Description of the portrait of N. Kochubey Kiprensky. Kochubey Natalia Viktorovna

"This lyceum poem by Pushkin, according to researchers (in particular B. Tomashevsky), was dedicated to Natalya Viktorovna Kochubey, the daughter of Count Viktor Pavlovich Kochubey, Minister of Internal Affairs under Alexander I. Young Natalya and her parents spent the summer in Tsarskoye Selo in 1812 Nothing is known about this children's romance, and most likely, given the age of the chosen one and the young admirer, it was nothing more than a school hobby, and an unrequited one.

"Young Rose"

Everything is over!
It rushed past
Love time.
Passion of torment!
In the darkness of oblivion
You disappeared.
So I'm changing
Tasted the sweetness;
Proud Helena
I forgot the chains.

Heart, you are free!
Forget everything;
In this new share
Be happy.
Only in the spring
Zephyr young
Captivated by Rose;
In my passionate youth
I was beautiful
I am passionate about the network.

No, I will not
Continue to sigh
I will forget the passion;
Suffer completely!
Sorrow is coming soon
I'll meet the end.
Oh! is it for you,
Young singer,
The beauty of Elena
Is it blooming like a rose?..
Let all the people
Seduced by her,
Following the dream
Rushes in a crowd;

In a peaceful home,
On the ashes
Simple in a bowl
I will become humble
To scoop up oblivion
And - for friends
Frisky with your hand
Move the string
My harp."

In a boring separation
That's how I dreamed
In sorrow, in agony
I pleased myself;
Kindled in the heart
Elena's image
I thought of exterminating it.
Last spring
Young Chloe
I decided to love.

Like a breeze
Drives a leaf
With a frisky wave,
So incessantly
Fickle
Played with passion
Lilu, Temiru,
I adored everyone
Heart and lyre
Dedicated to everyone. -

What? - in vain
From the beautiful breast
I tore off the shawl.
Treason is in vain!
Elena's image
It was burning in my heart!

Oh! come back,
The joy of the eyes
Cool, move on
My sadness. -
Cries in vain
Poor singer!
No! Doesn't meet
The torment is over...

So! To the grave
Sad, despondent,
Look for shelter!
Forgotten by everyone
entwined with thorns
The chains are dragging.....

The poet, without changing the style of his early anacreontics, sang Natalya Kochubey under the name of the beautiful Elena, raising the “young rose” above the host of all those glorified by him young beauties all with the same anacreontic names - Chloe, Lila, Temira. However, it is quite obvious that the poem does not reflect a fleeting “seasonal” feeling, but the story of a long (“poetic” chronology covers at least two years) struggle with passion for “proud Helen.” Cheating is recognized as a fruitless cure for love, and the lyrical hero feels doomed to loneliness until the grave. Perhaps the feeling was fueled by the fact that some other lyceum students, for example Ivan Pushchin, were in love with Natalya Kochubey.

But the poetic chronology hardly corresponds to the real one, and the hobbies of Pushkin the lyceum student replaced each other quite often, and sometimes coexisted. In any case, as one might assume, the poet’s feelings remained unrequited. But Pushkin remembered this young love of his, and when already in the 1830s he sketched out the program for his future autobiography, a note appeared in it: “Gr. Kochubey.” In 1820, Natalya Kochubey married Count Alexander Grigorievich Stroganov, and Pushkin subsequently, especially in the 1830s, met with Natalya Viktorovna several times both in the house of her husband and in the house of Grigory Alexandrovich Stroganov, her father-in-law and cousin of Natalya Nikolaevna Pushkina .

As you know, the Stroganov family played a largely unseemly role in the poet’s pre-duel history. Idalia Poletica, illegitimate daughter Grigory Aleksandrovich Stroganov, was involved in the anti-Pushkin “party” and, according to many researchers, actively participated in a conspiracy against the poet. Alexander Grigorievich Stroganov treated Pushkin with expressed hostility. He was close to the court and invariably occupied important government positions, in particular, from 1834 he was a companion to the Minister of the Interior. He far outlived his wife and died in 1891 at the age of 96. In the 1830s, Natalya Viktorovna became close to the Karamzins’ salon (here she was called “Countess Natalya”), where she also met with Pushkin. In the Karamzins’ salon they gossiped a lot about Pushkin’s family affairs, and not always kindly. It is all the more important that in such a situation Natalya Viktorovna invariably took his side.

Unfortunately, little is still known about this period in the life of the Stroganov family, and in particular “Countess Natalya,” and perhaps the archives contain many secrets and details unknown to us that could shed light on the intrigues of which he became a victim. Pushkin. In the 1830s, Natalya Kochubey-Stroganova became one of the most brilliant St. Petersburg ladies. People fell in love with her, she, like Natalie Pushkina, shone at balls in the Anichkov Palace and was considered a recognized beauty. One of her inconsolable admirers was Nikolai Alexandrovich Skalon, a friend of the Rosset brothers and an acquaintance of Pushkin. This is how Alexander Karamzin described her: “... she comes in shiny, beautiful, in some kind of devilish dress, with a devilish scarf and many other things, also devilishly sparkling.” Sofia Karamzina in her letters hints at what Pushkin felt for “ Countess Natalia" has a special feeling associated with past worship. One evening in September 1836, Pushkin and his wife, Ekaterina Goncharova and Dantes were with the Karamzins.

“It was a pity to look at the figure of Pushkin, who stood opposite them, in the doorway, silent, pale and threatening,” writes Sofia Karamzina. “My God, how stupid all this is! When Countess Stroganova arrived, I asked Pushkin to go talk to her. He I was about to agree, blushing (you know that she is one of his *relationships*, and a slave one at that), when suddenly I see him suddenly stop and turn away with irritation, “Well, what?” “No, I won’t go there.” This count is already sitting." - "Which count?" - D "Antes, Hekren, or something!"

The Pushkins celebrated New Year 1837 at the Vyazemskys. Among the guests was Natalya Kochubey-Stroganova. Dantes appeared with his fiancee Ekaterina Goncharova. Countess Natalya felt the approaching catastrophe and told Princess V.F. Vyazemskaya that Pushkin had such scary looking that if she were his wife, she would not risk returning home with him. After Pushkin’s death, in March 1837, A. N. Karamzin wrote to his brother: “You should not, however, think that the whole society was against Pushkin after his death: no, it’s only the Nesselrod circle and some others.

On the contrary, others, such as Countess Nat. (alya) Stroganova and Mrs. Naryshkina (Mar. (iya) Yakov. (levna) spoke in his favor with great fervor, which even caused several quarrels." Some researchers believed that it was Natalya Kochubey who was dedicated to Pushkin’s long-term “hidden love”, who still intrigues Pushkinists. This point of view was adhered to by P. Guber. He was guided by the following arguments. In the famous humorous Don Juan list of Pushkin, the name Natalya appears three times, and the second time it is encrypted in the mysterious initials NN (under the first Natalya one should see the serf actress he praised). , under the third - Natalya Nikolaevna).

In the drafts of Poltava, Maria Kochubey was first called Natalya. In one of his letters to Pushkin, his friend N. Raevsky mentions a meeting with the parents of a certain “Natalia Kagulskaya”, and P. Guber connects the nickname “Kagulskaya” with Pushkin’s famous elegy of 1819:

Intoxicated with memories,
With reverence and longing
I will embrace your formidable marble,
Cahul monument is arrogant.
Not a brave feat of the Russians,
Not glory, a gift to Catherine,
Not the Transdanubian giant
I'm being set on fire now...

This poem is about a monument erected in Tsarskoe Selo in honor of the victory of Count Rumyantsev over the Turks at Kagul. But it is quite obvious that this monument reminds the poet of some deeply personal event. Perhaps some memorable meeting took place here? It should be noted that the Kochubey family spent several years abroad and returned to Russia only in 1818. Natalya's return could stir up youthful memories in Pushkin's soul. Who knows?... P. Guber believed that it was Natalya Kochubey who could tell Pushkin the legend of the Bakhchisarai fountain (Pushkin designated the lady from whom he heard it with the initial K.). But in general, P. Huber’s arguments did not seem sufficiently thorough to the researchers, and his version did not find followers, although it took its place in long discussions about the poet’s “hidden love.” Natalya Kochubey was also considered as a prototype of Pushkin's Tatyana (along with many others).

The corresponding note is also in the draft notes of P. V. Annenkov. We are talking, of course, about Tatyana, “the impregnable goddess of the luxurious royal Neva” (chapter 8, stanzas XIV-XVI). Natalya Kochubey, being the daughter of one of the top officials of the state, could not in any way resemble the savage Tatyana, who grew up “in a remote, distant side.” However, in the first case, it is hardly possible to discern any pronounced similarity between Pushkin’s Tatiana and “Countess Natalya.”

According to the Karamzins, she was very flirtatious, and Alexander Nikolaevich Karamzin in 1837 directly complained in a letter to his brother Andrey about her “persecution”: “However, I also had adventures in the winter: remember, I once wrote to you that I was alarmed by the persecution of the Countess Stern. (anova) So! From then on, it only grew and blossomed more and more. We were inimitable: me with my escapes, she with her persecutions, forcing me to dance long dances with her, arranging scenes of jealousy for me and pestering me. gentle reproaches for my indifference, while I pretended that I did not understand anything of what she was telling me, and kept asking for explanations of her hints...
Be that as it may, but former beauty The countess, it seems to me, has abandoned her plans for me and is content with making eyes at me, often coming to us, even on Holy Week, and showing me indirect courtesies by supplying mamma with many bouquets of flowers.”

However, with age, the character of Countess Natalia, whose life was spent in high society salons, could change. But one thing is certain: Pushkin did not forget about his young love and retained deep respect for Natalya Viktorovna. In 1835, he was thinking about the novel “Russian Pelham”, and in the plans he left behind, he named her name. Natalya Kochubey was assigned a noble role in the plot of the future novel: she was supposed to enter into correspondence with the main character in order to warn him against the intrigues being prepared against him (VIII, 974-975). With the same straightforwardness, she spoke out against Pushkin’s enemies in the tragic days of 1837.”

Nina Vladimirovna Zababurova
head Department of Theory and History of World Literature,
Professor/South Federal University , Rostov-on-Don

Since ancient times, it has been customary to draw beauties, whose portraits have been captivated by long years the hearts and minds of millions. The very young Natasha was not spared the difficulties of posing. She is only twelve years old. But everything about her already speaks of the charm of her springtime, and of the mystery inherent in any, even a small woman, and of a strong character that knows its worth.

Kiprensky O.A. This time he taught a lesson in beauty to all the beauties, portraying the muse of his generation, discovering her talent for inspiring great works that have become known to many art fans. Who is that girl? How does her beauty influence? What if she were my contemporary?

It seemed to me that Natasha Kochubey, judging by the portrait, was a fairly serious young girl. Her head is gracefully turned away from the painter, it seems that she allows herself to be painted, that’s how regal she looks now. The eyes also look to the side, the cheeks are flushed with anger. Or are other feelings overwhelming her? Or was she very upset just before this scene, or maybe she doesn’t want to pose at all, and that’s why she’s so unfriendly? What happened to her is unknown. But even in this state she looks incredibly pretty.

It is known that in just a few years she will give others inspiration to create. Indeed, true beauty does not need additional embellishment. There is nothing expensive on her, and nothing exquisite surrounds her. Only a simple, fresh white dress, a blue scarf tied on the chest, modestly styled hair, and even the pose does not attract attention. But it is precisely this, natural, that is most good.

It's easy to imagine this girl in our time. Her beauty does not belong to one century. It is always relevant at all times. Someone like her can easily shine on the covers in just a couple of years fashion magazines. And everyone will stop their gaze and understand that, without a doubt, a sweet and young creature real star, shining with sincerity and purity of poetry.

Kochubey Natalya Viktorovna (1800-1854)

In the surviving “Program of Autobiography” under 1813, Pushkin wrote: “Countess Kochubey. Death of Malinovsky...” This entry refers to Countess Natalya Viktorovna Kochubey, daughter of one of Alexander I’s closest collaborators V.P. Kochubey, later Chairman of the State Council and Committee ministers. According to M. A Korf, she was “Pushkin’s first love,” the early passion of the young poet.

Pushkin’s acquaintance and meetings with Kochubey date back to the first years of his stay at the Lyceum, when she lived with her parents in Tsarskoe Selo. The poet’s feeling for young Kochubey was apparently reflected in the poems “Betrayal” (1815) and “Intoxicated with Memories” (1819). In 1820, Kochubey married Count A.G. Stroganov. Her meetings with Pushkin became quite rare and dated back to the last decade of the poet’s life. They met in St. Petersburg secular society, and, by his own admission, Pushkin used the living nature of Kochubey to portray Tatyana in the eighth chapter of Eugene Onegin (1829-1830).

She was unhurried, Not cold, not talkative, Without an insolent look for everyone, Without pretensions to success...

IN last years During his lifetime, Pushkin met Kochubey at the Karamzins’, where she was a regular visitor, and at other mutual acquaintances. Soon after the poet's death, when St. Petersburg society was divided into defenders and enemies of Pushkin, Kochubey-Stroganova spoke “with great fervor” in defense of the poet. The image of Kochubey was reflected in the plans for the novel "Russian Pelam" (1834-1835). The unrealized plan was supposed to give a broad picture of St. Petersburg society in the 1820s, and Kochubey was supposed to be one of the representatives of the great world.

Her face is familiar to many thanks to the wonderful portraits painted by O. Kiprensky, A. Bryullov and P. Sokolov. Many researchers call her Pushkin’s first love, and some argue that she was his “hidden love”, encrypted in the Don Juan list under the initials NN and becoming the prototype of the married Tatyana Larina. Countess Natalya Viktorovna Stroganova, née Kochubey, was a brilliant salon hostess and trendsetter, and no one disputed this. But contemporaries left very contradictory reviews about her behavior and personal qualities.

There are many blank spots in her biography. Only a few facts are known for certain. She was born in 1800 in the family of a diplomat, Minister of Internal Affairs, Count V.P. Kochubey. Soon after his marriage, the count fell out of favor with the emperor, so early years Natalya Kochubey spent abroad with her family.

After Alexander I ascended the throne, the count was able to return to court. Soon Natalya Viktorovna was promoted to maid of honor. Empress Alexandra Feodorovna wrote: “Now the time has come to talk about the Kochubey family. They were absent for several years, and only in 1818 did the Count, Countess and their beautiful daughter Natalie was introduced to me in Pavlovsk.” Lyceum student Korf claims that Natalya Kochubey was “Pushkin’s first love.” Some researchers support this opinion and believe that one of his earliest poems, “Betrayal,” is dedicated to her.

During this period, many family acquaintances speak of Natalya Viktorovna with genuine admiration: “She has an elegant figure, she dances charmingly, in general, she is exactly what you need to be in order to charm. They say that she has a lively mind, and I readily believe this, since her face is very expressive and mobile.” Another contemporary said that she was “quite beautiful, full of talents and well brought up.” M. Speransky wrote: “I saw Natasha here for the first time in a French quadrille, the embodiment of grace.”

Dolly Fikelmon spoke about her like this: “Natalie Stroganova has a piquant physiognomy; definitely not being a beauty, she seems to be liked much more than many others beautiful women. The capricious expression on her face suits her very well. Her eyes are especially beautiful - in them she main beauty. At the same time, she is quite witty.”

In 1820, Natalya Kochubey married Count Stroganov. Most of his contemporaries unanimously call him a narrow-minded and mediocre person. The most merciless characterization was given to him by the historian S. Soloviev, who was the teacher of children in their family: “Alexander Grigorievich Stroganov ... served as a terrible example of what kind of people in Russia during the reign of Nicholas I could reach the highest levels of the career ladder. ... Having an extremely superficial mind, ... he would solemnly lay out some absurd thought and try to puzzle him with it, persistently supporting and arranging with other similar absurdities. At the same time, not the slightest nobility or delicacy.”

Solovyov did not spare his wife either: “The wife was even worse than her husband: with intelligence and education also superficial, with huge claims to both, with complete absence hearts, selfishness embodied, unscrupulousness of means, the ability to humiliate myself to the most indecent searches when it was considered necessary, and at the same time pride, exorbitant lust for power - this is Countess Natalya Viktorovna Stroganova, nee Princess Kochubey. This couple was spoiled by the governorship. ... This superior position, this servility of the Russian provincial officials, nobility and merchants before the Governor General easily corrupted the Stroganovs.”

Many contemporaries considered their marriage unhappy - the count was not faithful to his wife, and she paid him in the same coin. Solovyov characterized the countess as “a woman without convictions and without a heart” and hinted that in St. Petersburg she led a dissolute life. Even Dantes is named among her lovers. Nevertheless, Pushkin often saw Countess Stroganova in the last decade of his life; she remained his true friend until death. This salon owner was for the poet the standard of a society lady. Pushkin told Pletnev that Stroganova served him as a prototype for the image of the married Tatiana in the 8th chapter of Eugene Onegin.

P. Guber believes that it was Stroganova who became that very “hidden love” of Pushkin, for which he had unrequited feelings, but other researchers refute this statement: