Portraits spoke. Pushkin, Fikelmon and Dantes

The better we know Pushkin’s life, the deeper and more precisely we understand the meaning of his creations. This is the main reason that, for several generations, encourages researchers with all the thoroughness to study the poet’s biography. Not idle curiosity, not the desire to multiply the number of jokes about Pushkin makes them pay attention to such facts that may seem insignificant, unnecessary, and sometimes even offensive to his memory. There is no insignificant in Pushkin’s life. Small detail allows you to sometimes understand in a new way and evaluate the well-known verse or line of Pushkin"s prose. There is nothing offensive to the poet’s memory that we want to know the living, genuine Pushkin, we want to see his human appearance with everything that was in him both beautiful and sinful. In this regard, one can agree with Veresaev, who said: "It is boring to explore the personality and life of a great man, kneeling." Dear all of us, the image becomes even closer and more expensive when we come close to the poet and inquiringly peer into his human features. These thoughts were guided by a Russian emigrant, a talented writer and Pushkin researcher Nikolai Alexandrovich Raevsky (1894-1988) in his search for the private archives of pre-war Czechoslovakia, unique materials about the life and environment of the great poet