Sergei Aksakov (1791–1859)
Author of A Russian Gentleman
About the Author
A close friend of Nikolai Gogol, Aksakov came from the old landholding nobility. His family background became the subject for a series of reminiscences written late in life. Their objective and precise description of the often brutal provincial existence, their insight and honesty about human show more psychology, as well as their eventful narratives have made them enduring classics of nineteenth-century prose. (Bowker Author Biography) show less
Image credit:
Courtesy of the NYPL Digital Gallery
(image use requires permission from the New York Public Library)
Courtesy of the NYPL Digital Gallery
(image use requires permission from the New York Public Library)
Series
Works by Sergei Aksakov
Recuerdos de la vida de estudiante 5 copies
Perekonna kroonika 2 copies
Izbrannoe 2 copies
Il fiore scarlatto 1 copy
Tulepunane lilleke 1 copy
Sārtais ziediņš : pasaka 1 copy
আলতা জবা 1 copy
Избранные сочинения 1 copy
Bagrovští 1 copy
Rodinná kronika 1 copy
Аловото цвеќенце 1 copy
A Family Chronicle 1 copy
Associated Works
The Portable Nineteenth-Century Russian Reader (1993) — Author, some editions — 224 copies, 1 review
Tagged
Common Knowledge
- Legal name
- Aksakov, Sergei Timofeevich
- Other names
- Аксаков, Сергей Тимофеевич
- Birthdate
- 1791-10-01
- Date of death
- 1859-05-12
- Gender
- male
- Education
- Kazan University
- Occupations
- writer
Censor
Autobiographer - Relationships
- Gogol, Nikolai (friend & mentor)
Aksakova, Vera (daughter)
Aksakov, Konstatin Sergeyevich (son)
Aksakov, Ivan Sergeyevich (son) - Short biography
- Sergei Aksakov was a 19th-century Russian literary figure remembered for his semi-autobiographical tales of family life, as well as his books on hunting and fishing. Born in Ufa, Russia in 1791, he was educated at the Kazan Gymnasium and then, in 1805 (in the first year after its founding), at Kazan University. Aksakov worked briefly in government service, from 1807 through 1811, before resigning and moving from St. Petersburg to Moscow. He volunteered for the militia and took part in the Campaign of 1812, before retiring to his family estate. In 1826 he moved to Moscow again, and worked for the Moscow Censorship Committee (1827-1832), before becoming an inspector at the Grand Duke Constantine School of Surveying in 1833, and the first director of the Constantine Geodetic Institute in 1835. He retired from the civil service in 1838.
Aksakov began publishing translations, reviews, and articles in the early 1820s. In 1832 he met Gogol, and became a devoted follower of the writer, whom he deemed a "a purely Russian genius." Gogol encouraged Aksakov in writing A Family Chronicle, which he began in 1840 and published in the late 1850s. In between he wrote and published the popular Notes on Fishing (1847) and Notes of a Hunter in Orenburg Province (1852). Gogol wrote Aksakov, in relation to these works, that "Your birds and fishes are more alive than my men and women." A member of the Slavophile movement, Aksakov hosted such authors as Gogol, Turgenev, and Tolstoy at his home in Abramtsevo. His sons, Konstantin and Ivan, were also notable members of the Slavophile movement, and his daughter, Vera Aksakova, was a well-known author. Aksakov died in 1859. - Nationality
- Russia
- Birthplace
- Ufa, Russia
- Places of residence
- Moscow, Russia
Abramtsevo, Russia - Place of death
- Moscow, Russia
- Burial location
- Novodevichy Cemetery, Moscow, Russia
- Associated Place (for map)
- Moscow, Russia
Members
Reviews
Surely one of the great neglected masterpieces of 19th century Russian literature. This and its companion volumes in the author's Family Chronicle trilogy are a truly remarkable account of life in provincial Russia in the early part of that century, seen through the eyes of a child but filtered through the consciousness of the adult Aksakov writing it down half a century later. Both passionate and perceptive, with wit and irony, he re-creates through the life of the growing child the world show more of the small rural gentry and peasantry in both its detail and its overall culture in a way that allows the reader to feel what it was like to be there at that time living that life. show less
The Scarlet Flower, illustrated by Boris Diodorov.
I have a bit of a passion (or addiction, you might say) for collecting different illustrated versions of the classic fairy-tales. I've lost count of how many editions of Cinderella and Sleeping Beauty I've amassed over the years. I have any number of Rapunzel and The Snow Queen retellings on my shelves.
Sergei Aksakov's The Scarlet Flower, a Russian retelling of Beauty and the Beast, is another case in point. In addition to this edition, show more published by Harcourt Brace, with illustrations by Boris Diodorov, I also own an edition put out by Moscow-based Progress Publishers in 1976, with artwork by Yulia Ustinova.
As mentioned in my review of The Little Scarlet Flower (the Ustinova edition), this story of a beautiful young woman who agrees to go and live with a hideous monster, in order to save her father's life, corresponds in almost every detail to the French fairy-tale, La Belle et la Bête. I am not well enough informed, as it concerns Russian folklore, to state categorically that this tale does not arise from an indigenous folk tradition, but I suspect that, much like Pushkin's The Tale of the Dead Princess and the Seven Knights, this was a conscious literary adaptation on Aksakov's part.
However that may be, anyone who loves the tale of Beauty and the Beast will enjoy this story. Diodorov's colorful illustrations are quite beautiful, and I think I prefer them to Ustinova's more stylized work. As an online friend has noted, this is a text-heavy book, but the distribution of illustrations in this version is to be preferred to that in The Little Scarlet Flower.
In sum: if you're a fairy-tale nut like me, get both. If not, this is the better version.. show less
I have a bit of a passion (or addiction, you might say) for collecting different illustrated versions of the classic fairy-tales. I've lost count of how many editions of Cinderella and Sleeping Beauty I've amassed over the years. I have any number of Rapunzel and The Snow Queen retellings on my shelves.
Sergei Aksakov's The Scarlet Flower, a Russian retelling of Beauty and the Beast, is another case in point. In addition to this edition, show more published by Harcourt Brace, with illustrations by Boris Diodorov, I also own an edition put out by Moscow-based Progress Publishers in 1976, with artwork by Yulia Ustinova.
As mentioned in my review of The Little Scarlet Flower (the Ustinova edition), this story of a beautiful young woman who agrees to go and live with a hideous monster, in order to save her father's life, corresponds in almost every detail to the French fairy-tale, La Belle et la Bête. I am not well enough informed, as it concerns Russian folklore, to state categorically that this tale does not arise from an indigenous folk tradition, but I suspect that, much like Pushkin's The Tale of the Dead Princess and the Seven Knights, this was a conscious literary adaptation on Aksakov's part.
However that may be, anyone who loves the tale of Beauty and the Beast will enjoy this story. Diodorov's colorful illustrations are quite beautiful, and I think I prefer them to Ustinova's more stylized work. As an online friend has noted, this is a text-heavy book, but the distribution of illustrations in this version is to be preferred to that in The Little Scarlet Flower.
In sum: if you're a fairy-tale nut like me, get both. If not, this is the better version.. show less
The Little Scarlet Flower, illustrated by Yulia Ustinova.
Once upon a time, in a distant kingdom, there lived a wealthy merchant with three lovely daughters. Finding himself about to depart on a long trading voyage, the merchant asked each of his daughters what gifts they desired. While the elder two asked for great treasures, the youngest simply requested the "Little Scarlet Flower," more beautiful than anything in the world.
When the merchant's attempt to grant this wish leads him into show more danger, his youngest and best-beloved daughter agrees to become the prisoner of a terrible beast, in order to save his life. But the "Beast of the Forest, Denizen of the Deep" is not what she expected, and a strange courtship begins...
If this tale sounds oddly familiar - as folktales so often do - it is because it is a Russian version of the French fairytale, Beauty and the Beast, first popularized by Madame le Prince de Beaumont in the 18th century. This tale, written by Sergei Aksakov in the 19th century, reads more like a self-conscious literary adaptation than a genuine folk variant, although my knowledge of Russian folklore is not sufficient to state categorically that it does not spring from some indigenous tradition.
Whatever its specific national origin, The Little Scarlet Flower will appeal to any reader who loves Beauty and the Beast "type" tales. This edition was printed by Moscow Raduga Publishers, and features the illustrations of Yulia Ustinova. Although these are charming, I find that I prefer the artwork of Boris Diodorov, found in the edition of this tale published by Harcourt as The Scarlet Flower. show less
Once upon a time, in a distant kingdom, there lived a wealthy merchant with three lovely daughters. Finding himself about to depart on a long trading voyage, the merchant asked each of his daughters what gifts they desired. While the elder two asked for great treasures, the youngest simply requested the "Little Scarlet Flower," more beautiful than anything in the world.
When the merchant's attempt to grant this wish leads him into show more danger, his youngest and best-beloved daughter agrees to become the prisoner of a terrible beast, in order to save his life. But the "Beast of the Forest, Denizen of the Deep" is not what she expected, and a strange courtship begins...
If this tale sounds oddly familiar - as folktales so often do - it is because it is a Russian version of the French fairytale, Beauty and the Beast, first popularized by Madame le Prince de Beaumont in the 18th century. This tale, written by Sergei Aksakov in the 19th century, reads more like a self-conscious literary adaptation than a genuine folk variant, although my knowledge of Russian folklore is not sufficient to state categorically that it does not spring from some indigenous tradition.
Whatever its specific national origin, The Little Scarlet Flower will appeal to any reader who loves Beauty and the Beast "type" tales. This edition was printed by Moscow Raduga Publishers, and features the illustrations of Yulia Ustinova. Although these are charming, I find that I prefer the artwork of Boris Diodorov, found in the edition of this tale published by Harcourt as The Scarlet Flower. show less
Transports you back to 1799 Russia; in a vivid and simply written narrative, Aksakov recalls being sent away from his beloved family home to a distant boarding school. A harsh awakening, hysterical (?) episodes, his devoted mother travels to fetch him home...and a scarcely credible scene (to the 21st century reader) of having to get the school governor's permission before she can remove him in an almost law court type of hearing!
After a year at home - Aksakov recalls the scenery and the show more field sports - he returns to school and makes a better show of it this time round, shining at literature, and becoming massively interested in the theatre.
Very well written. show less
After a year at home - Aksakov recalls the scenery and the show more field sports - he returns to school and makes a better show of it this time round, shining at literature, and becoming massively interested in the theatre.
Very well written. show less
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