The meaning of Figner Vera Nikolaevna in a brief biographical encyclopedia. Nikolay Figner

Vera Nikolaevna Figner

Imprinted Labor

Memories

in two volumes

Vera Nikolaevna Figner and her "Implemented Work"

In Russian revolutionary movement women played an outstanding role. The heralds were the Decembrists, far from the revolution and politics, but courageously shared the burden of exile with their revolutionary husbands. The turbulent process of women's emancipation in Russia in the 1960s gave rise to the first few active fighters among women. The best of them - E. L. Dmitrieva, A. V. Korvin-Krukovskaya - became the defenders of the world's first proletarian revolution - the Paris Commune of 1871.

The era of "active populism" intensified the role of women in the social movement to an unprecedented extent. The names of three became known to the whole world: Sophia Perovskaya, the first woman executed by the tsar in 1881 in a political process; Vera Zasulich, whose shot at the St. Petersburg mayor Trepov served as a signal for a new upsurge in the populist movement; Vera Figner...

The remarkable Russian revolutionary populist Vera Nikolaevna Figner lived a long and extraordinary life. She was born in 1852 - during the reign of Nicholas I. Best years gave her life to the struggle with his heir Alexander II. Alexander III and Nicholas II “rewarded” her with decades of fortresses, exile, and persecution.

Figner was 9 years old when they canceled serfdom. And only a few months she did not live up to the 25th anniversary of Soviet power.

The ordeals that befell Vera Nikolaevna - a life full of dangers in the revolutionary underground, the loss of loved ones, the death of her beloved work and the collapse of many ideals, 22 years of solitary confinement - did not break her. The best evidence of this is the memoirs of Vera Figner "The Imprinted Labor".

V. N. Figner managed to "capture" - and capture vividly, with talent - a whole period in the history of the Russian liberation struggle. Her memoirs are an irreplaceable historical source.

The brilliant constellation of Narodnik revolutionaries produced many memoirists. The memoirs of O. V. Aptekman, N. A. Morozov, M. F. Frolenko and others are widely known. But among the various memories there are those that collect and concentrate all the most characteristic of their time, becoming, as it were, a mirror of the era. For the 30-60s of the 19th century, such a book was A. I. Herzen's "Past and Thoughts", for the 70s - early 80s - "The Imprinted Work" by V. N. Figner, who received not only the All-Russian, but and worldwide recognition.

Vera Nikolaevna wrote in the same way as she spoke: profoundly truthful, simple, restrained, stern. The content of the book, full of drama, connected by a single style and mood; the skill of the artist, reviving the pictures of the past and people who have long passed away; spirituality and moral purity of the author put forward "The Imprinted Work" among the outstanding historical and literary works.

V. N. Figner was essentially " special person"- from among those who, according to N. G. Chernyshevsky, are "motor engines", "salt of the salt of the earth." He wrote that he had met eight such people in his life, including two women, that their characters had nothing in common, except for one main feature- purposefulness.

The conscience, honesty, way of thinking of Vera Figner were like many others. But her way of thinking was in no way and never separated from the way of actions. Its goal is a revolution that destroys tsarism and brings liberation to the people, and there was no fear or hesitation on the way to the goal. Therefore, there is no doubt about the sincerity of the words of the revolutionary, written already from prison while awaiting a death sentence: “To tell the truth, I believe that my life was happy (from my point of view), and I don’t demand more.”

Family, childhood, studies, conflicting influences young years, the formation of character and worldview, joining the revolutionary movement and, finally, the "core" of memories, 1876-1883, - the time of active revolutionary activity V. N. Figner, ending in arrest - such is the content of the first book of "The Imprinted Labor".

Vera Nikolaevna came from a wonderful family. Six children - and no one passed through life without a trace. Three sisters - Vera, Lydia and Eugenia - became revolutionaries. The younger Olga followed her husband into exile, to Siberia, and devoted a lot of her energy to cultural and educational work. Brother Nikolai became an outstanding singer, another brother, Peter, became a major mining engineer.

In the childhood and youth of a future revolutionary, it is difficult to find circumstances that gave impetus to the development of exceptional qualities - hundreds of girls from noble families lived and were brought up like her. Among others, she was distinguished by her character - direct, honest and lively, excellent abilities, sharp, inquisitive mind. Favorable environment is progressive thinking people(albeit within the framework of moderate liberalism) and advanced literature completed the job.

Vera Nikolaevna decides to become a doctor, settle in the countryside and treat the peasants. It seemed to her that it was in this field that she would be able to bring the greatest benefit people to make life easier. But the doors of higher educational institutions Russia were closed to women, and Figner traveled to Switzerland, where in 1872 she became a student at the University of Zurich.

In the early 1970s, Switzerland was the center of Russian emigration. In 1870, a group of revolutionaries headed by N. I. Utin created the Russian Section of the First International in Geneva, whose representative in the General Council was Karl Marx. The most prominent leaders came to Switzerland revolutionary populism: P. L. Lavrov, whose theory of an unpaid debt to the people was very popular among the progressive intelligentsia; M. A. Bakunin - the idol of youth, an anarchist rebel who visited Saxon, Austrian and Russian prisons, who fled from distant Siberia; Russian Blanquist P. N. Tkachev.

Emigration was a kind of conductor of Western European revolutionary ideas in Russia. The activities of the First International, led by K. Marx and F. Engels, Parisian Commune had a great resonance in the revolutionary-democratic circles of Russia.

70s XIX years centuries were the time of the victorious assertion of Marxism in Western Europe.

In Russia in the 1970s, which had recently embarked on the path of capitalist development, where the proletariat was beginning to form into an independent public class, and the labor movement was in its infancy, populism became the main direction of the liberation movement. The Narodniks were quite familiar with Marx's Capital, but considered his ideas acceptable only for Western Europe. Those of them who had a deeper understanding of the teachings of Marx did not find a social force around them on which to rely, and, consequently, found themselves inactive.

Case Russian revolution, oddly enough, coincided with the rapid feminization of women. All more girls in the late 19th and early 20th centuries, they abandoned the role of wife and mother and plunged into an active struggle not only for their rights, but for human rights in general. One of the brightest participants in the revolutionary movement at the turn of the century was Vera Figner, who went down in history by preparing a daring assassination attempt on Emperor Alexander II.

Origin

The well-known revolutionary Figner Vera Nikolaevna, as was usual in the nascent revolutionary movement, was noble origin. In her autobiography, which she wrote in Moscow in 1926, already a deeply convinced revolutionary, she pointed out that Alexander Alexandrovich Figner, her paternal grandfather, was a nobleman from Livonia (the territory of modern Baltic states). In 1828, being in the rank of lieutenant colonel, he was assigned to the nobility in the Kazan province.

There were also landowners on the maternal side. Grandfather of Vera Nikolaevna, Khristofor Petrovich Kupriyanov, from large landowners, served. He owned lands in the Tetyushinsky district and the Ufa province. However, only 400 acres of the village of Khristoforovka remained of his wealth, which went to her mother. Father, Nikolai Alexandrovich Figner, retired in 1847 with the rank of captain.

Childhood

Vera Figner herself was born in 1852 in the Kazan province. There were five more children in the family: sisters Lydia, Evgenia and Olga, brothers Nikolai and Peter. Remembering her parents, the future terrorist wrote that they were completely different in temperament, but at the same time energetic and strong-willed, and also incredibly active. These qualities, she recalls, were instilled in one way or another in all children, each of whom, probably thanks to harsh upbringing left its mark on history.

Vera Figner, whose biography is detailed in her book “The Imprinted Labor”, wrote that in her childhood the personality of the child was not recognized, and there was also no family affinity between parents and children. The strictest discipline lay at the heart of education, Spartan habits were instilled. Moreover, the brothers were subjected to corporal punishment. The only close person for the children was their old nanny Natalya Makarievna. Nevertheless, Vera Figner notes that there were never quarrels in the family, there were no swear words “and there were no lies.” Because of the father's service, the family lived in the countryside and was deprived of the conventions of city life, and therefore, says Vera Nikolaevna, "we knew neither hypocrisy, nor gossip and slander."

Youth

As a result, or in spite of, but all the offspring of the family came out, as they say, in people: Peter became a big Nikolai - a famous opera singer. But the sisters, all three, devoted themselves to the revolutionary struggle.

And Figner Vera Nikolaevna, short biography which is presented in our review, also devoted herself to the bright cause of the revolution.

Childhood ended when the girl was assigned to Kazansky Rodionovsky. Education was based on religious dogmas, to which Vera remained indifferent, going deeper and deeper into atheism. The training lasted six years, during which the girl went home for the holidays only four times.

After graduating from the institute, Vera Figner returned home to the village. As she herself wrote, in the wilderness they were visited only by Uncle Pyotr Kupriyanov, who was well aware of the ideas of Chernyshevsky, Dobrolyubov and Pisarev, as well as the teachings of utilitarianism, which the young girl was imbued with. She had no direct acquaintance with the peasantry, real life and reality, according to her apt remark, passed her by, which adversely affected her acquaintance with life and people.

External influence

Figner's first acquaintance with serious literature happened at the age of 13, when her uncle Kupriyanov allowed me to take the annual binder of the magazine " Russian word". However, the works read there had no effect on the girl. At the institute, reading was banned, and the books that the mother gave were classified as fiction and influenced more on sensuality than on intellectual development. Serious journalism did not fall into her hands until a certain time.

First strong impression it was produced by the novel "One in the field is not a warrior" by Shpilhagen. Oddly enough, Vera Figner noted the Gospel with an important book for herself. Despite her adherence to atheism, she drew principles from the book of life that guided her all her life. In particular, the total devotion of oneself to the once chosen goal. Nekrasov's poem "Sasha", which taught not to separate the word from the deed, completed the formation of the worldview foundation of the personality of the future revolutionary.

Marriage

The desire to be useful, to bring as much happiness as possible more people logically aroused in her the desire to study as an Aesculapius. She decided to study medicine in Switzerland. But she managed to realize this intention only in 1870, after she married the young investigator Alexei Viktorovich Filippov. Having once heard how the interrogation of the suspect was going on and seeing in it infamy, she convinced her husband to quit this occupation and leave with her to receive medical education at the University of Zurich.

Arriving abroad, Vera Nikolaevna Figner first met and was imbued with the ideas of socialism, the commune, and the choice of the side of socialist transformations began with visits to the "Fritch" circle in Zurich, where she met the French socialists Cabet, Saint-Simon, Fourier, Louis Blanc, Proudhon. As she herself noted, it was not so much sharp feeling justice, how much "brutality of the suppression of revolutionary movements by the ruling class."

Return to Russia

In 1875, members of the “Frichs” circle who came to Russia to propagate socialist ideas among the working class were arrested. Having received a call from her comrades to renew revolutionary ties in Russia, Vera Figner - the biography briefly touches on her experiences and doubts on this score - was forced to leave her studies at the university and return to her homeland. Her doubts were connected with the fact that she was throwing things halfway, although she always considered this cowardice. In Russia, she nevertheless passed the exams for a paramedic. After five years of marriage, she divorced her husband, who did not share her enthusiasm for the revolution, and went to St. Petersburg.

By the mid-70s of the 19th century, a new revolutionary center began to take shape, the program of which carried not only revolutionary romance, but also concrete actions. In particular, a real struggle with power. Then for the first time they started talking about the use of dynamite in the fight.

In 1878, the first revolutionary shot was fired, which changed the direction of this movement in Russia. Vera Zasulich fired at the St. Petersburg mayor Trepov. It was revenge for the corporal punishment suffered by one political convict for not taking off his hat to his superiors. After that, actions of retaliation with the use of terror took place throughout the country.

Creation of "Narodnaya Volya"

Vera Figner, although not directly a part of the Land and Freedom movement, nevertheless joined it with ideas and her own autonomous circle of “separatists”. Participated in the congress of the organization in Voronezh. However, as she wrote, nothing was agreed at the congress. The compromise was to continue the revolutionary education in the countryside and at the same time to fight against the government. The compromise, as usual, led to the fact that the movement was divided. Those who considered it necessary to actively fight against the government and saw it as their task to overthrow the autocracy united in the People's Will party. Vera Figner joined its executive committee.

The members of the new party were extremely determined. Several members of the organization were preparing dynamite, while the rest were developing a plan to assassinate Emperor Alexander II. Vera Figner, whose photo tells us about a thin and whole girl, but not about a terrorist, took an active part in preparing the assassination attempts in Odessa in 1880 and in St. Petersburg in 1881. Initially, her participation was not planned, but, as she herself wrote, "my tears softened my comrades," and she took part in her first terrorist attack.

From the death penalty in the balance

The whole organization fell into the hands of a detective in 1883. Faith spent in Peter and Paul Fortress 20 months in complete isolation. Then she was put on trial and sentenced to death penalty, which was replaced by indefinite hard labor. She spent twenty years in Shlisselburg. In 1904 she was sent to the Arkhangelsk, then to the Kazan province. After transfer to Nizhny Novgorod she was allowed to leave Russia, and in 1906 she went abroad to treat her nervous system.

She returned to her homeland only in 1915, was elected after October revolution did not accept and did not become a member of the Communist Party. In 1932, the year of her eightieth birthday, complete collection works in seven volumes, which included her main opus - the novel "The Imprinted Labor" about the Russian revolutionary movement.

Nikolai Nikolaevich (9 (21) II 1857, Mamadysh of the Kazan province - 13 (26) XII 1918, Kyiv) - Russian. singer (lyric-drama tenor). He graduated from the Naval Cadet Corps in St. Petersburg (1878), served in the Navy, and in 1881 retired with the rank of lieutenant. In 1879 he briefly studied in St. Petersburg. conservatory at V. M. Samus; He also took singing lessons from IP Pryanishnikov and J. Everardi (K. Everardi's wife). Improved in Italy with F. Lamperti, E. de Roxas and other teachers. In 1882 he made his debut in Naples (in Gounod's operas Philemon and Baucis and Faust). In 1882-87 he successfully toured the countries of the West. Europe and South. America. In 1887 he made his debut as Radamès; Faust; Raoul: ("Huguenots") on stage Mariinsky t-ra Petersburg, where he worked until the 1903/04 season. Then he performed on private opera stages in different cities Russia, in Moscow Big t-re, in own. entreprises (Nizh. Novgorod, Tbilisi), as well as in concerts. In 1907 he returned to the Mariinsky Theater, where his farewell benefit performance took place in the same year (sang the part of Romeo in Gounod's Romeo and Juliet). In 1910-15 soloist, art. hands and director opera troupe Petersburg. nar. at home (the operas Boris Godunov, The Snow Maiden, and Prince Igor were staged under his direction). Striving for a high staging culture of the performance, for the coherence of the stage. ensemble, attracted to work in the troupe of the famous dir. A. A. Sanina. In 1915 he left the stage, took up teaching. activity. In 1917 he settled in Ukraine, in 1918 he taught at the Kyiv Conservatory (taught an opera class). Creativity F. - a bright page in the history of Russian. opera t-ra. His voice was not distinguished by beauty and strength (it was somewhat dryish in timbre), but thanks to a magnificent wok. school F. was a first-class singer. He perfectly mastered the art of bel canto: wide, free breathing, excellent mezzo voce, thinning, the finest gradations of sound from light piano to powerful forte, cantilena. He knew how to form and diversify timbres, to give his voice either softness and tenderness, or severity and courage. His singing was distinguished by accuracy of intonation, flexibility and elegance of phrasing, distinct diction. F. gave great attention not only wok. side of the party, but also her stage performance. incarnation. Expressiveness, bright temperament were combined in his performance with art. tact. Striving for a truthful disclosure of images, F., however, was not free from opera clichés. The singer did not achieve complete reincarnation, he emphasized only the predominant feature of the created image.
F. was the first performer of the plural. parties in Russian operas, including German (1890, studied the part under the direction of P. I. Tchaikovsky), Vaudémont (1892), Vladimir Dubrovsky (1895). For a long time was the best Lensky (before the classic image of Lensky created by L.V. Sobinov). Among other parties - Synodal, the Pretender, John of Leiden, Fra Diavolo, Jose, Werther, Alfred, Duke, Lohengrin. J. Verdi praised the performance of F. the role of Othello. Tchaikovsky dedicated a cycle of romances to him, Op. 73. F. translated into Russian. lang. libretto of a number of foreign opera.

Literature: Twenty-five years of fame in opera, comp. Fignerist, St. Petersburg, 1907, "Russian Musical Newspaper", 1912, No 1 (dedicated to F.); Stark E. (Siegfried), Petersburg Opera and its masters, L.-M., 1940; Levik S., Notes opera singer. From Russian history opera stage, M., 1955, 1962; Figner M., Brother and sister, "Theatre", 1964, No 1; H. H. Figner. Memories. Letters. Materials, L., 1968; Gozenpud A., Russian Opera theatre XIX century. 1873-1889, L., 1973; its own, the Russian Opera Theater on turn of XIX-XX centuries and F.I. Chaliapin. 1890-1904, L., 1974.

A. P. Grigorieva.

Watch value Figner N.N. in other dictionaries

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Nikolai Nikolaevich (9 (21) II 1857, Mamadysh of the Kazan province - 13 (26) XII 1918, Kyiv) - Russian. singer (lyric-drama tenor). He graduated from the Naval Cadet Corps in St. Petersburg (1878), served in the Navy, and in 1881 retired with the rank of lieutenant. In 1879 he briefly studied in St. Petersburg. conservatory at V. M. Samus; He also took singing lessons from IP Pryanishnikov and J. Everardi (K. Everardi's wife). Improved in Italy with F. Lamperti, E. de Roxas and other teachers. In 1882 he made his debut in Naples (in Gounod's operas Philemon and Baucis and Faust). In 1882-87 he successfully toured the countries of the West. Europe and South. America. In 1887 he made his debut as Radamès; Faust; Raul: ("Huguenots") on the stage of the Mariinsky Theater in St. Petersburg, where he worked until the 1903/04 season. Then he performed on private opera stages in different cities of Russia, in Moscow. Big t-re, in own. entreprises (Nizh. Novgorod, Tbilisi), as well as in concerts. In 1907 he returned to the Mariinsky Theater, where his farewell benefit performance took place in the same year (sang the part of Romeo in Gounod's Romeo and Juliet). In 1910-15 soloist, art. hands and director of the Petersburg Opera Company. nar. at home (the operas Boris Godunov, The Snow Maiden, and Prince Igor were staged under his direction). Striving for a high staging culture of the performance, for the coherence of the stage. ensemble, attracted to work in the troupe of the famous dir. A. A. Sanina. In 1915 he left the stage, took up teaching. activity. In 1917 he settled in Ukraine, in 1918 he taught at the Kyiv Conservatory (taught an opera class). Creativity F. - a bright page in the history of Russian. opera t-ra. His voice was not distinguished by beauty and strength (it was somewhat dryish in timbre), but thanks to a magnificent wok. school F. was a first-class singer. He perfectly mastered the art of bel canto: wide, free breathing, excellent mezzo voce, thinning, the finest gradations of sound from light piano to powerful forte, cantilena. He knew how to form and diversify timbres, to give his voice either softness and tenderness, or severity and courage. His singing was distinguished by accuracy of intonation, flexibility and elegance of phrasing, distinct diction. F. paid great attention not only to the wok. side of the party, but also her stage performance. incarnation. Expressiveness, bright temperament were combined in his performance with art. tact. Striving for a truthful disclosure of images, F., however, was not free from opera clichés. The singer did not achieve complete reincarnation, he emphasized only the predominant feature of the created image.
F. was the first performer of the plural. parties in Russian operas, including German (1890, studied the part under the direction of P. I. Tchaikovsky), Vaudémont (1892), Vladimir Dubrovsky (1895). For a long time he was the best Lensky (until the classic image of Lensky created by L. V. Sobinov). Among other parties - Synodal, the Pretender, John of Leiden, Fra Diavolo, Jose, Werther, Alfred, Duke, Lohengrin. J. Verdi praised the performance of F. the role of Othello. Tchaikovsky dedicated a cycle of romances to him, Op. 73. F. translated into Russian. lang. libretto of a number of foreign opera.
Literature: Twenty-five years of fame in opera, comp. Fignerist, St. Petersburg, 1907, "Russian Musical Newspaper", 1912, No 1 (dedicated to F.); Stark E. (Siegfried), Petersburg Opera and its masters, L.-M., 1940; Levik S., Notes of an Opera Singer. From the history of the Russian opera stage, M., 1955, 1962; Figner M., Brother and sister, "Theatre", 1964, No 1; H. H. Figner. Memories. Letters. Materials, L., 1968; Gozenpud A., Russian Opera theater XIX century. 1873-1889, L., 1973; his own, the Russian Opera House at the turn of the 19th-20th centuries and F.I. Chaliapin. 1890-1904, L., 1974. A. P. Grigorieva.

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"Figner N.N." in books

Vera Figner

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