Bogdanovich Ippolit Fedorovich (1743-1803) – poet of the Catherine’s times, genus. December 23, 1743 in Perevolochne; He was enrolled in military service for ten years, but after graduating from Moscow University in 1761 he was appointed a supervisor for classes to the university, and in 1762 to a commission on the structure of the triumphal gates for which he composed inscriptions. In 1763, Mr.. was seconded to the State gr. PI Panin, and from 1764 began his service in a foreign collegium; From 1766 to 1769 he was secretary of the Russian embassy at the Saxon court. In 1799, Mr.. transferred to the Department of Heraldry, and in 1780, a member of the State Archives, where since 1788 he was chairman. May 1, 1795 dismissed from the service and the following year left St. Petersburg. He died in Kursk on January 6, 1802. He started writing poems as a child and for 14 years he printed them, thanks to Kheraskov and Melissino. In 1763 he became acquainted with gr. Dashkova and took part in the magazines that came out with her participation. Around 1775 he composed a free story in verse – “Dushenka”, imitating Lafontaine, who borrowed his plot from Apuleius; printed for the first time it was in 1783 in St. Petersburg. and until 1841 it had survived the 15th edition; the last in 1887 A. Suvorin in the “Cheap Library.” This writing brought B. fame and drew attention to him Catherine II. On her behalf, he wrote for the Hermitage
Rousseau (from St. Pierre) “(St. Petersburg, 1771) and” Vertot, a story about the former changes in the Roman Republic “(with Fr. 3, St. Petersburg, 1771 – 75) B. left an autobiography (printed in” Oteche Zap. “, 1853, No. 4.) The collection of his works was published in Moscow in 1809 – 1810, 6 hours, 2nd ed. – M. 1818-19, 4 pm Z-e-Smirdinsky, in 2 pm.. in 1848.
Of all the written B. Historical-literary value is only “Dosyanka.” She was a rather bold dissonance in the poetry of the XVIII century, engaged in the production of solemn inflated odes. Contemporaries were struck by the novelty of its content and form and B. made a “genius.” ” Dushenka “gave birth to a lot of imitations and alterations, like some” classical “work. The death of B. caused a lot of epitaphs, in which B. extolled,
Why do we inscribe the grave with that inscription?
Where Dushenka alone can replace everything in one of them. In our time in “Dushenka” you can note the ease of verse and desire, as far as official and moral censorship allows, to talk about the “strawberry”, thanks to which the poem, mainly, was a success for contemporaries.
FA Brokgauz, IA Efron Encyclopedic Dictionary.