In what year was Kharms born? Daniil Kharms: biography

Soviet poet, prose writer, playwright, children's writer. One of the central representatives of the Russian avant-garde of the early 20th century. During Kharms’s lifetime, his works were not only not published, but were also very well known. to a narrow circle of people.

Daniil Ivanovich Kharms, real name Yuvachev, was born December 30 (December 17, old style) 1905 in St. Petersburg. His father was a naval officer. IN 1883 for complicity in the Narodnaya Volya terror, he was brought to trial, spent four years in solitary confinement and more than ten years in hard labor, where he experienced religious conversion: along with the memoir books “Eight Years on Sakhalin” ( 1901) And " Shlisselburg Fortress" (1907) he published mystical treatises "Between the World and the Monastery" ( 1903), "Secrets of the Kingdom of Heaven" ( 1910).

Kharms's mother was of noble origin, she was in charge of 1900s a shelter for former convicts in St. Petersburg.

After the revolution, she became a castellan at the Barracks Hospital named after S.P. Botkin, his father worked as a senior auditor of the State Savings Banks, and later as the head of the accounting department of the working committee for the construction of the Volkhov hydroelectric station.

IN 1915. Daniel enters the first grade of a real school, which was part of the Main German School of St. Peter in Petrograd (Petershule). During the revolution and the Civil War, Kharms and his parents either moved to the Volga region or returned back to St. Petersburg. WITH 1922 Kharms studies in Tsarskoe Selo, at a school where his aunt, Natalya Ivanovna Kolyubakina, was the director. After finishing school in 1924. Kharms entered the Leningrad Electrical Technical School. However, not having the slightest desire for the profession, he was expelled a year later. At this time, he chooses the pseudonym “Kharms”. The beginning of Kharms's literary activity dates back to 1925. He joined a small group of Leningrad poets, “zaumniks,” headed by A. Tufanov. During this year, Kharms formed two notebooks of poems, which he October 9, 1925. submitted along with an application for admission to the Leningrad branch of the All-Russian Union of Poets, and March 26, 1926 was accepted into it. IN 1925 Kharms married E.A. Rusakova (divorced in 1932)

The collaboration with the “nerds” was short-lived. IN 1925 Kharms meets A.I. Vvedensky and is part of the union of “plane trees” founded by him, which also included Ya. S. Druskin and L. S. Lipavsky - who became Kharms’s faithful friends. IN 1925-1928 years, Kharms created a number of short-lived literary (and other) organizations. The public performances of Kharms and his associates are distinguished by their unconventional approach to art, provocativeness and cause sharp criticism in the “official” press. Autumn 1927 Kharms, A. Vvedensky, I. Bakhterev and N. Zabolotsky create a new literary group - the Association of Real Art (abbreviated as OBERIU). According to the creators, this association was supposed to include not only writers, but also artists and musicians. The global plans were not destined to come true. January 24, 1928 year in Leningrad House The most famous performance of the Oberiuts took place in the press, including the reading of poetry and the production of Kharms’ play “Elizabeth Bam”. This performance (as well as all previous ones) was criticized in the press, but small performances of Kharms with friends took place until the spring 1930 Kharms's financial situation remained very deplorable throughout this time. In March 1929 Kharms was even expelled from the Union of Poets for non-payment of membership fees. In order to somehow earn a living, Kharms began to write poetry for children, since this was the only thing he could publish. December 10, 1931 Kharms was arrested and sentenced to 3 years in the camps, but then the sentence was commuted and replaced with exile to Kursk (A. Vvedensky was also exiled there). In 1932 Kharms and Vvedensky managed to return to Leningrad. From that time on, there was no talk of any publications or performances. Kharms (like most of his friends) did not even try to publish his “adult” works. Communication between former Oberiuts and people close to them now took place in apartments. The only source of livelihood was works for children, but even these were published less and less often. IN 1935 Kharms enters into a second marriage with M. Malich. After publication in 1937 in a children's magazine, the poem “A Man Came Out of the House with a Club and a Bag” was not published at all for some time, which put him and his wife on the brink of starvation. Despite extremely unfavorable circumstances, Kharms continues to work: he writes many short stories, theatrical sketches and poems for adults, creates a cycle of miniatures “Cases”, and the story “The Old Woman”. August 23, 1941 Kharms was arrested “for defeatist sentiments.” According to the recollections of friends, he was really pessimistic about the prospects of the USSR in the war and had an extremely negative attitude towards the prospect of serving in the army. In light of the circumstances, it’s hard to blame Kharms for this. ABOUT future fate Almost nothing is known about the poet; neither the date of death nor its cause have been established. It is known that he died in a prison psychiatric hospital, about which February 4, 1942 was reported to his wife M. Malich. Apparently Kharms feigned madness to avoid execution, and most likely died of starvation.

Kharms in his notebooks names the following reasons for his expulsion from the Electrical Technical College: “1) Inactivity in community service. 2) I don’t fit the class physiologically.”

Kharms had about 20 pseudonyms. So big number literary names is explained, on the one hand, by Kharms’s penchant for mystification and theatricalization of his life, on the other hand, censorship constantly banned Kharms’s works, and he published them under new pseudonyms.

The meaning of the pseudonym “Kharms” is not known for certain. Researchers of Kharms’s work suggest that it is formed in consonance with the French “charme” - “charm, charm” and the English “harm” - “harm”. Some go even further and look for the origins of the pseudonym in the Sanskrit "dharma" - "religious duty" and the name of the Egyptian magician Hermes (Hermes) Trismegistus.

The nature of the performances of Kharms and his comrades can be judged by several interesting facts. So, during the speech of the “plane trees” at the meeting literary circle Higher courses art history ( 1927) A scandal broke out, during which Kharms, climbing onto a chair, declared: “I don’t read in stables and brothels!”

On your own last performance in the student dormitory of Leningrad State University ( 1930) the Oberiuts came with posters: “Kolya went to the sea”, “They walked down the steps of mima kvass”, “Are we not pies?” etc. According to L. Ya. Ginzburg, in response to attempts to find out the meaning of the last slogan, poets reasonably remarked: “Are we pies?”

K. Malevich gave Kharms his book “God will not be thrown off” with a dedicatory inscription: “Go and stop progress!”

The literary association OBERIU is unique not only in domestic but also in world literature. Its uniqueness lies in the fact that all publications of all members of this association (with the exception of N. Zabolotsky) can be counted on the fingers of one hand. This despite the fact that creative potential and the originality of the Oberiuts’ ideas are now obvious.

The fate of most Oberiuts was tragic. A. Vvedensky, arrested at the same time as Kharms, died during transfer. V. Vaginov died of tuberculosis in 1934 Oleynikov was shot in 1938 B. Levin and L. Lipavsky died at the front. N. Zabolotsky eight years old (1938-1946) spent in camps and exile.

Kharms’s literary heritage was preserved by his friend Ya. Druskin, who, after the news of Kharms’ death, came to his abandoned apartment and took a suitcase with manuscripts. Y. Druskin did not touch the suitcase for 20 years and only in the 60s began analyzing manuscripts.

A cult figure among domestic hippies, Anna Gerasimova (Umka) is a specialist in the works of D. Kharms and the Oberiuts.

Bibliography

The literary heritage of D. Kharms is small: poems and stories for children, poems for adults, several plays, prose presented short stories. Among his “adult” works, the most famous are the cycle “Cases” and the story “The Old Woman”.

Film adaptations of works, theatrical performances

Art films

Clownery (1989) dir. D. Frolov

Staru-kha-rmsa (1991) dir. V. Gems

Happy Days (1991) dir. A. Balabanov

Concert for a Rat (1996) dir. O. Kovalov

Falling into Heaven (2007) dir. N. Mitroshina

Cartoons

Samovar Ivan Ivanovich. (1987) dir. Ts. Orshansky

Once Upon a Time (1990) dir. A. Guryev

Case (1990) dir. A. Turkus

Keywords: Daniil Kharms, Biography of Daniil Kharms, Detailed biography, full biography, read the biography of Kharms, the work of Daniil Kharms, absurdity, Russian avant-garde, works, read online, free, download, Russian literature, prose, oberiuts

Biography

KHARMS, DANIIL IVANOVICH (real name Yuvachev) (1905−1942), Russian poet, prose writer, playwright. Born on December 17 (30), 1905 in St. Petersburg. His father, who, while a naval officer, was brought to trial in 1883 for complicity in Narodnaya Volya terror, spent four years in solitary confinement and more than ten years in hard labor, where, apparently, he experienced a religious conversion: along with the memoir books Eight Years on Sakhalin ( 1901) and the Shlisselburg Fortress (1907), he published mystical treatises Between the World and the Monastery (1903), Secrets of the Kingdom of Heaven (1910), etc. Kharms’s mother, a noblewoman, was in charge of a shelter for former convicts in St. Petersburg in the 1900s. Kharms studied at the St. Petersburg privileged German school(Peterschule), where he acquired a thorough knowledge of German and English languages. In 1924 he entered the Leningrad Electrical Technical College, from where a year later he was expelled for “poor attendance” and “inactivity in public works.” Since then, he devoted himself entirely to writing and lived exclusively from literary earnings. The diversified self-education that accompanied writing, with a special emphasis on philosophy and psychology, as evidenced by his diary, proceeded extremely intensively.

Initially, he felt in himself the “power of poetry” and chose poetry as his field, the concept of which was determined by him under the influence of the poet A. V. Tufanov (1877−1941), an admirer and successor of V. V. Khlebnikov, author of the book To Zaumi (1924 ) and the founder (in March 1925) of the Order of Zaumnikov, the core of which included Kharms, who took for himself the title “Look at the Zaumi.” Through Tufanov he became close to A. Vvedensky, a student of the more orthodox “Khlebnikovite” poet and admirer of A. Kruchenykh I.G. Terentyev (1892−1937), creator of a number of propaganda plays, including the “actualizing” stage adaptation of The Inspector General, parodied in The Twelve Chairs by I. Ilf and E. Petrov. Kharms had a strong friendship with Vvedensky, who, sometimes without special reasons, took on the role of mentor to Kharms. However, the direction of their creativity, related in terms of verbal searches, is fundamentally different from beginning to end: in Vvedensky a didactic attitude arises and remains, while in Kharms a playful one predominates. This is evidenced by his first known poetic texts: Kika with Koka, Vanka Vstanka, the grooms say the earth was invented and the poem Mikhail.

Vvedensky provided Kharms with a new circle constant communication, introducing him to his friends L. Lipavsky and Y. Druskin, graduates of the philosophical department of the faculty social sciences, who refused to renounce their teacher, the prominent Russian philosopher N. O. Lossky, expelled from the USSR in 1922, and tried to develop his ideas of the intrinsic value of the individual and intuitive knowledge. Their views certainly influenced Kharms’s worldview; for more than 15 years they were Kharms’s first listeners and connoisseurs; during the blockade, Druskin miraculously saved his works.

Back in 1922, Vvedensky, Lipavsky and Druskin founded a triple alliance and began to call themselves “plane trees”; in 1925 they were joined by Kharms, who from “zira zaumi” became “plane-gazer” and quickly gained scandalous fame in the circles of avant-garde writers under his newly invented pseudonym, which became plural English word “harm” - “adversity”. Subsequently, he signed his works for children in other ways (Charms, Shardam, etc.), but never used his own surname. The pseudonym was also enshrined in the introductory questionnaire of the All-Russian Union of Poets, where Kharms was accepted in March 1926 on the basis of the submitted poetic works, two of which (Case on railway and Poem by Pyotr Yashkin - a communist) was published in small-circulation collections of the Union. Apart from them, until the end of the 1980s, only one “adult” work by Kharms was published in the USSR - the poem Maria Comes Out, Taking a Bow (Sat. Poetry Day, 1965).

As a member of the literary association, Kharms received the opportunity to read his poems, but took advantage of it only once, in October 1926 - other attempts were in vain. The playful beginning of his poems stimulated their dramatization and stage performance: in 1926, together with Vvedensky, he prepared a synthetic performance of the avant-garde theater "Radix" My mother is all in a watch, but things did not go beyond rehearsals. Kharms met K. Malevich, and the head of Suprematism gave him his book God will not be thrown off with the inscription “Go and stop progress.” Kharms read his poem On the Death of Kazimir Malevich at a memorial service for the artist in 1936. Kharms’s attraction to dramatic form was expressed in the dialogization of many poems (Temptation, Paw, Revenge, etc.), as well as in the creation of the Comedy of the City of St. Petersburg and the first predominantly prose work - plays by Elizaveta Bam, presented on January 24, 1928 at the only evening of the “Union of Real Art” (OBERIU), which, in addition to Kharms and Vvedensky, included N. Zabolotsky, K. Vaginov and I. Bakhterev and which N. Oleinikov joined - with him Kharms developed a special closeness. The association was unstable, lasted less than three years (1927−1930), and Kharms’s active participation in it was rather external, and did not in any way affect his creative principles. The characterization given to him by Zabolotsky, the compiler of the OBERIU manifesto, is vague: “a poet and playwright whose attention is focused not on a static figure, but on the collision of a number of objects, on their relationships.” At the end of 1927, Oleinikov and B. Zhitkov organized the “Association of Writers of Children’s Literature” and invited Kharms to it; from 1928 to 1941 he constantly collaborated in the children's magazines "Hedgehog", "Chizh", "Cricket" and "Oktyabryata", during which time he published about 20 children's books. These works are a natural offshoot of Kharms’s work and provide a kind of outlet for his playful element, but, as his diaries and letters testify, they were written solely for earning money (since the mid-1930s, more than meager) and the author did not attach much importance to them. They were published through the efforts of S. Ya. Marshak, the attitude of leading critics towards them, starting with the article in Pravda (1929) Against hack work in children's literature, was unequivocal. This is probably why the pseudonym had to be constantly varied and changed. The Smena newspaper regarded his unpublished works in April 1930 as “the poetry of the class enemy.” The article became a harbinger of Kharms’ arrest at the end of 1931, qualifying his literary activities as “ demolition work"and "counter-revolutionary activities" and exile to Kursk. In 1932 he managed to return to Leningrad. The nature of his work is changing: poetry fades into the background and fewer and fewer poems are written (the last completed poems date back to the beginning of 1938), while prose works (with the exception of the story The Old Woman, a creation of a small genre) multiply and become cyclical (Incidents, Scenes, etc. ). In place of the lyrical hero - an entertainer, ringleader, visionary and miracle worker - appears a deliberately naive narrator-observer, impartial to the point of cynicism. Fantasy and everyday grotesque reveal the cruel and delusional absurdity of “unattractive reality” (from diaries), and the effect of terrifying authenticity is created thanks to the scrupulous accuracy of details, gestures, and verbal facial expressions. In unison with diary entries (“the days of my death have come,” etc.) latest stories(Knights, Falling, Interference, Rehabilitation) are imbued with a feeling of complete hopelessness, the omnipotence of crazy tyranny, cruelty and vulgarity. In August 1941, Kharms was arrested for “defeatist statements.” Kharms's works, even those published, remained in complete oblivion until the early 1960s, when a collection of his carefully selected children's poems, Game (1962), was published. After this, for about 20 years they tried to give him the image of a cheerful eccentric, a mass entertainer for children, which was completely inconsistent with his “adult” works. Since 1978, his collected works, prepared on the basis of saved manuscripts by M. Meilach and W. Erl, have been published in Germany. By the mid-1990s, Kharms firmly occupied the place of one of the main representatives of Russian literary literature of the 1920–1930s, essentially opposing Soviet literature. Kharms died in Leningrad on February 2, 1942 - in custody, from exhaustion.

Daniil Ivanovich Kharms (Yuvachev), (December 30, 1905 - February 2, 1942) - famous poet and prose writer, playwright and wonderful children's writer. He chose a pseudonym for himself very early and began writing early. He was an active participant in the Association of Real Art (OBERIU).r> Daniil Yuvachev was born in St. Petersburg into the family of Ivan Yuvachev, a revolutionary exiled to hard labor, and Nadezhda Yuvacheva. The parents were familiar with many famous writers at that time. p> 1915-1918 – secondary school of the Main German School;

1922-1924 – Children's and rural unified labor school; 1924 - Leningrad Electrical Technical College; 1926 - expulsion; March 5, 1928 - marriage to Esther Rusakova, Kharms dedicated many works and diary entries to her in the period from 1925 to 1932. The relationship was difficult, and in 1932 they divorced by mutual consent.

1928 - 1941 - actively collaborates with children's magazines, writes a lot of children's works, collaborates with Marshak; He has written more than 20 children's books.

On July 16, 1934, Kharms marries Marina Malich and does not part with her until the very end;

August 23, 1941 - arrest (false accusation of spreading “slanderous and defeatist sentiments”) based on the denunciation of Antonina Oranzhireeva (NKVD agent); Psychiatric clinic "Crosses" - in order not to be shot, the writer feigns madness. p> He was arrested for the second time and again sent to a psychiatric hospital.r> Died on February 2, 1942 from exhaustion during terrible blockade. And to this day, even highly respected scientists - philologists, historians, literary critics who consider themselves experts on Kharms - do not undertake to create any detailed biography of this writer. To write his “official” literary biography, in which the real moments of his life would be linked and coordinated with the main stages of his work, what is currently missing is not so much facts as their motivations. And without this, the biography of a creative personality, according to the philologist V. Sazhin, a researcher of D. Kharms’ texts, “if it does not turn into a figment of the biographer’s imagination, then it remains only a note or a chronograph.” Unfortunately, researchers do not yet have sufficient data to go beyond this scope. Therefore, this article provides only a summary of the biography of Daniil Kharms, indicating well-known facts and those circumstances that require even more in-depth study and clarification.

Family and ancestors

The biography of Kharms' father, Ivan Pavlovich Yuvachev (1860-1940), is well known to historians of the so-called “liberation movement” in Russia. He was the son of a polisher Winter Palace, received a navigator's education in technical school Naval Department in Kronstadt, served for several years on the Black Sea. It is unknown who or what influenced him Political Views, but in the early 1880s he turned out to be a like-minded member of the Narodnaya Volya and in the famous “trial of 14”. September 28, 1884 I.P. Yuvachev was sentenced to death penalty by hanging, but the sentence was soon commuted to 15 years of hard labor. Of this period, the convict had to spend the first 4 years in solitary confinement in the Peter and Paul Fortress, and then in the Shlisselburg Fortress.

Here he turned from a militant atheist into an equally zealous champion of Christianity with a strong dose of mysticism. At the Sakhalin penal servitude I.P. Yuvachev worked in leg shackles for two years, and then, apparently using his navigator education, his superiors assigned him to manage the weather station.

Without serving his entire sentence, I.P. Yuvachev was released in 1895, lived in Vladivostok, committed circumnavigation. The circumstances as a result of which he returned to St. Petersburg in 1899 are completely unknown. It is only known that Yuvachev Sr. decided to serve in the inspectorate of the Savings Banks Management for a position associated with constant inspection trips around Russia. For several years he has been releasing one after another biographical books“Eight Years on Sakhalin” (St. Petersburg, 1901) and “Shlisselburg Fortress” (M., 1907). From the pen of the former Narodnaya Volya member also came a considerable number of preaching brochures (under the pseudonym I.P. Mirolyubov), in which the author interprets the Holy Scriptures, promotes good morals and reverence for church statutes.

Meanwhile, classes by I.P. Yuvachev's meteorology and astronomy were highly appreciated. In 1903, he became a corresponding member of the Main Physical Observatory of the Academy of Sciences (in this regard, it is worth recalling the astronomer who often appears in Kharms’s texts).

In April of the same 1903, I.P. Yuvachev married noblewoman Nadezhda Ivanovna Kolyubakina (1876-1928). At that time, she was in charge of the laundry in the refuge of the Princess of Oldenburg, and over the years she became the head of the entire establishment - a place where women released from prison received shelter and work. How Daniil Kharms’ parents met is unknown. In January of the following year, 1904, Nadezhda Ivanovna gave birth to a son named Pavel, but in February he died.

On December 17 (30), 1905, the second son was born. On this day, Ivan Pavlovich made the following entry in his notebook:

The 3rd point of this entry is “obscure” and is most likely associated with the personal refusal of the former Narodnaya Volya member from his previous beliefs. As for the biblical prophet Daniel, he will become “the most dear” for Kharms.

On January 5 (18), 1906, the boy was baptized in the cathedral church Holy Mother of God at the refuge of the Princess of Oldenburg (now Konstantinogradskaya Street, on the territory of the Boiler and Turbine Institute). Apparently, the godparents were Ivan Pavlovich’s brother, Pyotr Pavlovich Yuvachev, and “the daughter of the provincial secretary, the girl Natalia Ivanova Kolyubakina.” The latter is the elder sister of Nadezhda Ivanovna (1868-1942), a literature teacher and director of the Tsarskoye Selo Mariinsky Women's Gymnasium. There, in Tsarskoe Selo, the mother’s younger sister, Maria Ivanovna Kolyubakina (1882? - 1943?), also lived, it seems, like the eldest, who had no family. These three women raised Daniel. The father was constantly on the move due to his duties and supervised the upbringing by correspondence with his wife. Moreover, the tone of his letters and instructions was the more severe, the softer and more reverent the mother treated her son. The absence of his father was compensated by his custom of writing letters with enviable frequency and regularity, and thus his voice was constantly heard in the family. For little Daniel, this created a rather fantastic effect of visible absence with a constant feeling of his father’s participation in his real life. The father became a certain person for Kharms supreme being, respect for which, as legends testify, was embodied, for example, in the fact that the son, until the end of his father’s life, stood up in his presence and spoke to his father only while standing. It can be assumed that the “gray-haired old man” with glasses and with a book, who appears in several of Kharms’ texts, was inspired precisely by the appearance of his father. It is amazing that the mother not only was not embodied in any way (with the possible exception of one poem) in Kharms’s texts, but even her death in 1928 was not recorded in his notebooks.

early years

In 1915, Daniil Yuvachev entered the first class of a real school, which was part of the Main German School of St. Peter in Petrograd (Petershule). The reasons why parents chose this particular school are unknown. In any case, here the young man received good knowledge German and English languages. Here his penchant for various hoaxes was already evident (at this age they were perceived as funny children's games). The future writer played the horn during lessons (it is unknown where he got it from), persuaded the teacher not to give him a bad mark - “not to offend the orphan” - etc.

During the hungry years of the Civil War, Daniil and his mother went to her relatives in the Volga region. Upon returning to Petrograd, the mother went to work as a wardrobe maid at the Barachnaya Hospital named after. S.P. Botkin, and here, on Mirgorodskaya, no. 3/4, the family lived until moving to Nadezhdinskaya in 1925. It was in this hospital that Kharms earned his first work experience - from August 13, 1920 to August 15, 1921, he served “as an assistant fitter.” The period from 1917 to 1922 is perhaps the most undocumented, and therefore researchers to this day have not been able to fill in many “blank spots” in the biography of Daniil Kharms.

It is known that in September 1922, for some reason, the parents considered their son’s stay in Petrograd inconvenient and sent him to his aunt, N.I. Kolyubakina. She was still the director, only now her former gymnasium was called the 2nd Detskoselsky Soviet Unified Labor School. Here Daniil completed his secondary education in two years and in the summer of 1924 he entered the Leningrad Electrical Technical School. The father, who served in the financial department at Volkhovstroi, helped ensure that the Working Committee interceded for his son, otherwise the young man of “non-proletarian” origin would not have been accepted into the technical school. But studying at the technical school was a burden for young Kharms, and already on February 13, 1926, he was expelled from there.

A penchant for fantasy, hoaxes, and writing, as was said, was noted in the early childhood of the future writer. At the age of 14, Danya Yuvachev compiled a notebook of 7 drawings (pen and ink), the contents of which still remain a mystery to researchers of Kharms’s work. But the motifs that will later be present in his main work are already obvious in them: the astronomer, the miracle, the wheel, etc. Already at a young age, a tendency towards encryption, veiling the direct meanings of objects and phenomena, which was inherent in Kharms throughout his literary life, is noticeable.

Nickname

Kharms's first known literary text was written in 1922 and bears the signature DSN. From this it is obvious that at that time Daniil Yuvachev had already chosen for himself not only the fate of a writer, but also a pseudonym: Daniil Kharms. In the future, he will begin to vary it in different ways and introduce new pseudonyms, bringing them total number almost to twenty.

There are several versions about the meaning of the literary name Kharms. According to A. Alexandrov, it is based French word charme - charm, enchantment. But Daniil’s father, judging by the surviving information, knew about the provocative negative meaning of this name: “Yesterday dad told me that as long as I am Kharms, I will be haunted by needs” (entry in Kharms’ notebook dated December 23, 1936). Indeed, according to the memoirs of the artist A. Poret, Kharms explained to her that in English this word means misfortune (literally “harm” - “misfortune”). However, Kharms always tended to veil (or blur) the direct meanings of words, actions, deeds, so you can look for decoding of his pseudonym in other languages.

First of all, this is the Sanskrit Dharma - “religious duty” and its fulfillment, “righteousness”, “piety”. Kharms could have known from his father that he depicted the pseudonym Mirolyubov, under which his preaching books and articles were published, with two words written in Hebrew: “peace” and “love.” By analogy with this (and from his own Hebrew studies), Kharms could associate his pseudonym with the word hrm (herem), which means excommunication (from the synagogue), prohibition, destruction. In view of these meanings, the above warning (caution) from a father to his son looks quite logical.

It should also be taken into account that Kharms was interested in mythology, history and literature from a young age. Ancient Egypt. Traces of this interest would later appear in numerous and unique ways in his works, and the most early evidence noticeable already in the above-mentioned drawings of 1919 and especially in the drawing of 1924, depicting a certain face with the caption: “That one.” This is one of the main Egyptian gods, the god of wisdom and writing, whom the Greeks later identified with Hermes Trismegistus, the bearer of the secret knowledge of all generations of magicians. The transformations that Kharms gave to his pseudonym from the very beginning of his work are reminiscent of magical manipulations, which, according to the canons of magic, are necessary so that the true meaning of the name remains a secret from the uninitiated. Thus, it was protected from adverse influences.

"Chinar gazer"

Soon, an equally mysterious part was added to the literary name Daniil Kharms: “the plane tree gazer” or simply “the plane tree”.

At the beginning of 1925, Kharms met (it is unknown under what circumstances) the poet A.V. Tufanov (1877-1941), an admirer and successor of V.V. Khlebnikov, author of the book “To Zaumi” (1924). Tufanov in March 1925 founded the “Order of the DSO Zaumi”, the core of which included Kharms, who took the title “Behold the Zaumi”.

Through Tufanov, Kharms became close to A.I. Vvedensky (1907-1941), a student of the more orthodox “Khlebnikovite” poet I.G. Terentyev (1892–1937), the creator of a number of propaganda plays, including the “actualizing” stage adaptation of “The Inspector General,” parodied in “The Twelve Chairs” by I. Ilf and E. Petrov.

Tufanov’s ideas about a special “perception of space and time” and, as a result, a special language that modern literature should speak, were close to Kharms from the very beginning and had a strong influence on him. During this year, Kharms formed two notebooks of poems, which he presented on October 9, 1925 along with an application for admission to the Leningrad branch of the All-Russian Union of Poets. On March 26, 1926, the poet Daniil Kharms (Yuvachev) was admitted to it. Among these poems the following signature is often found: plane tree

This word was coined by Vvedensky, who in 1922 founded the friendly union of “plane trees” together with his former classmates at the L. Lentovskaya gymnasium (Petrograd 10th Labor School) Ya. S. Druskin (1902-1980) and L.S. Lipavsky (1904-1941). And to them who received excellent education, prone to mystical philosophizing and literary creativity, it was common to avoid direct and unambiguous formulations and names. None of them ever deciphered the meaning of the word “plane tree”. Therefore, one can only guess: does this word mean spiritual rank, does it go back to Slavic root“create”, etc. etc. The most important thing is that Kharms, having met these people in mid-1925, made friends who remained his closest intellectual and creative like-minded people until the end of his life. L. Lipavsky (under the pseudonym L. Savelyev) and A. Vvedensky will work together with Kharms in children's magazines. In the 1930s, Y. Druskin would remain Kharms’s last interlocutor and spiritually close person. He will also protect the writer’s archive from destruction.

Kharms as extraordinary creative person He quickly began to feel burdened by his apprenticeship with Tufanov: he wanted broader activities both creatively and socially. This is precisely how researchers explain his departure from Tufanov, the organization of the Left Flank, then called the Left Flank, and, finally, the founding of the “Academy of Left Classics.” Each time it was an organization in which people of different creative interests certainly participated: artists, musicians, dramatic artists, filmmakers, dancers and, of course, writers.

In 1926, the Radix Theater was formed in Leningrad. The play “My Mother Is Covered in Watches,” composed of works by Kharms and Vvedensky, is chosen for the production. It was supposed to be a synthetic performance with elements of drama, circus, dance, and painting. But things didn’t go further than rehearsals for the play. It was decided to ask for space for the troupe’s rehearsals at the Institute. artistic culture(INHUK), its head is the famous artist K. Malevich. So in October 1926, Kharms met K. Malevich, and in December of the same year, the artist agreed to join the next alliance of leftist forces, conceived by Kharms. Evidence of Malevich’s friendly feelings remained his dedicatory inscription to Kharms on his book “God will not be thrown off” (Vitebsk, 1922): “Go and stop progress.”

For the first time in a scandalous context, the name of Kharms appeared on the pages of the press after his speech on March 28, 1927 at a meeting of the literary circle of the Higher Courses of Art History at State Institute art history. On April 3, a response to this speech appeared: “... on the third day, the meeting of the literary circle... was of a violent nature. The plane trees came and read poetry. Everything was going well. And only occasionally did the assembled students laugh or make jokes in a low voice. Some even clapping their hands. Give a fool the finger and he will laugh. "Chinari" decided that success was guaranteed. “Chinar” Kharms, after reading several of his poems, decided to inquire what effect they had on the audience.

“Chinari” were offended and demanded that Berlin be removed from the meeting. The meeting unanimously protested.

Then, climbing onto a chair, “Chinar” Kharms, a member of the Union of Poets, raised his hand armed with a stick upward with a “magnificent” gesture, and declared:

I don’t read in stables and brothels!

Students categorically protested against such hooligan attacks by persons appearing as official representatives of the literary organization at student meetings. They demand from the Union of Poets the exclusion of Kharms, believing that in the legal Soviet organization There is no place for those who, at a crowded meeting, dare to compare a Soviet university with a brothel and stables.”

Kharms did not retract his words in the statement he wrote together with Vvedensky to the Union of Poets. He explained that he considered his performance to correspond to the reception he received, and the description he gave to the public as a mark.

Judging by famous performances Kharms, who enjoyed the vigorous activity on stage, was not frightened, but rather provoked by the audience's reaction to his extravagant texts and the often shocking form of his performances. Of course, the element of provocation was deliberately incorporated by Kharms into his behavior. But in those years it was considered the norm of artistic life. The style of speech of the imagists, yesterday's futurists, and even Mayakovsky today would be called the fashionable word “banter,” and then it was aimed at attracting the attention of the public, “outdoing” literary competitors, and creating scandalous fame for itself.

OBERIUTs

In 1927, the director of the House of Press, V.P. Baskakov, invited the Academy of Left Classics to become a section of the House and perform at a big evening, setting the condition: to remove the word “left” from the name. Apparently, Kharms and Vvedensky did not really stand for any particular name, so the “Union of Real Art” was immediately invented, which, when shortened (in accordance with Kharms’s focus on a game with direct recognition and naming), was transformed into OBERIU. Moreover, the letter “y” was added to the abbreviation, as they say now, “for fun,” which clearly demonstrates the essence creative worldview group members.

The date of formation of OBERIU is considered to be January 24, 1928, when the “Three Left Hours” evening took place in the Leningrad Press House. It was there that the Oberiuts first announced the formation of a group representing a “detachment of left-wing art.” The literary section of OBERIU included I. Bakhterev, A. Vvedensky, D. Kharms (Yuvachev), K. Vaginov (Wagenheim), N. Zabolotsky, writer B. Levin. Then the composition of the group changed: after Vaginov left, Yu. Vladimirov and N. Tyuvelev joined it. N. Oleinikov, E. Shvarts, as well as artists K. Malevich and P. Filonov were close to the Oberiuts.

At the same time, the first (and last) manifesto of the new literary association was released, which declared its rejection of traditional forms poetry, expounded the views of the Oberiuts on different kinds art. It was also stated there that the aesthetic preferences of the group members are in the field of avant-garde art.

At the end of the 1920s, the Oberiuts tried to return again to some traditions of Russian modernism, in particular futurism, enriching them with grotesqueness and alogism. In defiance of the “socialist realism” implanted in art, they cultivated the poetics of the absurd, anticipating European literature absurdity for at least two decades.

It is no coincidence that the poetics of the Oberiuts was based on their understanding of the word “reality.” The OBERIU Declaration said: “Perhaps you will argue that our stories are “unreal” and “illogical”? Who said that “everyday” logic is required for art? We are amazed by the beauty of the painted woman, despite the fact that, contrary to anatomical logic, the artist twisted his heroine’s shoulder blade and moved her to the side. Art has its own logic, and it does not destroy the subject, but helps to understand it.”

“True art,” wrote Kharms, “stands among the first reality, it creates the world and is its first reflection.” In this understanding of art, the Oberiuts were the “heirs” of the futurists, who also argued that art exists outside of everyday life and use. Futurism is associated with Oberiut eccentricity and paradox, as well as anti-aesthetic shocking, which was fully manifested during public speeches.

The evening “Three Left Hours”, which marks the history of OBERIU (very, very short) was, perhaps, Kharms’ benefit performance. In the first part, he read poetry, standing on the lid of a huge lacquered cabinet, and in the second, his play “Elizabeth Bam” was staged. The devastating article by L. Lesnaya remains a reminder of this event, helping to slightly imagine the atmosphere of the evening.

In 1928-29, Oberiut performances took place everywhere: in the Circle of Friends of Chamber Music, in student dormitories, in military units, in clubs, in theaters and even in prison. There were posters in the hall with absurdist inscriptions: “Art is a cupboard”, “We are not pies”, “2x2=5”, and for some reason a magician and a ballerina took part in the concerts.

Famous film playwright and director K.B. Mints, who briefly collaborated in the cinematographic section of OBERIU, recalled some of the shocking actions of the “Unification”:

“1928. Nevsky Avenue. Sunday evening. There is no crowding on the sidewalk. And suddenly there were sharp car horns, as if a drunk driver had turned off the pavement straight into the crowd. The revelers scattered in different directions. But there was no car. A small group of very young people were walking along the empty sidewalk. Among them stood out the tallest, lanky one, with a very serious face and with a cane topped with an old car horn with a rubber black “pear”. He walked calmly with a smoking pipe in his teeth, in short pants with buttons below the knees, in gray woolen stockings, and black boots. In a checkered jacket. Her neck was supported by a snow-white hard collar with a child's silk bow. head young man It was decorated with a cap with “donkey ears” made of fabric. This was the already legendary Daniil Kharms! He's Charms! Shardam! Ya Bash! Dandam! Writer Kolpakov! Karl Ivanovich Shusterman! Ivan Toporyshkin, Anatoly Sushko, Harmonius and others..." Mints K. Oberiuts // Questions of Literature 2001. - No. 1

Works for children

At the end of 1927, N. Oleinikov and B. Zhitkov organized the “Association of Writers of Children's Literature” and invited their Oberiut friends, including Kharms, to it. From 1928 to 1941, D. Kharms constantly collaborated in children's magazines “Hedgehog” (a monthly magazine), “Chizh” (an extremely interesting magazine), “Cricket” and “Oktyabryata”. During this time, he published about 20 children's books.

Many publications about Kharms say that children's works were a kind of “sanitary trade” for the writer and were written solely for the sake of earning money (since the mid-1930s, more than meager). The fact that Kharms himself attached very little importance to his children's works is evidenced by his diaries and letters. But one cannot help but admit that poems for children are a natural branch of the writer’s creativity and provide a unique outlet for his favorite playful element. Does a child attach special importance to play? Despite their small number, Kharms’s children’s poems still have the status of a special, unique page in the history of Russian-language children’s literature. They were published through the efforts of S.Ya. Marshak and N. Oleinikov. The attitude of leading critics towards them, starting with the article in Pravda (1929) “Against hackwork in children's literature,” was unequivocal. This is probably why the pseudonym had to be constantly varied and changed.

In our opinion, such a characterization of Kharms’s children’s works is absolutely unfair. More than one generation of young readers was engrossed in his poems “A Man Came Out of the House,” “Ivan Ivanovich Samovar,” “The Game,” and others. And Kharms himself would never have allowed “hackwork” in literature for children. Children's works were his" business card". At some stage, they actually created his literary name: after all, during the life of Daniil Kharms, no one knew that in 1927-1930 he wrote much more “adult” things, but, apart from two fleeting publications in collective collections, nothing It was not possible to print anything serious.

Esther

However, much more than the lack of publications, Kharms in those years was worried about his relationship with his wife. Here, too, much remains unclear for biographers.

Kharms's first wife was Esther Aleksandrovna Rusakova (1909-1943). She was the daughter of Alexander Ivanovich Ioselevich (1872-1934), who emigrated in 1905 during the Jewish pogroms from Taganrog to Argentina, and then moved to France, to Marseille (here Esther was born). Anarcho-communist A. I. Rusakov took part in a demonstration of protest against the intervention in 1918 in Soviet Russia. For this he was deported to his homeland and in 1919 he arrived in Petrograd.

The Rusakov family was friends with many writers: A. N. Tolstoy, K. A. Fedin, N. A. Klyuev, N. N. Nikitin. The husband of one of the Rusakovs’ daughters, Lyubov, was a famous Trotskyist, member of the Comintern V. L. Kibalchich (Victor Serge; 1890-1947). In 1936, Esther would be arrested precisely for collaboration with Victor Serge and sentenced to 5 years in the camps; On May 27, 1937, she was sent by convoy to Nagaevo Bay in SEVVOSTOKLAG.

Kharms met Esther in 1925. At this time, despite her young age, she was already married (from the diary entries of Kharms and poetic works we can judge that the name of Esther’s first husband was Michael). Having divorced her first husband, Esther married Kharms in 1925 and moved in with him, but every now and then she “ran away” to her parents, until the official divorce in 1932. It was a painful affair for both.

For Kharms, in any case, the torment began almost immediately after his marriage, and in July 1928, when fame and success in children’s literature came to him, albeit somewhat scandalous, he wrote in his notebook:

At the same time (or because of this?) Esther Rusakova will remain the brightest feminine impression Kharms, and he will measure all the other women with whom fate brings him together, only by Esther.

In March 1929, Kharms was expelled from the Union of Poets for non-payment of membership fees, but in 1934 he would be admitted to the Union of Soviet Writers without any problems (membership card No. 2330).

The end of OBERIU and the first arrest

The real disaster for OBERIU came in the spring of 1930. She was associated with Kharms’s performance with friends in the student dormitory Leningrad University. The Leningrad youth newspaper Smena responded to this speech, in which an article by L. Nilvich appeared with a biting title: “Reactionary juggling (about one outing of literary hooligans)”:

After such aggressive attacks, OBERIU could not exist for long. For some time, the most active members of the group - Kharms, Vvedensky, Levin - went into the field of children's literature. Here big role played by N. Oleynikov, who, although not formally a member of OBERIU, was creatively close to the association. With the beginning of the ideological persecution of the 1930s, texts for children became the only published works by Kharms and other Oberiuts.

However, they did not last long in this niche either. The free artistic attitude of the absurdists and their inability to fit into a controlled framework could not but arouse dissatisfaction with the authorities. Following the sharp responses to their public speeches, a “discussion about children’s literature” took place in the press, where K. Chukovsky, S. Marshak and other “ideologically unrestrained” writers, including young authors from the children’s edition of Lengiz, were severely criticized. After this, the Oberiut group ceased to exist as an association.

On December 10, 1931, Kharms, Vvedensky and some other editorial staff were arrested.

What Kharms said about his works during the investigation, he could have said among his friends. What was fantastic here were only the circumstances of the place and the extreme sincerity with which the writer characterized his “anti-Soviet” work.

He was sentenced to three years in the camps, but the term was replaced by a short exile. Kharms chose Kursk as his place of residence and stayed there (together with the similarly convicted A. Vvedensky) for the second half of 1932.

1930s

At the end of 1932, Kharms managed to return to Leningrad. The nature of his work is changing: poetry recedes into the background and fewer and fewer poems are written (the last completed poems date back to the beginning of 1938), while prose works (with the exception of the story “The Old Woman,” a creation of a small genre) multiply and become cyclical (“Cases,” “ Scenes”, etc.). In place of the lyrical hero - an entertainer, ringleader, visionary and miracle worker - appears a deliberately naive narrator-observer, impartial to the point of cynicism. Fantasy and everyday grotesque reveal the cruel and delusional absurdity of “unattractive reality” (from diaries), and the effect of terrifying authenticity is created by the author thanks to the scrupulous accuracy of details, gestures, and verbal facial expressions of the characters. In unison with the diary entries (“the days of my death have come”, etc.) the last stories are heard (“Knights”, “Falling”, “Interference”, “Rehabilitation”). They are imbued with a feeling of complete hopelessness, the omnipotence of crazy tyranny, cruelty and vulgarity.

Upon returning to Leningrad, Kharms resumes friendly communication with former Oberiuts. “We met regularly - three to five times a month,” recalled Ya. Druskin, “ for the most part at the Lipavskys, or at my place.” Their meetings are a deliberately cultivated form of endless philosophical, aesthetic and ethical dialogue. Here they categorically rejected arguing and defending their point of view as the only correct one. This was determined not so much by ethics as by ontology: according to interlocutors, in earthly world there is no final truth, there cannot be unconditional rightness of one in relation to another: everything is mobile, changeable and multivariate. Hence their skepticism towards science that claims to be unconditionally true, especially the exact sciences. Echoes of this position, like the genre of dialogue itself, are found in abundance in Kharms’s works and contain the above-mentioned attitudes. In 1933-1934, conversations of former Oberiuts were recorded by the writer L. Lipavsky and compiled the book “Conversations”, which was not published during Kharms’s lifetime. Also, the collective collection of Oberiuts “The Bath of Archimedes” was not published during the authors’ lifetime.

In 1934, K. Vaginov died. In 1936, A. Vvedensky married a Kharkov woman and went to live with her. On July 3, 1937, following the Kirov murder case, N. Oleinikov was arrested, and on November 24, N. Oleinikov was shot. 1938 - N. Zabolotsky was arrested and exiled to the Gulag. Friends disappeared one by one.

Meanwhile, in the atmosphere of general fear in the second half of the 1930s, Kharms continued to work no less intensively than before in children's magazines, multiplying his pseudonyms under the remaining unpublished “adult” works. He signed his children's works with the pseudonyms Charms, Shardam, Ivan Toporyshkin and others, never using his real last name.

It is impossible not to notice that the rest of Kharms’s friends, just like him, who worked intensively in a variety of genres: poetry, prose, drama, essays, philosophical treatises, did not see anything they wrote in print. But none of them has a note of reflection on this matter. It's not that they didn't want to see their works published. It’s just that the purpose of writing was itself, the actual act of utterance and, at best, the reaction to it of the closest circle of friends. The aimlessness of creativity - perhaps best definition for what Kharms (and his like-minded people) did in the literature of the 1930s.

During these same years, Kharms compiled several collections of previously written works. In addition to those published in the posthumous collected works of Kharms, his archive contains two more collections compiled from previously written texts. They are somewhat similar in their composition, but still differ from each other. The most interesting thing about these collections is that many of them have a number icon above the title (and in some individual autographs). IN total there are 38 such numbered texts, and among the icons the oldest is 43; some numbers are not found. According to modern literary scholars - researchers of Kharms' work, the explanation for these strange numbers with the "t" sign should be sought in Kharms' occult hobbies. The fact is that verbal interpretations of the meanings of Tarot cards were often compiled into various books (and Kharms studied them, as is clear from the bibliographic entries in his notebooks). Probably, Kharms, following the examples known to him, applied a possible interpretation to one or another of his texts in accordance with one or another Tarot card and thus, as it were, played out a kind of card solitaire from his works.

"Ignite trouble around you"

At the end of the 1930s, according to his recollections last friend I'M WITH. Druskin, Kharms often repeated words from the book “Seeker of Unceasing Prayer, or Collection of Sayings and Examples from Books Holy Scripture"(M., 1904): "Ignite trouble around you." These words were close to his temperament and mental makeup. Impetuous sincerity and contempt for the opinions of the people around him always guided him. Sacrifice was, according to his concepts, one of the fundamental principles of the creation of art. He was not shy in his assessments of the impending war and, it seems, foresaw his fate. “Ignite trouble” seemed to become an end in itself for the writer, a method of conscious suicide.

On August 23, 1941, Kharms was arrested for “defeatist statements.” Documents about the second arrest and the “case” of Kharms in 1941-42 have not survived. According to one version, the writer was declared insane and placed in a psychiatric hospital, where he died of exhaustion on February 2, 1942.

Kharms’ second wife M.V. Malich, whom he married in 1935, abandoned the archive after her husband’s arrest (at the last search only correspondence and several notebooks were seized, but larger number manuscripts survived) and moved to the “writer’s” house on the Griboyedov Canal embankment, no. 9. Having learned about this from her, Ya. Druskin went from the Petrograd side to Mayakovsky Street to a friend’s abandoned apartment. Here he collected all the papers that he could find, put Kharms’s manuscripts in a suitcase and carried him through all the vicissitudes of the evacuation. In 1944, Kharms’ sister E. Gritsyna gave Druskin another part of Kharms’ archive, which she found in their apartment. This is how the writer’s literary heritage was preserved from destruction.

Kharms's works, even those published, remained in complete oblivion until the early 1960s, when a collection of his carefully selected children's poems, “The Game” (1962), was published. After this, for about 20 years they tried to give him the appearance of a cheerful eccentric, a mass entertainer for children, which was completely inconsistent with his main “adult” works. Even the writer’s second wife, Marina Malich (Durnovo), in her memoirs was sincerely surprised at how many magnificent works Kharms managed to write in the 1930s. She considered her husband not the most successful, “average” children's writer. She, like everyone else, was familiar only with children's poems published in magazines.

Biography

He studied at the privileged German school Petrischule. In 1924 he entered the Leningrad Pedagogical Institute, but was soon forced to leave it. In 1925 he took up writing. In his early youth he imitated the tourist poetics of Khlebnikov and Kruchenykh. Then, in the second half of the 1920s, he abandoned the predominance of “zaumi” in versification.

Upon returning from exile, Kharms continues to communicate with like-minded people and writes a number of books for children to earn a living. After the publication in 1937 in a children's magazine of the poem “A man came out of the house with a club and a bag,” which “has since disappeared,” Kharms was not published for some time, which put him and his wife on the brink of starvation. At the same time, he writes many short stories, theatrical sketches and poems for adults, which were not published during his lifetime. During this period, the cycle of miniatures “Cases” and the story “The Old Woman” were created.

Addresses in Petrograd - Leningrad

• 1922-1924 - apartment of N.I. Kolyubakina - Detskoe Selo (now the city of Pushkin), Revolution Street (now Malaya), 27;
• 12.1925 - 08.23.1941 - Trofimov's house - Nadezhdinskaya street (since 1936 Mayakovsky street), 11, apt. 8.

Notes

Links

• www.daharms.ru, Daniil Kharms - complete works. Biography, documents, articles, photos, anecdotes
• kharms.ru - Daniil Ivanovich Kharms. Biography, works, story “The Old Woman”, comrades.
• Daniil Kharms in the Anthology of Russian Poetry
• Daniil Kharms on Elements
• Who are you, Daniil Kharms? Review of A. Kobrinsky’s book “Daniil Kharms”.

Declamations

• “Cases” by Daniil Kharms performed by Sergei Yursky and Zinovy ​​Gerdt

Film adaptations

• “The Kharms Case” by Slobodan Pesic (1987);
• “Clowning” by Dmitry Frolov (1989) - a tragicomedy of the absurd, based on the works of Daniil Kharms;
• “Staru-kha-rmsa” by Vadim Gems (1991) - a film adaptation of D. Kharms’ story “The Old Woman”;
• “Concert for a Rat” by Oleg Kovalov (1996)
• “Falling into Heaven” by Natalia Mitroshina (2007)
• “Plyuh and Plykh” by Ekran studio Nathan Lerner (1984), based on the book by Walter Busch in the Translation by Daniil Kharms

Literature

• 100th anniversary of Daniil Kharms: Conference materials. St. Petersburg, 2005.
• Glotser V. Marina Durnovo. My husband Daniil Kharms. M.: IMA-Press, 2001.
• Jacquard J.-F. Daniil Kharms and the end of the Russian avant-garde. St. Petersburg, 1995.
• Kobrinsky A.A. About Kharms and more. St. Petersburg, 2007.
• Kobrinsky A. A. Daniil Kharms. M.: Young Guard, 2008. - (“Life wonderful people"). 2nd ed. - 2009.
• Kharmsizdat presents: Sat. materials. St. Petersburg, 1995.
• Tokarev D. Course for the worst: absurdity as a category of text in Daniil Kharms and Samuel Beckett. M.: New literary association, 2002.- 336 p.

Music

• The poem “Very, very tasty pie” in the musical interpretation of the “Other Creative” community.

Wikimedia Foundation.

2010.

See what "Kharms" is in other dictionaries: Daniil (real name Yuvachev Daniil Ivanovich; 1905, St. Petersburg - 1942, Leningrad), Russian writer. D. Kharms Son of the writer I. P. Yuvachev. In 1922 or a little earlier he began his poetic career. Together with L. S. Lipavsky, Ya. S. Druskin, A ...

Literary encyclopedia See: OBERIUT Lexicon of Nonclassics. Artistic and aesthetic culture of the 20th century.. V.V. Bychkov. 2003 ...

Encyclopedia of Cultural Studies - (real name Yuvachev) Daniil Ivanovich (1905 42), Russian writer. Participant literary group

Unification of real art (OBERIU, 1927 1930). In poetry, plays (Comedy of the City of St. Petersburg, 1927, published posthumously; Elizaveta Vam ... Russian History Kharms D.I. - KHARMS (real name Yuvachev) Daniil Ivanovich (190542), Russian. writer. Participant lit. group Association of Real Lawsuits (OBERIU, 192730). In poetry, plays (Comedy of the City of St. Petersburg, 1927, publ. see; Elizaveta Bam, post. 1928), rep...

Biographical Dictionary Daniel at birth: Daniil Ivanovich Yuvachev Date of birth: December 17 (30), 1905 Place of birth: St. Petersburg Date of death: February 2, 1942 Place of death: Leningrad ... Wikipedia

Name: Daniil Kharms (Daniil Yuvachev)

Age: 36 years

Activity: poet, writer, playwright

Family status: was married

Daniil Kharms: biography

Daniil Ivanovich Kharms is a talented poet, a member of the creative association "OBERIU", but above all, readers associate Kharms as the author of children's literature. He gave girls and boys poems and stories that, after many years, became immortal. Such works include “The Amazing Cat”, “Liar”, “A Very Scary Story”, “Firstly and Secondly”, “A Man Came Out of the House”, “Old Woman”, etc.

Childhood and youth

Daniil Ivanovich Yuvachev was born on December 17 (30), 1905 in the cultural capital of Russia - the city of St. Petersburg. The boy grew up and was brought up in an intelligent and wealthy family. His father Ivan Pavlovich also left a mark on history: initially he positioned himself as a revolutionary and a member of the people’s will, and miraculously avoiding the death penalty, changed his outlook on life and became a spiritual writer.

It is known that during a trip to Sakhalin, where he spent eight years in hard labor, Daniil Kharms’s father met, who made Yuvachev the prototype of a revolutionary in his work “The Story of an Unknown Man” (1893). The exile helped Yuvachev get rid of unceremonious moods, and, having survived all the hardships of fate, in 1899 Ivan Pavlovich returned to St. Petersburg, where he served in the inspection office of the Savings Banks Administration, worked in the editorial office and worked literary activity.

Yuvachev Sr. communicated not only with Chekhov, but also was in friendly correspondence with and. In 1902, Ivan Pavlovich proposed marriage to Nadezhda Ivanovna Kolyubakina, who came from a noble family that settled in the Saratov province. She was in charge of the shelter and was known as a comforter to women who had been in captivity. And if Nadezhda Ivanovna raised her children in love, then Ivan Pavlovich adhered to strict rules regarding the behavior of his offspring. In addition to Daniel, the couple had a daughter, Elizabeth, and two other children died at an early age.

When on site Russian Empire The first seeds of the revolution were growing, the future poet studied at the privileged German school “Die Realschule”, which was part of the “Petrischule” (the first educational institution founded in St. Petersburg in 1702). The main breadwinner in the house had a beneficial influence on his son: thanks to his father, Daniil began to learn foreign languages ​​(English and German), and also fell in love with scientific literature.

According to rumors, the son of Ivan Pavlovich studied well, but the little boy, like all children, was prone to pranks: in order to avoid punishment from teachers, Daniil sometimes acted out acting scenes, pretending to be an orphan. After receiving his matriculation certificate, the young man chose a down-to-earth path and entered the Leningrad Energy College. However, on the bench of this educational institution Kharms did not stay long: the careless student never bothered to get a diploma due to the fact that he often skipped classes and did not participate in community service.

Poetry

After Daniil Yuvachev was expelled from the Leningrad Technical School, he began to engage in literary activities. Although, it is worth saying that his love for creativity appeared in early years: as a schoolboy, he composed an interesting fairy tale, which he read to his four-year-old sister Natalia, whose early death was a shock for the future poet.

Daniil Ivanovich did not want to see himself as a prose writer and chose writing poetry as his field. But the first creative attempts of the aspiring poet resembled an incoherent stream of thought, and the young man’s father did not share his son’s literary passions, since he was an adherent of strict and classical literature in the person of Leo Tolstoy and.

In 1921–1922, Daniil Yuvachev became Daniil Kharms. By the way, some writers are still struggling to unravel the mystery that shrouds the creative pseudonym assigned by the world-famous author of children's poems. According to rumors, the son of Ivan Pavlovich explained to a friend that his nickname comes from the English word “harm,” which translated into Russian means “harm.” However, there is an assumption that the word “Kharms” comes from the French “charme” - “charm, charm.”

Others believe that Daniel's nickname was inspired by his favorite character Sherlock Holmes from the books of Sir. They also used to say that the poet signed his passport with a pencil next to his real surname with a dash “Harms”, and then completely legitimized his pseudonym. A talented literary figure believed that one constant nickname brings misfortune, so Daniil Ivanovich had many pseudonyms that changed like gloves: Kharms, Haarms, Dandan, Daniil Shardam, etc.

In 1924–1926, Daniil Ivanovich begins his creative biography. The young man not only writes poems, but also recites the works of others at public appearances. Also in 1926, Kharms joined the ranks of the All-Russian Union of Poets, but the writer was expelled three years later for non-payment of membership fees. At that time, the poet was inspired by creativity and.

In 1927, a new literary community emerged in Leningrad, called “OBERIU” (“Union of Real Art”). Just as he and other futurists once called for throwing modernity off the ship, the “chinari” rejected conservative forms of art, promoting original methods images of reality, the grotesque and the poetics of the absurd.

They not only read poems, but also organized dance evenings, where those who came danced the foxtrot. In addition to Kharms, Alexander Vvedensky, Igor Bakhterev and other literary figures were members of this circle. At the end of 1927, thanks to Oleinikov and Zhitkov, Daniil Kharms and his associates began to compose poems for children.

Daniil Ivanovich’s works could be seen in the popular publications “Hedgehog”, “Chizh” and “Cricket”. Moreover, Yuvachev, in addition to poems, also published stories, drew cartoons and puzzles, which were solved by both children and their parents.

It cannot be said that this type of activity brought Kharms unprecedented pleasure: Daniil Ivanovich did not like children, but children's literature was the only source of income for the talented writer. In addition, Yuvachev approached his work thoroughly and tried to scrupulously work through absolutely every work, unlike his friend Vvedensky, who, according to some researchers, loved to hack and treated his duties extremely irresponsibly.

Kharms managed to gain popularity among little boys and girls, to whom mothers and fathers and grandparents read poems about cats who did not want to taste the onion and potato vinaigrette, about a pot-bellied samovar and about a cheerful old man who was passionately afraid of spiders.

Surprisingly, even the author of harmless works for children was persecuted by the authorities, who considered some of Yuvachev’s works unceremonious. Thus, the illustrated book “The Naughty Cork” did not pass censorship and was “under the curtain” for ten whole years, from 1951 to 1961. It got to the point that in December 1931, Kharms and his comrades were arrested for promoting anti-Soviet literature: Daniil Ivanovich and Vvedensky were sent to Kursk.

Personal life

It is not for nothing that in most of the illustrations Daniil Ivanovich is depicted with a tobacco pipe, since in life the gifted poet practically never let it out of his mouth and sometimes smoked right on the go. Contemporaries used to say that Yuvachev dressed strangely. Kharms did not go to fashion boutiques, but ordered clothes from a tailor.

Thus, the writer was the only one in the city who wore short pants, under which socks or leg warmers were visible. But his eccentric habits (for example, Kharms sometimes stood at the window in what his mother gave birth to) did not prevent others from seeing his kindness. Also, the poet never raised his voice and was a correct and polite person.

“Apparently, for the children there was something very interesting in his appearance, and they ran after him. They really liked the way he dressed, the way he walked, the way he suddenly stopped. But they were also cruel - they threw stones at him. He did not pay any attention to their antics and was completely unperturbed. I walked and walked. And he didn’t react in any way to the looks of adults either,” recalled Marina Malich.

Concerning love relationship, then Daniil Ivanovich’s first chosen one was a certain Esther Rusakova. Kharms dedicated an unprecedented number of poems to his passion, but their love was not cloudless: according to rumors, Yuvachev walked to the left, and Rusakova burned with jealousy, as evidenced by the poet’s diary entries. In 1932, the couple filed an official divorce.

In the summer of 1934, Kharms proposed marriage to Marina Malich, and the girl agreed. The lovers lived hand in hand until Yuvachev’s arrest, which occurred in 1941.

Death

In August 1941, Daniil Ivanovich, again breaking the law, was arrested for spreading objectionable sentiments: the writer allegedly said that the USSR would lose the war (words that, according to researchers, were copied from a denunciation).

To avoid the death penalty, Kharms pretended to be mentally ill, so he was admitted to a psychiatric clinic, where he died on February 2, 1942. After 18 years, his sister managed to restore the good name of her brother, who was rehabilitated by the Prosecutor General's Office.

Bibliography

• 1928 – “First and second”
• 1928 - “About how Kolka Pankin flew to Brazil, and Petka Ershov did not believe anything”
• 1928 – “Ivan Ivanovich Samovar”
• 1929 – “About how the old lady bought ink”
• 1930 – “About how dad shot my ferret”
• 1937 – “Cats”
• 1937 – “Stories in Pictures”
• 1937 – “Plikh and Plyukh” (translation of the work of Wilhelm Busch)
• 1940 – “The Fox and the Hare”
• 1944 – “The Amazing Cat”