Ermil Kostrov: biography. Ermil Ivanovich Kostrov

Ermil Ivanovich Kostrov(January 6, 1755, the village of Sineglinye, Voblovitskaya volost, Vyatka province - December 9, 1796, St. Petersburg) - Russian translator and poet, who was the first in Russia to translate Homer's Iliad and Apuleius' Golden Ass.

Biography

Ermil Kostrov was born in 1755 in the village of Sineglinye, Vyatka province (now the village of Sinegorye, Nagorsky district, Kirov region), in the family of deacon Ivan Vukolovich Kostrov and his wife, Ekaterina Artemyevna. Early lost his father (died in 1756) and mother (1765). After the death of his father, the family was rewritten as economic peasants. He studied at the Vyatka Seminary, from 1775 - at the Slavic-Greek-Latin Academy, then at the Faculty of Philosophy of Moscow University (1778-1780).

As Pushkin writes, “Kostrov was named a university poet from Empress Catherine and in this rank received 1,500 rubles of salary.” He wanted to teach at Moscow University, but was not admitted to the department.

The poet Derzhavin was sympathetic to Kostrov, Suvorov was on good terms with him, to whom Kostrov dedicated a number of works. But it was not possible to escape from poverty. The origin prevented to realize all its possibilities.

When solemn days came, Kostrov was searched all over the city to compose poetry and was usually found in a tavern or with a deacon, a great drunkard, with whom he was in close friendship. For some time he lived with Kheraskov, who did not let him get drunk. This bored Kostrov. He disappeared once. They rushed to look for him all over Moscow and did not find him. Suddenly Kheraskov receives a letter from him from Kazan. Kostrov thanked him for all his favors, but, the poet wrote, "the will is dearest to me."
A. S. Pushkin

From dissatisfaction, Kostrov fell ill and died in complete poverty from intermittent fever in 1796. “Kostrov in the attic is dying without a trace,” Pushkin wrote in his lyceum years in the poem “To a Poet Friend”.

Creation

His first works were odes to Archbishop Platon, Prince Potemkin, Shuvalov, Catherine II, and others written in imitation of Lomonosov, full of Church Slavonicisms, in the spirit of emerging sentimentalism. Soon Kostrov abandoned this genre, and moved on to new lyric poets developed by that time - songs and poems for the occasion. But the laws of the genre dictate their own rules. Kostrov also had to change the themes of his poems. If earlier he dedicated odes to the rulers, Suvorov's victories, the power and greatness of the past, now he began to sing about love, fun, nature.

The language of his works has also undergone changes, it has become simple and understandable, cumbersome phrases have disappeared, his small poems - To the Butterfly, The Oath and others - are graceful, light and can compete with the best lyric works of the 18th century. The last major work of Kostrov was the prose arrangement of Ossian.

Kostrov published Odes in a separate edition, and placed other poems in Moscow News, Pleasant and Useful Pastime, Interlocutor of Lovers of the Russian Word, Karamzin's Aonides (1796) and other magazines.

Memory

In 1853, Nestor Kukolnik wrote the drama "Yermil Ivanovich Kostrov".
The playwright Alexander Ostrovsky chose him as the prototype of Lyubim Tortsov in the comedy "Poverty is not a vice."

Compositions

Complete Works, Ch. 1-2, St. Petersburg, 1802;
Works, St. Petersburg, 1849 (together with the work of Ablesimov);
Collection "Russian poetry". Ed. S. A. Vengerova. T. 1. St. Petersburg, 1897;
Poems. Poets of the 18th century. T. 2. L., 1958

Kostrov was born around 1755 in the family of a Vyatka peasant. He studied at the Vyatka Seminary, from 1775 - at the Slavic-Greek-Latin Academy, then at the Faculty of Philosophy of Moscow University (1778-1780). He was listed as an official poet at Moscow University, he wanted to teach, but he was not admitted to the department.

The poet Derzhavin was sympathetic to him, Suvorov was on good terms with him, to whom Kostrov dedicated a number of works. But it was not possible to escape from poverty. The origin prevented to realize all its possibilities. From dissatisfaction, Kostrov fell ill and died in complete poverty from intermittent fever in 1796. Bonfires in the attic are dying without a trace - Pushkin wrote in the lyceum years in the poem "To a friend of the poet".

Creation

His first works were odes to Archbishop Platon, Potemkin, Shuvalov, Catherine II, and others written in imitation of Lomonosov, full of Church Slavonicisms, in the spirit of emerging sentimentalism. Soon, Kostrov abandoned this genre, and moved on to new lyric poets developed by that time - songs and poems for the occasion. But the laws of the genre dictate their own rules. Kostrov also had to change the themes of his poems. If earlier he dedicated odes to the rulers, Suvorov's victories, the power and greatness of the past, now he began to sing about love, fun, nature.

Kostrov published Odes in a separate edition, and placed other poems in Moscow Vedomosti, Mirrors of Light, Pleasant and useful pastime, Interlocutor of lovers of the Russian word, Karamzin's Aonids (1796) and others.

Kostrov knew foreign languages well, both modern and ancient. It was he who first translated the Iliad of Homer and the Golden Ass of Apuleius in Russia. For the translation of the Iliad, contemporaries called Kostrov the Russian Homer. Kostrov's last major work in prose was Ossian's Gallic Poems.

Memory

The puppeteer created the drama Yermil Ivanovich Kostrov (1853), the playwright Ostrovsky chose him as the prototype of Lyubim Tortsov in the comedy Poverty is not a vice.

Compositions

Complete Works, Ch. 1-2, St. Petersburg, 1802;
Works, St. Petersburg, 1849 (together with the work of Ablesimov);
Collection "Russian poetry". Ed. S. A. Vengerova. T. 1. St. Petersburg, 1897;
Poems. Poets of the 18th century. T. 2. L., 1958

bauble

We need a trifle in everything,

Trivia is important to us in everything.

A trifle in the exploits of the military,

In love and in clever litigation

A trifle will prevail.

Trifle draws us to the boyars,

Trinket often smart critters

The source is tears.

The trifle destroys the solid castles,

And for a trifle without mercy

The boyar scolds his servants.

The judges and the chairman himself,

A bad interpreter of laws

Gives the bauble an important look.

Philosopher, theologian, pita

And all the scientists are magnificent retinue

In a trifle, they often argue.

And Hippocratic bailiffs

In a trifle, we are wrong,

When sick people die from them.

To the opening of the paths of Nature

And to the invention of smart fashion

Trinket case serves.

The talents of the mind are excellent,

High, sharp, unusual

The bauble opens into the light.

We only yield to trifles,

When we adore beauties.

Love trifle will root,

The trifle will destroy it equally.

A trifle flatters when we are flattered by something,

She scares when we are afraid.

No later than 1786

His Excellency Count Alexander Vasilievich Suvorov-Rymniksky

Under the meek canopy and myrtle and olives,

A hero crowned with laurels, you, having rested,

You fly with thoughts on the battle field,

Giving full speed of imagination to the will.

Reposed! but your peace of mind

More terrible to enemies than other spears.

They know that you are in the midst of peaceful joy

You think about means, how to destroy solid cities.

I, in vain you, you in decent silence,

In waking peace, like a hero in a dream,

I dare to excite with the zealous voice of the lyre.

By noisy whirlwinds, we are more pleasant than marshmallows.

Daring: you were always a lover of gentle muses,

With Minerva, with Mars, you have acquired an alliance.

Let me, yes Ossian, singer, hero, lord,

Appearing in the features of the Russian language,

With your name, unshyly comes into the world

And through that he will gain greater praise.

It depicts formidable types of abuse,

Swords shining with a ray from stormy hands,

They will imagine in your mind how you fought the enemies,

Perun of rage overthrew strongholds.

The enemy of flattery, pomp and lazy luxury,

To the merits of the judge is not false and truthful,

Heroic deeds for the patronymic, loving,

Read it and you will see yourself in it.

To the butterfly

Kind butterfly, do not hesitate, fly in;

Spring is calling you, beautiful May is calling.

Look, the flowers have already been sprinkled with dew,

Zephyrs made friends with them;

Marshmallows bask, do not be modest,

Don't be shy, don't be shy

Be fickle, do not be firm, faithful, -

So you will always be happy.

Fly and tenderly kiss the carnation,

Leave her and celebrate

Above chastity are roses and lilies.

From them set off to the violet on the way,

And do not forget to hug the forget-me-nots,

And so kind undertakings

Always change

Spend your pleasant life in treason

That would be advice for sure.

I gave myself

Whenever you see

Pretty I am Lisette.

Oath

On a leaf of scarlet rose

I tried to draw

Milu friend as a sign of threat,

That I will never love

No matter how he flatters me,

Whatever you say to me.

I just finished a little

Suddenly a breeze blew.

He took a leaf with him -

With him, the oath flew away.

Arrangement of Psalm 18

The heavens are telling us about Creative glory

And the ethereal firmament will reveal the work of His hands;

The change in the harmony of their Father of the ages says;

And there are no words and no language,

Where would their voices, what is the Lord,

They did not rise to the ears of all;

Far away from the light

Their strings sound tense,

Their verb rushes over all the earth at the end.

He erected a canopy for the sun in the regions of the ether;

It is like a young bridegroom, chest full of fun,

Leaving his chamber, he comes before the eyes of the world,

He rejoices, as the ascetic of glory is ready to go.

The edge of the East harasses him,

And the West proceeds with meekness

To him at the meeting I come from on high.

To him, solemnly flowing,

Everywhere a cheerful brilliance shines,

What can hide warmth from him?

There can be no vice in the law of the Lord;

He gives life to a new soul.

The Creator's announcement is both true and not false;

It also makes youths wise.

The commandments of the Lord are sweetness;

They are the joy desired by thoughts,

And His commandment is light for the eyes of the soul.

The fear of the Lord will endure forever;

He is pure, he is a mirror of the heart;

There is no wrong and lies in the destinies of the Lord.

And gold, and everything that is precious in the world,

She is more gracious with the grace of kindness

And their sweetness is incomparably more desirable,

Than the sweetness that pours us both honey and honeycomb.

And I, Your servant, learn from them,

I feed on good hope,

That in the fulfillment of them to me is the reward of Your gifts.

But who will avoid stumbling?

Who is pure from all sins?

Me, God! do not impute ignorance of sins;

And equally done by my will

Forgive me iniquity, and have mercy;

Yes, I will not be a slave to him, but yes, I own myself,

You help me, oh God! approve:

Then, innocent and free,

In everything you are pleasing,

I will find the true dignity of the soul.

My Savior, Creator, Lord!

The pronouncements of my mouth, tongue

And inspire the hearts of thoughts with goodness!

Song

Forgive me, my dear shepherd,

Whom my chest always burned,

I'm sorry, I'll leave the local meadow,

Where I've been with you every day

Where the spirit admired the passion

And tenderness played with tenderness.

Retiring to another shore,

I will repeat all the time

That I burn with you alone;

But I will repeat unfortunately:

It will not reach ... it will fly in vain.

But don't cry, don't cry, my light

I will not be long in languid boredom,

You know that death is the end of all troubles,

End of suffering and torment -

And I, I have no hope to live,

If I'm apart from you.

path of life

This life of ours is quite a long way,

We must rest on it four times.

Though there are black cypresses everywhere,

But wanderers crowd on it day and night.

Submissive in all the dictates of fate,

Chosen by death, the charioteer is rude - time

Attracts on this unfortunate mortal tribe.

A man was born, he saw only the light,

Already the brethren are flowing without delay after.

Keeping customs among small cares,

He must have breakfast at the House of Prejudice.

At noon, love with a smile along the way

Do not hesitate to call him to dine with her.

The owner is kind! what lovely talk!

But he has no means of parting with her without a quarrel.

Day to evening ... and he, in order to avoid boredom

And disperse gloomy thoughts with conversation,

To fulfill your flattering dreams,

He gallops hastily to the inn of knowledge.

There he sees thousands of opponents to himself;

They, all suddenly shouting in a verbal struggle with him,

Gloomy, cloudy, want to fight him forever,

So that the bay leaf could not get to him.

Pitying righteously about these stupid pillars

And about the hours lost for strife,

He leaves them and strives into the distance on his way,

And in the house of friendship he sits down to supper.

Loving peaceful conversation in this place,

He's just starting to cheer himself up

The cruel driver suddenly approaches him,

Orders to leave everything, compels on the road.

Everything happened, and he, annoyed, embarrassed,

Under the burden of disasters, he is tormented and bent,

Comes - sees a bed of peace.

Friends! then the death coffin is the end of his torment.

Poems of Lizete

Lisetian features, imprinted in the mind,

They touched my heart too,

My feelings and thoughts are subdued to her,

You cannot love me more ardently than this.

No matter how carefully someone lives,

But the heart can not be kept

From the charms of her eyes:

Their brilliance is the pure brilliance of piercing rays;

He pours a flame in his chest

And it can soften even the hardest stone.

Lily color and color of spring fresh roses

On her soft, tender cheeks, she grew;

From her mouth, from the beautiful lips

Sincerity and tenderness flies.

If there are many dangerous arrows

A single look aspires to her!

But if Lisette sings,

Her sweetest voice

Pleasures all the world

Present suddenly for us.

Innocent games, laughter, caresses

Born with her;

But how shall I introduce Lisette in the midst of the dance?

It is impossible to depict that brush as a draw.

Daughter of immaculate nature!

In your blooming years

You are so charming and tender;

So can you tell me to get angry

That I could be captivated by you?

I know you will be modest in this answer.

Kostrov, Ermil Ivanovich - a talented translator and poet. Born around 1750 in the family of a Vyatka economic peasant. He studied at the Moscow Slavic-Greek-Latin Academy and graduated from Moscow University with a bachelor's degree. He was an official poet at Moscow University, but his dream, according to Count Khvostov, was "to teach poetry from the pulpit." Proud, honest, a stranger among those around him, Kostrov could not fulfill his desires; dissatisfied with the position of only a "writer", he indulged in the usual Russian weakness and in 1796 ended his almost beggarly, disorderly life. His first works were odes to Archbishop Platon, Potemkin, Shuvalov, Catherine II and others, written in imitation of Lomonosov, rich in Church Slavonic forms and similes and metaphors borrowed from Homer and Ossian. Kostrov then cared only about "" so that the song was red and slender "", thinking little about the content. With the advent of Felitsa, Derzhavin Kostrov writes in simple language; his small poems - "To the Butterfly", "Oath" and others - are graceful, not devoid of tenderness and can be put on a par with the best works of lyric poetry of the 18th century. Kostrov usually published his odes in a separate edition, and placed other poems in "Moscow Vedomosti", "Mirrors of Light" by Tumansky (1786 - 1787), "A pleasant and useful pastime" by Sokhatsky and Podshivalov (1793 - 1796) , in "Aonides" by Karamzin (1796) and others. Kostrov knew the ancient and French languages well; his attempt to instill in the Russian language the forms and concepts of European literary models deserves great attention. Kostrov translated Voltaire in verse and prose (the satire "Tactics"), Arno the elder and younger, Apuleius ("The Golden Ass", published by Novikov in 1780 - 1781, 2nd edition 1870), "The Iliad" (its first Russian translation; the first six songs were published in 1787, VII, VIII and part IX were published in Vestnik Evropy, 1811, No. 16). For the translation of the Iliad, contemporaries called Kostrov "the Russian Homer". Kostrov's last major work in prose was Ossian's Gallic Poems (Moscow, 1792; 2nd edition, St. Petersburg Library, 1878). Kostrov's prose translations are distinguished by great accuracy, are poetic and much higher in dignity than poetic ones. Kheraskov and Shuvalov were located near Kostrov; Suvorov called him his friend. The sad fate of Kostrov prompted Kukolnik to write a five-act drama in verse: "Ermil Ivanovich Kostrov" (St. Petersburg, 1860). A complete collection of all the works and translations in verse by Kostrov was published in the St. Petersburg Library (1802); careless reprint in Smirdin's edition (St. Petersburg, 1849). Kostrov's poetic works are collected in the first volume of "Russian Poetry" by S.A. Vengerov, where see the article by P.O. Morozov (as well as in the "Philological Notes" of 1876) and a complete bibliography about Kostrov (section III, page 240). A. N.

Great Definition

Incomplete definition ↓

Kostrov, Ermil Ivanovich

Writer, b. in 1755, d. December 9, 1796 Descended from the economic peasants of the Vyatka province, Voblovitsky volost, and received his initial education at the Vyatka seminary. Upon leaving the seminary in 1773, Kostrov, being in a cramped position, turned to his fellow countryman, member of the synod, Archimandrite John (Cherepanov), with a request, in verse, to give him the opportunity to continue his education at the Moscow Theological Academy. This request was successful, and in 1775 Kostrov was already "a student of the Moscow Slavic-Greek-Latin Academy of Sacred Theology." He was also a student of the Academy in 1776; On January 23, 1778, we see Kostrov already a student at Moscow University, and in 1779 he was promoted to bachelor's degree. Produced in 1782 to the provincial secretary, Kostrov remained in this rank until the end of his life, living permanently in Moscow and maintaining ties with the university and its curators - Shuvalov and Kheraskov. Thanks to the influence of the latter, Kostrov became the official university poet, whose duty was to compose poems for various solemn occasions celebrated at the university. But Kostrov was not satisfied with this position of his; him, according to Mr. Khvostov, I wanted to teach poetry from the pulpit. Failure in this contributed to the development in him of a passion for drunkenness, under the influence of which Kostrov sank so much that at the end of his life he did not even have his own corner, but lived either at the university or with various acquaintances.

Kostrov lived and wrote in the era when Western European sentimentalism began to penetrate Russian literature, gradually displacing the pseudo-classical trend that dominated it in the 18th century. This literary trend left its mark on the author's activity of Kostrov. Belonging with his first works to the pseudo-classical school, Kostrov, with the appearance of Derzhavin's Felitsa, renounces his former direction and gradually transfers his literary sympathies to the side of sentimentalism. As a writer, Kostrov was not very original. Most of his independent works are odes and poems for various solemn occasions, written on behalf of the university. Kostrov's odes, representing an imitation of Lomonosov, are composed according to a pseudo-classical pattern, are extremely artificial, devoid of content and completely alien to the surrounding life. If they differ in any way from the homogeneous works of other writers of the 18th century, it is only because they show a good acquaintance with Holy Scripture, which is explained by the theological education of the poet; they reflected, then, the influence of the writers translated by the author. Kostrov himself felt the falsity of his poetry and sympathized with the new direction, as can be seen from his choice of things for translations. But he lacked the talent to independently renounce the pseudo-classical routine. The new path was indicated by Derzhavin in his "Felitsa", the appearance of which Kostrov welcomed with a "Letter to the creator of an ode in praise of Felitsa" ("Interviewed Lover of Russian Words", 1784, Part X, Art. V), in in which he, praising Derzhavin, laughs at the solemn odes and his former literary trend. And, indeed, from that time on, Kostrov abandoned the conventional meter, freed himself from the rules of "high style" and began to write simpler and more naturally, which is why his poems benefit a lot. Under the influence of Derzhavin, he introduced a simplified language and a variety of meters into his lyrics; under the influence of Apuleius translated by him (1780-1781), he introduced into it an element of tenderness, until then completely alien to her. The most sincere and heartfelt are those odes and poems by Kostrov, which he did not write out of obligation and are addressed to persons whom the poet sincerely respected: Shuvalov, Kheraskov, Suvorov and Metropolitan Platon. But even in these works one can see a false classic. In general, the original plays do not give Kostrov the right to take any prominent place in the history of Russian literature. His merit is determined by translations, well chosen and well executed. The earliest of these dates back to 1779. This is a translation of Voltaire's short satirical poem "La Tactique". In the same year, Kostrov translated, also from French, and published: "Elvir's poem, the work of the elder Arnod and Zenotemis, the Marseilles adventure, the work of the younger Arnod." "Zenotemis" - the first prose translation of Kostrov. His language, although quite pure, is still heavy and unprocessed. In the next two years (1780 and 1781), N. I. Novikov published the third translated work of Kostrov - "Lucius Apuleius, the Platonic sect of the philosopher, Metamorphosis or the Golden Ass" - in two parts, with explanatory notes. This translation is distinguished by its closeness to the original, the purity and correctness of the language. In 1870, the second edition of this translation was published in Moscow. After Apuleius, Kostrov decided to give Russian literature a translation of the Iliad, and six years later, in 1787, the first six songs appeared in print, with a poetic dedication to Catherine II. In 1811, the VII, VIII and part IX songs of the Iliad were found, translated by Kostrov, and in the same year they were published in Vestnik Evropy (part LVIII, nos. 14 and 15). This work by Kostrov represents the first attempt at a poetic translation of the Iliad into Russian. Written in iambic Alexandrian six-foot, Kostrov's translation was well received by the reading public. However, he suffers from a serious shortcoming - namely, the pomposity and grandiloquence of the syllable, replete with Church Slavonic forms and turns, which, however, is explained by the views of the literary theory that prevailed at that time. In 1792, Kostrov published his last translation - the songs of Ossian, from a French translation. In addition to the above individual publications, Kostrov's works appeared in "The Interlocutor of Lovers of the Russian Word", "Mirror of Light", "Pleasant and Useful Pastime", "Aonides" and "Offering of Religion".

Collected works and translations of Kostrov had two editions: the first - in St. Petersburg. 1802, the second (Smirdinskoye) in St. Petersburg. 1849. Both of these editions are incomplete: they do not contain Kostrov's prose translations.

"Fatherland. Zap.", November 1851, article by A. D. Galakhov "Works of Kostrov"; Morozov, "E. I. Kostrov, his life and literary activity". Voronezh. 1876; "Complete collection of works. Prince P. A. Vyazemsky", v. VIII, p. 10. St. Petersburg. 1883; "Vyatka poets of the XVIII century." Vyatka, 1897, pp. 68-92.

N. Michatek.

(Polovtsov)

Kostrov, Ermil Ivanovich

Poet. The son of an economic peasant in the Vyatka province., K. born. in the early 1750s, he studied at the Vyatka seminary, the Slavic-Greek-Latin Academy and Moscow University, where he completed the course in 1777 with a bachelor's degree; was the official university poet and a member of the society of lovers of learning at the university. In 1782, he received the second rank (provincial secretary), in which he remained until his death, in 1796. While still a seminarian, he published "Poems of the Holy Rights Synod of the Office to Archimandrite John, a member of the Novospassky Stauropegial Monastery" (M ., 1773); student acc. wrote separately published epistles and laudatory verses to Bishop Plato, Potemkin, etc. In general, K. was a very prolific writer; his small odes appeared in separate pamphlets for each solemn occasion. The first larger work of K. were translations of the poem by Arnod the elder "Elvir" and the story of Arnod the younger "Zenotemis", combined together (M., 1779). Then K. translated into verse Voltaire's "Tactics" (M., 1779), Apuleius's "Golden Ass" (M., 1780-81, 2nd ed. M., 1870) and the first 6 songs of the Iliad (M., 1787) . The next three songs were published after K.'s death in Vestn. Evropy (1811, No. 16). K. also translated Ossian's Gallic Poems (Moscow, 1792, 2nd ed. St. Petersburg, 1818). He also placed a lot of poems in the periodicals of his time. K.'s translations of unequal dignity; in places they are poetic, in places prosaic, but on the whole remarkably true to the original. The translation of the Iliad is made in such an easy and beautiful language that it can be read with pleasure at the present time. The odes, although not as low-browed as those of his contemporaries, are replete with strained comparisons and full of rhetorical hype. However, after the appearance of "Felitsa" by Derzhavin, whom K. fervently praised in his poems, his odes became relatively simpler. K. lived in great poverty, did not like to curry favor with the merciful, and suffered from a well-known "Russian" weakness. K.'s works were published 2 times: St. Petersburg, 1802 (without prose) and (together with Ablesimov) St. Petersburg, 1849; in addition, they are collected in the II issue. "Russian poetry" by S. A. Vengerov (St. Petersburg, 1894), where the most detailed study of K. Sr. P. O. Morozov, "E. I. K. His life and literary activity" (Vor., 1876).

The meaning of KOSTROV YERMIL IVANOVICH in the Brief Biographical Encyclopedia

KOSTROV YERMIL IVANOVYCH

Kostrov, Ermil Ivanovich - a talented translator and poet. Born around 1750 in the family of a Vyatka economic peasant. He studied at the Moscow Slavic-Greek-Latin Academy and graduated from Moscow University with a bachelor's degree. He was an official poet at Moscow University, but his dream, according to Count Khvostov, was "to teach poetry from the pulpit." Proud, honest, a stranger among those around him, Kostrov could not fulfill his desires; dissatisfied with the position of only a "writer", he indulged in the usual Russian weakness and in 1796 ended his almost beggarly, disorderly life. His first works were odes to Archbishop Platon, Potemkin, Shuvalov, Catherine II and others, written in imitation of Lomonosov, rich in Church Slavonic forms and similes and metaphors borrowed from Homer and Ossian. Kostrov then cared only about "that the song was red and slender", thinking little about the content. With the advent of Felitsa, Derzhavin Kostrov writes in simple language; his small poems - "To the Butterfly", "Oath" and others - are graceful, not devoid of tenderness and can be put on a par with the best works of lyric poetry of the 18th century. Kostrov usually printed his odes in a separate edition, and placed other poems in "Moscow Vedomosti", "Mirrors of Light" by Tumansky (1786 - 1787), "Pleasant and useful pastime" by Sokhatsky and Podshivalov (1793 - 1796), in "Aonides" by Karamzin (1796) and others. Kostrov knew the ancient and French languages well; his attempt to instill in the Russian language the forms and concepts of European literary models deserves great attention. Kostrov translated in verse and prose Voltaire (satire "Tactics"), Arno the elder and younger, Apuleius ("The Golden Ass", published by Novikov in 1780 - 1781, 2nd edition 1870), "Iliad" (its first Russian translation; the first six songs were published in 1787, VII, VIII and part IX were published in Vestnik Evropy, 1811, ¦ 16). For the translation of the Iliad, contemporaries called Kostrov "the Russian Homer". Kostrov's last major work in prose was Ossian's Gallic Poems (Moscow, 1792; 2nd edition, St. Petersburg Library, 1878). Kostrov's prose translations are distinguished by great accuracy, are poetic and much higher in dignity than poetic ones. Kheraskov and Shuvalov were located near Kostrov; Suvorov called him his friend. The sad fate of Kostrov prompted Kukolnik to write a five-act drama in verse: "Yermil Ivanovich Kostrov" (St. Petersburg, 1860). A complete collection of all the works and translations in verse by Kostrov was published in the St. Petersburg Library (1802); careless reprint in Smirdin's edition (St. Petersburg, 1849). Kostrov's poetic works are collected in Volume I of "Russian Poetry" by S.A. Vengerov, where see the article by P.O. Morozov (as well as in the "Philological Notes" of 1876) and a complete bibliography about Kostrov (section III, page 240). A. N.

Brief biographical encyclopedia. 2012

Portal for the student. Self-training

Ermil Kostrov: biography. Ermil Ivanovich Kostrov

Biography

Creation

Memory

Compositions

Creation

Memory

Compositions

Kostrov, Ermil Ivanovich

The meaning of KOSTROV YERMIL IVANOVICH in the Brief Biographical Encyclopedia

See also interpretations, synonyms, meanings of the word and what is YERMIL IVANOVICH KOSTROV in Russian in dictionaries, encyclopedias and reference books:

Portal for the student. Self-training

Biography

Creation

Memory

Compositions

Creation

Memory

Compositions

Kostrov, Ermil Ivanovich

The meaning of KOSTROV YERMIL IVANOVICH in the Brief Biographical Encyclopedia

See also interpretations, synonyms, meanings of the word and what is YERMIL IVANOVICH KOSTROV in Russian in dictionaries, encyclopedias and reference books:

RELATED ARTICLES