Leilão Bidspirit | Ryshkov V. On hospital beds

Ryshkov V. On hospital beds ( three essays). In the web ( landowning epic). - Rarity. Lifetime edition. SPb. Publication of the joint-stock company of printing business Publisher. 1898, p. 407 Hardcover, size 12 x 18 cm. Good condition, printing, split in front of the block and between pages 32 and 33. RS Viktor Alexandrovich Ryshkov-novelist and playwright, was born on January 1, 1863 (in the new style) in the settlement of Myshanka, Starooskolsky district, Kursk province in the family of a middle-class landowner. Now this territory of Belgorod region. Viktor Alexandrovich was married to Sophia Yevgenyevna, née Eberhard (1867-1926). The fruits of their marriage were three sons Eugene, Lev and Palladius, and a daughter Galina.  In his younger years, Viktor Ryshkov raved about theater and even performed on the provincial stage. This could not but cause reproaches from the noble family. The young actor was no stranger to pricks of self - esteem, and soon discovered another talent-a writer. The young man settled down and with enviable tenacity engaged in work more prestigious in the hierarchy of noble values, literary. His first story ” in Time. Village paintings” was published in St. Petersburg in 1888. In 1896, in Moscow, Ryshkov published his novel ” In the web (Landowner's epic)”, in 1898-the novel ”a Special world”. He knew the village well and wrote about it faithfully. During the first Russian revolution, Ryshkov published his stories ”on hard labor”, ”Saw”, ”Mahomet and Misha”. Ryshkov entered drama with a play with the symbolic title ”the First swallow”, published in 1904 in St. Petersburg, and in the winter season of 1904-1905, staged on the stage of the Maly theater. The” first swallow ” who was to bring the spring of new life to the Russian village, according to the author's plan, was to be a certain Tikhon Ukhvatov. (His role in the play was played by the future coryphee of the Maly theater Mikhail Lenin, who at that time had just begun his stage career). Having received a University education, Tikhon seized on not seeking bureaucratic welfare. He has higher plans. He returns to his native village, lives in his father's house as a farmhand, and tries to re-educate the local peasants by setting up a school and staging Amateur theater performances. But Tikhon's lack of will and working alone do not bring the desired results. The young man's life is tragically ended by suicide. Both the play and its stage incarnation were considered unsuccessful by critics. The Russian thought magazine called the work of the novice playwright ”a tattered notebook of capital morals”. There were good reasons for this. Behind the theater walls, a revolution was brewing. The urban proletariat raised its head and was supported by the democratic and even liberal intelligentsia. The village was seething, ready to burst into riots. And on the stage, a young man-Tolstoy, shooting at himself, and not at those who suppressed the people! Was such a stage hero needed by an audience exalted by the revolution? Despite the failure, Ryshkov takes up the creation of new works, begins an active search for himself in drama. In the following years, plays, primarily Comedy, were showered as from a cornucopia. In 1905, ”Swamp flower” and ”day of the orderly Dushkin”were published from his pen. In 1906 saw the light and were staged ”crypt” and ”welcome and unexpected”, in 1907 – ”Bespechalnye” (”wave”), in 1908 - ”State apartment”, in 1909 – ”Philistines”, in 1912-”Martobrya 86 th number” and ”Snake”, in 1914 – ”Comedy in the 1st act” ”What the old ladies learned”... the Repertoire of Ryshkov's plays, despite their visible social muted, it grew with each theatrical season both in the Capitals and in the provinces. The lightness of the genre was attractive, but the subtext of comedies, sometimes acerbic, satirical, did not leave the initiates indifferent. Especially in the period of post-revolutionary timelessness. In parallel with his work on dramatic works, Ryshkov writes prose.  He was often scolded and rarely praised by critics. According to the ”moderates”, Ryshkov's works did not stand out from the numerous stream of materials for” easy reading ”that filled the magazines” Niva ”and” Rodina”, in which he constantly collaborated. Critics ”tougher” introduced the pejorative ”ryshkovschina”. He was condemned for his melodramaticness, for the fact that the questions of social and political life in Russia he put ”very shallow”, that his characters are stilted and abstract, that negative characters are more alive and brighter than positive ones. As a writer and playwright, Ryshkov was not mediocre. To admit this would be to accuse theater companies and their Directors of tastelessness, and the theater public of creating a false idol. Plays were put on scenes of the best Metropolitan and provincial theatres: the Small Moscow, St. Petersburg Alexandrinsky theatre korsha, theatre of the Literary artistic society,