Sections of the site
Editor's Choice:
- Ultrasonic oscillatory system Analysis of hazardous and harmful production factors
- Amorphous materials: their properties, application in modern technology, methods of production
- Topology on the fingers Topology of the human body
- Methods of separation and concentration Methods of separation and concentration in pharmaceutical chemistry
- Buryat State University
- Siberian Institute of International Relations and Regional Studies (simoir): address, faculties, practice and employment
- The best books on economics and finance for beginners and professionals “Undercover Economist”, Tim Harford
- Tax received from abroad
- Choosing a university and training format
- Graphic patterns as the basis of a trading system
Advertising
Teffi years of life. Nadezhda Teffi biography and creativity. Brief biography of Nadezhda Alexandrovna Lokhvitskaya. last years of life |
Nadezhda Aleksandrovna Lokhvitskaya was born on April 24 (May 6), 1872 in St. Petersburg (according to other sources in the Volyn province) in the family of lawyer Alexander Vladimirovich Lokhvitsky (1830-1884). She studied at the gymnasium on Liteiny Prospekt. In 1892, after the birth of her first daughter, she settled with her first husband, Vladislav Buchinsky, on his estate near Mogilev. In 1900, after the birth of her second daughter Elena and son Janek, she separated from her husband and moved to St. Petersburg, where she began literary career. Published since 1901. In 1910, the first book of poems, “Seven Lights,” and the collection “Humorous Stories” were published by the publishing house “Rosehipnik.” She was known for her satirical poems and feuilletons, and was a member of the permanent staff of the Satyricon magazine. Teffi's satire was often very original; Thus, the poem “From Mickiewicz” of 1905 is based on the parallel between Adam Mickiewicz’s well-known ballad “The Voevoda” and a specific, recent topical event. Teffi’s stories were systematically published in such authoritative Parisian newspapers and magazines as “The Coming Russia”, “Link”, “Russian Notes”, “Modern Notes”. Nicholas II was a fan of Teffi, and sweets were named after Teffi. At Lenin’s suggestion, stories from the 1920s, which described the negative aspects of emigrant life, were published in the USSR in the form of pirated collections until the writer made a public accusation. After the closure of the newspaper in 1918 Russian word", where she worked, Teffi went to Kyiv and Odessa with literary performances. This trip brought her to Novorossiysk, from where in the summer of 1919 she went to Turkey. In the fall of 1919 she was already in Paris, and in February 1920 two of her poems appeared in a Parisian literary magazine, and in April she organized a literary salon. In 1922-1923 she lived in Germany. From the mid-1920s she lived in a civil marriage with Pavel Andreevich Thixton (d. 1935). She died on October 6, 1952 in Paris, two days later she was buried in the Alexander Nevsky Cathedral in Paris and buried in the Russian cemetery of Sainte-Genevieve-des-Bois. She was called the first Russian humorist of the early 20th century, the “queen of Russian humor,” but she was never a supporter of pure humor, always combining it with sadness and witty observations of the life around her. After emigrating, satire and humor gradually ceased to dominate her work, and her observations of life acquired a philosophical character. NicknameThere are several options for the origin of the nickname Teffi. The first version was set out by the writer herself in the story “Pseudonym”. She didn't want to sign her texts male name, as contemporary writers often did: “I didn’t want to hide behind a male pseudonym. Cowardly and cowardly. It’s better to choose something incomprehensible, neither this nor that. But what? We need a name that would bring happiness. The best name is the name of some fool - fools are always happy.” She "remembered<…>one fool, truly excellent and, in addition, one who was lucky, which means that fate itself recognized him as an ideal fool. His name was Stepan, and his family called him Steffy. Having dropped the first letter out of delicacy (so that the fool would not become arrogant),” the writer “decided to sign her play “Taffy.” After the successful premiere of this play, in an interview with a journalist, when asked about the pseudonym, Teffi replied that “this is... the name of one fool... that is, such a surname.” The journalist noted that he was “told it was from Kipling.” Teffi, who remembered Kipling’s song “Taffy was a walshman / Taffy was a thief...” (Russian: Teffi from Wales, Teffi was a thief), agreed with this version.. The same version is voiced by the researcher of creativity Teffi E. Nitraur, indicating the name of an acquaintance of the writer as Stefan and specifying the title of the play - “The Women's Question”, and a group of authors under the general leadership of A. I. Smirnova, attributing the name Stepan to a servant in the Lokhvitsky house. Another version of the origin of the pseudonym is offered by researchers of Teffi’s creativity E.M. Trubilova and D.D. Nikolaev, according to whom the pseudonym for Nadezhda Alexandrovna, who loved hoaxes and jokes, and was also the author of literary parodies and feuilletons, became part of literary game aimed at creating an appropriate image of the author. There is also a version that Teffi took her pseudonym because under her real name Her sister, the poetess Mirra Lokhvitskaya, who was called the “Russian Sappho,” was published. CreationBefore emigrationSince childhood, Teffi has been interested in classical Russian literature. Her idols were A.S. Pushkin and L.N. Tolstoy, she was interested in modern literature and painting, was friends with the artist Alexandre Benois. Teffi was also greatly influenced by N.V. Gogol, F.M. Dostoevsky and her contemporaries F. Sologub and A. Averchenko. Nadezhda Lokhvitskaya began writing as a child, but her literary debut took place only at the age of thirty. Teffi’s first publication took place on September 2, 1901 in the magazine “North” - it was the poem “I had a dream, crazy and beautiful...”. Teffi herself spoke about her debut like this: “They took my poem and took it to an illustrated magazine without telling me a word about it. And then they brought me an issue of the magazine where the poem was published, which made me very angry. I didn’t want to be published then, because one of my older sisters, Mirra Lokhvitskaya, had been publishing her poems with success for a long time. It seemed to me something funny if we all delved into literature. By the way, that’s how it happened... So - I was unhappy. But when the editors sent me a fee, it made the most gratifying impression on me.” In 1905, her stories were published in the supplement to the Niva magazine. During the years of the First Russian Revolution (1905-1907), Teffi composed topical poems for satirical magazines (parodies, feuilletons, epigrams). At the same time, the main genre of all her work was determined - a humorous story. First in the newspaper “Rech”, then in “Birzhevye Novosti” every Sunday issue Teffi’s literary feuilletons are published, which soon brought her all-Russian love. In pre-revolutionary years, Teffi was very popular. She was a regular contributor to the magazines “Satyricon” (1908-1913) and “New Satyricon” (1913-1918), which were headed by her friend A. Averchenko. The poetry collection “Seven Lights” was published in 1910. The book went almost unnoticed against the backdrop of the resounding success of Teffi's prose. In total, before emigrating, the writer published 16 collections, and throughout her life - more than 30. In addition, Teffi wrote and translated several plays. Her first play, “The Women's Question,” was staged by the St. Petersburg Maly Theater. Her next step was the creation in 1911 of a two-volume book “Humorous Stories”, where she criticizes philistine prejudices, and also depicts the life of the St. Petersburg “demimonde” and the working people, in a word, petty everyday “nonsense”. Sometimes the author comes across representatives of the working people with whom the main characters come into contact; these are mostly cooks, maids, painters, represented as stupid and senseless creatures. Everyday life and routine are noticed by Teffi evilly and accurately. She prefaced her two-volume work with an epigraph from Benedict Spinoza’s “Ethics,” which accurately defines the tone of many of her works: “For laughter is joy, and therefore in itself is good.” In 1912, the writer created the collection “And So It Became”, where she describes not the social type of the tradesman, but shows the ordinariness of gray everyday life, in 1913 - the collection “Carousel” (here we see the image of a common man, crushed by life) and “Eight Miniatures”, in 1914 - “Smoke without Fire”, in 1916 - “Life-Being”, “Inanimate Beast” (where the writer describes the feeling of tragedy and trouble in life; the positive ideal for Teffi here are children, nature, people). The events of 1917 are reflected in the essays and stories “Petrograd Life”, “Managers of Panic” (1917), “Trading Rus'”, “Reason on a String”, “Street Aesthetics”, “In the Market” (1918), feuilletons “Dog Time” ", "A little about Lenin", "We believe", "We waited", "Deserters" (1917), "Seeds" (1918). At the end of 1918, together with A. Averchenko, Teffi left for Kyiv, where their public performances were to take place, and after a year and a half of wandering around the Russian south (Odessa, Novorossiysk, Yekaterinodar) she reached Paris through Constantinople. Judging by the book “Memoirs”, Teffi did not intend to leave Russia. The decision was made spontaneously, unexpectedly for her: “The trickle of blood seen in the morning at the gates of the commissariat, the slowly creeping trickle across the sidewalk cuts the road to life forever. You can't step over it. We can't go any further. You can turn and run." Teffi recalls that she was still hopeful of a quick return to Moscow, although she had determined her attitude towards the October Revolution long ago: “Of course, it wasn’t death that I was afraid of. I was afraid of angry mugs with a flashlight pointed directly at my face, of stupid idiotic anger. Cold, hunger, darkness, the sound of rifle butts on the parquet, screams, crying, gunshots and the death of others. I'm so tired of all this. I didn't want this anymore. I couldn't take it anymore." In exileTeffi's books continued to be published in Berlin and Paris, and exceptional success accompanied her until the end of her long life. In exile, she published more than a dozen books of prose and only two collections of poetry: “Shamram” (Berlin, 1923) and “Passiflora” (Berlin, 1923). Depression, melancholy and confusion in these collections are symbolized by the images of a dwarf, a hunchback, a crying swan, a silver ship of death, and a yearning crane. . In exile, Teffi wrote stories depicting pre-revolutionary Russia, the same bourgeois life that she described in collections published in her homeland. The melancholic title “So We Lived” unites these stories, reflecting the collapse of emigration hopes for a return to the past, the complete futility of an unattractive life in a foreign country. In the first issue of the newspaper “Last News” (April 27, 1920), Teffi’s story “Ke fer?” was published. (French: “What to do?”), and the phrase of his hero, the old general, who, looking around the Parisian square in confusion, mutters: “All this is good... but que faire? Fer-to-ke?”, became a kind of password for those in exile. The writer was published in many prominent periodicals of the Russian emigration (“Common Cause”, “Renaissance”, “Rul”, “Segodnya”, “Link”, “Modern Notes”, “Firebird”). Teffi published a number of books of stories - “Lynx” (1923), “The Book of June” (1931), “About Tenderness” (1938) - which showed new facets of her talent, as well as plays of this period - “Moment of Fate” 1937, “Nothing of the kind” "(1939) - and the only attempt at a novel - "An Adventure Romance" (1931). But his best book she was reading a collection of short stories called The Witch. The genre of the novel, indicated in the title, raised doubts among the first reviewers: the discrepancy between the “soul” of the novel (B. Zaitsev) and the title was noted. Modern researchers indicate similarities with an adventurous, picaresque, courtly, detective novel, as well as a mythical novel. In Teffi's works of this time, sad, even tragic motives noticeably intensify. “They were afraid of the Bolshevik death - and died here. We only think about what is there now. We are only interested in what comes from there,” says one of her first Parisian miniatures, “Nostalgia” (1920). Teffi will only change her optimistic outlook on life in old age. Previously, she called 13 years her metaphysical age, but in one of her last Parisian letters a bitter note slips through: “All my peers are dying, but I am still living for something...”. Second World War found Teffi in Paris, where she remained due to illness. She did not collaborate in any publications of the collaborators, although she was hungry and in poverty. From time to time she agreed to give a reading of her works to the emigrant public, which became smaller and smaller each time. In the 1930s, Teffi turned to the memoir genre. She creates autobiographical stories“First visit to the editorial office” (1929), “Pseudonym” (1931), “How I became a writer” (1934), “45 years” (1950), as well as artistic essays - literary portraits famous people whom she happened to meet. Among them are G. Rasputin, V. Lenin, A. Kerensky, A. Kollontai, F. Sologub, K. Balmont, I. Repin, A. Averchenko, Z. Gippius, D. Merezhkovsky, L. Andreev, A. Remizov, A. Kuprin, I. Bunin, I. Severyanin, M. Kuzmin, V. Meyerhold. When creating images of famous people, Teffi highlights any trait or quality that seems to her the most striking, emphasizing the individuality of a person. The originality of literary portraits is due to the author’s intention to “tell... simply as about living people, to show how I saw them when our paths intertwined. They have all already left, and the wind is covering their earthly footprints with snow and dust. They have written and will write more and more about the work of each of them, but not many will show them as living people. I want to talk about my meetings with them, about their characters, quirks, friendships and enmities." Contemporaries perceived the book as “almost the best of what this talented and intelligent writer has given us so far” (I. Golenishchev-Kutuzov), as “an epilogue to a past and irrevocable life” (M. Tsetlin). Teffi planned to write about the heroes of L.N. Tolstoy and M. Cervantes, who were ignored by critics, but these plans were not destined to come true. On September 30, 1952, Teffi celebrated her name day in Paris, and just a week later she died. In the USSR, Teffi began to be reprinted only in 1966. BibliographyPublications prepared by Teffi
Pirate editions
Collected works
Other
CriticismTeffi's works were treated extremely positively in literary circles. The writer and contemporary of Teffi, Mikhail Osorgin, considered her “one of the most intelligent and sighted modern writers.” Ivan Bunin, stingy with praise, called her “clever and wise” and said that her stories, truthfully reflecting life, were written “great, simply, with great wit, observation and wonderful mockery.” Although Teffi’s poems were scolded by Valery Bryusov, considering them too “literary,” Nikolai Gumilyov noted about this: “The poetess speaks not about herself and not about what she loves, but about what she could be, and about that she could love. Hence the mask she wears with solemn grace and, it seems, irony.” In addition, her work was highly appreciated by Alexander Kuprin, Dmitry Merezhkovsky and Fyodor Sologub. Literary encyclopedia 1929-1939 reports about the poetess in an extremely vague and negative way: Culturologist N. Ya. Berkovsky: “Her stories are similar to her contemporaries, Bunin and Sologub, the same ugly, sick, terrible life, but in Teffi it is also funny, which does not destroy the overall aching impression. The stories about children who always have to endure the suffering of adults (the abominations of adults) in Taffy’s stories are unpleasant: children are a hangover at someone else’s feast. What speaks about the small stature of this writer, despite all her talents, is the painful feeling evoked by her writings. I firmly believe that there is no art without optimism.” Teffi is a writer who worked in a variety of literary genres. Both the last Russian Tsar and the leader of the world proletariat read her works. Modern readers recognize themselves and their friends in shopping-loving philistines and lovelorn nobles. The biography of the writer, whose language and characters have not become outdated in 100 years, is full of mysteries and hoaxes. Childhood and youthNadezhda Lokhvitskaya (real name and surname of the most successful “satirist in a skirt”) was born in the city on the Neva in the spring of 1872. There is debate about the exact date of birth, as well as about how many children there were in the family. It is documented that Nadya had one younger (Lena) and three older (Varya, Lida and Masha) sisters and one older brother (Kolya). The father of the future writer was a specialist in constitutional law and successfully combined the roles of lawyer, professor, and literary popularizer of jurisprudence, i.e., he occupied approximately the same position as 120 years later or. Mother had French roots. When Nadya was 12 years old, the father of the family died. Teffi during the First World War / Argus Magazine, LiveJournal Nadine’s great-grandfather Konrad (Kondraty) Lokhvitsky wrote mystical poems, and the family legend told of a magical gift that is passed on only through the male line, and if a lady takes possession of it, she will pay for it with personal happiness. The girl loved books from an early age and even tried to change the fate of the characters: in her youth, Nadya went to and asked the writer not to take his life. Nadezhda Lokhvitskaya’s first poems were born while she was studying at the gymnasium. The girl was not a beauty and married the first suitor. The marriage with Vladimir Buchinsky brought Nadezhda two daughters - Lera and Lena and a son, Yanek, but the “demonic woman” turned out to be an unkind mother. Having lived to the age of 28, Lokhvitskaya left her husband. Buchinsky, in retaliation, deprived Nadya of communication with the children. BooksSeparated from her offspring, Lokhvitskaya, unlike, did not throw herself under the train, but returned to her youthful dream of literature and in 1901 made her debut in the magazine “North” with the poem “I had a crazy and beautiful dream.” By the time the work was published, the aspiring writer’s sister, Maria, was already a famous poetess, working under the pseudonym Mirra Lokhvitskaya. Nadezhda thought about the original literary name.
In the literary and near-literary world, the name Teffi is not an empty phrase. Everyone who loves to read and is familiar with the works of Russian writers also knows the stories of Teffi - this wonderful writer with sharp humor and a kind heart. What is her biography, what kind of life did this talented person live? Teffi's childhoodRelatives and friends learned that there was an addition to the Lokhvitsky family living in St. Petersburg in 1872 - then, in fact, this happy event happened. However, with exact date Nowadays there is a hitch - it is impossible to name it reliably. According to various sources, this could be either April or May. Be that as it may, in the spring of 1872, Alexander and Varvara Lokhvitsky had a baby - the girl was named Nadenka. This was not the couple’s first child - after the eldest son Nikolai (later he would become Kolchak’s closest ally) and middle daughters Varvara and Maria (Masha would later prefer to be called Mirra - under this name she would become famous as a poetess). Not much is known about Nadyusha’s childhood. Although you can still glean something - for example, from her own stories, where the main character is a girl - well, so funny, the spitting image of Nadya in childhood. Autobiographical features are undoubtedly present in many of the writer’s works. Posrelenok is the name given to children like little Nadenka. Nadya's father was a famous lawyer, author of many scientific works, professor and publisher of his own magazine. Maiden name His mother was Goyer, she belonged to a family of Russified Frenchmen and was well versed in literature. In general, everyone in the Lokhvitsky family loved to read, and Nadya was by no means an exception. Leo Tolstoy remained the girl’s favorite writer for many years, and Teffi’s very bright story is widely known - the memory of the already adult Nadezhda - about how she went to the estate to visit the great writer. Young years. SisterNadenka was always friendly with her sister Maria (later known as Mirra Lokhvitskaya, poetess). There was a three-year difference between them (Masha is older), but this did not prevent the two sisters from having a good relationship. That is why, in their youth, both girls, who loved literature, had a penchant for writing and dreamed of taking their place on the literary Olympus, agreed: there should be no competition between them, this is one and two - for this purpose they should start their creative path It is necessary not at the same time, but in turn. And the first place is the Machine, it’s fairer, because she’s older. Looking ahead, it must be said that the sisters’ plan, in general, was a success, but not quite in the way they imagined... MarriageBy original plan sisters, Masha was supposed to be the first to step onto the literary pedestal, bask in the rays of glory, and then give way to Nadya, ending her career. However, they did not imagine that the poems of the aspiring poetess Mirra Lokhvitskaya (Masha decided that for creative person the name Mirra is more suitable) will resonate in the hearts of readers. Maria gained instant and stunning popularity. The first collection of her poems spread at the speed of light, and she herself was undoubtedly one of the most widely read authors at the end of the nineteenth century. What about Nadya? With such success of her sister, there could be no talk of ending her career. But if Nadya tried to “break through”, it is very likely that the shadow of her popular older sister would close her down. Nadezhda understood this perfectly, and therefore was in no hurry to declare herself. But she hurried to get married: barely graduating from a women's gymnasium, in 1890 she married a Pole, Wladislav Buchinsky, a lawyer by profession. He worked as a judge, but after marrying Nadya, he left the service, and the family went to his estate near Mogilev (now Belarus). Nadya was only eighteen years old at that time. However, it cannot be said that the couple’s family life was successful and happy. What was this marriage - love or calculation, a cold decision to arrange family life while the sister is establishing her own literary career, in order to later be able to devote herself entirely to her career?.. There is no answer to this question. Be that as it may, by the time Nadezhda Lokhvitskaya’s family already had three children (daughters Valeria and Elena and son Janek), her marriage to Vladislav was bursting at the seams. By the beginning of the new millennium, the couple separated. In 1900, twenty-eight-year-old Nadezhda reappeared in St. Petersburg with the firm intention of settling in literary circles. First publicationsThe first thing Nadezhda published under her own surname (she returned it back after breaking up with Vladislav), small poems, caused a wave of critical comments, on the one hand, and went unnoticed by readers, on the other. Perhaps these poems were attributed to Mirra, who published under the same name, but in any case they did not create a sensation. As for criticism, for example, Nadezhda’s future colleague Valery Bryusov extremely scolded them, believing that they contained too much tinsel, empty, fake. However, the poems were only the first experience of the writer; she became famous not thanks to poetry, but thanks to prose: Teffi’s stories brought her well-deserved fame. The appearance of a pseudonymAfter her first experience with poems, Nadya realized: for St. Petersburg alone, two Lokhvitsky writers are too many. A different name was needed. After a diligent search, it was found: Teffi. But why Teffi? Where did Nadezhda Lokhvitskaya's pseudonym come from? There are many versions on this matter. The most common one says that Lokhvitskaya borrowed this name from Kipling (he has such a girlish character). Others believe that it is from Edith Nesbit, only slightly modified (she has a heroine named Effie). Nadezhda Aleksandrovna Lokhvitskaya herself, in her own story “Pseudonym,” told the following story: she wanted to find a pseudonym that was neither male nor female, but something in between. It occurred to me to borrow the name of some “fool,” because fools are always happy. The only fool I knew was the parents' servant Stepan, who was called Steffy in the house. This is how the name arose, thanks to which Nadezhda managed to gain a foothold on literary Olympus. How true this version is cannot be said with certainty: the writer, whose path was humorous and satirical stories, loved to joke and confuse those around her, so she took the true secret of her pseudonym Teffi with her to the grave. BecomingShe was done with poetry for a while (but not forever - the writer returned to it in 1910, publishing a collection of poems, again, however, unsuccessful). The first satirical experiments, which suggested to Nadezhda that she was moving in the right direction and subsequently gave life to Teffi’s stories, appeared in 1904. Then Lokhvitskaya began to collaborate with the newspaper Birzhevye Vedomosti, in which she published feuilletons castigating the vices of various representatives of the “top of power.” It was then that they first started talking about Teffi - these feuilletons were already signed with a pseudonym. And three years later, the writer published a small one-act play entitled “The Women’s Question” (some believe that Nadezhda’s pseudonym first appeared with this work), which was later even staged at the Maly Theater in St. Petersburg. Fans of Teffi's comics and stories, despite the fact that they often ridiculed the authorities, were also among these same authorities. At first Nicholas II laughed at them, then they delighted Lenin and Lunacharsky. In those years, Teffi could be read in many places: she collaborated with various representatives of the periodical press. Teffi's works were published in the magazine "Satyricon", in the newspaper "Birzhevye Vedomosti" (which was already mentioned earlier), in the magazine "New Satyricon", in the newspaper "New Life", which was published by the Bolsheviks, and so on. But Teffi's true glory was yet to come... Woke up famousThis is exactly what they say when an event occurs that overnight makes a person a “star,” a mega-popular and recognizable personality. A similar thing happened with Teffi - after the publication of her first collection humorous stories with the same name. The second collection, released soon after the first, not only repeated his success, but also surpassed it. Teffi, like her older sister once upon a time, has become one of the most beloved, read and successful authors in the country. Until 1917, Nadezhda published nine more books - one or even two per year (the first collection of stories appeared in 1910 simultaneously with the previously mentioned collection of poems). Everyone brought her success. Teffi's stories were still in demand by the general public. EmigrationThe year 1917 came, the year of revolution, the year of a radical change in people's lives. Many writers who did not accept such drastic changes left the country. What about Teffi? And Teffi was delighted at first - and then horrified. The consequences of October left a heavy mark on her soul, which was reflected in the writer’s work. She writes new feuilletons, addressing them to Lenin’s comrades, she does not hide her pain for her native country. She publishes all this, at her own peril and risk (she really risked - both freedom and life), in the magazine "New Satyricon". But in the fall of 1918 it was closed, and then Teffi realized: it was time to leave. First, Nadezhda moved to Kyiv, then, after some time, to Odessa, to several other cities - and finally reached Paris. She settled there. She did not initially intend to leave her homeland, and being forced to do this, she did not give up hope of a quick return. It didn’t happen - Teffi lived in Paris until the end of her life. In emigration, Teffi’s creativity did not fade away; on the contrary, it blossomed with renewed vigor. Her books were published with enviable regularity both in Paris and in Berlin, she was recognized and talked about. In general, everything would be fine - but not at home... But “at home” they forgot about Teffi for many years - until the mid-sixties, when the writer’s works were finally allowed to be published again. Screen adaptation of Teffi's worksAfter the death of the writer, several of her stories were filmed in the Union. This happened in 1967-1980. The stories on which the telenovelas were based are called "The Painter", "Happy Love" and "Agility of Hands". A little about loveAfter her first not very successful marriage (except for the birth of children), Nadezhda Lokhvitskaya’s personal life did not improve for a long time. Only after leaving for Paris did she meet “her” man there - Pavel Theakston, also an emigrant from Russia. Teffi lived with him in a happy, albeit civil, marriage for about ten years - until his death. last years of lifeAt the end of her life, having survived the occupation during the Second World War, hunger, poverty, and separation from her children, Nadezhda Alexandrovna lost her humorous outlook on life a little. Teffi's stories published in her last book(in 1951 in New York), permeated with sadness, lyricism and more autobiographical. In addition, during the final years of her life, the writer worked on her memoirs. Teffi died in 1952. She is buried in the Sainte-Geneviève-des-Bois cemetery in Paris. Next to her is the grave of her colleague and fellow emigration Ivan Bunin. You can come to the Sainte-Genevieve-des-Bois cemetery at any time and honor the memory of Teffi and many other once-famous talented personalities.
Such is the life and fate of Nadezhda Lokhvitskaya - Teffi. IN pre-revolutionary Russia The name of the “queen of humor” Teffi (Nadezhda Aleksandrovna Lokhvitskaya) enjoyed enormous fame. The newspapers and magazines where she collaborated were obviously “doomed to success.” Even perfumes and “Taffy” sweets were produced. Among the admirers of her talent were people of all ages and classes. Her witticisms, funny phrases and words of the characters were picked up and spread throughout Russia, becoming popular. In the 70-80s of the 19th century, daughters were growing up in the family of St. Petersburg lawyer Alexander Lokhvitsky. Parents - intelligent nobles - showed a keen interest in literature and passed it on to their children. Subsequently, the eldest, Maria, became the poetess Mirra Lokhvitskaya. Some of her poems were set to music. Their sound, as well as the personal charm of the author, captivated Igor Severyanin and Konstantin Balmont. The northerner considered the poetess one of his teachers, and Balmont dedicated poems to her. In memory of her, he named his daughter Mirra. Lokhvitskaya died early from tuberculosis and was buried in St. Petersburg in the Alexander Nevsky Lavra. The poetess's sister became a humorist writer (a rare genre for a woman), and enjoyed recognition in Russia and then abroad. Nadezhda Aleksandrovna Lokhvitskaya (Buchinskaya) wrote under the pseudonym Teffi. The beginning of her work is associated with poetry. Elegant and mysterious, they were easily perceived and memorized, they were read at evenings and kept in albums. I had a crazy and beautiful dream, I woke up... Casting doubts, My black dwarf kissed my feet, She also composed funny, crafty songs, came up with music for them and sang with a guitar. Nadezhda Aleksandrovna retained her passion for rhyme and guitar throughout her life. When her songs migrated to the stage, “Dwarf” was also in the performers’ repertoire. Before emigrating, Teffi published his only poetry collection, “Seven Lights” (1910). In essence, Valery Bryusov sharply condemned him for the same thing: “If you like, there is a lot of beautiful, colorful, spectacular things in Teffi’s poems, but this is the beauty of expensive cosmetics, the beauty of the tenth copy, the effects of a clever director,” and Nikolai Gumilev sympathetically assessed: “The most pleasing thing about Teffi’s poems is their literary quality in in the best sense words". Later, Alexander Vertinsky found in Teffi’s lyrics what he himself felt, including her poems in his repertoire: “To the cape of joy, to the rocks of sadness, to the islands of lilac birds - It doesn’t matter - no matter where we land, I won’t lift my heavy eyelashes ..." And yet, as a poet, Teffi was able to speak out not so much in lyrical, but in ironic and even sarcastic verses, which have not yet lost their freshness: The century of materialism is hungry - The doctor sends his address to the newspapers, Of the writers who are quick, And the prima donna dreams: In the spring of 1905, Teffi wrote an allegorical poem “Bees” (“We are poor bees, working bees! And night and day, needles still flicker in our exhausted hands!”), which someone sent to Lenin in Geneva, and it appeared there, in newspaper "Forward", however, under the title "Banner of Freedom". And in the fall, when the first legal Bolshevik newspaper “New Life” began to be published in St. Petersburg, it was reprinted here under its own title. “New Life” also published a caustic poem “Patron and Cartridges” about the decline of the career of St. Petersburg Governor-General Trepov. It was he who gave the troops sent against the rebellious workers a fierce order: “Don’t spare cartridges, don’t fire blank volleys.” The poems were followed by stories and feuilletons. With enviable regularity they appeared on the pages of many newspapers and magazines. Long time Teffi collaborated in "Satyricon" (later "New Satyricon"); one of the founders, editor and regular author of the magazine was the tireless wit Arkady Averchenko. During the heyday of his creativity, he was called the “king” of humor. But in this genre, the “king” and “queen” worked differently. If Averchenko’s stories caused loud laughter, then Teffi’s were just funny. She used pastel colors and mixed a little sadness into the palette of humor. Readers were captivated by the humorist's sharp gaze and sympathy for the characters - children, old people, widows, fathers of families, ladies: Humanized animals were also present in her stories. All over Russia, Teffi's new works were expected to appear, and the readership consisted of representatives of different social strata. Young people especially loved her. Observant, sociable, independent in judgment, with high creative potential, she infected with optimism and brought a stream of revival into the literary and artistic atmosphere of St. Petersburg. Teffi took part in writers' meetings, concerts, charity events, commissions: And, of course, she visited the night tavern "Stray Dog", where one of the "slaves" happened to perform her songs on a small stage. At literary evenings with Fyodor Sologub, at the request of the owner, she regularly read her poems. Teffi's most characteristic traits were compassion and mercy. Over the years, these qualities declared themselves more and more loudly. She tried to see the bright beginning - kindness and tenderness where, it would seem, they were not there at all. Even in the soul of Fyodor Sologub, who was considered a “demon” and a “sorcerer,” she discovered a deeply hidden warmth. Teffi treated Zinaida Gippius in a similar way. They became close during the war, shortly after Merezhkovsky's death. In the cold Gippius - “White Devil” - Nadezhda Alexandrovna tried to discern something of herself. “Where is the approach to this soul? In every meeting I search, I search: Let’s search further,” she wrote. And, finally, she found “a certain key,” discovering in Gippius a simple, sweet, gentle person, hiding behind a cold, unkind, ironic mask. Teffi spent 32 years in exile. In addition to Paris, her works were published in Berlin, Belgrade, Stockholm, and Prague. Throughout her life, she published at least 30 books (according to some sources 40), approximately half of which were published in exile. In addition to stories, feuilletons, plays, and poems, she has written stories and a novel. A special place in Teffi’s work is occupied by memories of Russian cultural figures - Z. Gippius, A. Kuprin, F. Sologub, Vs. Meyerhold, G. Chulkov. In turn, I. Bunin, Dm. Merezhkovsky, F. Sologub, G. Adamovich, B. Zaitsev, A. Kuprin left memories of the writer. Alexander Vertinsky used in song creativity her lyric poems. In Teffi’s prose and drama after emigration, sad, even tragic motives noticeably intensify. “They were afraid of the Bolshevik death - and died here,” says one of her first Parisian miniatures, Nostalgia (1920). “... We only think about what is there now. We are only interested in what comes from there.” The tone of Teffi's story increasingly combines harsh and reconciled notes. In the writer’s opinion, the difficult time that her generation is going through still has not changed the eternal law that says that “life itself... laughs as much as it cries”: sometimes it is impossible to distinguish fleeting joys from sorrows that have become familiar. In October 1952, Nadezhda Aleksandrovna Teffi was buried in the Russian cemetery of Sainte-Genevieve des Bois near Paris.
............................................................................. Teffi A demonic woman differs from an ordinary woman first of all Teffi Our friends Z live outside the city. Teffi Before starting hostilities, the boys herded fat Buba into the hallway and locked the door behind her. Teffi At first glance, it seems as if everyone understands what a fool is and why the stupider the fool, the rounder he is. Have you noticed how new advertisements are composed? Teffi I was seven years old then. All objects were big then, the days were long, and life was endless. And the joys of this life were undeniable, whole and bright. It was spring. The sun was burning outside the window, leaving early and, leaving, he promised, blushing: “I’ll stay longer tomorrow.” Here they brought the blessed willows. Palm holiday is better than green. In it the joy of spring is promised, and there it is fulfilled. Stroke the hard, gentle fluff and gently break it apart. It has a green bud. - It will be spring! Will! IN Palm Sunday They brought me a jack-in-a-jar from the market. A thin rubber film had to be pressed, and he danced. Funny little devil. Funny. It is blue, the tongue is long, red, and there are green buttons on its bare belly. The sun hit the glass, the devil became transparent, laughed, sparkled, his eyes bulged. And I laugh, and I spin around, I sing a song that was specially composed for the devil. - Day-day-nonsense! The words may be unfortunate, but very appropriate. And they like the sun. It also sings, rings, plays with us. And I spin faster and faster, and I press the rubber band with my finger faster and faster. The little devil jumps like mad, clanking his sides against the glass walls. - Day-day-nonsense! The thin film has torn and water is dripping. The devil stuck sideways, his eyes bulging. I shook the devil into my palm and looked at it. Ugly! Thin and pot-bellied. The legs are thin and crooked. The tail is hooked, as if stuck to the side. And his eyes rolled out, angry, white, surprised. “Nothing,” I say, “nothing.” I'll arrange it for you. It was impossible to say “you” if he was so dissatisfied. I put the cotton wool in a matchbox. The devil arranged it. Covered it with a silk cloth. The rag doesn’t hold on, it crawls and falls off the stomach. And the eyes are angry, white, surprised that I am stupid. It's definitely my fault that he's pot-bellied. She put the devil in her bed to sleep on a pillow. She herself lay down lower and slept on her fist all night. In the morning I look and he’s just as angry and surprised at me. The day was clear and sunny. Everyone went for a walk. “I can’t,” she said, “I have a headache.” And she stayed to babysit him. I look out the window. Children come from church, say something, rejoice at something, care about something. The sun jumps from puddle to puddle, from glass to glass. His bunnies ran “if I catch it, I catch it”! Jumping gallop. They laugh and play. Showed the line. His eyes bulged, he was surprised, he got angry, he didn’t understand anything, he was offended. I wanted to sing to him about “a rubbish day,” but I didn’t dare. She began to recite Pushkin to him: I love you, Petra's creation, The poem was serious, and I thought I would like it. And I read it intelligently and solemnly. I finished, and it’s scary to look at him. She looked: she was angry and her eyes were about to burst. Is this really a bad thing? And I don’t know anything better. I couldn't sleep at night. I feel he’s angry: how dare I lie on the bed too. Maybe it’s cramped for him, I don’t know. She got down quietly. “Don’t be angry, damn it, I’ll sleep in your matchbox.” She found the box, lay down on the floor, and put the box under her side. “Don’t be angry, damn it, it’s very convenient for me.” In the morning I was punished and my throat hurt. I sat quietly, lowered a beaded ring for him and was afraid to cry. And he lay on my pillow, right in the middle, to make it softer, his nose sparkled in the sun and did not approve of my actions. I made a ring for him from the brightest and most beautiful beads that can be found in the world. She said embarrassedly: - This is for you! But the ring came to nothing. The devil’s paws were stuck straight to his sides, and you couldn’t put any ring on them. - I love you, damn it! - I said. But he looked with such evil surprise. How dare I?! And I was scared myself - how dare I! Maybe he wanted to sleep or was thinking about something important? Or maybe you can say “I love you” to him only after dinner? I didn't know. I didn’t know anything and started crying. And in the evening they put me to bed, gave me medicine and locked me up warm, very warm, but a chill ran down my back, and I knew that when the big ones left, I would get out of bed, find a damn jar, climb into it and sing a song about “ the day is rubbish” and I’ll be spinning all my life, I’ll be spinning all my endless life. Maybe he'll like it? Teffi The Sharikovs quarreled over the actress Krutomirskaya, who was so stupid that she didn’t even know how to distinguish female voice from a man, and one day, calling Sharikov on the phone, she screamed right into the ear of his wife who came to answer the call: Poor Azra* Every day across the Anichkov bridge, Every day in the same place The virgin is languid, the virgin is strange, And in the spring, when I got through "Who are you? - she said, - open up! He answered: “I don’t have enough time. And I would also look at a Russian man, In front of the map of Russia In a foreign country, in a strange old house But here in the portrait she is all the same as before, I look at your face like an icon... * Azra is the image of the martyr of love in Stendhal’s book “On Love” and in Heinrich Heine’s poem “Azr”. Thanks to Marisha Roshchina From her birth until her death, which took her in Paris at the age of 80, the legendary Teffi had two qualities that, at first glance, were mutually exclusive. She wrote so simply and clearly that she was understandable to high society, clerks, seamstresses, and lawyers. But at the same time, simplicity itself was not worth a penny.However, otherwise the name of Nadezhda Lokhvitskaya, the great Teffi, would not have been inscribed in golden letters in the history of literature of the 20th century. And she entered it, left a colossal literary legacy, introduced the fashion for “female humor” and left, remaining a mystery even to her biographers. Nadya was born in May 1872 in the family of St. Petersburg lawyer Alexander Lokhvitsky. The eldest daughter, Mashenka, or Mirra, served big hopes like a subtle lyricist. Her poems were admired by Konstantin Balmont (clearly in love with Masha) and Igor Severyanin, who considered her his teacher. But at the age of 36, Mirra died of tuberculosis. Balmont named his daughter Mirra in memory of the poetess Lokhvitskaya. Well and youngest daughter Lokhvitsky, Nadya, also began with poetry - elegant and filled with humor and slyness. Many of them were wonderfully performed with a guitar and then migrated to the stage for many years - take, for example, the famous “Dwarf”: My black dwarf kissed my feet, He was always so affectionate and so sweet! My bracelets, rings, brooches He cleaned it and stored it in the chest. But on a black day of sadness and anxiety My dwarf suddenly stood up and grew taller: In vain I kissed his feet - And he left and took away the chest! ![]() 1946, France, outskirts of Paris. Meeting of the Soviet delegation with emigrant writers: Boris Panteleimonov is standing in the first row on the left, Konstantin Simonov is on his right, Nadezhda Teffi is sitting on the left, Ivan Bunin is sitting on the right, third in a row. But then Nadezhda concentrated on prose. Having chosen the pseudonym Teffi, she wrote wonderful humorous works, which in itself was, and remains, a rarity - there are not many female comedians. Teffi's stories and feuilletons were read, and at the beginning of the 20th century, the world of Russian prose no longer only had the king of satire and humor - the brilliant Arkady Averchenko, but also found a queen - Teffi. High society treated Averchenko's talent a little condescendingly, and Teffi with wariness, but readers voted for them by reading. And if Lev Nikolaevich Tolstoy, for example, did not take Teffi too seriously, then Sofya Andreevna Tolstaya simply became engrossed in her works. And Teffi also became a heroine in the eyes of young people: they were the ones who tore issues of “Satyricon” and “Russian Word” out of their hands! And her first book, “Humorous Stories,” published in 1910, was reprinted ten times before the revolution! At the same time, she released the collection “Humanoids,” “Smoke without Fire,” “Carousel” and “And So It Became,” and theaters began staging her plays. Before the revolution, both capitals of Russia - Moscow and St. Petersburg - went crazy for Teffi. They shot because of her, more than once, without even knowing her. Around her there was also a host of admirers, nicknamed “slaves,” - they fought among themselves for the right to sit or lie at the feet of the “mistress.” Nicholas II himself, discussing what should be in the album for the 300th anniversary of the House of Romanov, exclaimed that Teffi definitely wants to see in it: “Taffy! Only her. You don't need anyone but her. One Teffi! Chocolate candies“Taffy” and perfume with the same name were sold out instantly. By the way, where did the name Teffi come from? Nadya searched for him for a long time, painfully thinking: “I need a name that would bring happiness. The best name is the name of some fool - fools are always happy.” One day she remembered such a fool, who was also lucky: his name was Stepan, or Steffy for the family. Having dropped the first letter of the name, “so that the fool does not become arrogant,” Nadya signed one of her plays: “Taffy.” At the premiere, a journalist asked her about the origin of the pseudonym, and she embarrassedly replied that it was “such a surname.” And someone suggested that the name was taken from Kipling’s song “Taffy of Wales.” Nadya laughed and... agreed with this version. ![]() Circa 1925. Teffi during emigration She seemed open, and she was. Only her personal life was tightly curtained from prying eyes - her personal life. Teffi never wrote about her. Maybe because she was too atypical for a woman in her circle. Only one thing is officially known: Nadezhda Lokhvitskaya early married a Pole, Vladislav Buchinsky, who, after graduating from the Faculty of Law, served as a judge in Tikhvin. Soon after the birth of the first child in the family (in 1892), he left the service and settled on his estate near Mogilev. In 1900, after the birth of her second daughter, Nadezhda suddenly separated from her husband, went to St. Petersburg and since then completely immersed herself in literary life. Could a woman like Teffi live without love? Does not look like it. She was too lively to live without passions. But what could make her lonely? I would venture to make an assumption that occurred to me many years ago, when I just began to get interested in Teffi, which had just been reissued after perestroika. Only secret love - without outcome, deep and doomed, could make her, brilliant, turn away from her admirers and choose loneliness. She was too smart to like mediocrity. Her chosen one had to be, first of all, a talent with a capital T, an inexhaustible talent, bright in appearance, and also infinite... not free. After all, Teffi would be cramped in happy love... Reading her memoirs, I involuntarily caught a special, incredibly warm intonation towards only one person with whom the writer was friends all her life. Yes, it seems to me that Teffi loved... Ivan Bunin. And he, confused in his women, was in a sense blind... He admired Teffi, adored her, trusted her with his innermost things, but could not even think that her soul could belong to him. Independent, with a sharp tongue, Teffi was a cult for lovers of non-aesthetic literature. It fit perfectly into the context of any literary evenings, including those organized by Fyodor Sologub. At the same time, Teffi was socially active - for example, she defended the need to protect artistic values: “We demanded the protection of the Hermitage and art galleries so that no ambushes or massacres would be arranged there.” But nothing came of these efforts, and soon the February and then the October revolutions broke out, after which Teffi could not remain in her homeland. First she lived in Crimea, then in Constantinople, and then, in 1920, settled in Paris. She will have to experience all the difficulties that accompanied the life of almost any emigrant - endure need, lack of demand, suffer from nostalgia. Teffi described her condition, as well as the condition of most emigrants, in one of the notes published by a Parisian newspaper: “Our refugees are coming. Exhausted, blackened from hunger, they eat up, calm down, look around, how to improve new life, and suddenly go out. Eyes dim, limp hands drop, and the soul turned to the east withers. We don’t believe in anything, we don’t expect anything, we don’t want anything. They died. They feared death at home and died here. Here we are - death has been corrected by death. We only think about what is there now. We are only interested in what comes from there...” ... The early 1920s in Paris are a magnificent French “Russian bottling”. Teffi was not alone in Paris: there were all her colleagues nearby, Bunin and Muromtseva, Berberova and Khodasevich, Gippius and Merezhkovsky. She wrote, and so successfully that in 1920 one of her works was republished by Pravda! Her plays were slowly staged, and her whole life flowed slowly - in isolation from the land on which she was born, even Teffi’s star slowly dimmed... She needed nourishment, injections of impressions, a shake-up. But all this was, as Averchenko wrote, “shards of something broken to pieces.” ![]() Presumably 1916. At the height of the First World War, Teffi went to the front line many times and worked there as a nurse. In the photo she shows off trophies brought from the war, including a captured German rifle with a bayonet And then those who were dear began to leave. By the time of the occupation of Paris by the troops of Nazi Germany, Teffi was no longer young. She did not leave the city, she bravely endured all the hardships, cold, hunger, nights in a bomb shelter. Sitting surrounded by exhausted people like her, Teffi counted her personal losses: the poet Khodasevich died before the war, Merezhkovsky passed away in 1941, Balmont in 1942... Bunin was and remained her joy. And she was a joy to him. The life of the writer-genius was full of difficulties, and he found peace in communicating with Teffi - light, airy, wise and ironic. He was a brilliant prose writer, but not a literary comedian, and the way Teffi could make him laugh shocked him. For example, Teffi wrote in the story “Town”: “The town was Russian, and a river flowed through it, which was called the Seine. Therefore, the residents of the town said so: we live poorly, like dogs on the Seine...” Bunin laughed homerically, forgetting about the problems. They understood each other perfectly. But, I repeat, it is possible that Bunin did not see the main thing point-blank... Once Bunin turned to Teffi jokingly: “Nadezhda Alexandrovna! I kiss your hands and other things!” “Oh, thank you, Ivan Alekseevich, thank you! Thanks for the stuff. No one has kissed them for a long time!” - Teffi instantly sneered at herself. She was always joking. Even when it hurt. ![]() Writer Ivan Bunin in 1901 After the war, Teffi began to be actively printed in the USA. Paris lived with her witticisms. And in 1946, the Soviet delegation came to Paris specifically to provide explanations regarding the Government Decree on the return of Russian emigrants to their homeland. They talked a lot with Konstantin Simonov, which he would later describe in his memoirs, and Teffi’s heart would ache - how and where did everything she lived with a long time ago go... What was the joy of her life? People, as always, are just people. She knew how to find the good and the good in any person. I discovered that the demonic Fyodor Sologub is incredibly kind, and the cold Gippius is actually just wearing a mask, being sweet and gentle. She was concerned about people as individuals: “I dream,” she said shortly before her death, “to write about minor characters. Most of all I want to write about Alexei Alexandrovich Karenin, Anna’s husband. We are terribly unfair to him!” And this is all Teffi. She spent the last years of her life on a quiet street in Paris, Rue Boissiere, her eldest daughter Valentina (Valeria) Vladislavovna Grabovskaya, who lost her husband during the war, worked in London, the youngest, Elena Vladislavovna, a dramatic actress, lived in Warsaw. Having celebrated her next name day, a week later, on October 6, 1952, Teffi died. She was buried in the Russian cemetery of Sainte-Genevieve-des-Bois near Paris. There weren't many people. Bunin was buried right there a year later. Behind the academician's grave, Nobel laureate eleven people walked. CIATATA Nadezhda Lokhvitskaya, Teffi, writer “Life, like fiction, is terribly tasteless. She can suddenly crumple, crumple, break off a beautiful, bright novel in the most ridiculous and absurd position, and attribute the ending from “Hamlet” to a stupid little vaudeville show... |
Popular:
New
- Amorphous materials: their properties, application in modern technology, methods of production
- Topology on the fingers Topology of the human body
- Methods of separation and concentration Methods of separation and concentration in pharmaceutical chemistry
- Buryat State University
- Siberian Institute of International Relations and Regional Studies (simoir): address, faculties, practice and employment
- The best books on economics and finance for beginners and professionals “Undercover Economist”, Tim Harford
- Tax received from abroad
- Choosing a university and training format
- Graphic patterns as the basis of a trading system
- Is it difficult to get into police school (College of the Ministry of Internal Affairs)