Northerner facts. Severyanin Igor (Lotarev Igor Vasilyevich)
Igor Severyanin (real name and surname Lotarev Igor Vasilyevich; 1887-1941). Born in St. Petersburg in the family of an officer, on the maternal side was a descendant of Karamzin and a distant relative of Fet. He graduated from a real school in the city of Cherepovets, composed poetry from childhood, the first poem about Russo-Japanese War appeared in print in 1905 in Leisure and Business, a magazine for soldiers and lower ranks.
Youthful experiences did not attract the attention of readers and criticism, and the poet had to publish more than thirty different booklets-brochures at his own expense, sending them out for review to the editors of magazines and eminent people ("Zarnitsy thought", 1908; "Intuitive colors", 1908; "Necklace Princess"; 1910; "Electric Poems", 1910, etc.).
In 1909, Leo Tolstoy became indignant at the collection “Intuitive Colors” (the great old man was outraged by the lines: “Put a corkscrew into the elasticity of the cork / And the eyes of women will not be timid”) and attacked the poet with a rebuke. “With the light hand of Tolstoy, everyone who was not lazy began to scold me. Magazines began to publish my poems willingly, the organizers of charity evenings strongly invited me to take part in them.
In 1911, together with the poet Kolimpov, the son of Fofanov, he declared himself the founder of a new poetic school - ego-futurism. In The Prologue of Egofuturism (1911) he manifested: "We live in sharp and instantaneous ... and every word is a surprise"; in his poems, narcissism and self-praise took hypertrophied - on the verge of parody and vulgarity - forms: "I, the genius Igor Severyanin, am intoxicated with my victory."
Triumphant fame came to the poet in 1913, after the release of the collection The Thundering Cup. Soon Igor Severyanin refuses to participate in any literary associations, preferring not to share laurels with anyone. The following collections, Zlatolir, Pineapples in Champagne, Poezoantrakt (1915) and others, did not add anything new to the current image of the salon-boudoir poet, disappointed serious readers who placed hopes on Severyanin to update the poetic language, but secured his reputation "The idol of high school students."
In February 1918, in the hall of the Polytechnic Museum, Severyanin was elected the "king of poets" (to the annoyance of his rivals - V. Mayakovsky, K. Balmont). In the same year, he leaves for Estonia and, after proclaiming it an independent state, finds himself cut off from his homeland.
During the years of emigration, Severyanin published 17 books, but there were fewer and fewer readers, the circulation of books was scanty, and even they did not disperse. Last years the poet spent in want and obscurity. Igor Severyanin owns one of the most famous lines in the literature of the Russian Diaspora: “How good, how fresh the roses will be, My country thrown into my coffin!”
- Introduction
- Childhood and youth of the Severyanin
- The first poems of the Severyanin
- The irony of Severyanin's poems
- Severyanin's first poetry collection "The Thundering Cup"
- Northerner during World War I
- Features of Severyanin's poems
- Severyanin in the 20-30s
- Later work of Severyanin
- Death of a Severyanin
1. Introduction
Igor Severyanin is one of the least researched poets silver age. For many years his work was treated negatively. In Soviet literary criticism, a stable, for many decades, myth about Severyanin as a poet of a very low aesthetic level has developed. Meanwhile, I. Severyanin is “a poet by the grace of God”, “a true poet”, in the words of V. Bryusov. Without his work, it is impossible to imagine a complete picture of the development of Russian poetry at the beginning of the 20th century.
2. Childhood and youth of the Severyanin
Igor Vasilyevich Severyanin ( real name- Lotarev) was born on May 4 (16), 1887 in St. Petersburg in a hereditary noble family. His mother, the daughter of the leader of the nobility of the Shchigrovsky district of the Kursk province, N. S. Shenshin, a relative of Afanasy Fet, was a well-read woman who early introduced her son to fiction. Marriage with staff captain Vasily Lotarev did not bring her happiness. In the autobiographical poem "The Dew of the Orange Hour" (1925), I. Severyanin wrote about his father:
Excellent linguist,
Both educated and educated.
He was smart, he was well-read.
The father, who loved entertainment, paid little attention to the family. In 1896, the parents of the future poet separated, and Vasily Petrovich took the boy to his relatives in the Cherepovets district of the Novgorod province. Here Igor Lotarev lived for about seven years, studied at the Cherepovets real school. In 1904 he returned to his mother in Gatchina, near St. Petersburg. But the years spent in his uncle's estate, on the banks of the full-flowing Suda River, will be remembered by him as one of the happiest.
Oh Suda! Blue Court,
You are the granddaughter of the Volga! Daughter of Sheksna!
How I want you from here
Into your cloaked dreams!…-
so at the end of his life the poet recalled his childhood. Love for the Russian north was due to the choice of a pseudonym by the poet - Severyanin, which later became a surname.
3. The first poems of Severyanin
I. Severyanin began to write in Cherepovets. His first poems are imitative. In them we find a Nadsonian appeal to a “spiritually weary” brother (“Gatchinskaya Mill”), a call-back to the poetry of the populists (“What the birds saw” ...) echoes of the lyrics of A. K. Tolstoy (“Do you know the land?”). Already in his youth, Severyanin determined the circle of his literary teachers. These are A. K. Tolstoy, A. M. Zhemchuzhnikov and the poetess of the late 19th - early 20th century, who died early, and was repeatedly sung by him, Mirra Lokhvitskaya (1869-1905), sister of N. A. Teffi.
The first who welcomed the appearance of Severyanin in literature and appreciated his outstanding talent was the poet Konstantin Fofanov (1862-1911). They met on November 20, 1907 and quickly became friends, despite the big age difference. The critic of the Novoye Slovo magazine A. Izmailov recalled: “Once Fofanov came to the editorial office accompanied by a young, slender, handsome man, beardless and beardless, holding himself with a secular bearing, modestly and calmly.
He was without curls to his shoulders, nothing emphasized his appearance as a poet, his eyes shone with his quiet soul, far from the subject of a casual conversation now. - Meet Igor Severyanin. The poet is very talented, very talented,” Fofanov spoke in his nervous, stuttering patter. K. Fofanov was not a first-class poet, but Severyanin was close to his poetry with a lyrical attitude to nature, sincerity.
Their friendship lasted for about four years. Shortly before his death, Fofanov wrote the following poem:
Oh Igor, my only one,
Brown haired troubadour!
I love your mysterious
Lyrical openwork.
The northerner remembered his elder friend and mentor with gratitude all his life. He dedicated about ten poems to K. Fofanov, the titles of which speak for themselves: “In Defense of Fofanov”, “To the Great Contemporary” (1909), “On the Motif of Fofanov”, “On the Death of Fofanov” (1911), “Fofanov’s Poetry” ( 1913), "On the sixtieth anniversary of the death of Fofanov" (1917). He considered Fofanov a "genius poet" and advised readers:
Take Fofanov in your hands And go with him to the spring garden. Your languor, boredom, torment His melodies will heal.
It was difficult for I. Severyanin to enter literature. His first poem "The Death of Rurik" was published in the second issue of the magazine "Leisure and Business" for 1905. Then it was not published for a long time. The poems he sent to the magazines were regularly returned. Therefore, Severyanin began to issue them as separate pamphlets ranging from two to twenty-four pages. From 1904 to 1912 he published 35 pamphlets in this way. The poet sent them to various editions, but there were almost no responses to them.
The same A. Izmailov testifies: “... After certain periods, small thin brochures of poems came to the editorial office, sometimes only 8-10 pages. The editor took them, marked them, sprinkled ashes on funny, pretentious, ridiculous poems and, smiling, handed them to the corresponding employee: “Igor Severyanin sent poems again. There will be a hunt - mark ... "
At the end of 1909, one of these pamphlets called "Intuitive Colors" came to Yasnaya Polyana to see Leo Tolstoy. She was brought there by the writer Ivan Nazhivin. Tolstoy gave a devastating description of Severyanin's poems. “This,” I. Severyanin later recalled, “was instantly announced to everyone by Moscow newspapermen ... after which the all-Russian press raised a howl and wild hooting, which made me immediately known throughout the country. Since then, each of my new brochures has been carefully commented on by critics in every way, and with the light hand of Tolstoy, everyone who is not lazy began to scold me.
Fame, even scandalous, played a role: Severyanin's poems began to be readily published by popular magazines and newspapers. Many readers were attracted by unusual words and characters (“grezerki”, “ex-tsessers”, “adjuantesses”, “foresters”, etc.), the vivid expression of the paintings created by the poet. They liked the exquisitely romantic life of princesses, queens and pages, unlike the surrounding everyday reality:
It was by the sea, where openwork foam,
Where the city crew is rare ...
The queen played - in the tower of Chopin's castle,
And listening to Chopin, fell in love with her page.
Everything was very simple, everything was very nice:
The queen asked to cut the pomegranate,
And she gave half, and exhausted the page,
And the page fell in love, all in the motives of sonatas.
And then she gave herself, she gave herself grbzovo,
Until sunrise, the lady slept like a slave ...
It was by the sea, where the wave is turquoise,
Where is the openwork foam and the sonata of the page.
("It was by the sea")
Readers were fascinated by the style of such poems, their smooth, soulful melody and melodiousness. In the poem “Pineapples in Champagne,” the young poet promised: “I will turn the tragedy of life into a dream farce.” And he did it.
The other part of the readers and many critics, on the contrary, were shocked by such poems, which the author himself called "poets". So there was a strong opinion about Severyanin as a poet of bad taste, indulging the base interests of the "crowd".
Meanwhile, many of the poet's poems are ironic or parodic, created by him to shock an uncultured, but ambitious philistine audience. For example, the scandalously sensational poem "Habanera II" is saturated with caustic irony:
Plunge the corkscrew into the elasticity of the cork, -
And the eyes of a woman will not be timid! ...
Yes, the eyes of women will not be timid,
And paths will wind to sultry passion...
Catch women, lose your thoughts...
Go count the kisses, count! -..
And the kisses rank the final, -
And there will be happiness in a convenient sense! ...
The poem “Lilac Ice Cream!” sounds like a parody of popular advertising. Many were surprised by "Pineapples in Champagne", and not everyone understood how caustically the poet ridiculed the poor imitation of everything Western: "I'm all in something Norwegian!// I'm all in something Spanish!" Subtly ironic are the poems “The Courtesan's Carriage”, “In the Boudoir of the Yearning Blushed Nellie ...”, “The Ladies' Club” and many others.
The irony of I. Severyanin often developed into satire. The poet and translator G. Shengeli, who knew him well, wrote: “Igor had the most demonic mind that I have ever met ... and all his poems are a complete mockery of everyone and everything, and of himself.”
The poet himself confessed in the poem "Ordinary People":
I despise calm, sad, light and strict
Talentless people: backward, flat, darkly stubborn ...
They are so pathetic, so primitive and so colorless.
He caustically ridicules such people in the poem "Dissona":
Your Excellency, by the age of thirty - fashionable age
You have a universal body ... like a bas-relief ...
A fragrant soul, carefully hidden in a silky rustle,
Very convenient for prostitutes and queens…
As a kind of commentary on this and similar works, the poem “In the Brilliant Darkness” sounds, where the poet directly speaks about the direction of his work:
Every line is a slap. My voice is all bullshit.
Rhymes are formed into cookies. The language seems to be assonance.
I despise you ardently, your dim Your Excellencies,
And, despising, I count on the world resonance!
Often the poet was ironic over himself, over his own dreams, dreams and illusions about an interesting, spiritually rich life, which also caused disapproval of criticism. The northerner was very upset at times that “I didn’t hear (or was it politics?) / / My irony is deaf criticism.” Later, in the poem "Ambiguous Glory", he will define the essence of his work and the attitude of criticism towards it as follows:
My ambiguous glory
ambiguous not because
That I'm exalted is wrong.
Not according to his talent, -
But because the explicit challenge
Conventions - in my poems
And a number of exquisite surprises
In capricious words.
They looked for vulgarity in me.
Missing one thing:
After all, who paints the area.
He writes with an area brush.
Let the critical canon
I'm not drawn to your law, -
After all, I am a lyrical ironist:
Irony is my canon.
4. The irony of Severyanin's poems
The poet quite accurately defined the main feature of his early work: "lyrical ironist." Irony is the most important quality of I. Severyanin's poetry. Its second feature is lyricism, for the expression of which the poet again often uses a mask, hiding deep feelings behind external extravagance, bravado and outrageousness.
Already in his early poems, both Pushkin's and Nekrasov's motifs make their way ("... And you know the land where the holidays are miserable ..."). Long before writing sensational, outrageous, ironic poems, the young poet, thinking about the conscientiousness of the artist, wrote the poem “I didn’t lie”, in which the line is repeated three times with a different word order: “I never lied to anyone.”
In the early poetry of I. Severyanin, there are many not only ironic and satirical poems that recreate the “suffocating vulgarity of life”, but also lyrical and lyrical-dramatic ones. Many of them conquer with their artless sincerity (“You will not return to me in a quiet dress made of chintz, / / In a dress joyfully miserable, like a penny flower”), unostentatious kindness and mercy “A girl was crying in the park: //... At a pretty swallow sweetheart is broken"), Christian compassion:
Spring apple tree, in non-melting snow.
Without a shudder, I can not see:
Humpbacked girl - beautiful, but dumb -
The tree trembles, clouding my genius...
And full of tenderness and affectionate longing, Fragrant kisses the petals.
The young poet in his poems sings of the complexities and mysteries of love:
She stood up on her toes
And gave me lips.
I kissed her wearily
In damp autumn silence.
And tears fell silently
In damp autumn silence.
Gus boring day - and it was boring.
Like everything that is not in a dream.
("Little Elegy")
He is concerned about the surrounding nature, for the description of which the poet finds many fresh comparisons, colors and associations:
Come out into the garden... How clear the weather is!
How shyly August faded!
Dissolved the coral elderberry,
And the amber hawthorn is sluggish.
Soon autumn will wrap in sleep
Warm garden, sprinkled with rain,
In the meantime - greenery around,
And above the serene blue ...
(Come out into the garden)
Rhythmically sonorous, lyrical poems of Severyanin are filled with sincere love for the Russian expanses dear to his heart. Such is his poem "Russian" (1910) with signs of rural life poetized by the author:
It's good to walk in the morning on oats,
See a bird, a frog and a wasp,
Listen to the sleepy bawler-rooster,
Exchange with a distant echo: "ha-ha-ha!"
The landscape lyrics of Severyanin sometimes acquire a philosophical orientation, revealing his views on the meaning of being:
To live for me is to inhale the lilac,
In the Epiphany snow strive for May,
Blessing the new day...
("Poems on a Rainy Day")
The theme of love and the theme of nature often form a single whole in the poet's poems, defining a joyful perception. lyrical hero variety of the world around him. The personification of this world is "spring" and "lilac" - the two main archetypes of Severyanin poetry. Spring, which awakens man and nature to life, and lilac, which acts as the brightest symbol of this awakening.
5. The first poetic collection of Severyanin "The Thundering Cup"
In March 1913, I. Severyanin's first collection of poetry came out of print. The poet called it a phrase from famous poem F. I. Tyutchev " spring thunderstorm- "The Thundering Cup", thus emphasizing the continuity of many of the poems placed in it with the classical tradition. The collection was enthusiastically received by the readership and by many famous poets - representatives of different trends. By 1915, The Thundering Cup had gone through nine reprints. So far, not a single poetic book has had such success in Russia.
big role in creative destiny Severyanin was played during these years by F. Sologub. “In 1912, I met Fyodor Kuzmich Sologub, who introduced me to the Petersburg literary world at a special evening in his salon on Razyezzhaya, the poet recalled. new star”) and an equally enthusiastic preface to my first book, The Thundering Cup.
F. Sologub called the appearance of I. Severyanin's book "unexpected joy". Explaining his thought, he wrote: “When a poet arises, the soul is excited ... I love the poems of Igor Severyanin ... I love them for their light, smiling origin. I love them because they were born in the bowels of the daring, fiery will of the intoxicated soul of the poet<…>Will to free creativity constitutes an unintentional and inalienable element of his soul, and therefore his appearance is truly an unexpected joy in the gray haze of the northern day.
Fascinated by the poems of the young poet, Sologub showed him paternal care and invited him on a trip around Russia - from Minsk to Kutaisi. This journey helped I. Severyanin to get to know the life of the country more deeply and to meet his readers.
N. Gumilyov regarded the release of the collection as a cultural event. In the article “Letters on Russian Poetry”, he wrote: “Igor Severyanin is really a real poet ... That he is a poet, he proves the richness of his rhythms, the abundance of images, the stability of the composition, his own, acutely experienced themes.”
Also curious is the reaction to the book by Severyanin Alexander Blok, who at first treated the poems of the author of The Thundering Cup very coolly. After reading the collection, Blok made the following entry in his diary: “I refuse many of my words, I underestimated him ... This is a real, fresh, childish talent.”
Indeed, many poems in the collection vividly, freshly and directly convey the joyful atmosphere of spring, flowering, and renewal of the world:
The soul sings and rushes into the field
I call all strangers on "you" ...
What space! What a will!
What songs and flowers!
("Autumn Day")
One of the main themes of the collection is the theme of love. It is revealed in a number of poems, many of which have become romances: “Don't fly away!”, “Sonata in the storm”, “Kenzel”, etc. They contain chivalrous admiration for female beauty and grace, poeticization of sensual passion. The poet depicts the love feeling not only of a man, but also of a woman (“Her monologue”), which speaks of him as a subtle connoisseur of the female soul.
A woman in the early poetry of Severyanin is the embodiment of sophistication, refinement, extravagance. To depict her, the poet finds bold, unexpected metaphors and epithets designed to emphasize the depth of feelings of the lyrical hero:
Your lips are charming novels!
Their ardor is fragrant, and bursts are so bold,
And so the nightingales shoot in the jasmine,
That kisses ^ waltz from - "Mirella" - Glide in the blood.
On the! dope! torture! intoxicate!
Ispchel, sorry with boiling lips!
Let it fly over the jasmine bushes
Queen Passion raging flame,
While the nightingales are shooting in the jasmine!
("Kenzel IX")
In the poem "In a limousine" (1910), the feeling of elegance and irresistibility of a young lady is expressed by the words: "She entered a motor limousine, / / Sketching passion in a correct gentleman."
The release of the collection "The Thundering Cup" made the name of I. Severyanin known throughout Russia. His poems are readily published by the largest newspapers and magazines; The “poetry concerts” that the author arranged were bursting with enthusiastic audiences, and portraits adorned both the boudoirs of secular ladies and the modest rooms of high school students. According to I. Bunin, Severyanin “was known not only by all high school students, students, female students, young officers, but even by many clerks, paramedics, salesmen, cadets”9. When in February 1918 the election of the king of poets took place in the crowded hall of the Polytechnic Museum, it turned out to be Igor Severyanin. The second place was taken by V. Mayakovsky, the third - by K. Balmont. This fact should not be taken too seriously (the tastes of the public, as you know, are capricious and changeable), but it is also impossible not to take it into account.
The extraordinary popularity of the poet was also facilitated by the fact that he himself read his poems. His first public performance took place in 1910, and then trips around the country began. Wherever Severyanin performed: in St. Petersburg, Moscow, Kharkov, Tiflis, Odessa, Rostov-on-Don, Kursk, Tver, Saratov, Minsk, Pskov ... His evenings gathered crowds of fans who threw flowers at their pet. “I know the thunder of applause / / Dozens of Russian cities,” the poet later admits. According to B. Pasternak, Severyanin "ruled the concert halls and made full collections with a full house."
Contemporaries who saw and heard his speeches said that he performed his poems in an emphatically detached way, without coming into contact with the public, read in a singsong voice, so that reading turned into singing. Having finished the performance, Severyanin quickly left the stage, not even deigning the audience with a glance, despite their enthusiasm. The poet did not always perform alone: in 1913, together with V. Mayakovsky and D. Burliuk, he made a tour of the Crimea and participated in poetic evenings with them.
6. Severyanin during the first world war
During the years of the First World War, Severyanin withdrew his soul into the realm of dreams, into the poetic "country of Mirrelia" he invented. The very name of this “country” is associated with the name of Mirra Lokhvitskaya. Mirrelia for the Severyanin is a world of romantic dreams, beauty, where he went from the vulgarities of life:
Mirrelia - a bright kingdom,
Land of lilies of the valley and swans.
Where there is neither sick nor medicine,
Where people are not like people.
Mirrelia - eternal Easter,
Where lips are attracted to lips.
Mirrelia is a marvelous tale,
told by me to you.
("Overture")
Leaving for the romantic "country of Mirrelia" did not mean the poet's detachment from life. Severyanin continues to write about the complexities of human relationships, the sorrows and joys of the world. ("Poetry about Gogland", "Poetry about people", "It's scary", "Poetry of a terrible life", etc.).
In 1914-1916, a number of new poetry collections by Severyanin were published - Zlatolira (1914), Pineapples in Champagne (1915), Poezoentrakt (1915), Unanswered Toast (1916) and others. In artistic terms, the works included in them are not equal. Criticism noted the well-known mannerism, extravagance, superficial sophistication of some of his works, the far-fetchedness of metaphors, epithets, such as: “dreams of the clarinet”, “champagne polonaise”, etc. His ocean “splashes like dessert, - quite nutmeg - lunelly”.
Of course, in order to maintain popularity, Severyanin involuntarily had to create some works for the needs of the public. Sometimes his poems have the character of a kind of lubok - deliberately naive, but colorful, exotically bright, leading into the world of dreams:
You dressed in the evening kiseino
And standing by the pool in the garden...
The ships anchored the bays:
Bring tropical fruits
They brought patterned fabrics,
Brought dreams of the ocean.
And when the Brazilian cruiser comes,
The lieutenant will tell you about the geyser...
He will tell about the lazori of the Ganges,
About the pranks of the evil orangutan,
About the cynical African dance
And about the eternal flyer - "Dutch".
Lubochnost was in the spirit of the times. Even more than poetry, it is inherent in the then painting: the paintings of Henri Rousseau, Pirosmani, early Picasso. Lubokost gave birth to festivity, brightness, joyful mood, and therefore many readers and viewers accepted it.
And yet, it is not popular print that determines the main thing in the work of Igor Severyanin. The dominant feature of his poetry is poetry, captivating with great lyrical feeling and mastery of form, which was noted by true connoisseurs of the artistic word. In 1916, V. Bryusov published a long article about Severyanin. Noting the well-known unevenness of his work, he at the same time emphasized: “... Igor Severyanin is a true poet ... This is a lyricist who subtly perceives nature and the whole world and knows how to characteristic features make you see what he draws. This is a true poet, deeply experiencing life and making the reader suffer and rejoice with himself with his rhythms. This is an ironist, keenly noticing the ridiculous and low around him and stigmatizing this in well-aimed satire. This is an artist who has discovered the secrets of verse and who consciously seeks to improve his instrument, "his lyre", speaking in the old way.
Really, the best works Severyanin are distinguished by great melodiousness, musicality and peculiar lyricism. His verse gravitated toward the romance and was often based on the catch-up and repetition inherited from Balmont. individual words and whole phrases, compound and internal rhymes, assonances and alliterations:
All the nests are in murmuring trouble,
All herbs in a diamond thrill ...
Clap your hands well, -
And the swans will rise to the sun!
("Justorg's Fantasy")
7. Features of Severyanin's poems
Many of his poems are characterized not only by a wide sound range and rhythmic richness, but also by virtuoso imagery. The poet’s contemporaries were also fascinated by the picturesqueness of Severyanin images and paintings: “the orange west turned pale”, “the night cradled the evening, laying it in the trees”, the old month limps like half a wheel”, “puddles drunk by frost”, “alosiz day”. Lemon-leaved forest // Draper trunks in a foggy tunic. He can call the wind “brilliant”, lilies of the valley - “white-tender”, etc.
Severyanin surprised his readers and listeners with an abundance of neologisms, which, despite their quirkiness (for example, “surprisets”, “grezerka”) basically did not violate the norms of the Russian language, and some of them took root in speech: “mediocrity”, “gloomy” etc. He loved compound words, verbs and nouns with prefixes "without" and "o". The poet willingly invented them and used them in his work: “dream farce”, “cunning eye”, “golden-jet”, “shield”, “shoe”, “catch”, “dreamlessness”, “hopelessness”, etc.
But the poet also selected fresh epithets for ordinary words, which also gave his works attractiveness and elegance: “on the trout river”, “you came in a chocolate cap”, “coniferous lines”, etc. I. Severyanin was the first among poets to use in poems, new words and concepts denoting the realities of the 20th century: “cinema”, “motorcycle”, “auto”, “airship”, “express”, “airplane”, etc.
Severyanin showed himself as an outstanding experimental artist in the field of verse form. He invented ten strophic forms: minionette, diesel, square of squares, etc. The poem “Square of Squares” can testify to the originality and virtuosity of the poetic forms created by Severyanin, in which the words of the first line of the first quatrain are repeated in the first line of the second, third and fourth quatrains , but in a different order. The same happens with the second, third and fourth lines:
I never want to talk about anything...
Oh believe! - I'm tired, I'm completely exhausted -
He was an executioner for years - the executioner does not soar ...
Like a beast strayed between poems and anxieties...
I never want to talk about...
I'm tired ... Oh, believe me! I'm completely exhausted...
The executioner was a year - do not soar the executioner ...
Lost, like a beast, between worries and poems ...
He actualized in Russian poetry such a type of verse as kenzel (a poem of three five lines).
While the Futurists were striving for zaum, Severyanin acted as a poet of exquisite general accessibility, although, as already mentioned, he also sometimes lacked artistic taste and flair in form and word creation: the poet’s early muse rushed between two extremes - the current fashion and striving for high harmony.
The poet was very skeptical about October revolution, not accepting bloodshed, cruelty, destruction from either side:
Today "red", and tomorrow "white" -
Ah, not matter! Ah, not the flowers!
People vile and brutalized,
I'm sick and tired of...
("Krasheshk")
8. Northerner in the 20-30s
At the beginning of 1918, Igor Severyanin, together with his sick mother, moved to live in the Estonian village of Toila. In February 1920, Estonia declared itself an independent republic, and the poet found himself outside the borders of his homeland, which became a real tragedy for him until the end of his life.
In December 1921, Severyanin married the poetess and translator Felissa Kruut, with whom they lived together for 15 years. Kroot the Northerner dedicated his best poems about love: “Different from others”, “What happiness”, “Overture”, etc.
Severyanin's poems of the 1920s and 1930s are filled with acute homesickness. He loved both Russia and Estonia. But he was not recognized either in bourgeois Estonia or in revolutionary Russia. It tore at his soul. In the poem "Weary in Soul" (1919), Severyanin writes:
My loneliness is full of hopelessness
There can be no exit for the soul from it,
I languish in the expectation of unrealizable tenderness,
I love subconsciously - I don’t know who.
At the time of fratricidal extermination, the Severyanin raises his voice in defense of a person, his life:
One person's life
Dearer and more beautiful than the world, -
he exclaims in the 1917 poem "Ballad XVI".
Comes new Age, "cruel and dry", rational. People live without poetry and do not feel the need for it. Moreover, the general anger made everyone hostage. All against each other: from the North, from the South, Friend and girlfriend - all against all! - he writes in a poem with the characteristic title "Are you people?". The humanist poet calls for mutual understanding, for mercy, for love:
Pity every patient
With all my heart, with all my soul,
And don't take it for someone else
No matter how alien he is.
Let the cripple reach out to you.
As to a good mother - a child;
Let in man man
He will see, flying to you with his heart.
And reassuring hopelessness,
Loving everything and forgiving everything,
Show such tenderness
To make the dying come alive!
("The Poetry of Compassion")
For the poet, love is the strongest of feelings, making a person a person, revealing to him the true joys of life, the path to the bright ideals of goodness and beauty.
Nightingales of the monastery garden,
Like all nightingales on earth,
They say that one is a consolation
And that this consolation is in love ... -
he writes in the poem “They all talk about the same thing” (1927), dedicated to the composer S. V. Rachmaninov.
The poet saw the possibility of achieving these ideals not in social struggle, but in faith. Severyanin's path to Orthodoxy was not easy: only at the end of the 20s did works appear in the poet's work in which religious motives sound:
Don't be ashamed, bow your knees
Give thanks in delight to heaven,
What do you see another lilac blossom
And you hear the birds of spring voices, -
he calls on his contemporaries in the poem “Do not be ashamed ...” His poems “The Second Coming”, “At the Monastic Sunset”, “Prayer”, “To the Bells”, “Earthly Sky” and others are colored with similar thoughts and moods.
In the 20-30s, the style of I. Severyanin's poetry changed significantly. Word-building extravagances almost completely disappear from his poems, giving way to classical simplicity and clarity. Severyanin expressed his poetic credo in the following words:
The greatness of the world is in the smallest.
The beauty of a song is in its simplicity.
The soul did not understand
Not crucified.
("Revival")
The main themes of his work of these years are man and nature, the theme of love, memories of the past, reflections on one's own destiny. Special place in his poetry, the theme of the lost Motherland occupies. “No, I’m not a refugee and I’m not an emigrant / / To you, parent, my Russian talent, / / And all my soul, all my thought is true / / To you, the country that doomed me to life, ”Severyanin wrote in 1939. According to the memoirs of the poet's daughter V. I. Anisimova, Severyanin once, together with F. Raskolnikov, the then plenipotentiary of the USSR in Estonia, went to the Soviet border and, wandering, ended up in some part of it on the territory of the USSR. Returning home, the poet brought with him a handful of Russian land, which he kept until the end of his days as an expensive talisman. His poems are imbued with longing for Russia and the hope of returning to their native lands:
I dream that the sky is from troubles
Deliverance will give the Russian land,
Because I am a Russian poet,
That's why I dream in Russian.
The works of Severyanin breathe with faith in the imminent resurrection of the beloved country, which more than once seemed to die, but nevertheless “reborn again”:
When the people were severely silent and, orphaned, blind from tears, by God's will she resurrected again - Like spring, Like the Sun, like Christ, - he writes about Russia in the poem "Pre-Sunday". The poet sees the source of the revival of Russia not in Western civilization, but in the inner spiritual strength of the people (“Poems about Moscow”, “The Cradle of a New Culture”). Severyanin always felt like a successor to the traditions of Russian classics.
The subject of the poet's special pride was that "that in the veins of the northern bard / / The blood of Karamzin flows." He really was a distant relative of N. M. Karamzin on the maternal side and declared himself as a poet-historian. This statement, at first glance, is paradoxical, and it is easy to regard it as another outrageous, because, strictly speaking, his work practically does not contain historicism as a worldview principle.
The "historicism" of I. Severyanin consists in something else - in the direct and open autobiography of many of his works. Perhaps none of the Russian poets showed the features of autobiography so clearly as in the work of Severyanin. In addition to poems, many of which are saturated with touches of his biography, the poet in the 1920s creates a unique genre form - lyrical poetic memoirs. These are the poems Falling Rapids (1922), The Dew of the Orange Hour (1923) and the autobiographical novels Bells of the Cathedral of Feelings, Leander's Piano<1923), повествующие «о времени и о себе», о детстве, юности, жизненном и творческом пути поэта.
Severyanin's life in Estonia was fraught with great material difficulties. In a letter to the Bulgarian writer S. Chukalov, he wrote: “For the second week we have been eating potatoes with large, crystals, salt ... Around the brutal bourgeois world and soul-killing indifference”1. The disgusting "muzzle" of this world is branded by the poet in his poems:
How do these people live.
What's on a pair of legs pass?
Drink and eat, eat and drink -
And in this life they find meaning ...
"They live for themselves" ... And the name Blok
For nicknames, mired in vile fornication -
Senseless, absurd syllable ...
In order to somehow improve his financial situation, the poet makes a number of tours abroad. He visited Warsaw, Sofia, Belgrade, Berlin, Paris. And everywhere his public performances enjoyed constant success. Nadezhda Teffi wrote about his speech in Paris on February 12, 1931: “It was an amazing evening! Wonderful! And his miracle was that people came, gathered in the hall, as much as he could accommodate, a poet stood on the stage. The poet spoke about tender love, about a fishing boat, about a girl with a light brown scythe, about perches and trout.
The audience came to listen to fanciful poems about liqueurs, silks and princesses, because the poet is Igor Severyanin, and the first stanzas of his new poems somehow surprised.
Then they stopped being surprised and followed him to the distant sea, to a quiet, poor and affectionate life. During the intermission they said:
- But it is much better than before!
Because it's simple.
Because he is gentle.
Because it's deep.
There were excited faces and eyes washed with a clear dream ... ".
Despite financial difficulties, Severyanin wrote a lot in the 1920s and early 1930s and acted as a translator. He introduced the Russian reader to Estonian poets, creating an anthology of Estonian poetry over a hundred years, from 1803 to 1903.
9. Late work of Severyanin
The collections of poems "Classic Roses" and "Medallions" became the most important in the later work of the poet. In the first of them, in addition to the theme of the homeland, the theme of love occupies a large place. The entire love cycle of this collection, consisting of 22 poems, tells the story of "a woman with melodious eyes" - Felissa Kruut. “You are not at all like other women, / / That is why you became my wife,” is the leitmotif of this cycle. The cycle about Kruut can be put on a par with the love lyrics of Dante and Petrarch, with F. Tyutchev's "Denisiev cycle", with "Poems about the Beautiful Lady", the cycles "Faina" and "Carmen" by A. Blok.
The collection of sonnets "Medallions" consisting of one hundred works is dedicated to cultural figures of different countries and times: Russian classic writers Pushkin, Nekrasov, Leskov and others; Western European cultural masters Byron, Beethoven, Shakespeare, Maupassant and others; contemporary writers Gorky, Mayakovsky, Shmelev, Kuprin, Yesenin, Akhmatova and others.
Playing with biographical moments, features of the creative manner, the titles of works, their individual lines, Severyanin lovingly recreates the appearance of one or another hero of his works, a cultural figure.
A special group is made up of "medallions", the characters of which are Severyanin's opponents and enemies. In them, the poet's sarcasm again brilliantly manifested itself, marked, however, by the subjectivity of assessments. So, he calls G. Ivanov "the capital's pshut", and speaks about Pasternak as follows: "When Pasternak strives to be a poet,// Misunderstanding makes sense."
The subject-semantic side of the "medallions" - lyrical images of cultural figures - is interconnected with expressive pathos, expressing the author's attitude to his characters. A feature of this connection is the combination in each work with the help of figurative linguistic means of several poetic worlds: the inner and artistic worlds of the hero of the sonnet, objective reality, i.e. the cultural context of the time in which the character acts, and the world of the author, who also appears as a poet. , and as a fan, or as a denier of the creativity of this or that artist.
So, in the sonnet "Dumas" the first part of it depicts the world of the author-reader ("Days of Childhood. Novgorod winter//Leaves of volumes, amber like leaves"), and in the second part the world of Dumas's characters is recreated ("Exciting commotion//Three Musketeers, the fate of Monte Cristia"), which interacts with the world of the author-reader and in whose imagination the features of Dumas' heroes are transferred to their creator ("You are chivalry, you are the valor of disinterestedness, / / The most brilliant Alexandre Dumas ..."). Other "medallions" are built in a similar way, which gives them liveliness and grace.
A characteristic feature of the "Medallions" is the clarity and aphorism of thought. The poet widely resorts to neologisms, inversion, trying to subordinate the development of poetic thought to the strict framework of the genre. The characteristics of artists in Severyanin's sonnets are vivid and impressive. Yesenin is a “pious Russian hooligan”, M. Kuzmin is a “pale brother of God”, Maupassant is a “tragic humorist// A crafty humanist, a humane womanizer”, A. Akhmatova is a “novice of the monastery of Love”.
There is in the collection "Medallions" and a sonnet dedicated to the Severyanin himself. It again attempts to open itself to readers, to change the opinion that has been created about it:
He is good in that he is not at all. What does the crowd think of him? These words can rightfully be put as an epigraph to the entire work of the poet.
In the 1930s, Severyanin was ill for a long time. But in his thoughts he was always in Russia and with Russia.
Year after year. And every year
Everything is relentless, everything is stronger
Nature draws me to itself
my great motherland,
he wrote in a 1936 poem "It's a shame for the Dnieper."
10. Death of a Severyanin
In 1935, Severyanin parted ways with Kruut. But the new marriage did not bring the poet peace of mind.
On the contrary, he is tormented by the consciousness of a perfect mistake, he tries to correct everything, but in vain. Failures befell him in the poetic field: his books are published in small print runs, practically do not bring a livelihood. He is forced to go to dachas and sell fish and autographed books of his poems. The health of the poet is deteriorating sharply. On December 22, 1941, in the first, hardest year of the war, I. Severyanin died in occupied Tallinn.
5 / 5. 1
Severyanin, Igor (real name and surname - Igor Vasilievich Lotarev), poet (May 16, 1887, St. Petersburg - 12/20/1941, Tallinn). Born into a noble family, his father was an officer, his mother was related to A. Fet. Igor did not receive higher education. His first poem appeared in print in 1905; it was followed by a large number of lyrical works, which at first bore signs of the influence of Konstantin Fofanov and Mirra Lokhvitskaya. In October 1911, Severyanin proclaimed the birth of a new eccentric trend in the poetry of ego-futurism; later, for some time, he was associated with cubo-futurists (see Russian Futurism). Much attention was attracted by the collection of poems by Severyanin Thunder-boiling goblet(1913), the preface to which was written by F. Sologub and which went through 7 editions within two years.
Geniuses and villains. Igor Severyanin
Not accepting the October Revolution, Severyanin emigrated to Estonia in mid-1918. Being an excellent performer of his poems, Severyanin from time to time organized “poetry evenings” in Helsinki, Danzig, Berlin, Paris, and in 1930/31 in Yugoslavia and Bulgaria. He kept aloof from immigrant groups and lived in the Estonian fishing village of Toila. As a poet in exile, he almost completely lost his readers and lived poorer every year, but until 1923 he managed to publish several collections in Berlin, then in Tartu, and in the early 30s. in Belgrade and Bucharest. The northerner translated many poems from Estonian. After the annexation of the Baltic states by the Soviet Union in 1940, Severyanin wrote a number of conformist poems, trying to adapt to the new political situation in the country.
Severyanin has a significant lyrical talent, but the provocative language of his poems, characteristic of the period of ego-futurism, along with enthusiasm, also caused sharp denial. Together with other futurists, Severyanin denied poetic traditions (Pushkin), demanded something new in all areas of art, loved public speaking and gravitated toward Bohemia. Nikolai Gumilyov said about Severyanin: "Of course, nine-tenths of his work cannot be perceived otherwise than as a desire for scandal." Collection Thunder-boiling goblet at first he was successful only among the intelligentsia, but soon made Severyanin a very favorite poet of a wide range of readers.
The starting point of Severyanin's lyrics is most often his own life; his poems are either descriptive or narrative. One way or another, his lyrics are connected with the theme of love, he wrote about the events of everyday life and never lost touch with nature.
The intelligible musicality of his poems, often with rather unusual metrics, side by side with Severyanin's love for neologisms. Severyanin's bold word creation creates his style. In these neologisms there is much of their own ironic alienation, hiding the true position of the author behind exaggerated word formation.
After the youthful revolutionary-futuristic poems of Severyanin, his poetry during the period of emigration gradually becomes more natural and traditional.
Igor Severyanin was born on May 4 (16), 1887 in St. Petersburg. He graduated from the 4th grade of a real school in Cherepovets. In 1904 he moved to his father in Dalniy (Manchuria). For some time he lived in Port Arthur.
Just before the start of the Russo-Japanese War, he returned to his mother in St. Petersburg.
The beginning of the literary path
The first poems of Igor Severyanin were created in childhood. The first publication appeared in 1905.
The early poems of the poet did not receive recognition from readers, critics, or his colleagues in the pen. L. N. Tolstoy, who got acquainted with the work of the novice poet, spoke about him rather derogatoryly. “And this is literature?!” exclaimed the great writer in annoyance.
creative flourishing
In 1911, I. Severyanin and I. Ignatiev founded a new trend in literature - egofuturism. A little later, the poet left the group of his associates. The breakup was scandalous.
The poet's first collection of poems was called "The Thundering Cup". He saw the light in 1913. The preface to it was written by a famous writer, F. Sologub.
In the autumn of the same year, Severyanin performed together with V. Mayakovsky. At the same time, he met S. Spassky and K. Paustovsky.
In 1918, after a brilliant performance at the Moscow Polytechnic Museum, he received the honorary title of "King of Poets". Mayakovsky and K. Balmont also fought for her.
Estonian emigration
A short biography of Igor Severyanin includes many dramatic moments.
The beginning of forced Estonian emigration dates back to the first half of March 1918. During the years of residence in Estonia, the poet published several collections of poems and four autobiographical poetic novels. Severyanin also translated Estonian poetry into Russian, worked on a major study, The Theory of Versification.
In the first years of emigration, the poet traveled a lot to European countries.
Personal life
Before emigration, Igor Severyanin was in an unregistered marriage with the artist M. Volnyanskaya. The owner of a beautiful rich voice, she performed gypsy romances.
In 1921 the poet broke up with his "civilian" wife and married F. Kruut. For the sake of the Severyanin, she, a zealous Lutheran, converted to Orthodoxy. Until 1935, the wife was not only a muse, but also a real guardian angel of Igor Vasilyevich. Thanks to her, his talent did not wither in exile. The verses became clearer, acquired a classical simplicity.
Severyanin had a lot of literary muses. He dedicated his works to E. Gutsan, A. Vorobyeva, E. Novikova, the famous fiction writer T. Krasnopolskaya.
The loving poet's relationship with women was not only platonic. Already married to F. Kruut, he entered into a romantic relationship twice while touring Europe. The most painful for both spouses was Severyanin's romance with E. Strandell. She was the wife of a grocery store owner and depended on her to provide provisions on credit.
In this marriage, two children were born. The daughter, V. I. Semenova, was born in St. Petersburg, but later left for Estonia, where she died in 1976. The son, Vakh Igorevich, lived in Sweden until 1944.
Poets death
Igor Severyanin's health was rather weak. He died in 1941, in Tallinn, during the Nazi occupation. The cause of the poet's death was a heart attack.
Other biography options
- The real name of I. Severyanin is Lotarev. According to colleagues in the pen, the early work of the poet is full of self-praise and populism.
- The doctor of medical sciences, N. Elshtein, believed that the poet suffered from a severe form of tuberculosis. The phenomenon of this pathology is that at a certain stage, patients become incredibly amorous.
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Igor Severyanin (pseudonym of Igor Vasilievich Lotarev) (1887-1941) was born in St. Petersburg, the son of an officer. He studied at the Cherepovets real school. He began to publish in 1905 in provincial newspapers. His first collection of poems, The Lightning Lightning of Thought, was published in 1908. Since 1911, he was the head of the ego-futurists who published the newspaper Petersburg Herald. Books of poems by Severyanin: "The Thundering Cup" (1913) withstood seven editions in two years), "Zlatolira" (1914), "Pineapples in Champagne" (1915), "Victoria Regia" (1915), "Poezoantrakt" (l915). At an evening at the Polytechnic Museum in Moscow, he was proclaimed by the public as the "King of Poets". The second was Mayakovsky. In March of the same year he left for Estonia and soon found himself cut off from his homeland. He never returned to Russia, although he yearned for her. He failed, despite his ardent desire, to escape to his homeland in June 1941, when Estonia was captured by Nazi troops. He died in Tallinn.
The Severyanin (Igor Vasilyevich Lotarev) was proud of his kinship with two famous people in the history of Russian literature.
The poet's friend, priest Sergius Polozhensky, brought the Shenshin family from the depths of the 15th century, calling it the ancestor of Samuil "Shenshu". In this glorious noble family we find Major Boris Shenshin in the 18th century. His grandson Sergiy Leontievich Shenshin had the rank of collegiate assessor and served as the chief of police of the Shchigrovsky district of the Kursk province, and his son, Stepan Sergeyevich, is known to us as the leader of the district nobility. He was married to Olga Kozminichna Deberina. The marriage was successful. Six children were born: sons - Iosaf (lieutenant), Nikolai (hussar), Mikhail (died hunting in his youth), daughters - Alexandra, Elizabeth and Natalia.
A wealthy landowner, captain Afanasy Neofitovich Shenshin, when he was in Germany, married the widow Charlotte Fet (Foeth), née Becker. Afanasy Afanasyevich, the future poet, was born from a marriage with Charlotte. Until the age of 14, Athanasius was written by Shenshin, but it suddenly turned out that the Lutheran blessing for marriage in Russia had no legal force, and the Orthodox wedding of his parents took place after his birth. From that moment on, he began to bear the name of his mother.
But let's get back to Natalya Stepanovna Shenshina, whose first marriage was to Lieutenant General, engineer Georgy Ivanovich Domontovich, from whom she had a daughter, Zoya, who died in her youth. It was Zoya who was the link that connected Igor Vasilyevich Lotarev with the Domontovich family. Through kinship with Zoya, the poet was in property (not consanguinity through marriage or marriage) with several well-known people in the history of the Russian state at once. Here are some of them - the brothers of Georgy Domontovich: the vowel of the St. Petersburg Duma Ivan Ivanovich Domontovich, the senator Konstantin Ivanovich Domontovich, General Mikhail Alekseevich Domontovich (cousin). Igor Severyanin. Poems. M. Russia, 2007. Entry. article by V.P. Koshelev, p. 7
Senator Konstantin Domontovich was married to Adelaide Konstantinovna Muravinskaya, whose sister Evgenia Konstantinovna Muravinskaya became famous throughout Russia as a soloist of the Mariinsky Theater (coloratura soprano). Her stage name was Mravina, and the roles were Manon Lescaut in Manon by J. Massenet, Gilda in Rigoletto and Violetta in G. Verdi's La Traviata, Mimi in D. Puccini's La Boheme. One of the most brilliant beauties of St. Petersburg, Evgenia Mravina, died in the Crimea after a severe and prolonged illness in October 1914. Igor-Severyanin dedicated the essay "The Tragic Nightingale" to Mravina. By the way, in the note "Relatives and" -chki "" the poet stubbornly calls her Muravinsky, although, according to the widow of the conductor Evgeny Mravinsky A.M. Vavilina-Mravinsky, the spelling of the family name "Mravinsky" in the form the poet can only be explained by wrong perception by ear.
The daughter of cousin Mikhail Alekseevich Domontovich was Shurochka, known to us as Alexandra Mikhailovna Kollontai. Kuzina Shurochka became famous for her advanced views on sex and marriage, took part in the revolutionary movement and was the first woman in the world to receive the rank of ambassador. In the 1920s, among the Russian emigration, there were rumors about her that with her outfits, furs and diamonds she overshadowed royalty. Alexandra Mikhailovna remains perhaps the most mysterious woman in Soviet Russia. It is said that until a very old age, she drove men crazy. However, for us it does not matter at all, because she is dear to us only by the memory of the poet, in which he appears before us "a little boy with a white collar and not childishly sad eyes."
The paternal line seems to us less ramified, although here there are names worthy of mention. Vasily Petrovich Lotarev rose to the rank of staff captain. After retiring, he tried to do business in his homeland, but was extremely unsuccessful and ended up in China, who knows how. At that time, the Russian army was settling in the ports of Dalniy (Dalian) and Port Arthur (Luishun). Vasily Petrovich, obviously, participated in some kind of army supplies, but not for long - illness prevented him. He died of consumption in Yalta on June 10, 1904.
The paternal family included merchants, engineers, chemists and lawyers. Of interest to us is the cousin of the future poet Viktor Alexandrovich Zhurov, the son of Elisaveta Petrovna Lotareva and the Moscow merchant Alexander Irodionovich Zhurov, a graduate of the law faculty of Moscow University. Zhurov is better known as the baritone Vittorio Andoga. Tradition says that he even became a director at the famous La Scala theater in Milan. The cousin was married to Natalia Fesenko from Odessa, known to us as the opera singer Aida Marchella.
It was written almost a quarter of a century later, but how excellently good and still fresh are the "eyes, melting at the bottom of their ecstasies." Without any doubt, Elizabeth always made a strong impression on her cousin. It suffices to find in the "Thunder-boiling Cup" the poem "Excessive Woman", in which the poet admits: "I did not see a cousin in a cousin, and it is hardly my fault."
Igor-Severyanin did not leave us his biography, but there are many interesting details in the childhood poem "The Dew of the Orange Hour". The text of the poem is now available, which eliminates the need to retell them, so I will mention only those that directly relate to the poet's parents.
The poet tells about his father that he was from the Vladimir philistines by origin. Vasily Lotarev, together with his brother Mikhail, spent his childhood and adolescence in one of the German pensions in Revel. He studied in St. Petersburg at the Engineering School (Mikhailovsky or Engineering Castle), having received an engineering specialty - a sapper and an officer's rank, was accepted into service in the 1st railway battalion (later a regiment). My father was well-read, knew several languages, loved the theater. Of officer entertainment, he preferred orgies and revels, had an increased weakness for the female sex.
Mother, according to the poet, until the age of twenty-two had no idea what a kitchen was. In her youth, the future Chairman of the Council of Ministers, Boris Shtyurmer, wooed her, but she married Lieutenant General Georgy Domontovich, who was much older than her. The husband took part in the construction of the Admiralty in St. Petersburg and the Trinity Bridge across the Neva. His family, however, had nothing to do with Hetman Dovmont, as Igor-Severyanin believed. The acquaintance of the general's widow, Domontovich, and adjutant Vasily Lotarev took place in the Gorna cafe in Mayorengof. Their son Igor was born on May 4 (old style) 1887 in St. Petersburg, in a house on Gorokhovaya Street.
The work of Severyanin also reflected such episodes of his childhood as mother's stories about the friends of her first husband. The poem contains a story about how Lieutenant General Domontovich played weekly screw with four admirals von Berents, Kroun, Dugamel and Puzino. All four characters are undoubtedly real historical figures. For example, the name of Rear Admiral Orest Polikarpovich Puzino is often found in Russian maritime literature, and two capes were named after Alexander Yegorovich Kroun at the end of the 19th century: the first on the Korean Peninsula in the Sea of Japan, the second in the Bering Sea in Providence Bay.
A reference to the poems of the poetess Maria (Mirra) Alexandrovna Lokhvitskaya, who died at the age of 36, will help to better understand the origin of these "dreams". “She died in August 1905, and the poet never knew her personally, but he chose her as his Beautiful Lady, he worshiped her, praised her in verse” Pinaev S.M. Above the bottomless pit into eternity... Russian poetry of the Silver Age. M.: Unicum-Center, Pomatur, 2001
In the poetry of the "Silver Age" it is difficult to find a more vivid example of the worship of one poet to another than the worship of Igor the Severyanin Mirra Lokhvitskaya. He devoted many poems to Lokhvitskaya, and many times used her motives in his poems. Igor-Severyanin, however, never thought about the fact that Maria Alexandrovna Lokhvitskaya, so dear to his heart, was possessed by demonomania, and in a severe form. He simply followed her, obeying her call: "Follow me, tired of the yoke of doubt! You who drink greedily from the muddy wave."
The poet began to openly bow before Mirra Lokhvitskaya only after almost five years, although he later claimed that the beginning was laid in August 1905 immediately after her death: "Your voice, unabsorbed by me, is familiar to me"; "And truthful, and innocent, and beautiful! .. She died, hurting us ...". He brought flowers to her grave, swore love, celebrated her birthday in November, came to the cemetery in May on his birthday, asked her for advice, took her lines as epigraphs to his poems.
But despite the abundance of verses dedicated to Mirra Lokhvitskaya, the poet did not leave us an exact indication of the specific reasons for his prayerful attitude towards her: "Only to a poet she is dear, only to a poet she shines like a star!" must be endowed with real talents and unearthly beauty in life. But the case of worshiping Mirra Lokhvitskaya somehow does not fit into the standard beautiful lady's dimensions:
I put Lokhvitskaya above all:
And Byron, and Pushkin, and Dante.
I myself shine in the rays of her talent.
Before talking about the poet's work, it is necessary to talk about his unusual literary pseudonym. The form of the literary pseudonym chosen by Igor Lotarev, even for Russian literature rich in all sorts of delights, seems rather unusual. I always adhere to the rule of writing it with a hyphen, not separating it like a first and last name, for the simple reason that he himself came up with it. It's wild to read literary articles and journalism, in which the poet is called Igor Vasilyevich Severyanin.
Pre-revolutionary criticism and journalism, together with publishers, could not come to terms with the hyphen in the pseudonym and stubbornly reproduced the pseudonym in the form of a first and last name. “The first 15 brochures and two separate poems, published by the poet at his own expense, are signed by his civil name - Igor Lotarev” Site information http://severyanin.narod.ru/
Another 20 small collections of poems were already published under the pseudonym "Igor-Severyanin". The first major publisher of Igor Lotarev's poems, Sergei Krechetov - "Vulture" * categorically opposed writing a pseudonym with a hyphen. "The Loud-boiling Cup", "Zlatolira" in the Grif edition, as well as the subsequent collections "Pineapples in Champagne" and "Victoria Regia" in the publishing house "Our Days" were published without a hyphen. The well-known publisher Vikentiy Pashukanis, who published the collected works of the poet, did not find it possible to reproduce the hyphen. Nevertheless, in Pashukanis's "Thunder-boiling Cup" there was a photograph of the author with a reproduced autograph "Igor-Severyanin".
In the editions of the Estonian time, there is a discrepancy. So, in the early Estonian editions of "Creme des Violettes", "Vervain", "The Dew of the Orange Hour", "The Bells of the Cathedral of Feelings", the pseudonym is reproduced in the author's spelling, and in the Berlin editions of the same period and in later Estonian editions, the hyphen in it again disappears .
The manuscript of the unpublished collection "Lyrika" with poems of 1918-1928 - the pseudonym on the cover is written out with a hyphen. The same picture in the manuscripts "Tuning the lyre", "Timpani of the sun", "Medallions". The prefaces to both of Rannita's books are signed with the pseudonym "Igor the Severyanin". All known autographs of the poet, with the exception of the one referred to by V. Ilyashevich *, contain a hyphen in the spelling of the pseudonym. On the books given to my wife* and in letters to her, in letters to Georgy Shengeli, in letters to Irina Borman*, one can see an abbreviated form of the pseudonym "Igor. -" Now I open two of the most important documents - two wills, one of which is dated March 9, 1940 year, and the other on October 20 of the same year. In both documents we find a signature in the form of a full pseudonym with the addition of the civil name of the poet: "Igor-Severyanin. (Lotarev)". Such is the "late Severyanin without a hyphen."
He became the founder of ego-futurism, in addition to mere futurism, proclaiming the cult of individualism, towering over the faceless crowd of ordinary people. But this pleasantly tickled the vanity of the townsfolk themselves. With futurism, Mayakovsky Severyanin was united by shocking mischief, contempt for militaristic patriotism and a mockery of the musty artificial world of deadly boring classicists. However, the bourgeoisie, which Severyanin teased and mockingly teased with ridicule, became his main admirer. At a poetry evening at the Polytechnic Museum, Severyanin was elected the King of Poets, despite the presence of Blok and Mayakovsky. The northerner enjoyed introducing into poetry such then new words as "cinema", "auto", and invented a bunch of parlor-technical neologisms. His bizarre grandiloquence sometimes sounded like self-parody. He never hesitated to call himself a genius, but in everyday life he was very simple. Young Antokolsky was shocked when Severyanin, in his presence, ordered in a restaurant not "pineapples in champagne", not "lilac ice cream", but a bottle of vodka and a pickle. For all his "reverie" Severyanin is a very Russian, provincial-theatrical phenomenon. But on the other hand, he has one quality of a real poet - you can never confuse his poems with anyone. When Severyanin emigrated, the émigré writers, not as famous as he, took vengeance on him for his fame with their arrogance, lordly disdain, which Severyanin himself never had. Removed from the list of "real poets," Severyanin found himself all alone in Estonia, and after its annexation, he wrote an ode saluting, in the style of his early neologisms, the "sixteen-republic Union." It was not a political poem, but rather a nostalgic one. The northerner was happy before his death, having received a letter from his admirers from somewhere in Altai. He did not even suspect that his name in the Stalinist USSR was overgrown with legends, and his poems were copied by hand. But he foresaw this in his bitter paraphrase of Myatlev: "How good, how fresh will be the roses of my country thrown into my coffin!" A flirtatious talent, artificial in a way. But his flirtatiousness is irresistibly charming, and his artificiality is the most natural. According to a well-known expression, many tragedies end in farce. In the case of Severyanin, the farce turned into a tragedy.
Turning directly to the analysis of the work of the ego-futurist, it should be noted that Igor-Severyanin's favorite poetic forms were the sonnet and rondo, although he also invented such forms that were unknown to the art of versification before him: minionette, diesel, kenzel, sexta, rondolet, roll, overflow , splash, quintine, square of squares.
He often named his poems after the names of musical genres and forms: "Overture", "Rondo", "Intermezzo", "Sonata", "Introduction", "Prelude", "Ballad", "Fantasy", "Romance", "Improvisation". ", "Leitmotif", "Canon", "Dithyramb", "Hymn", "Elegy", "Symphony", "Duet of Souls", "Quartet" M. Petrov. A glass of forgiveness.//http://www.hot.ee/interjer/bocal/bocal-0.html. Konstantin Fofanov has several nocturnes, but Igor-Severyanin has more - 9 pieces in the first five collections of poems. The poet's favorite musical form is the song: "Song", "Chanson russe", "Chanson coquette", "Chansonette of the maid", "Brindisi" (Italian drinking song), "Epitalama" (wedding song), "Serenade". There are also lullabies - "Berceus lilac", "Crimson berceus", "Berceus languor". Igor-Severyanin paid tribute to the dance: "Champagne Polonaise", "Habanera", "Cadrillon" (from quadrille - pair dance), "Waltz", "Dance of May", "Foxtrott". By the way, he did not like the foxtrot and called it a vertical bed.
The thirty years between his literary debut (1905) and emigration (1918) were years of storm and stress for Severyanin. Before the release of The Loud-Boiling Cup (1913) - the first book - I. Severyanin published 35 brochures with poems, created the "Academy of Egopoetry" and the literary direction of egofuturism, performed with numerous "poetry concerts" in all corners of the Russian Empire, caused ridicule and scolding of critics and delights of crowded audiences. Self-promotion, posture, triviality veiled with irony - none of these or other qualities, however, could affect the judgments of serious criticism. V. Bryusov saw in I. Severyanin "a true poet, deeply experiencing life." Gumilyov, who was skeptical of ego-futuristic innovation, admitted: "Of all those who dare ... Igor Severyanin is perhaps the most interesting of all: he dares the most" Pinaev S.M. Above the bottomless pit into eternity... Russian poetry of the Silver Age. M.: Unicum-Center, Pomatur, 2001
From the beginning of 1918, the poet settled in the quiet Estonian village of Toila. Beginning in 1921, he resumed his "poetry concerts", performed poetry readings in Estonia, Latvia, Lithuania, Poland, Yugoslavia, Bulgaria, Romania, Germany, France, and Finland. In total, he appeared before the audience even more than at the time of his "boiling" success in Russia. How much - nibul significant funds "poezoconcerts" did not bring. In one of his emigrant letters we read: "Everything that I earn goes to pay off the debt. We literally do not allow ourselves anything ..." Trips, however, were episodic. “So, I’m sitting in the wilderness, completely renouncing “cultural” temptations, among nature and love,” Severyanin wrote about his everyday life.
The myth about the elimination of I. Severyanin from emigration was repeated more than once. But his numerous performances before an émigré audience testify otherwise. In exile, the poet works tirelessly. His poems are published in many Russian newspapers - in Harbin, Paris, Tallinn, Riga, Kovno, Berlin. More than 20 of his books were published in exile, including collections of translations. A significant number of poems have not yet been published.
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