Interesting fact Pavlova Karolina Karlovna. All poems by Carolina Pavlova. Lamp from Pompeii

You, who survived in the heart of a beggar, Hello to you, my sad verse! My bright ray over the ashes of my Beatitudes and joys! One thing that even sacrilege could not touch in the temple: My misfortune! My wealth! My sacred craft!

These lines belong to a woman whose name, although lost in the haze of two centuries, has not lost its originality in that poetic area called “lyrics of a woman’s heart.”

Caroline was born on July 22, 1807 in Yaroslavl in the family of doctor Karl Janisch, a descendant of a Russified German. The girl was one year old when her father was offered a professorship at the Moscow Medical-Surgical Academy, where he began teaching physics and chemistry. Karl Ivanovich was a widely educated man, seriously interested in astronomy and painting, and knew literature very well.

The professor's family began to live very modestly after they lost all their property during Napoleon's invasion of Moscow. The Yanishes lived in the houses and estates of friends near Moscow or rented apartments, but they managed to give their only daughter an excellent education at home.

From early childhood, Caroline knew four European languages, helped her father in his astronomical observations, drew and played the piano well, read a lot and wrote poetry in German and French. Having discovered an extraordinary talent in the field of verbal sciences, the 19-year-old young lady, in addition to German, Russian and French, was fluent in English, Italian, Spanish, Latin and ancient Greek, and had an excellent knowledge of world literature. In society she was known as “gifted with the most diverse and most extraordinary talents.”

For the first time, Caroline showed herself as a poet in 1826 at the Elagin literary salon, where she read her poems in German. She received full recognition in the Moscow literary circle in the salon of 3. A. Volkonskaya. The talented girl was admired by many writers, scientists and poets. E. A. Baratynsky, P. A. Vyazemsky, N. M. Yazykov, A. Mitskevich dedicated poems to her.

The great German scientist and traveler A. Humboldt, having met Caroline in 1829, took with him the manuscript of her poems and the German translation of Mickiewicz’s poem “Conrad Wallenrod” to show to J. V. Goethe himself. The great poet approved of them and sent a very flattering letter to the young translator and poetess. According to his daughter-in-law, “my father-in-law always kept this notebook on his desk.”

In Princess Caroline's salon in 1827 she met the famous Polish poet Adam Mickiewicz. It all started with Polish lessons, but soon the relationship between the gifted student and the mentor grew into a serious feeling. Mickiewicz was fascinated by Caroline, she was in love. On November 10, 1827, the poet formally proposed to her. The father did not interfere with the happiness of his beloved daughter. However, a wealthy uncle, on whom the Janisch family depended, spoke out against the niece’s marriage to an unsecured and politically unreliable poet. A sense of duty forced the girl to give up her happiness, but not love.

The last time they saw each other was in April 1829, and Mickiewicz wrote in her album:

As soon as hope shines again in my destiny, On the wings of joy I will fly quickly from the south Again to the north, again to you!

Caroline said goodbye forever: “Once again I thank you for everything - for your friendship, for your love. I vowed to you to be worthy of this love, to be what you want. Never allow the thought that I could break this oath - this is my only request to you. My life may still be wonderful. I will mine from the depths of my heart the treasury of my memories of you and will joyfully sort through them, for each of them is a pure diamond.” The date of declaration of love - November 10 - became a sacred day for Caroline for the rest of her life. The brightest and saddest poems appeared on this day.

Mickiewicz's feelings faded quite quickly: in Odessa he courted his compatriot Karolina Sobanska, and in St. Petersburg he proposed to Tselina Szymanowska.

Left alone, Caroline devoted herself entirely to her poetic calling. Creativity became life itself for her. Karolina Karlovna's lyrical poetry was distinguished not so much by emotionality or expressiveness, but by penetration of feelings and authenticity, artistic self-expression and knowledge of oneself and others.

The poetess developed her own characteristic style, somewhat cold, distant, realistically restrained, but extremely effective, and perfectly mastered the art of poetry. She developed the genre of poetic message, elegy and a kind of story in verse. Karolina Karlovna’s compressed, energetic, artless poetic language is notable for its unconventional rhyme, which only the Silver Age could fully appreciate.

Contemporaries experienced a complex range of feelings for the bright and talented woman, consisting of delight and irony. After all, Karolina Karlovna not only “scribbled poems” into albums, but also openly “claimed” the proud title of a poet and an excellent translator, invading a purely male craft. Poetic translations became the basis of her work. In 1833, Janisch’s collection “Northern Lights” was published in Germany. Samples of new Russian literature", giving the Germans the opportunity to get acquainted with the works of A. S. Pushkin, V. A. Zhukovsky, A. A. Delvig, E. A. Baratynsky, N. M. Yazykov, P. A. Vyazemsky, with Russians and Little Russian folk songs, as well as 10 original poems by the author. In 1835, the Parisian magazine Revue Germanigue published excerpts from Schiller’s “The Maid of Orleans,” and in 1839, a complete translation of the poem into French by Janisch.

While working on translations, Karolina Karlovna strove to most accurately reproduce the vital features of the original: the general sound of the verse, the rhythm, the author’s coloring. And it doesn’t matter from what language or into what language the work was translated - the individuality of the style was always preserved, be it W. Scott, D. Byron, T. Moore, A. S. Pushkin, V. A. Zhukovsky, J. B. Moliere, F. Schiller, G. Heine or V. Hugo. Janisch confidently moved towards the heights of her skill, and her personal life seemed to be settled.

In 1836, the “harmful” uncle died, and Karolina Karlovna became a rich bride. A year later, she married the famous fiction writer Nikolai Filippovich Pavlov (1803 - 1864). At that time, his social stories “Name Day”, “Scimitar”, “Auction” (1835) were read by all progressive Russians. This was the only creative takeoff of the writer. Subsequently, his artistic reputation declines.

At first, Pavlov helped organize his wife’s literary affairs, but later he became jealous of her work. After all, it was in the 40s. Karolina Karlovna’s poetic talent flourished and achieved its greatest success - then the poem “Conversation in Trianon” was written, which she herself considered her best work, and the novel in verse and prose “Double Life. Essay" and the poem "Quadrille", dedicated to E. A. Baratynsky.

And about the translations of the poetess V. Belinsky said the following: “Ms. Pavlova’s amazing talent for translating poems from all the languages ​​she knows and into all the languages ​​she knows is finally beginning to gain universal fame. But even better (due to language) are its translations into Russian; Marvel for yourself at this conciseness, this courageous energy, the noble simplicity of these diamond verses, diamond both in strength and in poetic brilliance.”

Married life turned Karolina Karlovna from a dreamy girl into an energetic, strong-willed socialite, whose pride for a long time did not allow her to admit how unhappy she was in her marriage. Pavlov cheated on her, and soon started another family on the side. He admitted to friends that “he had done one nasty thing in his life: he married money,” which he spent on carousing and lost at cards.

Nevertheless, the Pavlovs' house became one of the best literary salons in Moscow. They visited A. A. Fet, E. A. Baratynsky, N. V. Gogol, A. I. Herzen, N. P. Ogarev and many other writers. Here, in May 1840, M. Yu. Lermontov spent his last Moscow evening before leaving for the Caucasus.

As the owner of the salon, Pavlova sought to be on friendly terms with writers of different directions, trying to “reconcile” Slavophiles and Westerners. Gravitating more towards the Slavophiles, she chose a neutral ideological position for herself, which aroused hostility on both sides.

There is no feeling in me except grief, When the familiar voice of the singer, shamelessly echoing blind passions, pours hatred into the hearts.

Pavlova interpreted all the events of her life and her quests in poetic lines, and, as if in reverse order, her failed personal life turned into a disaster for her work. My husband lost his entire fortune. In 1852, there was a complete break between the spouses.

In view of the complete ruin, Professor Janisch filed a complaint with the Moscow Governor General, who hastened to settle his personal scores with Pavlov for the evil epigram. During the search, prohibited literature was found, and the writer, after a debt trap, was exiled to Perm.

Public opinion blamed Karolina Karlovna for everything; she was met with hostility everywhere. Pavlova became uncomfortable in Moscow, and she moved to St. Petersburg, and after her father’s death, to Dorpat, taking her teenage son and mother with her. As a poetess, she was “thrown out” from the literary life of Russia. All of her original lyrical works were analyzed at the level of an epoch-making struggle of ideas, causing stinging attacks not only on her, but also on those who considered Pavlova “an artist and master of the Russian word, a complete and perfect talent.” At the same time, the translations were also criticized. Belinsky reproached her for choosing the wrong works for translation.

Pavlova was terribly homesick for Russia. In Dorpat she met university student Boris Isaakovich Utin, who later became a prominent lawyer. The age difference of 25 years did not prevent the friendship from developing into a serious mutual feeling. But, having returned with her beloved man to St. Petersburg, Karolina Karlovna painfully realized that there was no place for her either in his heart or in Russia. In memory of him, the famous “Utinsky cycle” of lyrics remained.

As a result of sad thoughts during a trip to Europe, Pavlova made a “passive” and at the same time courageous decision - to abandon illusions: to leave her homeland forever and leave Russian poetry voluntarily. Circumstances turned out to be stronger than the poetess.

Only a few events illuminated the long years of voluntary exile. In 1859, Pavlova was elected an honorary member of the Society of Lovers of Russian Literature, and in 1863, with the assistance of friends, a collection of her poems was published, which met with a sharp, negative assessment in Russian periodicals for being “moth-like” (one of the early poems was called “Moth”, 1840) and indifference to the “plowman’s fate.” Once again, joy turned into pain.

Living in Dresden, and later in Klosterwitz, Karolina Karlovna showed extraordinary endurance and perseverance. In great need, she did real “day labor” in German literature for the sake of a piece of bread. I. S. Aksakov, who visited her in 1860, wrote with amazement about Pavlova’s endurance and vitality, but even in this he condemned her: “It would seem that the catastrophe that befell her, misfortune, the true misfortune she experienced was separation from her son , loss of position, name, fortune, the need to live by work - all this, it would seem, should greatly shake a person and leave marks on him. Nothing happened, she is exactly the same as she was...” “Many could look into the wretched little closet of the German carpenter” where Pavlova rented a corner, but not everyone could look into her soul.

A.K. Tolstoy assessed the human qualities of Karolina Karlovna completely differently. Their acquaintance grew into a close creative friendship. Pavlova translated his poems, dramas and the poem “Don Juan” into German. In Weimar in 1868, his drama “The Death of Ivan the Terrible” was staged with great success. Tolstoy valued the literary opinion and advice of the poetess. In 1863, he obtained a pension for her at court. No one else showed such concern for her.

Thank you! and this word Be my greetings to you always! Thank you for making me understand again that I am a poet; For everything that suddenly warmed my chest, for the happiness of indulging in dreams, for the trembling of thoughts, for the thirst for action, for the life of the soul - thank you!

Only occasionally did Pavlova visit Russia. Acquaintances and connections weakened, one after another, close people passed away: Mitskevich, Pavlov, Utin, son. Karolina Karlovna lived out her life alone. She died on December 2, 1893. The death of the poetess in Russia went unnoticed, but even today her poems are perceived as a living, original phenomenon of poetry.

By origin, Karolina Karlovna Pavlova was a Russified German. She was born on July 10, 1807 in Yaroslavl, but spent her entire childhood, youth and adulthood in Moscow. Her father, Professor Karl Janisch, was a widely educated man.

A physician by profession, he taught physics and chemistry, studied astronomy and painting, and had an excellent knowledge of literature. Under the guidance of her father, Caroline received an excellent home education. As a child, she already knew four languages ​​and helped her father in his astronomical observations. In Moscow, she was known as a girl “gifted with the most diverse and most extraordinary talents.”

In her youth, Caroline experienced a strong mental shock. In 1825, she met the Polish poet Adam Mickiewicz, who was expelled from his homeland to Moscow for involvement in the national liberation movement of the Poles against the Russian autocracy. The young people fell in love with each other and were going to get married, but the Janishes rebelled against their daughter’s marriage to an unsecured and politically unreliable poet. And Mickiewicz himself, it seems, had lost interest in the bride and was not averse to breaking free from his word to her. Soon Mickiewicz left Moscow, and they never met with Karolina Karlovna again. This failed love was reflected in many of Pavlova's early poems. Many years later, as a very old woman, she wrote to Mickiewicz’s son: “The memory of this love is still happiness for me.”

At the end of the 20s, Karolina Karlovna became close to Moscow literary circles, among other things - with Baratynsky And Yazykovym. Then she herself began literary studies - at first as a translator of poems into German and French. Pushkin and other modern Russian poets. Caroline's first original poems were also written in German and French. The German translations of the girl Janisch were delivered in manuscript to Goethe himself, who approved them and sent the translator a flattering letter. In 1833, these translations were published in Germany. Somewhat later, in 1839, Karolina Karlovna’s French translation of Schiller’s tragedy “Joan of Arc” was published in Paris. By that time, she had also begun writing Russian poetry, which enjoyed success in Moscow literary salons.

Meanwhile, Caroline Janisch’s personal life was not going very well. She was not very pretty and was no longer in her youth. She was threatened with the fate of remaining an old maid. But in 1836, the Yanishes received a fairly significant inheritance, and Karolina Karlovna became a rich bride. Soon a groom was found - the once famous writer N.F. Pavlov, a frivolous man, a desperate gambler and, moreover, in bad standing with his superiors (partly as the author of stories with rather sharp anti-serfdom attacks).

Having married Pavlov, Karolina Karlovna immediately started her own literary salon, in which she “reigned” undividedly. Writers, scientists, artists, painters and musicians willingly attended Pavlova's meetings, but treated her somewhat mockingly. She was disliked for her stiffness, enormous self-importance and an irresistible passion for reading her poems to everyone.

The 40s were the time of Pavlova’s greatest successes and the flourishing of her poetic talent. She wrote a lot, actively participated in magazines and almanacs, developed her own characteristic poetic style, somewhat cold, but extremely effective, and mastered a refined poetic skill.

In 1848, Pavlova’s novel “Double Life,” written in verse and prose, was published. Her short poem dates back to the same time "Conversation at Trianon", which she herself considered her best work. Although this poem, due to some circumstances, was banned by censorship, Pavlova appeared in it as a convinced and militant opponent of progressive ideas, who met with fear the revolutionary events that unfolded in 1848 in the West.

Soon serious troubles befell K. Pavlova. She was unhappy in her family life. N.F. Pavlov got away with her condition. In 1852, there was a complete break between the spouses. Old man Janisch, at the instigation of his daughter (as they claimed), complained about Pavlov to his superiors, who were only looking for an opportunity to find fault with a man who was considered unreliable. Pavlov was searched and many banned books were found. First he was put in a debtor's prison, the so-called "Yama", and then sent under police supervision to Perm.

This scandalous story made a big splash in Moscow and armed public opinion against Karolina Karlovna, since she was seen as the main culprit of the misfortune that befell Pavlov. The famous wit S. A. Sobolevsky passed around an evil poem that began like this:

Oh, wherever you look, everything is a grave of love! Mamzel Yanish put her husband in the Pit...

It was awkward for Carolina Pavlova to stay in Moscow, and in the spring of 1853 she left for St. Petersburg, and from there to Dorpat, where she became friends with the poet A. K. Tolstoy(she later translated his ballads, poems and dramas into German). Pavlova responded to the political events of 1854 (the Crimean War with the French and British, the defense of Sevastopol) with a poem "Conversation in the Kremlin", written in a protective, official-patriotic spirit. In advanced social and literary circles, the poem, naturally, was met with hostility.

Offended and confused, but not giving up her conservative positions, Pavlova decided to leave Russia. She visited Constantinople, Italy, Switzerland, and in 1861 she finally settled in Germany, in Dresden, only occasionally and for a short time visiting Russia.

Sometimes her poems appeared in minor Russian publications. In 1863, a small collection of her poems was published in Moscow, which was met with ridicule by advanced critics. This collection was hopelessly late: poetry, which lived by the traditions of romanticism of the 30s and was completely detached from the tasks of social struggle, was completely out of time in the era of the 60s.

Karolina Pavlova died as a decrepit eighty-six-year-old woman on December 2, 1893. Her death passed unnoticed, and the memory of her faded away for a long time. “Resurrected” Pavlova Valery Bryusov, who published a collected collection of her works in 1915. Time puts everything in its place. Carolina Pavlova also found it - in the history of Russian poetry of the 40-50s, when she created her best works with considerable talent and undeniable skill.

V. N. Orlov

PAVLOVA, Karolina Karlovna - Russian poetess. Daughter of a Russified German, professor at Moscow University K. Janisch. She received an excellent education. Found in Moscow literary salons in the 2nd half of the 20s. With E. A. Baratynsky, D. V. Venevitinov, A. S. Pushkin, A. Mickiewicz, whose passion was reflected in Pavlova’s lyrics. Mickiewicz also dedicated poems to Pavlova. In 1833, a collection of translated and original works by Pavlova was published in German - “Das Nordlicht. Proben der neuen russischen Literatur,” the collection includes translations of poems into German A. S. Pushkina "Prophet", "I remember a wonderful moment". In 1837 Pavlova married the writer N. F. Pavlov. Friends of Pavlova in the 30-40s. become K. S. Aksakov, I. V. Kireevsky, A. S. Khomyakov, S. P. Shevyrev, N. M. Yazykov, P. A. Vyazemsky. Pavlova's poems were published in Moskvityanin, Otechestvennye zapiski, Sovremennik, and Russky Vestnik. Pavlova's lyrical hero is a man who morally rises above society and is in conflict with it. In 1839, Pavlova’s collection in French “Les preludes par m-me Caroline Pavlof nee Jaenisch” was published in Paris; in 1848, a novel in verse and prose, “Double Life,” was published - about the immorality of education in a secular society. Poem "Conversation at Trianon", written under the influence of the events of the French Revolution of 1848, was not allowed by censorship and was distributed in manuscripts. The revolution does not evoke sympathy for Pavlova. The people, in her opinion, are “either a fierce tiger or a gentle ox.” In 1853, after breaking up with her husband, Pavlova went abroad, from where she briefly returned to St. Petersburg, and in 1856 she left Russia forever. Published in 1854 "Conversation in the Kremlin"- a patriotic poem with a Slavophile touch. Pavlova's poetry reached a new peak in the 60s. Love lyrics predominate in it, and the theme of a poet misunderstood by society is reinforced. She continues to pointedly avoid participating in any political camps. In 1863 she published a collection of Poems. Pavlova translated a lot into German - tragedies A. K. Tolstoy "The Death of Ivan the Terrible"(post. 1868), "Tsar Fyodor Ioannovich"(1869), into Russian - the tragedy of F. Schiller “The Death of Wallenstein” (1868).

Pavlova's poetic language is concise, energetic, with unconventional rhyme. Her work, enthusiastically received at first, was subsequently the subject of controversy between Westerners and Slavophiles. V. G. Belinsky was surprised at “... the noble simplicity of these diamond poems...”, but then limited his positive assessment to the characteristics of Pavlova’s translations, who “... has an extraordinary gift of translating poetry from one language to another.” Pavlova’s demonstrative political indifference caused in the 60s. negative assessment of M. E. Saltykov-Shchedrin (“moth poetry”). By the end of the 19th century, Pavlova was forgotten. In the 20th century, symbolists became interested in it again.

Works: Collection. Op. Ed. and entry Art. V. Bryusova, t. 1-2, M., 1915; Full collection poems. Entry Art. N. Kovarsky, ed. and approx. E. Kazanovich, Leningrad, 1939; Full collection poems. Entry Art. P. P. Gromova, M. - L., 1964.

Lit.: Rapgof B., K. Pavlova. Materials for the study of life and creativity, P., 1916; Grossman L., Tuesday at Karolina Pavlova's, 2nd ed., M., 1922; History of Russian 19th century literature Bibliographical index, ed. K. D. Muratova, M. - L., 1962.

N. V. Semenov

Brief Literary Encyclopedia: In 9 volumes - Vol. 5. - M.: Soviet Encyclopedia, 1968

PAVLOVA Karolina Karlovna - poetess. Daughter of Professor Janisch. She received an excellent education at home. At the beginning of her literary activity, Pavlova wrote in French and German and mainly translated works of Russian poets into French and German ( Pushkin, Vyazemsky, Baratynsky, Yazykova). In 1833, Pavlova’s translations were published in Germany as a separate publication. The beginning of Pavlova's original work in Russian dates back to the late 30s. Her poems were published in most of the magazines contemporary to her: “Moskvityanine”, “Otechestvennye zapiski”, “Sovremennik” (Pletnyova), “Pantheon”, “Russian Bulletin”, etc. In the last period of Pavlova’s life, her original creativity dried up, and she devoted herself to translations She translated a number of works into German during this period. A. K. Tolstoy("Don Juan" , "Tsar Fyodor Ioannovich", "The Death of Ivan the Terrible", as well as his ballads), and into Russian - “The Death of Wallenstein” by Schiller.

Pavlova's poetry, despite its considerable formal skill, is characterized by a poverty of ideological content. Not having strong social roots among the feudal-landed nobility, Pavlova, nevertheless, in her ideology, is a representative of that layer of the tribal aristocracy, which, in the process of introducing capitalist principles into the Russian economy, found itself thrown out of its rut ​​and thrown back from active participation in public life. Alienation from public life, characteristic of the degrading nobility of that time, predetermined Pavlova’s attraction to “pure poetry”: poets “walk amidst upheavals, Throwing their loud verse into the world, For them a song is more important than human aspirations, They need dreams more than earthly gifts.” The vast majority of her poems are examples of intimate lyricism, the fruit of the poetess deepening into her inner world of elegiac reflections and memories: the future is a “silent distance”, “the expanse of the future is empty for me”; in the present complete renunciation; only the past - “through the years lived, the shadows of a childish, magnificent world.” The contrast between real life, familiar and close to Pavlova only in its secular shell, and the “true life of the soul” constitutes the idea of ​​“Double Life”. The motif of a double life, the motif of sleep as true life, is found in a number of Pavlova’s lyric poems.

Of all that Pavlova wrote, only two works directly address social issues and were created in connection with the political events of her time - these are poems "Conversation at Trianon" And "Conversation in the Kremlin". The first poem is built in the form of a dialogue between a supporter of freedom (Mirabeau) and a representative of common sense, wise with thousands of years of experience (Cagliostro), on the topic of the beginning of the French Revolution. Although the poem was banned by Nicholas censorship, its main idea is reactionary; one of its most striking expressions is the following stanza: “And the menacing ferment of the present generation will subside, the human crowd, believe me, count, will again need bonds, and these same French will abandon the inheritance of the rights they earned.” A poem written in the same year, which can serve as a commentary on the poem, testifies to the deep social indifference of the author. In the face of major political events, the poetess is filled with only one desire: “Having found a cozy corner, Where I can give space to dreams, During this troubled time, I want not to listen to the screaming and arguing.” Pavlova’s social indifference is, of course, nothing more than a form that covers up her commitment to the conservative principles of social life. From this point of view, it is no coincidence that her foil-patriotic response to the events of 1854 with a poem "Conversation in the Kremlin", in which she most fully expressed her closeness to Slavophilism. The poem caused a mocking review in Sovremennik.

Just like for all other representatives of “pure poetry,” the form for Pavlova acquires a self-sufficient meaning: “The game of sonorous rhymes seemed more necessary to me than my daily bread.” Hence the poetess’s passion for unusual, sharp rhymes, the originality of her poetic language. Pavlova's verse is concise, expressive, energetic; at the same time, it is characterized by a certain abstractness, making it almost extra-figurative. Pavlova’s poetry does not shine with a variety of genres; The lyrical genres most cultivated by her are elegies and messages.

Critics in the 60s gave a generally sharply negative assessment of Karolina Pavlova’s poetry. Shchedrin, in his review of her poems, called her a representative of “moth poetry,” for which “real bliss lies in incorporeality and ... true comme il faut consists in feeding on ether, washing down this food with dew and emitting amber. Where is the source of this continuous lie? For what purpose is such parasitic idle talk allowed? - the critic asks and answers, - this phenomenon is strange, but it is not inexplicable. This is a product of a whole system of concepts, the same system that in philosophy gives birth to Yurkevichs, in dramatic art gives ballet, in the political sphere is called Slavophiles, in education - schoolgirls sucking and gnawing pencils. There is not a single living place here, everything is a phrase, everything is a ghost, here one absurdity is proven through another, and all these trifles, glued together, in the end form such a slum, which the most daring attempts of common sense can hardly penetrate” (“Contemporary”, 1863, V).

Bibliography: I. Collection. works., in two volumes, ed. V. Bryusova, ed. K. Nekrasova, M., 1915.

II. Bryusov V., Materials for the biography of K. Pavlova, in “Collected Works”; Griftsov P., K. Pavlova, “Russian Thought”, 1915, XI; Pereverzev V., Salon poetess, “Modern World”, 1915, XII (about Pavlova’s “Collected Works”); Rapgof B., K. Pavlova. Materials for the study of life and creativity, P., 1916; Ernst S., K. Pavlova and Evd. Rastopchina, “Russian bibliophile”, 1916, No. 6; Beletsky A., New edition of the works of K. Pavlova, “News of the Academy of Sciences”, vol. XXII, P., 1917.

III. Mezier A.V., Russian literature from the 11th to the 19th centuries. inclusive, part 2, St. Petersburg, 1902; Yazykov D. D., Review of the life and works of Russian writers and writers, vol. XIII, P., 1916 (“Collection of the Department of Russian Language and Literature of the Academy of Sciences,” vol. XCV, No. 3); Vladislavlev I.V., Russian writers, ed. 4th, L., 1924.

V. Goldiner

Literary encyclopedia: In 11 volumes - [M.], 1929-1939