstanding paet and kryk. "LiM", 24.05.47.
Nisnevich S. Thoughtful connoisseurs of music. "LiM", 05/26/57.
Galubovich N. Svedchyts dakumet. "LiM", 09.01.86.
Vatatsy N. And the heart of everything is in the region and father's land. "Young", 1981.
Lubkivsky R. "The Star of the Poet". "L. G.", 09.12.81.
Isaev E. In hope and struggle. "L. G." 12/09/81.
Gilevich N. Enduring love. "L. G.". 12/09/81
Martsinovich A. Forever in the memory of the people. "LiM", 12/18/81.
Aўdzeev I. Saprophdnae ablіchcha paeta. "LiM", 12/18/81.
Short T. Radok at the biography of the paet "LIM" 15.D 83

From the embankment we, like tourists, go up the Red Descent to Red Square. Initially, the square was called Semyonovskaya after the church of Simeon the Stylite, which was on the site of a “house with an arch”. Renamed to Krasnaya in 1924, because. the neighboring Streletskaya street was renamed Krasnaya in 1918. Semyonovsky descent to the Red exit. In 1933, they decided that the temple did not fit into the image modern city and demolished. And in 1936, a house was built in its place according to the project of architects M. P. Parusnikov and I. N. Sobolev.

In 1939, a monument to V. I. Lenin was erected in the square in front of the house with an arch. Wits have long noticed that if you take a picture of the monument from different angles, then the hand of V.I. reaching for something. We have a fire tower. :)

Near the building of the Demidov University you are met by a young man ... Or rather, a monument. Here is what you can read about him on the Yaroslavl forums, the spelling is preserved:
"The strange city of Yaroslavl
I love Yaroslavl very much, but sometimes it drives me into thoughtfulness.

Quite often I drove past a small such monument near the main building of the Demidov University. And, as a normal logical person, I suspected that this monument was either to Demidov (who founded the university) or to Ushinsky (who taught there). And one day I got off the bus on Red Square and went up to the monument. in order to clarify for yourself - Demidov or Ushinsky? It turned out - Maxim Bogdanovich!" We also very often pass by this monument when we go to the city center or home.

Our acquaintance happened 5 years ago. My Gomel relatives live on the street. Bogdanovich. When asked who the street was named after, my sister answered that there was such a poet. I taught several of his poems at school, about 12 years ago. :) In Grodno, once in a conversation on the street, the guy again mentioned Bogdanovich Street. I asked my Grodno friends. They said that there is probably such a street in any Belarusian city. And in Minsk there is a museum. And yet, they added that the verses of this very Bogdanovich are very beautiful. True, no one remembered exactly what the poet's name was. In Minsk, we looked on the Internet for the opening hours of the museum. It was under restoration at the time. And, I finally learned the name of the poet - Maxim. And yet, we drove past the monument. Yaroslavsky is his copy.

Upon returning to Gomel, I noticed the bookshelf in the room where I spent the night. Among the volumes of the classics of world literature I found a collection of poems by Belarusian poets. Looked at the title, yeah, there is. As in divination, I think of a page and decide to read the verse from that page. And so:

CHURCH OF ST. ANNA IN VILNA
To heal wounds in the heart
To refresh a weary mind
Come to Vilna to Anna's temple,
There the bitterness of thoughts disappears.
A strict break in the clear sky
It rises like a carved colossus.
Oh, how easy it is in a fit of passion
He raised his towers.
And their points are so high
So thinly they go deep into the sky,
That one moment, and - the eye sees -
They swim up in the middle of the blue.
As if with rough ground
Saying goodbye to drown in the sky,
The temple is slender with a light foot
Paves the way in azure.
You look - and the hearts of the wound will be quiet,
Peace descends into a weary mind.
Come to Vilna to Anna's temple!
There the bitterness of thoughts disappears.
Dedicated to my favorite church in Vilnius. Well, at least I visited my favorite city.

I skim through my biography...

Bogdanovich Maxim Adamovich - Belarusian poet. The lyrics of Bogdanovich are connected with folk poetry, imbued with love for the working people. Bogdanovich Maxim Adamovich was born on November 27 (December 9), 1891. Poet, translator, literary critic and publicist, classic of Belarusian literature. Born in the family of a famous ethnographer and historian, one of the leaders of the local organization "Narodnaya Volya" A. E. Bogdanovich. Graduated from the Yaroslavl Law Lyceum. At the age of 25, he died of pulmonary tuberculosis.
He first appeared in print in 1907 with a poem in prose "Musician" in the gas. "Our field", published in Vilna. It tells the legend of Music, who "walked the earth a lot and played the violin all the time." His violin and music were unusual. When the violin was crying in the hands of the musician, then everyone “wept for his share”, when the strings hummed menacingly, “people raised their lowered heads, and their eyes shone with great anger.” For his work "evil and strong people They threw Muzyk into prison, where he died. But the memory of him did not die. In this allegorical work, the young author tells about the long-suffering fate of Belarus for centuries and expresses hope for a quick change for the better. The only lifetime collection of poems "Wreath" was published in Vilna in 1913 in the Belarusian language.
The literary heritage of Bogdanovich was first fully collected and published by the Academy of Sciences of the BSSR in 1927-29 with the participation of the poet's father.
Bogdanovich is known as a translator into Belarusian of poetic works from Russian, Ukrainian, Polish, French, and other European languages. He wrote poems in Belarusian and Russian, but the latter is much less.
Here my future husband joined in. He sent me the poem "Zorka Vyanera".
And he did not appropriate the authorship. :) It turns out that he visited the Yaroslavl Museum of M. Bogdanovich. In 2008, after repairs in Yaroslavl, the second exposition was opened in the memorial house-museum of Maxim Bogdanovich. The memorial museum is located in a small wooden house at 21 Tchaikovsky Street, where the Bogdanovich family lived from 1912 to 1914. Since 1995, the Center of Belarusian Culture has been operating on the basis of the museum. There you can hear Belarusian songs, read books by Belarusian authors, get acquainted with the publications of the Belarusian press. The Center hosts Days of National Belarusian Cuisine, musical and poetry evenings, holidays dedicated to significant dates in the history of Belarus. In Yaroslavl there is a street named after him, the former Bolshaya Danilovskaya.

ROMANCE (translated into Russian by the author himself)
Quietly Venus rose above the earth,
Brought joy to the soul again.
Do you remember when we met you
Silently Venus ascended?
From that moment I fell in love forever
A blue star in the night sky.
The flame of love and hope has opened
Me since those minutes forever.
But it's time to part;
It can be seen that our fate is burning sister ...
I loved you dearly, dear
But it's time to part.
I will wander in a distant land,
In the heart, saving your love;
Every night to admire the star
I will be in a distant land.
Look at the star at night - I'm apart
I will find your favorite look in the sky.
So that at least for a moment all the torment is forgotten,
Look at the stars at night!

And where does Yaroslavl, you ask? The building near which the monument stands was previously a men's gymnasium, where the poet studied from 1908 to 1911. The building of the legal lyceum near Strelka, where he also received his education, has not been preserved.

Yes, who knows where he studied? The meticulous reader will be indignant. And he will be right. The famous Belarusian poet. And here Yaroslavl? Very much so. In this city, Maxim Bogdanovich wrote the first lyrical poems: “Above the grave”, “Spring will come”, “In a foreign land”, which were published in Our Field. The poem “My native land! Like those cursed by God…”, in which the theme of social oppression and the national revival of Belarusians was clearly voiced; a short poetic lyrical story "From the songs of the Belarusian peasant" - a realistic impression, full of faith in the creative forces of the people; poems "Darkness", "Pugach", "The grave is open", as well as translations from Heinrich Heine, Friedrich Schiller.
The first of the translations sent to the editors of "Nasha Niva" was S. Yu. Svyatogor's poem "Two Songs", published with stylistic corrections by Yanka Kupala.
In 1909, Maxim fell ill with tuberculosis.
After graduating from the gymnasium in 1911, he visits Vilna, where he got acquainted with the collections of ancient rarities in the private museum of the Lutskevich brothers, and under their impression wrote the poem “Slutsk weavers”. In this work, the author tells the sad story of serf weavers, poeticizing the skill of the craftswomen to weave golden belts, where they add "instead of the Persian pattern, the native cornflower flower."
In the same year, Maxim Bogdanovich intended to enter the Faculty of Philology of St. Petersburg University, but due to lack of funds and the damp climate of the capital, he returned to Yaroslavl, enrolling in the Demidov Law Lyceum.
During his studies, he collaborates in the Yaroslavl newspaper "Voice"; writes a lot, is published in various Russian and Belarusian publications, gaining fame. During that period, poetic lyrical stories "In the Village" and "Veronica" were written. Both are a tribute to the poet's admiration for women. A poetic description of a woman's deep feelings for a child, inherent even in a little girl, is the ideological concept of the work "In the Village". The muse for Maxim Bogdanovich was Anna Kokueva, the sister of his classmate, a talented pianist. In the same period, poems were written “Yesterday happiness only looked timidly”, “I want more than anything in the world” and the famous work of lyrics of love experiences - the poem “Romance”. At the same time, poems were created, which later made up the cycle “Old Belarus”, “City”, “Sounds of the Fatherland”, “Old Heritage”. The main content of the works was the struggle for humanistic ideals, the theme of the forced life of the Belarusian people came to the fore, the ideas of the national liberation struggle against the tsarist empire sounded.
In the period of 1909-1913, the poet translated into Belarusian the poems of Ovid, Horace, the French poet Paul Verlaine. In addition, during this period, Maxim Bogdanovich was developing a concept for the history of the development of Belarusian literature from antiquity to the beginning of the 20th century. This was reflected in the articles “Depths and Layers” (published in “Nasha Niva”), “A Brief History of Belarusian Writing Before the 16th Century”, “For a Hundred Years. An Essay on the History of Belarusian Literature” and “A New Period in the History of Belarusian Literature”.
In Vilna, at the beginning of 1914, in the printing house of Martin Kukhta, with the financial support of Maria Magdalena Radziwill, the only lifetime collection of works by Maxim Bogdanovich "Wreath" was published in a circulation of 2000 copies.
In February 1917, the poet's friends raised money so that he could go to the Crimea to be treated for tuberculosis. But the treatment didn't help. Maxim Bogdanovich died at dawn on May 13 (25), 1917 at the age of 25.

He was buried in the new city cemetery of Yalta. A white cross was placed on the grave. In 1924, the cross on the grave was replaced by a gray limestone monument with a red star. In 2003, such a monument was erected.
Among the papers were found materials for the Belarusian primer, on which he had apparently been working lately. And on the armchair near the bed itself there is a book, and on it is a short verse, in one stanza, in which the poet says that he is not alone before his death - he has a book with his poems.
And one more fact, why Yaroslavl... The poet's archive was kept by Adam Bogdanovich, who remained in Yaroslavl. To save the manuscripts, he put them in a chest, took it to the cellar and hid it under the ice. During the suppression of the Yaroslavl uprising in 1918, the Bogdanovichs' house on Sennaya Square was burned, the ice melted, the chest was burned, and water entered it. After Adam Bogdanovich dried and smoothed the affected, but still preserved manuscripts. When the Institute of Belarusian Culture became interested in them, he handed them over to an employee of the institute who came to pick them up. In 1923, the father wrote "Materials for the biography of Maxim Adamovich Bogdanovich."
The poet's works have been translated into two dozen languages of the world, published in Great Britain, Germany, Poland, Russia, France, Yugoslavia and other countries.
What prompted me to write such an extensive note? Of course, any woman is pleased to read love poems. You can read at your leisure, take a break from everyday worries. :) Most of all, I was struck by the poet's call not to break, crush and lie to pieces the whole past and present to the ground, and then. And then, how will it turn out... The idea of the inner rebirth of each person runs like a red thread through creativity. The desire to open the eyes of Belarusians to their history, to their role in the course of history.

Exhibition of graphics “RYSES OF PAEZII”
Literary Museum of Maxim Bogdanovich Minsk, Belarus
Branch Literary Museum Maxim Bogdanovich "Belarusian hut" Minsk, Belarus
Branch of the Literary Museum of Maxim Bogdanovich "Folvark Rakutevshchina", village Rakutevshchina, Molodechno district, Minsk region, Belarus
Maxim Bagdanovich Museum in Grodno, Belarus
Memorial house-museum of M. Bogdanovich, Yaroslavl