Biography on Literature David Samoilovich Loans. Biography of David Samoilov
Soviet poet and translator
David Samoilov
short biography
Born into a Jewish family. Father - a famous doctor, chief venereologist of the Moscow region Samuil Abramovich Kaufman (1892-1957); mother - Cecilia Izrailevna Kaufman (1895-1986).
In 1938-1941 he studied at MIFLI (Moscow Institute of Philosophy, Literature and History). At the beginning of the Finnish war, Samoilov wanted to go to the front as a volunteer, but turned out to be unfit for health reasons. At the beginning of the Great Patriotic War he was sent to the labor front - to dig trenches near Vyazma. There, David Samoilov fell ill, was evacuated to Samarkand, studied at the Evening Pedagogical Institute. Soon he entered the military infantry school, which he did not graduate from. In 1942 he was sent to the Volkhov Front near Tikhvin. On March 23, 1943, near the Mga station, he was seriously wounded in the left hand by a mine fragment.
By order of the 1st Specialized Rifle Brigade of the Volkhov Front No.: 13 / n dated: 03/30/1943, the machine gunner of the 1st separate rifle battalion of the 1st separate rifle brigade, Red Army soldier Kaufman, was awarded the medal "For Courage" for being in battle on March 23, 1943 in In the Karbusel area, with a machine-gun crew during the attack, he was the first to break into the German trench and in hand-to-hand combat destroyed three Nazi soldiers.
After recovery, from March 1944 he continued to serve in the 3rd separate motor reconnaissance unit of the intelligence department of the headquarters of the 1st Belorussian Front.
By order of the Armed Forces of the 1st Belorussian Front No.: 347 / n dated: 11/01/1944, the clerk of the 3rd separate motor reconnaissance unit of the intelligence department of the headquarters of the 1st Belorussian Front, Corporal Kaufman was awarded the medal "For Military Merit" for severe wounds in battle in the area station Mga, participation in the battles on the Volkhov and 1st Belorussian fronts and exemplary performance of their immediate duties as a clerk.
By order of the Armed Forces of the 1st Belorussian Front No.: 661 / n dated: 06/14/1945, the submachine gunner of the 3rd separate reconnaissance motor reconnaissance company. Department of the headquarters of the 1st Belorussian Front Corporal Kaufman was awarded the Order of the Red Star for the capture of a German armored personnel carrier and three prisoners, including one non-commissioned officer who gave valuable information, and for active participation in the battles for the city of Berlin.
During the war years, Samoilov did not write poetry - with the exception of poetic satire on Hitler and poems about the successful soldier Foma Smyslov, which he composed for the garrison newspaper and signed "Semyon Shilo".
He began to print in 1941. After the war, he translated a lot from Hungarian, Lithuanian, Polish, Czech, languages of the peoples of the USSR and others.
Since 1974, he lived in Pärnu (Estonian SSR), at the address: Toominga street, house number 4.
David Samoilov died on February 23, 1990 in Tallinn. He was buried in Pärnu (Estonia) at the Forest Cemetery.
Creation
The first post-war work "Poems about the New City" was published in 1948 in the Znamya magazine. Samoilov considered it necessary that the impressions of life "settled" in his soul before being embodied in poetry.
The first book of poems, Near Countries, was published in 1958. Then came the poetic collections of lyric-philosophical poems "Second Pass" (1962), "Days" (1970), "Wave and Stone" (1974), "News" (1978), "Bay" (1981) , "Voices behind the hills" (1985) - about the war years, the modern generation, about the purpose of art, on historical subjects.
In Samoilov's poems "behind the simplicity of semantics and syntax, behind the focus on Russian classics, lies the poet's tragic worldview, his desire for justice and human freedom."
One of the first public speaking D.S. Samoilov in front of a large audience took place in the Central Lecture Hall of Kharkov in 1960. The organizer of this performance was a friend of the poet, Kharkov literary critic L. Ya. Livshits.
He is the author of the poem "Song of the Hussar" ("When we were at war ..."), which was set to music by the bard Viktor Stolyarov in the early 1980s. "Hussar Song" by Samoilov-Stolyarov became popular among the Kuban Cossacks at the beginning of the 21st century. The poem "You will never be mine" (author's name - "Ballad") in the late 1980s became widely known thanks to the song by Dmitry Malikov, performed based on his motives.
He published a humorous prose collection "In the circle of himself." Wrote poems.
A family
Since 1946, he was married to art critic Olga Lazarevna Fogelson (1924-1977), daughter of the famous Soviet cardiologist L. I. Fogelson. Their son is Alexander Davydov, a writer and translator.
Later he was married to Galina Ivanovna Medvedeva, they had three children - Varvara, Peter and Pavel.
Awards
- Order of the Red Star (1945)
- Medal "For Courage" (1943)
- Medal "For Military Merit" (1944)
- USSR State Prize (1988)
Compositions
Collections of poems
- neighboring countries. - 1958.
- Elephant went to study. - M., 1961.
- Traffic light. - M., 1962.
- Second pass. - M., 1963.
- Elephant went to study. - M., 1967. - (For children)
- Days: Poems. - M.: "Soviet writer", 1970. - 88 p., port. - 10,000 copies.
- Equinox: Poems and Poems / Entry. article by E. Osetrov. - M .: " Fiction", 1972. - 288 p. - 25,000 copies.
- Wave and Stone: A Book of Poems. - M.: "Soviet writer", 1974. - 104 p. - 20,000 copies.
- Going through our dates ... - B / m, 1975.
- Message: Poems. - M.: "Soviet writer", 1978. - 112 p., - 50,000 copies.
- Gulf: Poems. - M.: "Soviet writer", 1981. - 144 p. - 50,000 copies.
- Hand lines. - M., 1981. - (PBSh)
- Tooming Street: Poems and Translations. - Tallinn: "Eesti raamat", 1981. - 144 p. - 3000 copies.
- Elephant went to study. - M., 1982.
- Times: A Book of Poems. - M .: " Soviet Russia", 1983. - 112 p., ill. - 25,000 copies.
- Poems. - M.: "Soviet writer", 1985. - 288 p., ill. - 50,000 copies.
- Voices over the hills. - Tallinn, 1985.
- Let me make a poem. - M., 1987.
- A handful: Poems. - M.: "Soviet writer", 1989. - 176 p. - 45,000 copies.
- Beatrice: A book of poems. - Tallinn, "Eesti Raamat", 1989. - 44 p.
- Elephant went to study, M., 1989.
- Snowfall: Moscow poems. - M., 1990.
- Elephant went to study. Plays. - M., 1990.
Editions
- Selected: Poems and poems. [Enter. article by S. Chuprinin] - M .: Fiction, 1980. - 448 p.
- Favorites. Selected works in two volumes. - M.: Fiction, 1989. - 50,000 copies.
- Volume 1. Poems. / Introductory article by I. O. Shaitanov - 559 p.
- Volume 2. Poems. Poems for children. Portraits. - 335 p.
- Everything fell to me ... - M .: Time, 2000. - 624 p.
- Daily records: In 2 volumes. - M.: Time, 2002. - 416, 384 p.
- Poems. - M.: Time, 2005. - 480 p.
- A book about Russian rhyme. - M.: Time, 2005. - 400 p.
- Poems / Comp., prep. text by V. I. Tumarkin, introductory article by A. S. Nemzer. - St. Petersburg: Academic project, 2006. - 800 p.
- Happiness craft: Selected poems. / Comp. V. Tumarkin, 2009. // 2nd ed. - 2010. /// 3rd ed. stereotype. - M.: Time, 2013. - 784 p. -6
- Memoirs. - M.: Time, 2014. - 704 p.
Prose
- People of one variant // Aurora. - 1990. - No. 1-2.
Translations
- Albanian Poems. - M., 1950.
- Songs of free Albania. - M., 1953.
- Grishashvili I. Fairy tales. / Translated from Georgian by D. Samoilov. - M., 1955.
- Senghor L. Chaka./ Translated from French by D. Samoilov. - M., 1971.
- The legend of Manjun from the Benu Amir tribe. / Translated from Arabic by D. Samoilov. Interlinear B. Shidfar. - M., 1976.
- Marcinkevičius Yu. The cathedral. / Translated from Lithuanian by D. Samoilov. - Vilnius, 1977.
- The shadow of the sun. Poets of Lithuania in D. Samoilov's translations. - Vilnius, 1981.
- Samoilov D., Cross Ya. Bottomless moments. - Tallinn, 1990.
Literature
- Baevsky V. S. David Samoilov: The Poet and His Generation: Monograph. - M.: Sov. writer, 1987. - 256 p.
- Davydov A. 49 days with kindred spirits. - M.: Time, 2005. - 192 p.
- Dravich Andrzej. The faces of my friends / A kiss in the cold - pp. 5, 58, 65 (illustrations after 65) Translated from Polish by Maxim Malkov. St. Petersburg: 2013, electr. ed., rev. and additional
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Samoilov David Samuilovich
Samoilov ( real name- Kaufman) David Samuilovich (1920 - 1990), poet. Born on June 1 in Moscow in the family of a military doctor, who had a great influence on him, he was much involved in his education. He began to write poetry early, but did not consider himself a poet for a long time.
In 1938 he graduated with honors from school and entered the IFLI (Institute of Philosophy, Literature and History) without exams, intending to specialize in French literature. In those years, he taught there all philological science. At the same time, he met Selvinsky, who assigned him to a poetic seminar at Goslitizdat, went to the Literary Institute for Aseev and Lugovsky's seminars. In 1941 he graduated from IFLI, at the same time he published his first poems.
A few days after the start of the war, he volunteered first for defense work in the Smolensk region, then he was enlisted as a cadet of the Gomel military infantry school, where he was only two months old - they were alerted and sent to the Volkhov front. After being seriously wounded, he spent five months in hospitals, then returned to the front again, is in the motor reconnaissance unit. The last rank is senior sergeant.
At the end of November 1945 he returned to Moscow with a train of demobilized people. He decides to live by literary work, that is, he is interrupted by random orders, earns money on the radio, writes songs, literary compositions.
Only in 1958 the first book of poems "Near Countries" was published. Since that time, his poetry collections have regularly appeared: “Second Pass” (1963); "Days" (1970); “Throwing through our dates…”. D. Samoilov participated in the creation of several performances at the Taganka Theater, in Sovremennik, wrote songs for performances and films.
In the 1970s, the collections “Wave and Stone”, “Vest” were published; in 1981 - "The Bay".
Since 1976 he lived in the city of Pärnu, translated a lot from Polish, Czech, Hungarian and the languages of the peoples of the USSR. D. Samoilov died on March 23, 1990 in Moscow.
Brief biography from the book: Russian writers and poets. Brief biographical dictionary. Moscow, 2000.
Samoilov David Samuilovich
Poet
Laureate of the State Prize of the USSR (1988)
His father was a doctor, a participant in the First World War and civil wars, during World War II he worked in the rear hospital. The images of the parents were captured in Samoilov's poems "Departure" and "The Yard of My Childhood", and memories from childhood were reflected in the autobiographical prose of the late 1970s - early 1980s "House", "Apartment", "Dreams about the father", " From the diary of the eighth grade "and other works.
His Moscow childhood was remarkably similar to that of another remarkable poet, Boris Pasternak. The mother of Boris Leonidovich is Rosalia Kaufman, and the father of David Samoilov is also Kaufman, Samuil Abramovich. No, they were not relatives, they were simply namesakes, but it was very symbolic that in Russian literature the names of these poets were next to each other.
In 1938, David Samoilov graduated from high school and entered the Moscow Institute of Philosophy, History and Literature (MIFLI) - an association humanitarian faculties separated from the Moscow State University. There, in MIFLI, at that time the best scientists of the country taught - S.I. Radtsig, N.K. Gudziy, Yu.M. Sokolov, D.D. Blagoy, D.N. Ushakov and L.I.
Samoilov's first poetic publication, thanks to his teacher Ilya Selvinsky, appeared in the October magazine in 1941. The poem "The Hunt for the Mammoth" was published signed by David Kaufman.
During the years of study, David Samoilov (or Dezik, as his relatives friendly called him) became friends with poets, who soon became known as representatives of the poetry of the "military generation" - Mikhail Kulchitsky, Pavel Kogan, Boris Slutsky and Sergey Narovchatov. Samoilov dedicated to them the visionary poem "Five", in which he wrote:
Five poets lived
In the pre-war spring
unknown, unsung,
Writing about the war...
The feeling of war in this poem is amazing, as in other poems that have become beloved by millions of Russians. At the beginning of the Finnish war, Samoilov wanted to go to the front as a volunteer, but was not mobilized for health reasons. However, even at the beginning of the Great Patriotic War, he was not taken into the army due to his age, but here Samoilov was lucky: he was sent to the labor front to dig trenches near Vyazma. In the first months of the war, the poet wrote down in a notebook all his unpublished works that he considered important for himself: about 30 poems and poetic passages, one comedy, three poetic translations.
On the labor front, David Samoilov fell ill, was evacuated to Samarkand, studied at the Evening Pedagogical Institute. Soon he entered the military infantry school, after which in 1942 he was sent to the Volkhov Front near Tikhvin.
Subsequently, in his memoirs, Samoilov wrote: “The main thing that the war revealed to me is the feeling of the people.” In 1943, the poet was wounded, after which his friend, the Altai peasant S.A. Kosov, saved his life, about whom Samoilov wrote the poem “Semyon Andreich” in 1946.
After the hospital, Samoilov returned to the front and became a scout. In parts of the 1st Belorussian Front, he liberated Poland, Germany, and ended the war in Berlin.
During the war years, two collections of Samoilov's poems dated 1944 were published, as well as a poetic satire on Hitler and poems about the successful soldier Foma Smyslov, which he composed for the garrison newspaper and signed "Semyon Shilo". The post-war work "Poems about the New City" was published in 1948 in the Znamya magazine. Samoilov considered it necessary that the impressions of life "settled" in his soul before being embodied in poetry. Regular publication of his poems in periodicals began in 1955. Prior to that, Samoilov worked as a professional translator of poetry and as a screenwriter on the radio.
In 1958, Samoilov published his first poetic book "Near Countries", the lyrical heroes of which were a front-line soldier in the works "Semyon Andreevich", "I feel sorry for those who die at home ..." and a child in the works "Circus", "Cinderella" and "Story". The artistic center of the book was "Poems about Tsar Ivan", in which for the first time the historicism inherent in Samoilov was fully manifested. This poetic cycle embodied the historical experience of Russia and, at the same time, the life experience of the poet, in which the traditions of Pushkin's historicism were reflected in a peculiar way. The poem "Pestel, Poet and Anna", written in 1965, was devoted to the historical theme. Samoilov reflected on the role of man in history in the dramatic scenes "Dry Flame", written in 1963, the main character of which was an associate of Peter the Great, Prince Menshikov. The roll call of historical eras also took place in the poem "The Last Holidays" in 1972, in which the lyrical hero traveled through Poland and Germany of different times together with the 16th century Polish sculptor Wit Squash.
Defining his poetic sense of self, Samoilov wrote: “We had a sense of the environment all the time, even of a generation. We even had a term before the war: "generation of the 40th year." Samoilov attributed his poet friends to this generation, “That in the forty-first they went to the soldiers / And to the humanists in the forty-fifth.” He felt their death as the greatest grief. Poetic " calling card» of this generation has become one of the most famous poems Samoilov "Forties, fatal", written in 1961.
If you cross out the war,
What remains is not much.
Poor art
Take care of your guilt.
What else? self-deception,
Later became a form of fear.
Wisdom is like a shirt
Closer to the body. And fog...
No, do not cross out the war.
After all, she is for a generation -
Something like redemption
For myself and for the country.
The simplicity of it began
Life is cruel and spartan,
Like the prowess of a civil
We were unwittingly marked.
If the youths ask us,
How did you live, how did you live?
We keep quiet or
We show scars and scars.
Like it can save us
From reproaches and annoyance
One-tenth right
The meanness of the other nine.
After all, out of our forty
It was only four years
Where is the unexpected freedom
We, like death, were sweet.
After the publication of the poetic collection "Days" in 1970, the name of Samoilov became known to a wide range of readers, and in the collection "Equinocx" in 1972, the poet combined best poems from my previous books.
In 1967, David Samoilov settled in the village of Opalikha near Moscow. The poet did not participate in the semi-official life of a writer, but the range of his activities was as wide as the circle of friends. Heinrich Böll came to Opalikha. Samoilov was friends with many of his outstanding contemporaries - Fazil Iskander, Yuri Levitansky, Bulat Okudzhava, Yuri Lyubimov, Zinovy Gerdt and Julius Kim.
Despite the eye disease, he worked in the historical archive, working on a play about 1917, published in 1973 the verse book "The Book of Russian Rhyme".
In 1974, he published the book "Wave and Stone", which critics called Samoilov's "most Pushkin" book - not only by the number of references to the great poet, but, most importantly, by the poetic worldview. Yevgeny Yevtushenko, in a kind of poetic review of this book, wrote: “And I read The Wave and the Stone / where wisdom is higher than a generation. / I feel both guilt and flame, / the forgotten flame of worship.
Samoilov actively and actively translated poems by Armenian, Bulgarian, Spanish, Latvian, Lithuanian, German, Polish, Serbian, Turkish, French and Estonian poets, participated in the creation of several performances at the Taganka Theater, at Sovremennik, at the Yermolova Theater, wrote songs for theater and cinema. In 1988 he became a laureate of the USSR State Prize.
Over the years, David Samoilov published books of poetry, among which were "Near Countries" in 1958, "Second Pass" in 1963, "Days" in 1970, "Equinox" in 1972, "News" in 1978, "Favorites" in 1980, "The Bay" in 1981 and many other works, as well as books for children "Traffic Light" in 1962 and "Elephant Went to Study. Plays in verse" in 1982.
In 1976, Samoilov settled in the Estonian seaside town of Pärnu. New impressions were reflected in the poems that compiled the collections “Tooming Street”, “Lines of the Hand” in 1981.
Samoilov was very fond of Pärnu and Estonia. Until 1980, while the family occupied only one floor on Toome Street, he had to live in a somewhat cramped environment. Having bought the second floor, David Samoylovich was infinitely happy. And, returning from another short trip to Moscow in 1983, he said: “You still need to live in Pärnu.” In Estonia, it was easier and calmer for him, so many acquaintances are convinced that his stay in Pärnu gave him a few more years of life. Maybe that's why at one of the parties he said: "Kiss me: I'm environmentally friendly."
David Samoilovich was never considered an ardent dissident, but the KGB looked after him. One day, photographer Viktor Perelygin (thanks to whom subsequent generations received a whole gallery of photographic materials about the life of the poet) went to visit relatives who lived in Kaliningrad. While having lunch at a restaurant in the city of Chernyakhovsk, he saw a suspiciously familiar person at another table. A few weeks later, he remembered him when he saw him leaving the building of the Pärnu branch of the KGB. Samoilov was not at all surprised by this news. “They were checking to see if you were sending any message from me to the Chernyakhov psychiatric hospital.” This institution, as it turned out, contained “abnormal” ideas and deeds of the CPSU that cast doubt on them. Samoilov never dated his poems. When asked why he does this, he once answered: “I don’t want to take bread from literary critics.” But there are no dates in the letters either. Only the last one, addressed to Lidia Lebedinskaya, was dated February 14, 1990. In the letter, Samoilov talked about the snowless winter, touched upon the problems of relations between Estonia and Russia, expressed fears that the promises of Estonian politicians to provide equal rights with Estonians to local Russian-speaking residents would not remain promises.
Another detail: since 1962, Samoilov kept a diary, many entries of which served as the basis for prose, published after his death in a separate book, Memoirs, in 1995. Samoilov's brilliant humor gave rise to numerous parodies, epigrams, a playful epistolary novel, "scientific" research on the history of the country of Kurzyupia invented by him, and similar works collected by the author and his friends in the collection "In the circle of himself", which was published in 2001.
How it was! How did it coincide?
War, trouble, dream and youth!
And it all sunk into me
And only then I woke up! ..
forties, fatal,
Lead, gunpowder...
War walks in Russia,
And we are so young!
Zinovy Gerdt, at his anniversary evening, read the poems of David Samoilov, which it was impossible to listen to indifferently:
... Oh, how late I realized
Why do I exist
Why is the heart beating
Living blood through the veins
And what is sometimes in vain
Let the passions subside
And what can't be avoided
And what can't be avoided...
In 2010, a film was made about David Samoilov documentary"Boys of the State".
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Text prepared by Andrey Goncharov
Used materials:
Article by Andrey Demenkov “Estonia gave David Samoilov 5 years of life”
Materials of the site "Jewish Journal": article "David Samoilov in his circle"
Interview of Igor Shevelev with the son of Samoilov - Alexander Davydov "Dreams about parents"
Site materials "Krugosvet"
"Crystal Palace of the Poet"
Interview with the poet's son, Alexander Davydov.
Let's move on to the one about whom this conversation is started - to the poet David Samoilov and your look at your father? Or shall we first loosen the Oedipus complex?
In children famous people constantly looking for and always finding the inexhaustible Freudian complex. I am indifferent to this projection of the soul, but still I was ready to look for it in myself. Didn't find it. Rather, he can be suspected of a couple of generations of poets bursting into infantile protest against the Father. But he was my dad. Just as a child, I remember, I lacked greatness and categoricalness in him. He was light, cheerful and funny. He remained like this for a long time, until in old age he became heavy, and under the weight of years his light image began to crumble. Perhaps my childhood feeling for him was akin to what he felt for his own father. Sometimes an unbearable pity and a desire to save - from whom? from what?
- Well, yes, I thought that many of our generation had military fathers.
My father did not at all correspond to the military ideal of my childhood era. I remember the eternal yard dispute: "I am the commander" - "No, I am the commander." Father did not pull on the commander already in appearance - he is small in stature, bald from his youth. In addition, he looked older than other fathers. Yes, and a strange occupation - a writer, even more exotic - a poet. At first, like others, I was sure that all writers had died long ago and lived only on bookshelves. It was hard to realize that my lively, cheerful, not solemn father seemed to be imprinted into eternity. However, his books were not serious, not volumes, but piles of sheets and paper brochures. Perhaps this fueled my pity for my father, who was not a real writer. No, I was not ashamed of him and his profession, but it would be calmer if, like other fathers, he went to work every day.
- The self-awareness of a child of a literary family of the early 60s is very interesting.
Yes, there was some time - they fought against parasites, the state wariness flourished towards people of creativity, precisely to such, fake ones. Of course, I did not suspect my father of anything bad; rather, I feared for him. He himself advised me to the curious to answer the question "Who is your father?" not a solemn poet or, there, a writer, but a modest translator. This job seemed strange to me. I suspected that the books were created, as it were, in Proto-Babylonian, addressing soul to soul. Then the work of the translator became unquestionably of secondary importance, although significant in its secondary importance, for it required expressing exactly what was outlined in the language of the spirit.
Reading the diary of David Samoilov, you are amazed at the terrible raid of time, which can be called the primitiveness of "communist optimism."
Father tried to keep a simple and sober view of life, ridiculing the refinement of feelings, and he didn’t look into his soul, but not to the depths. He, avoiding the painful and indistinct, tried to be a man of light, but the shadow stretched towards sunset, and over the years his father fit worse and worse into the brilliant and charming image he created, in which he accumulated everything bright and blessed in his nature. This image bore his childish, foolish name.
- Yes, because for friends David Samoilov remained Dezik until his death?
And in the diary he suddenly appeared almost a grump, turning his relationships with people inside out. Simplifying his vision of the world, the Father, as it were, woke up the demons, which, I would like to believe, eventually overcame. In his rejection of sophisticated feelings, the same spiritual modesty that was inherent in his father is seen, but not in deep and secret transparency, but undermined by passions. My father strove for classical simplicity, shielding himself from the complexity of his own nature. How deeply he succeeded in this, his poems testify.
The forties are fatal, in his most famous line. And this is not only a war, but also the external burden of time, which is carried by a person who belongs to a generation and breaks out of it?
At the very core of the personality, the father built a crystal palace. Poems are both cause and effect. Father did a great spiritual work, overcoming the diabolical state temptation and harmonizing the chaos of war. He humbled the darkness of demons, not shying away from them, but courageously going out to meet them, armed with nothing but wise innocence, which remained whole for many years.
And yet he wasn't on his own. Was literature on his side?
Yes, literature served as a backup, but it is also teeming with demons. My father knew how to alienate his life, to see it in a literary frame, as if he had become the hero of a novel. It is even surprising how much literature turned out to be alive for him, and indeed became a means of harmonizing life. In the literary construction of his soul, he was neither an epigone nor an imitator. Relying on someone else's, he erected his own, created an independent and powerful hero, who became the subject and object of his poetry, who knew how to scare away small spiritual evil spirits.
That is, you want to say that David Samoilov brought not only to literature, but also to the life of a special lyrical hero?
Literature seemed to take away from life everything that was literary suitable. At first, foreign literature provided models of existence, then the father became more and more a hero, conceived in his youth, but never written, from which he carried out only lyrical digressions on paper. The harmonic core of his soul was constantly fighting with hurt, petty, but quite human emotions and feelings.
- Did you adjust yourself to the image, gradually crawling out from under it?
The self-image fostered by the father was not false. Perhaps he was truer than life itself. The father was comfortable in the world of reason and light created by him by perseverance and effort. Uncomfortable life prickled the jealous and proud father's soul with thorns, but in defending the world he created, his writing became brighter and more harmonious, and the subject of poetry, the hero and author, spread to the entire space of the soul.
-Did you feel this lyrical image through his poems?
When I learned not only to read, but also to understand what I read, when did this happen? at ten? twelve? fourteen years old? - I was carried away by my father's truth no less than he himself. It seemed to me inexhaustible. How should I know at that time that there are no inexhaustible truths? The crystal palace erected by the father exalted the soul, but concealed the temptation. He humbled the demons of the era with the timid prayer of a hopeful man. This palace still stands in the same place, you can admire the beauty of its classical proportions. However, the time has come, and the father, as a living person, had to leave him. The era has changed, and the literary hero he raised has become a shadow, ceasing to accumulate truth.
Do you think that his time has passed, and David Samoilov outlived him? But it was just at this time that the time of his greatest glory and fame came. That is, he was, as it were, recognized, having fallen out of time?
deadly disease The father experienced the character acutely, as a harbinger of his own death. He seriously believed in the theory that a poet dies when he should. Not that he has the right to personally put an end to it, but his life will be cut short as soon as the plot he invented runs dry. However, after the death of his hero, his father had a chance to live another decade and a half. Perhaps the most difficult, but also the most naked and genuine. His own bright image no longer seduced him with its charming middleness.
- Life outside of yourself?
The insights of the later years of his father's life remained concealed. He still composed many poems, but did not create a new harmony. It was not a new palace, but extensions to it, and the father's soul no longer lived in them.
Don't forget, however, that just at this time, starting in the mid-70s, we ourselves, a generation of children, were creating our own personal escapist worlds?
Having left his crystal palace, my father lived with constant regard for him, tried to add another tower, but he no longer needed his creator. For me, this is a sad symbol of the alienation of creation from the creator, the alienation of the past, closed in a beautiful hopelessness. I would like to know what my father learned in his later years. Have you renounced the authorship of your own life? He didn't tell me about it. The essential was revealed to the filtered through his poetry.
To what extent could you talk about the most important thing, which is spoken between close people with the greatest difficulty?
I did not trust the confessions and teachings of my father from an early age. If he trusted him, he would carry in himself an even more false image than just a reader of his poetry. But, being suspicious from childhood, I felt that adults were hiding from me. Children's incredulity is akin to senile, when weakened hearing turns someone else's speech into an ominous whisper. I didn't envision a destructive conspiracy. Rather, on the contrary, the desire to protect from cruel truths.
- May I ask a general question about the generation of our parents, people of the villainous era who were not villains?
They were alien to the abyss of both evil and good, replaced by median decency. This is not a reproach - very much. We stand on their shoulders, not giants, but what they are. In general, would we be able to perch on giant shoulders? The father was among those who raked through the rubble of lies and dope to report that two times two is four. It is a pity that, proud of their discovery, they did not listen to life, which would have told them that in other cases, not four, but five, zero, ten. Life refused to compose a novel of education for them. They themselves did not create anything in advance and were horrified by the unforeseen nature of their tilted life.
Let us remember our childhood shared with them, which we are condemned to bear either as an experience, or a curse, or a myth?
Yes, somewhere in the past, but not sunk in time, there was the “bel époque” created by them, on which our youth fell. For some reason, it warms me that I grew up with the consciousness of the country: childhood coincided with its infantilism, youth with a burst of romance, but maturity still does not come, also for a reason. I am grateful to the outgoing generation for an almost happy youth, and to my father, of course, in the first place. He, thank God, did not have a chance to live up to a new tragic break, although, dying, he foresaw troubles. Nevertheless, his theory about the timely death of the poet came true. A better and more timely death than the one that his father was honored with, he would not have invented for himself.
- How did it happen?
It was the anniversary of the death of his friend, Boris Slutsky, and a day of repentance before the memory of the great poet, Boris Pasternak, whom he loved passionately in his youth, and later doubted him. It was Slutsky who was seriously guilty before Pasternak, who, perhaps, did not bear this burden of guilt. We can assume that this is repentance for him too. The death of an old warrior on an army holiday on February 23, like a farewell salvo over the grave. Father led Pasternak's evening, and died almost on stage, going backstage, as befits a great actor. The last words that the father said, returning from death for a moment, like a gift and hope to all of us. And he said, "It's all right, it's all right." I would like to believe that his struggles ended with this all-encompassing “good”.
Samoilov (real name - Kaufman) David Samuilovich (1920 - 1990), poet. Born on June 1 in Moscow in the family of a military doctor, who had a great influence on him, he was much involved in his education. He began to write poetry early, but did not consider himself a poet for a long time.
In 1938 he graduated with honors from school and entered the IFLI (Institute of Philosophy, Literature and History) without exams, intending to specialize in French literature. In those years, the whole color of philological science taught there. At the same time, he met Selvinsky, who assigned him to a poetic seminar at Goslitizdat, went to the Literary Institute for Aseev and Lugovsky's seminars. In 1941 he graduated from IFLI, at the same time he published his first poems.
A few days after the start of the war, he volunteered first for defense work in the Smolensk region, then he was enrolled as a cadet of the Gomel military infantry school, where he was only two months old - they were alerted and sent to the Volkhov front. After being seriously wounded, he spent five months in hospitals, then returned to the front again, is in the motor reconnaissance unit. The last rank is senior sergeant.
At the end of November 1945 he returned to Moscow with a train of demobilized people. He decides to live by literary work, that is, he is interrupted by random orders, earns money on the radio, writes songs, literary compositions.
Only in 1958 the first book of poems "Near Countries" was published. Since that time, his poetry collections have regularly appeared: "Second Pass" (1963); "Days" (1970); "Going through our dates...". D. Samoilov participated in the creation of several performances at the Taganka Theater, in Sovremennik, wrote songs for performances and films.
In the 1970s, the collections "Wave and Stone", "Vest" were published; in 1981 - "Gulf".
Since 1976 he lived in the city of Pärnu, translated a lot from Polish, Czech, Hungarian and the languages of the peoples of the USSR. D. Samoilov died on March 23, 1990 in Moscow.
Used materials of the book: Russian writers and poets. Brief biographical dictionary. Moscow, 2000.
Samoilov David (real name David Samuilovich Kaufman) is a poet.
In 1938-41 he studied at IFLI. Member of the Great Patriotic War. He began to print in 1941: in the magazine "October" (No. 3), in the collection "Poetry of Moscow Students", organized by I. Selvinsky, the poem "Hunting for a mammoth" was published under his real name (a pseudonym in memory of his father appeared after the war). The first collection of poems "Near Countries" was published in 1958. It was followed by: "Second Pass" (1963), "Days" (1970), "Equinox" (1972), "Wave and Stone" (1974), "News" ( 1978), Favorites (1980), Bay, Tooming Street, Hand Lines (all - 1981), Times. The Book of Poems" (1983), "Poems" (1985), "Beatrice" and "A Handful" (1989), the two-volume "Selected Works" (1989), etc.
The poetic worldview and style of Samoilov, based on a deep sense of history and the continuity of cultural traditions, are mostly realistic, with a certain amount of fantastic romanticism, akin mainly to the harmonic worldview and style of Pushkin and Akhmatova. Samoilov perceives modernity as history. He does not go in hot pursuit of events and, moreover, does not seek to get ahead of time; he “usually needs a chronological gap, and a significant one, between the impression and its poetic embodiment” (Boevsky S. - P. 69) in order for the subjectively perceived and experienced to be somewhat removed, to acquire an internal structure and external relief, the properties of a historical object. It is the need for time distance that explains why the first book of the poet was published only 13 years after the war, why years pass between the appearance of his first and second, second and third books, why, finally, Samoilov prefers their quality to the number of published works.
The key, title poem of the poet, his artistic password was the poem "Forties", which opened the book "Second Pass": "Forties, fatal, / Military and front-line, / Where are the funeral notices / And echelon knocks. / The rolled rails hum. / Spacious. Cold. High. / And the fire victims, the fire victims / They roam from the west to the east ... "Fate, the inevitable fate that brings death to a person, is the most important attribute of tragedy. The panorama of the tragic "forties, fatal" is given by Samoilov in motion, the course of which is heard in the rumbling clatter of carriage wheels, expressively conveyed in the sound instrumentation of the verse. Three impersonal sentences: “Spacious. Cold. High ”- they say that the ongoing tragic event, with all its innumerable losses and troubles, is one of the high tragedies, that is, the poet indirectly, allegorically makes it clear that a great war of liberation is going on. In contrast to the lofty, tragic, moving historical event The poet draws himself in static and with everyday, everyday details: “And this is me at the half-station / In my dirty earflap, / Where the star is not authorized, / But cut out of a can. / Yes, this is me in this world, / Thin, cheerful and perky. / And I have tobacco in a pouch, / And I have a type-setting mouthpiece. / And I play jokes with the girl, / And I limp more than necessary, / And I break the solder in two, / And I understand everything in the world. In contrast to the tragic background, the mood of the young soldier, who has just been discharged from the hospital and is probably waiting for a new dispatch to the front, is at ease and cheerful. The hero resists death with his physical youth, his youthful love of life, which in this case acquire an existential character. Such a perception of the world, in general terms, will be preserved in the subsequent work of the poet.
From the very first steps of poetry, Samoilov also turns to the more distant historical past of Russia, and this national past is personified for him not so much by the names of tsars and politicians as by the names of his favorite poets: Derzhavin, Batyushkov, Pushkin, Delvig, Blok. Even in the first book of the poet, criticism noted a deep comprehension of the spirit and meaning of the historical past in a small cycle "Poems about Tsar Ivan". Samoilov's masterpieces of historical poetry appear in the book "Days": the poem "Pestel, Poet and Anna" and "Blok. 1917". In the first of them, giving an expressive description of Pestel and Pushkin, Samoilov showed the difference in the perception and comprehension of life by a politician and a poet: Pestel, who believes, according to Pushkin, that love is “useful only for citizens of multiplication”, comprehends life with the mind, and Pushkin with the heart , and his perception turns out to be fuller, richer and deeper than that of the one-line politician Pestel.
In the poem "Block. 1917" Samoilov fairly accurately conveyed the perception of the events of 1917 by the author of the brilliant and prophetic poem "The Twelve". Perceiving the revolution, Blok, according to Samoilov, "saw an angel, a star, / He heard a flute, and on the ice / of the Neva he saw a wormwood / A Christmas font." However, unlike the gospel Christmas, the revolutionary Christmas of 1917 turned out to be strange and icy, and this strangeness consisted mainly in the fact that now the gospel manger was empty. Speaking in the language of Blok's poem, this means that freedom came "without the cross", and revolutionary Christmas - without Christ, and this is one of the sources of the tragedy of the revolutionary people. A revolutionary Christmas with an empty manger, without Christ, is spiritually defective and fraught with tragic consequences. Samoilov's poem ends with a picture depicting how a blizzard brings the Christmas font of the revolution: “A blizzard was coming to the city from the south. / The angel and the flute fell silent. / Snow covered the font. / And everything in the snow eclipsed ... "
Over time, in addition to historical poetry, landscape, meditative, philosophical and love lyrics begin to play an increasingly important role in Samoilov's work. Shortly before his death, the poet indulges in reflections on love in the Beatrice cycle, first published separately (Tallinn, 1989), and then included in the book of poems A Handful (1989).
Samoilov's lyrics in their development constantly gravitated, on the one hand, to meditativeness, and on the other, to narrative. The attraction to narrative explains why the poet throughout his creative life fruitfully worked in the genre of a dramatic poem. S.'s poems are mainly connected with his favorite historical topics: recent history - the war and the post-war period are devoted to the poems "Near Countries", "Tea House", "Snowfall" and "Julius Klompus", post-Petrine times - "Dry Flame" and "Dream of Hannibal, the era of Alexander I and the Decembrists - Strufian. The actions of "Gypsies", "Last Holidays" and "Old Don Juan" are indefinite in time. The epic-bucolic poem, or, in other words, the epic idyll "The Gypsies", in which Samoilov tried to show the foundations of life, is very interesting in content and form. peasant life and positive aspects of the Russian national character.
A large place in Samoilov's work belongs to translations from Polish, Serbian, Ukrainian, Lithuanian, Latvian, Estonian, Bulgarian poetry, from the works of L. Aragon, G. Apollinaire, Brecht, F. G. Lorca, N. Hikmet and other poets. A small part of Samoilov's translations was included in his collection "Contemporary Poets" (1963), published in the "Masters of Poetic Translation" series.
Of considerable interest is the poet's prose, which compiled the book Memoirs (1995). Here is given a rich autobiographical material, an understanding of literary life, especially the one in which Samoilov himself was a participant. Among the memories of young poets of the front generation, the essay "Friend and Rival" dedicated to B. Slutsky stands out. Notes about A.Akhmatova, B.Pasternak, P.Antokolsky, I.Ehrenburg, N.Zabolotsky, M.Petrovs, Vs.Ivanov, A.Solzhenitsyn and other writers are informative.
M.F.Pyanykh
Used materials of the book: Russian literature of the XX century. Prose writers, poets, playwrights. Biobibliographic dictionary. Volume 3. P - I. pp. 263-265.
Read further:
Yuri PAVLOV. David Samoilov: life "weaknesses" and creativity. (Chapter from the book: Yuri Pavlov. Man and time in poetry, prose, journalism of the XX-XXI centuries. M., 2011).
Russian writers and poets(biographical guide).
Compositions:
Favorites / intro. article by S. Chuprinin. M., 1980;
A book about Russian rhyme. 2nd ed., add. M., 1982;
Poems. M., 1985;
Selected works: in 2 volumes / entry. article by I. Shaitanov. M., 1989;
Return: a poem // October. 1989. No. 5;
From the diary // Literary review. 1990. No. 11;
From the literary heritage // October. 1991. No. 9;
In the circle of myself: Parodies, epigrams, dedications, hoaxes. M.; Vilnius, 1993;
Memoirs. M., 1995;
Going through our dates. M., 2000.
Literature:
Sidorov. E. Meaning and Form: On the Poems of David Samoilov // Day of Poetry. 1971. M., 1971;
Musatov V. D. Samoilov's poem "Pestel, Poet and Anna" // Analysis of a separate work of art. L., 1976;
Rudnev V. Iambic tetrameter by David Samoilov // Proceedings of the republican conference. Tartu, 1977. (Russian Philology);
Dykhanova B. Pushkiniana D. Samoilova // Rise. 1981. No. 6;
Boyevsky V. David Samoilov: The Poet and His Generation. M., 1986;
Istogina A.D. Samoilov. "A Handful": Poems // Literary Review. 1990. No. 8;
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Biography, life story of Samoilov David Samuilovich
Samoilov David (name at birth - Kaufman David Samuilovich) - Russian Soviet poet of the front-line generation, translator.
early years
David was born in Moscow on June 1, 1920 in the family of the famous venereologist Samuil Abramovich Kaufman and his wife Cecilia Izrailevna. After graduation high school in 1938, David became a student at the Moscow Institute of Philosophy, Literature and History.
Service
In 1939, when the war with Finland began, David Kaufman wanted to leave his studies and go to the front as a volunteer, but the young man was not accepted into the ranks of the soldiers for health reasons. Two years later, at the very beginning of the Great Patriotic War and World War II, David was sent to dig trenches near Vyazma as part of the labor front. Near Vyazma, a young man fell seriously ill, which is why it was decided to evacuate him to Samarkand.
In Samarkand, David entered the Evening pedagogical institute, then - to the Military Infantry School (which, however, did not have time to finish). In 1942, Kaufman was sent near Tikhvin to the Volkhov Front. In March 1943, a fragment of a mine hit David's left hand. A few days later, Red Army soldier David Kaufman, machine gunner of the 1st separate rifle battalion of the 1st separate rifle brigade, was awarded a medal“For courage” (David destroyed three enemies with his own hands).
In March 1944, having already fully recovered, David Kaufman ended up in the 3rd separate motor reconnaissance unit of the intelligence department of the headquarters of the 1st Belorussian Front. In November of the same year, David Samuilovich, corporal and clerk, was awarded the medal "For Military Merit". In 1945, Kaufman was awarded the Order of the Red Star for capturing prisoners, from whom valuable information was obtained, and for active participation in the battles for Berlin.
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Literary activity
AT war time David Samuilovich practically did not engage in writing. He did not write poems - except for satirical rhymes and poems about the soldier Foma Smyslov, which were published in the garrison newspaper, inspiring Soviet soldiers. When the war was over, David started translating various works from Hungarian, Polish, Czech and Lithuanian.
In 1948, the first work of David Samoilov, Poems about the New City, appeared on the pages of the Znamya magazine. 10 years later, the first collection of poems by the poet "Near Countries" appeared on the shelves of bookstores. In 1962, the lyric-philosophical collection of poems "The Second Pass" was released, in 1970 "Days" appeared, in 1974 - "Wave and Stone", in 1978 - "News", in 1981 - "Bay", in 1985 - "Voices Beyond the Hills" and so on.
David Samoilov also wrote prose, including works on versification, which helped many novice authors to decide on their own style and learn not just to put words into rhyme, but to speak, live, breathe poetry.
In 1988, David Samoilov was awarded the USSR State Prize for outstanding creative achievements in the field of literature.
A family
In 1946, David Samoilov married Olga Fonelson, daughter of the Soviet cardiologist Lazar Fogelson. In 1953, the son Alexander was born in the family (continued the work of his father, became a writer and translator).
The second wife of the writer was Galina Medvedeva. She gave birth to her husband three children - a girl Barbara and boys Peter and Paul.
Death
On February 23, 1990, David Samoilov died in Tallinn (he had lived in Estonia since 1974). The body of the writer and poet was buried at the Forest Cemetery in the port city of Pärnu.