In June 1928, Harms began translating the fairy tales of the Brothers Grimm. This work continued until the end of August, the deadline for the completion of the work was determined on September 6th. S. Marshak decided to publish a large collective translation of the fairy tales of the Brothers Grimm, in which, in addition to Kharms, Vvedensky, Zabolotsky, Lipavsky, Bakhterev and others were supposed to take part. Kharms diligently worked on translations and even passed his part, but the collection never released. Perhaps anticipating the futility of his work, and also against the backdrop of renewed ongoing problems with Esther, he writes on July 26: “I'm all some kind of special loser. Over me for Lately hung an incomprehensible law of non-fulfillment. Whatever I want, it just won't work. Everything goes back to my assumptions. Truly, man proposes, but God disposes. I desperately need money, and I will never get it, I know it! I know that very big troubles await me in the near future, which will make my whole life much worse than it has been until now. Day by day things are getting worse and worse. I don't know what to do anymore. Servant of God Xenia, help me, save and save my whole family. And two days later he writes: "There is only one task - to become free." He writes down the last two words in cipher just in case.
In August, Kharms and his friends made an attempt to achieve recognition not only within the USSR, but also abroad. Kharms had a rather warm relationship with the artist Pavel Mansurov, a significant figure in the Russian avant-garde. Mansurov received permission to travel to Italy with his exhibition and, apparently, decided in advance not to return back (after the exhibition, he settled in Paris). The Oberiuts decided to transfer their works with Mansurov to familiarize representatives of the Russian emigration with them. At the same time, they tried to give OBERIU the official status of a "society that does not pursue the goals of profit", as it was formulated according to the then laws, for which they began to collect Required documents. The society was named "SODEK" (decoding unknown). Of course, nothing came of this either.
On the twenty-first of August, works by B. Levin, I. Bakhterev, D. Kharms, A. Vvedensky, K. Vaginov and N. Zabolotsky were sent abroad with Mansurov. Kharms sent "Elizaveta Bam", as well as the poems "Cossack Death", "Aviation of Transformations", "Avarice", "Tricks!!!", "Serenade" and the poetic scene "Temptation". 2.5 printed sheets of text fell to his share, while all the rest received only one sheet each. Moreover, an agreement was concluded with Mansurov that the Oberiuts would subsequently send him their works in letters - for publication in emigre publications. Kharms was so sure of success that he even discussed with Mansurov how to pay the Oberiuts a fee for their works!
But - alas - here the poets also failed. After Mansurov's departure, the Oberiuts no longer had contacts with him, and we still know nothing about the fate of the works sent with him.
In addition to trying to break into print, Harms is trying to organize group performances. At the same time, he agrees not only to the usual literary evenings, which were widespread at that time, but even to performances in restaurants. Completely in the traditions of the Russian avant-garde, he includes everyday behavior and cooking in the poetics. So, for example, the artist Mikhail Larionov in 1913 proposed to put into practice the use of not only beef, but also the meat of dogs, cats, rats, bats, hedgehogs, crows, snakes, etc. As for vegetables and fruits, the essence of the concept Larionov had the most fantastic combination of different products. Cutlets were proposed to be made from meat with the addition of rum and pears. The goose was to be fried with apricots, cucumbers, vanilla, cherry leaves, and the soup was to be made from wine mixed with pepper, pig ears, and figures of animals fashioned from dough. Engineer Toropulo, the hero of Konstantin Vaginov's novel "Bambochada", which was written in 1929-1930, became a kind of culinary poet. Toropulo devoted his whole life to food, organizing friendships around cooking, collecting culinary literature dedicated to food and the art of cooking, painting...
Kharms suggested organizing theatrical events in restaurants. Drink coffee with cucumbers, tea with eggs, draw milk from a straw, eat herring with milk, and tea with carrots. It was also suggested:
Sit with your eyes closed.
Have an embroidered towel over your shoulder.
Scissors to cut cucumbers?
Warm up your meals.
Play tin soldiers over beer.
Tie up napkins and feed each other.
Come in armor.
All three of them stutter.
Black glasses.
"Culinary" motives were planned to be transferred to ordinary theatrical evenings. A draft of one such evening at the end of October 1928 has been preserved, where, along with a literary report, in particular, it was supposed to read an “astronomical” report (a possible alternative to the latter was the “report on worms”). During the evening, along with performances by poets, melody recitation and juggler's numbers were also planned. On the same evening, it was planned to “eat soup, drink purple and green liquid” on stage (it’s funny that after this a crossed out entry followed: “Go with Vatinov to crazy house"). Alas, this has not always been well received. According to the recollections of the witnesses of this evening, some spectators who were not too “advanced” in avant-garde art perceived eating soup quite ironically and not at all in the way that the Oberiuts expected: “Young guys, of course, they are hungry ...”
At the end of September, Mayakovsky arrived in Leningrad - his evening with a debate was scheduled at the Chapel. The Oberiuts decided to take the opportunity and once again declare themselves. Zabolotsky was instructed to draw up a draft declaration for reading during the dispute, and Kharms on the eve of the evening carried this text signed by all members of the group to Mayakovsky at the Evropeyskaya Hotel. According to Bakhterev, Mayakovsky received Harms kindly, but refused to read the declaration, citing the fact that he would still hear it in the Chapel.
Mayakovsky's evening took place on September 29, 1928. Here is how Bakhterev recalled the performance of the Oberiuts there:
“The next day, seven Oberiuts stood on the stage of the Capella (the eighth - Oleinikov - refused to go on the stage for diplomatic reasons). Vvedensky was instructed to pronounce a declaration with short examples of Oberiut creativity.
Coming to the forefront and explaining that we were not impostors, but the creative section of the Press House, he announced the result of our collective composition, which took about twenty minutes. The public, not spoiled by such performances, listened attentively to Vvedensky. When Alexander fell silent and joined the Oberiuts standing on the stage, soft claps were heard.
Behind the scenes, Viktor Borisovich Shklovsky, who accompanied Mayakovsky, approached us.
Eh, you! - he said. - When we were your age, we arranged such shurum-burum - everyone got hot. This is not the Institute of Art History. In a word, it should have been different ...
No matter how hard we tried to convince Viktor Borisovich that we were faced with a narrowly informational task, he did not give up.
In truth, each of us was convinced that Shklovsky had forgotten the institute meeting, and mentioned the institute only after we reminded him that we already knew each other.
At your age, we lived more cheerfully, - continued Shklovsky. - We could not do without shurum-burum. Yes, and the examples did not really satisfy me, it was possible to pick up more interesting, louder.
"Of course, he doesn't remember," I thought, and immediately realized that I was mistaken - Shklovsky's memory turned out to be no worse than ours.
For such performances, he said, a poster is needed. Do not believe me - ask Vladimir Vladimirovich. A cap would have been more appropriate here than at the Institute. Why aren't you wearing a hat? he turned to Daniel.
But Mayakovsky reacted differently to the speech, said that the association interested him, and at the same time asked to send an article with a detailed story about OBERIU and the Oberiuts to Lef's address. The article was written by a traveling correspondent Komsomolskaya Pravda"(V. Klyuykov. - A.K.), but did not appear in Lef. Our opponent turned out to be Osip Brik, who was in charge of the poetry department. It became clear that Mayakovsky looks at poetry more broadly. Wider Brika looked at her and Viktor Borisovich.
The "institute meeting" that Bakhterev writes about is a meeting that took place back in the spring of 1927 between the professors of the Institute of Art History and five members of the "Left Flank" who were then in Leningrad. On one side of the table sat professors Tomashevsky, Eikhenbaum, Shcherba, Tynyanov, Shklovsky, and opposite them - Kharms, Vvedensky, Bakhterev, Vaginov and even Zabolotsky, to whom the institute wrote a special paper to be released from the unit where he then served in the army. Young poets read poems, there was a discussion - and Vvedensky's poems were appreciated the most (which was some surprise - the members of the "Left Flank" were used to the fact that Zabolotsky was usually the "birthday boy" at their performances). From that time on, contacts between the formalists and young poets became much closer, although the link was usually made by Kharms, who studied at the Institute of Art History. Therefore, obviously, Bakhterev thought that Shklovsky had already forgotten about their meeting.
The poems sent along with the article to Novy LEF (that was the correct name of the LEF magazine, resumed in 1927, which Bakhterev recalls), for some time were in the so-called "Lef basket", where manuscripts were kept that were not submitted for publication. interest and then disappeared.
By the end of October 1928, Vaginov and Zabolotsky finally withdrew from OBERIU. Vaginov concentrated on prose, joint performances with the Oberiuts were no longer interesting to him. And Zabolotsky broke up with OBERIU for creative and personal reasons. Therefore, on October 29, Kharms writes: “Consider as full members of OBERIU: Kharms, Bakhterev, Levin, Vvedensky. 4 persons<ека>. Liter<атурная>section. Vigilyansky - administrator.
To create an art section of OBERIU. Invite Bakhterev, Kaplun.
Principle: Do not be afraid of a small number of people. Better three people who are fully connected with each other than more, but constantly disagreeing.
Interestingly, Kharms is actually trying to revive the practice of the first Workshop of Poets, in which D.V. was one of the leaders in the rank of “solicitor”. Kuzmin-Karavaev is a lawyer who apparently did not write poetry. Approximately the same "position" Kharms will read Vigilyansky, whose level of poetry did not satisfy him to such an extent as to include him in the literary section of OBERIU.
In late October - early November 1928, Kharms, together with Bakhterev, created a new play "Winter Walk" (its text has not been preserved). He reads the play at the evening of the Literary Fund, and then the Oberiuts begin to prepare it for staging for the “evening in three bites” called “Vasily Oberiutov”. The evening was supposed to take place at the Institute of Art History, and it was obviously built on the model of the Three Left Hours: poetry reading, play, debate. The performance of the same magician Pastukhov, who showed his art in January at the Press House, was also planned. The evening's program included:
Doyvber Levin - Eucalytic prose.
Daniil Kharms - objects and figures.
Alexey Pastukhov - the same.
Igor Bakhterev - forks and verses.
Alexander Vvedensky - self-observation over the wall.
Vigilyansky was to host the evening.
The term "eucalic" coined by Levin was formed from two Greek words - εύ (good) and καλός (beautiful), and as for "Self-observation over the wall", it was the name of Vvedensky's work that has not come down to us.
However, the evening "Vasily Oberiutov" did not take place. On the poster posted by the Oberiuts, the date was marked "12 Derkarebar 1928 according to the new style." In addition to a reference to Gogol's Notes of a Madman, something obscene was also read in it - and the indignant administration of the institute ordered the cancellation of the performance.
But still, "Winter Walk" was staged. This happened at an evening at the Press House on December 25th. In addition to Oberiut friends, Esther was also at the performance. Harms experienced a relationship with her new stage. At the end of 1928 - the beginning of 1929, Kharms had several novels, in particular, with Tamara Meyer, Vvedensky's common-law wife, and later the wife of Leonid Lipavsky. Some novels ran in parallel. Harms had already come to the idea of the need for a divorce from Esther (despite the continued love for her), and she already agreed with this. Kharms archive preserved her letter to him, written in broken Russian (it never became her mother tongue):
“Daniel, I went to the Zaks to breed.
You are not angry, it will be possible if you want to meet and be good friends. I see that I am a burden to you. Daniel remember just love also and even more. And I will love you until death. Daniel if I'm not mistaken, you keep yourself so pre-home so that I would get divorced. It's very clever, otherwise you can't push me away from you.
I kiss you tightly and remember that I will always love you.
Yours forever Esther.
Interestingly, her proposal to “meet and be good friends” coincided with the picture that Kharms had painted for himself a little earlier as ideal: that she and Esther should live separately, but that she would come to him from time to time - a kind of marriage at a distance. In the same December, Kharms writes down in cipher several mutually exclusive phrases that perfectly characterize the degree of his despair:
“But my wife is best person! She is dearer to me than anyone!
God help my sweet wife!
Lord, make me together with that bachelor.”
However, the final break this time has not yet taken place.
The year ended for Kharms by reading from B. Eikhenbaum. Kharms believed that Eikhenbaum was closest to him of all the formalists, and he was very worried, believing that his poems remained for Eikhenbaum in the shadow of the poems of Zabolotsky and Vvedensky. However, these were only his guesses: this is how Kharms's suspiciousness manifested itself - a trait that was originally inherent in his character and intensified over the years. However, Kharms was very firm in cases where it was a question of defending aesthetic positions. So, for example, having visited the Chapel on January 18, 1929, at the evening of the poet Ilya Selvinsky, the founder of the Constructivist Literary Center, he indignantly writes: “What Selvinsky says, I absolutely do not accept! Everything he says is contrary to my beliefs. Selvinsky is a strong, clumsy man, on a completely alien path. If Eikhenbaum and the company of young formalists unite with Selvinsky, I do not want to have anything to do with them.
On February 18, Kharms lost his mother. Nadezhda Ivanovna Kolyubakina died of pulmonary tuberculosis. She had been ill for quite some time, and Kharms was worried about her health. On March 21, 1927, he even had a dream that his mother was dying, and this had a strong effect on him, as a very superstitious person. The dream came true two years later...
It was still very difficult with money. Despite the fact that in March 1929 Kharms' children's book "Ivan Ivanovich Samovar" was published, the fee was largely spent on debts. Things got to the point that there was nothing to pay membership fees to the Union of Poets, and on March 10, by a resolution of the general meeting of the Leningrad Region of the VSP, Kharms, together with Vvedensky (who experienced the same problems), was expelled from the Union for non-payment of these same contributions (it is interesting that along with them was Osip Mandelstam is also excluded). The decision of the general meeting was approved on 30 September. However, the Union of Poets itself did not have long to exist - the era of the complete dependence of writers and their organizations on the state was coming.
On March 15, Kharms participates in the evening in memory of Velimir Khlebnikov - together with Marshak, Zabolotsky, Fedin, the formalists. And shortly after that, he writes a small drama "History Sdygr Appr"- a phantasmagoria, remotely reminiscent of Kharms's stories about Professor Trubochkin (in this text he was replaced by Professor Tartarelin). According to the plot, a character named Andrei Semenovich is torn off his hand, and the professor's ear is bitten off (however, then they sew it on his cheek). To the policemen who came running, Tartarelin politely explains that both his ears are intact, and the fact that one of them is on his cheek is by his will. Prose pieces are interspersed with poetic inserts:
Pyotr Pavlovich (entering the room):Zdygr aprr device device
I carry someone else's hand
zdygr aprr device device
where is Professor Tartarelin?
Zdrygr aprr device device
where are the office hours?
if these bling
with two weights to the floor
this old lady's watch
flew over a parabola
zdrygr aprr device device
the clock is broken by me
to replace them with a carabistre
floor-standing zdrygr aprr
with an endless hand
fit like an arrow
from minute to minute
on the way rushes burnt
and under the white dial
pancake shakes the device
and wrapped in a robe
sits a carabistre
he is the adoptive seconds
looking into the engine
so that time doesn't pass
where is Professor Tartarelin,
where Andrey Semenych zdygr
one-armed zdygr aprr
treats zdygr aprr device
fits the hand
pins fingers
zdyf aprr nails
zdygr aprr device beats.
"Sdygr appr" or its various phonetic variants ("zdygr", aprr) is an abstruse spell that not only affects reality, but also creates a rhythmic pattern. Illogical changes in the motivation of the characters' actions are also characteristic: they forget about what they just wanted, act completely opposite to the realized goals, forget who they are and why they came. All this - specific traits Oberiut poetics, tested by Kharms back in Elizabeth Bam.
In the spring of 1929, still inspired by the success of the Three Left Hours evening, Kharms initiated the publication of the almanac, which he had long dreamed of. It was another attempt to release a collection with the participation of the Oberiuts and, obviously, an attempt that was closest to success.
The almanac was supposed to bear the original name "The Bath of Archimedes" - which, obviously, was a hint both at the genius of its participants and at the role of the publication in the forthcoming brilliant discoveries in literature. A letter from Veniamin Kaverin to Lidia Ginzburg dated May 1, 1929 is known, which describes the plan for publishing:
“The collection that you know about (with the participation of Oberiuts) is being compiled. There is evidence to suggest that it will be published by the Writers' Publishing House. You know the department of poetry (Tikhonov is also possible). The prose department is worse, and that is why we decided to disturb you. Could you come to Olesha and tell him about our idea? It would be very good if he gave at least a small piece or even an excerpt from a big one to the collection. Dobychin, Khlebnikov, myself, Kharms, and presumably Tynyanov also participate in this case. In the department of criticism of the face, you are well known. They (together with you) are thinking of writing a Review of Russian Literature for 1929. In addition, Bor will participate. Mikh., Yur. Nick. and Viktor Borisovich (Eikhenbaum, Tynyanov, Shklovsky. - A. K.), to whom we ask you to contact for this matter.
Around the same time, in early May 1929,
Kharms draws up a rough plan for the almanac. Unlike the structure presented by Kaverin, it does not have three sections, but four: in a separate section "Piesse" he included "Elizaveta Bam" (volume - one author's sheet). The section "Poems", with a total volume of two author's sheets, included Zabolotsky, Vvedensky, Kharms, Khlebnikov and Tikhonov, in "Prose" - Kaverin, Vvedensky, Dobychin, Kharms, Tynyanov, Shklovsky, Olesha, and in "Criticism" - Stepanov, Hoffman, Ginzburg, Buchshtab. Kovarsky, Shklovsky, Tynyanov, Eikhenbaum. As you can see, the scope of the last two sections is not defined. To the right of the list - the names of those responsible for the formation of sections: "Poems" - Vvedensky, "Prose" - Kaverin, "Articles" - Hoffman, "Piessa" - Kharms.
The section "Criticism" was completely filled with formalists - both the older generation and the young. As is known, in 1927 the home research seminar of Tynyanov-Eichenbaum ceased to exist (the leaders announced that the participants of the seminar no longer needed their guidance), and their students (“young formalists”) decided to create their own scientific community - already independently of the elders. It was headed by a young and talented literary critic and linguist Viktor Hoffman, and its members included N. Stepanov, L. Ginzburg, N. Kovarsky, B. Bukhshtab and V. Kaverin. As we can see, if we add their teachers - Shklovsky, Tynyanov and Eikhenbaum - then we get one to one critical section of the "Baths of Archimedes" (excluding Kaverin, who "passed" into the prose section).
In addition to the Oberiuts, Leonid Dobychin (who later became the object of persecution for "formalism and naturalism" in 1936, which led to his death) and Yuri Olesha were also to enter the "Archimedes Bath". The presence of V. Khlebnikov does not require explanation, given the reverence with which both the Oberiuts and the Formalists treated him (it is worth saying that at that time, under the general editorship of Stepanov and Tynyanov, a five-volume collected works of Khlebnikov were published, which began to appear in 1928). Only the name of N. Tikhonov in the “Poems” section raises questions: despite the fact that Kharms and Vvedensky were, of course, well acquainted with him as the chairman of the Leningrad branch of the Union of Poets, of which they were both members, they did not have any particularly close relations It was neither personal nor creative. It seems that the idea of inviting Tikhonov belonged to the formalists. So, for example, around the same years, O. Mandelstam called B. Eikhenbaum at night and said:
“- The Poet has appeared!
Konstantin Vaginov!
B.M. asked timidly: "Do you really think that he is taller than Tikhonov?" Mandelstam laughed demonically and answered contemptuously: "It's good that the telephone lady can't hear you!"
This is a recording of Lidia Yakovlevna Ginzburg. She, like Shklovsky, also considered N. Tikhonov one of the most talented Soviet poets.
To all appearances, the negotiations were mostly successful, and by the beginning of October 1929, an agreement was reached on the publication of the almanac. It was supposed to be printed at the Writers' Publishing House in Leningrad. On October 9, B. Eikhenbaum sends an official application to the publishing house, in which he writes:
“This almanac consists mainly of works by young writers and is collected under the sign of literary invention and experimentation. Its main task, which unites all authors, is the struggle against the literary routine and the opposition of experiments to it.
Eikhenbaum further emphasized that, unlike the usual almanacs-collections, which contain, as a rule, random and uncombined material, the "Bath of Archimedes" is "the result of some literary association." Thus, the emphasis was placed on the conceptual unity of the participants - that is, exactly what Harms always dreamed of, trying to unite all the left forces of Leningrad and their sympathizers in OBERIU - in different types art, and now in philology.
Kharms read the works of Shklovsky, Tynyanov, Eikhenbaum back in 1925: apparently, in addition, he listened to lectures, studying for a short time at courses at the State Institute of Fine Arts. At the same time, at the beginning of 1927, the already mentioned meeting of future Oberiuts with formalist professors took place at the State Institute of Fine Arts. So the contacts were long-standing, and it is not surprising that it was the formalists who were invited to the "Archimedes Bath". Interestingly, in the list of authors cited by Eikhenbaum, there is no section “Piesse”, and only three of the poets are mentioned - Zabolotsky, Kharms and Vvedensky (followed by the meaningful “et al.”). But in the prose section, it was already supposed to print prose not only of writers, but also of philologists (Shklovsky, Tynyanov, Kovarsky), a new name was added - Yuri Vladimirov.
On October 1, 1929, Kharms, anticipating the release of the almanac, writes a comic poem dedicated to him:
BATH OF ARCHIMEDESHey Mahmet,
drive the washcloth,
give me soap here Mahmet, -
shouted shaking his loins
Archimedes sitting in the bath.
Here you go Archimedes
you Suvorov ointment.
Okay, said Archimedes,
yourself to me you climb into the bath.
Mahmet climbed onto the windowsill,
combed hair bundles,
Archimedes is a sinner
carefully took off his glasses.
Here Mahmet jumped.
Mum! -
cried the wet Archimedes.
From a huge height straight
Mahmet plopped into the bath.
Nowadays there are no questions
every question to itself
the snub-nosed sage said,
sitting in the bath like a watchdog.
For example, I observe
all scientific articles
I am in thought
three days and five
I haven't heard a cry for a whole year, -
Archimedes said weightily,
but, he added, rub
my neck and spine.
But yes, he said later,
and in art, yes,
I go there in the art of it
I dive sometimes.
Somehow I'm in the middle of lunch
read on the calendar
"Bath of Archimedes" will be released
in December or January. -
Archimedes said sullenly
and a beard in a braid fork,
Yes Mahmet, not a pound of raisins,
all of a sudden he came with a friend.
Yes Mahmet, not a pound of peas
die in shame
I made a crumb in science
and now it's dirty.
I'm dirty with names
famous people,
and tell you between us
formalists in person.
But the prose let us down,
yes Mahmet, Mahmet, Mahmet.
Hey Mahmet, drive the bast!
shouted Archimedes in a bass voice.
Here it is, Mahmet said.
wash you? he said.
No, said Archimedes.
and added: get out.Everything
Perhaps the words "prose let us down" just referred to the "expansion" of philologists into the field of prose, which was manifested in the application filed by Eikhenbaum. But jokes are jokes, and it is clear from the poem that Harms quite seriously counted on the fact that the almanac would be released in December 1929 - January 1930.
Alas, the exit did not take place. We do not know the exact reasons for this, only L.Ya. Ginzburg vaguely hints that the "Bath of Archimedes" fell apart because the formalists refused to enter it at the last moment. Ginzburg wrote: “The main grievances of the fall of 1929 were the refusal of the GIZ to publish a collection of modern poetry and our own refusal from the "Bath of Archimedes" (with the Oberiuts). The poetry collection was average. With "Bath" it turned out even worse. In this, by design, combative, young, somewhat defiant, generally responsible collection, only poems had historical meaning - Zabolotsky, Vvedensky, Kharms; the rest turned out to be an appendage, partly benign, partly downright hacky.
Carried away by the pain of the first serious blow to the head with a stick, we did not notice the absurdity of the situation: we painfully, even pathetically, refused a case in which, apart from three poets, there was nothing truly principled.
Of all that has been banned and suppressed lately, I feel sorry for this verse department.
At the same time, it must be borne in mind that practically the entire year of 1929 the Formalists were shaken by internal scandals. The "discipleship crisis" led to the fact that "senior" and "junior" exchanged mutual reproaches in letters, and, for example. Y. Tynyanov and B. Eikhenbaum accused L. Ginzburg of betraying their school (it was especially difficult for her to read this from Tynyanov, who was her teacher), and she reproached them for the primitiveness of such assumptions. All these clarifications periodically put the relationship between the "junior" and "senior" on the verge of a break, not only in scientific but also in human terms. It must be borne in mind that even before it became clear that the collection of works by the formalists on modern literature would not be published, Tynyanov refused to participate in it, and even earlier the plan for publishing their joint collection with the constructivists fell apart. At the end of 1929, external attacks on formalism also intensified - perhaps this partly explains the extremely nervous atmosphere in which these scientists existed at that time and in which unnecessarily harsh decisions were made. A series of odd articles against Eikhenbaum was published in Rappov's journal Na Literary Post, and in 1930 the State Institute of Fine Arts was actually completely destroyed and the formal school perished with it. In parallel, in the autumn of 1929, a campaign began in the press to persecute B. Pilnyak and E. Zamyatin, which gained momentum every day.
In November-December 1929, Harms finally broke up with Esther. As early as June 28, he wrote: "I consider myself free in all respects before Esther." Strictly speaking, even without this, he did not particularly restrain himself in “parallel” novels, but at the same time he felt remorse, was upset that he could never realize the freedom that he receives in these novels in the family. Now he is completely free. It was possible to continue working in OBERIU, especially since at the end of 1929 replenishment came to the group. A young poet and prose writer Yuri Dmitrievich Vladimirov, who was then only 20 years old, became a member of OBERIU. His mother, Lidia Pavlovna Bryullova, the great-niece of the famous artist, was the editorial secretary of the Apollo magazine; she was indirectly involved in the duel denouement of the story with Cherubina de Gabriak, when Voloshin fought with Gumilyov. Unfortunately, Vladimirov's fate turned out to be tragic: in 1931, at the age of 22, he died of tuberculosis, and almost all of his "adult" works were lost - with the exception of a short story "Athlete" about a man who could pass through walls.
In January 1930, Kharms drew up a new plan for the collection "The Bath of Archimedes". There are no longer formalists in it - only Zabolotsky, Kharms, Vvedensky, Oleinikov and E. Schwartz, represented by fables under the pseudonym "Zvenigorodsky". The fact that this collection was apparently no longer intended for publication emphasizes its extremely small volume (only 19 works - and even "Elizaveta Bam" did not correct the situation). In addition, there are no calculations of the volume of texts, which usually Kharms always appeared in the margins of his notebook when it came to preparing some kind of publication. Most likely, this time it was only a handwritten collection. Of his works, Kharms included there the “Threefold Description of the Luminary”, “Elizaveta Bam”, “Flight to Heaven”, “Temptation”, “Avarice”, “Tulips among the Choreas”, which did not come down to us.
January 1930 turned out to be “fruitful” for Kharms - more than ten poems were written, among them such obvious creative successes of the poet as “There was a miller ...”, “An evil assembly of infidels”, “Falling waters”, “Dinner”. Kharms more and more includes mythological and other intracultural allusions in his texts. So, in the first of these works there is a reference to the European story about a miller and his daughter, and the second is a "free" retelling of the Gospel. A little later, in August 1930, the play "Paw" will be written.
"Paw" is quite recognizable in terms of genre, which is also an infrequent case for Kharms. It is built on the model of "transcendental walking", which, in particular, includes the descent of mythological and literary characters into the realm of the dead. Main character- A fellow countryman (the name means an inhabitant of the Earth, not a compatriot) - learns that a new star has appeared in the sky in the constellation Cygnus among the stars - Cygnus Agam. “Whoever picks this star,” Vlast says to the Countryman, “he may not see dreams.” Thanks to the statue, which makes the Countryman light, he rises to the sky. And in the sky he discovers a dirty poultry house, in which, along with pelicans and other birds, the Swan lives and with him the Angel Kopusta (the name of the angel changes all the time throughout the text). Thus, the principle of “reality” in the image is implemented: instead of a distant star with a romantic name, the same bird appears, by which this name was given. At the same time, Kharms scatters punning and parody elements throughout the text as much as possible. So, the pine tree growing in the sky bears the name of Maria Ivanovna, and then we meet the designation “Maria Ivanovna From Sleep”, referring to Pushkin’s “shift” noticed by A. Kruchenykh: “From sleep, he sits in a bath of ice.” The same Maria Ivanovna and Angel Kopusta build their dialogue as a detailed parody of the methods of formal logic: the Angel claims that he is such because he has wings. Maria Ivanovna replies that “Khusey and Khusei” also have wings, after which it turns out that it was for this reason that Professor Permyakov, together with the watchman Fadey, ranked the angel among the birds and put him in “this chicken coop”.
The countryman, grabbing Swan under his arm, returns to the ground, where people attack him, shouting that he has torn off "a piece of the sky." After that, Vlast takes him by the hand and leads him away - a meaningful epilogue, which more and more often determined the life of Soviet cultural figures, including Kharms himself.
Lapa is filled with numerous cultural references and allusions. First of all, it is worth mentioning the appearance in the text of a character named Amenhotep. He introduces the "Egyptian" layer into the drama, which, as Vyach showed. Sun. Ivanov, fully corresponds to the mythological ideas of the ancient Egyptians about the world. This is especially true of the drawing given in the text - the "plan of Amenhotep", which is both a "plan of the city" with streets and a "plan of a man" named Amenhotep. The scheme of the body of Pharaoh Amenhotep IV (Akhenaton) corresponds to the drawing new capital, built on the orders of the pharaoh according to a pre-created plan and named Akhetaton (“horizon of the Aten” - the divine Sun). Just like in ancient Egypt, the dualistic system of oppositions is based on the opposition of left and right.
The Egyptian theme is connected by Kharms with a similar theme by Khlebnikov (“Ka”). Moreover, Khlebnikov himself appears in the play. True, Kharms turns out to be true to himself: just as Amenhotep has nothing in common - neither in words, nor in appearance, nor in actions - with the famous Egyptian pharaoh, so the character named Khlebnikov is not connected with the great poet in any way, except for his last name. However, there are quite a lot of textual echoes with Khlebnikov in the play - first of all, this is a characteristic absurdity, which Kharms widely introduces into the text in the form of autonomous poetic fragments.
N. Khardzhiev recalled: “Like all the Oberiuts, Kharms considered Khlebnikov his “teacher”. Under the text of the burlesque poem "The Shaman and Venus" Kharms wrote: "I have not read anything more beautiful."
I once told Vvedensky that the Oberiuts are of aristocratic origin, coming from the Marquise Deses Khlebnikov. Alexander Ivanovich grinned and nodded his head in agreement. However, in last years his attitude towards Khlebnikov became more restrained. He told me that Khlebnikov was already "departing" into the 19th century. Kharms developed an affinity for the "original", for works free of "book culture". He especially admired the ancient Egyptian "Tale of Two Brothers":
That's how I want to write!"
Thus, at the turn of the 1920s and 1930s, Kharms' poetics began to seriously change. Instead of the previous abstruse experiments, experiments with syntax, significant and serious semantic layers begin to penetrate into his works, which, however, interacted with abstruseness - Kharms was not yet ready to completely abandon it.
In 1930, his position in the writing environment gradually began to strengthen. He is already a member of the children's section of the All-Russian Union of Writers, although the Soviet "fellow writers" cause him constant irritation ("SOS, SOS, SOS. I don't know a more shameful audience than the Writers' Union. That's who I really can't stand," - he writes in 1929). Since January 1930, in addition to the magazine "Ezh" intended for middle and senior schoolchildren, the magazine "Chizh" (for junior schoolchildren) began to be published - and the opportunities for earning increased significantly. The Oberiut evenings also continued at the beginning of 1930. Alas, the evening that took place on April 1, 1930 in the dormitory of the Leningrad state university on Mytninskaya embankment, 5, was the last. Kharms, Levin, Vladimirov and magician Pastukhov performed. Bakhterev and Razumovsky were in the hall, but did not take part in the speech, and Vvedensky was in Moscow at that time. The walls were pre-decorated with Oberiut slogans: “Kolya went to the sea”, “Stairs went past kvass”, “We are not pies”, etc. When the poets were asked what this meant, they logically answered: “Are we pies?”
The "proletarian students" met the Oberiuts with extreme hostility. Kharms later recalled that they were called "counter-revolutionaries" and - almost like in M. Bulgakov's not yet written novel "The Master and Margarita" - they demanded to be sent to Solovki. But they were still flowers. On April 9, the Leningrad newspaper Smena published a devastating article by L. Nilvich (behind this pseudonym was the journalist of the newspaper Lev Nikolsky, however, this surname was also not real) “Reactionary juggling (about one sortie of literary hooligans)”. Oddly enough, it was perhaps the most informative. From it we learn that the Oberiuts refused to begin with a story about their aesthetic program, stating: “The slogans will become clear after our reading. We will not talk about the program - it is in our works. We will read, and then we will open a dispute.
From the article, we also learn about the order of speeches and even a little about the content of works that have not come down to us, which the authors read. Levin spoke first. “He read a story filled with all sorts of game,” the author of the article reported. “Here is the transformation of one person into two (“one person, and two women: one is a wife, the other is a spouse”), here is the transformation of people into calves and other circus numbers.”
Pyotr Ivanovich got lost,
And then he came home and got married.
He fell on the bench
And lay across
He fell across.
Unlike all previous negative reviews about the Oberiuts that appeared in the press, this article contained direct political accusations, which, in the context of 1930, looked very ominous. Starting with the definition of the poetry of the Oberiuts as "wild poetic mischief, hooliganism", Nilvich immediately called their "abstruse juggling" "a protest against the dictatorship of the proletariat." “Their poetry is therefore counter-revolutionary,” he declared. “This is the poetry of people alien to us, the poetry of a class enemy.” In conclusion, the Union of Writers was asked to think about whether they need Oberiuts - “after all, the union unites Soviet writers."
Immediately after this article, N. Slepnev's article "At the Turning Point" appeared, published in the May issue of the Leningrad magazine. The performance of OBERIU at the university was called a "sally", the group itself was declared "reactionary", and its work - "hostile to our socialist construction and our Soviet revolutionary literature."
Both publications were a real denunciation. In addition, LSU students wrote a slander to the Writers' Union, so the Oberiuts had to make excuses there as well. The Leningrad State University newspaper "Studencheskaya Pravda" colorfully described the evening in the dormitory, making the expected conclusion: "The time spent by students on the 'wrapped' hearing is wasted and harmful time." But from one phrase in "Studentskaya Pravda" ("In other works (Oberiut. - A.K.) the heroes either fly on panicles under the clouds, or stand at the bottom of the ocean with a rifle in their hands (!)”), we can find out what Kharms read that evening.
The hero of his poem “Flight to Heaven--” flies on a panicle:
Vasya howled, taking a whisk
and riding into it
he forgot my light
flew away and blind and lame
And with a gun at the bottom stands the hero of his children's poem "Liar":
- Do you know what is POD?
Do you know what MO is?
Do you know what REM is?
What's under the ocean
Is the sentry standing with a gun?
The result of all these events was the complete cessation of the performances of the Oberiuts anywhere. From now on, Kharms and his friends could perform only with children's works, and then very rarely.
Interestingly, quite a lot of records about Kharms made by his father, Ivan Pavlovich Yuvachev, date back to 1930. In early June, he conveys his aunt’s complaints about him (with whom he then lived in Detskoye Selo): “Does nothing, tattered, unshaven ...” Then from his notes we learn that Kharms left for a pioneer camp on July 1 (obviously, to speak to children). Very negative comments are left by the father about the Kharms novels, many of which took place before his eyes: “Danya brought 4 half-bottles of wine. What? - I'm waiting for guests. And only a girl came late in the evening and spent the night with him. Isn't it Esther? (July 6); “Danya gets mixed up with some naked girl...” (August 6); "Conversation with Dani. Today I saw his new passion” (August 12).
The assumption about Esther was justified: despite the fact that their marriage broke up, Harms periodically met with her and they had short-term "romances". I must say that Kharms from time to time was overcome by a feeling of longing for that love that was, but forever remained in the past. Sometimes he even wanted to return everything - but, of course, this was no longer possible. This did not prevent, however, the emergence of relationships with other women. So, for example, in the fall of 1930, Kharms had an affair with a former servant of his sister Lisa, Nastya. Ivan Pavlovich treated her negatively, believed that she was spoiling Lisa: Nastya spent whole days at the toilet, smearing herself to the point of impossibility, in the first place she had outfits, etc. Having become a city dweller, she immediately broke off relations with her fiancé, who was in her village.
Ivan Pavlovich conveys the arguments of his son, with the help of which he defended Nastya in front of his father: “Daniel notices that outfits outwardly ennoble a person and are the first degree of culture ... When she arrived from the village, she was an uncouth log, and now she dresses beautifully and has quite decent look. I thought, maybe. without the dress, he likes her even more. Finally, he began to say that you need to help your neighbor, that a person wants to study, etc., etc. Harms insisted on settling Nastya in an apartment, his father actively objected. In the end, the father's point of view prevailed, but I.P. For Yuvachev, these conversations were so difficult that he even seriously considered the possibility of leaving home.
In the autumn of 1930, guests gathered in the Yuvachevs' apartment almost every week (and sometimes two or three times a week). Ivan Pavlovich melancholy notes in his diary the number of empty bottles of vodka and the number of glasses left after each such gathering. But at the same time, it should be noted that the father behaved as tactfully as possible and did not interfere in the life of his son, although sometimes he made comments to him.
Going to bed, Kharms often left a note to his father (sometimes with comic poems) asking him to wake him up at a specified time. Ivan Pavlovich honestly tried to wake up his son, but he did not always succeed - the nightly gatherings ended very late. Kharms himself periodically tried to "start new life”, wrote to himself in the “rules” something like “reduce the number of overnight stays and spend the night mostly at home”, but this did not work.
By the way, in the same 1930, Yuvachev Sr. managed with great difficulty to repulse the “attack” of ZhAKT on the apartment. Another “seal” began in the city, and they were going to move tenants into the apartment. Ivan Pavlovich brought certificates from the section of scientists at the Palace of Labor, and when this did not help, he registered his daughter Elizabeth and her husband in the apartment. Only after that, ZHAKT backed down (however, not for long - after some time, an old woman with her daughter was put in the Yuvachevs' apartment).
Perhaps the last significant event in the relationship between Kharms and Esther was the dispatch to her on December 22 of the newly written dramatic poem "Guidon" (completed on December 20). “Dear Esther,” Kharms wrote to her, “I am sending you the Guidon item. Do not look for private meanings and hints in it. There is none of that. But everyone can understand things in their own way. This is the right of the reader. I am sending you this item because I dedicated it to you. I wish you had her. If you do not want to accept it, then return it back.
The letter was signed by another version of the pseudonym: "Daniil Horms".
What Kharms meant by "private meanings and allusions" is hard to say. However, the plot associated with the poet Guidon (of course, who has nothing to do with Pushkin's character), trying to reason with his fiancee Liza, could well be projected onto the relationship between Kharms and Esther, especially considering Liza's very risky and provocative sexual behavior. However, in the finale, Lisa replies to the Rector’s proposal to give them two carriages: “Thank you, Rector, we will sit in one carriage.”
The text of "Guidon" has come down to us only in a draft version. In the pieces that Kharms wrote a little later, intending to include in the final text, there is a wonderful poetic text - one of the best in his work:
When the oaks have a green leaf
among the dew
when we hear a whistle in our ears
curve braid,
when the earth cracks in length
and in half
then we look at the moon
and we are afraid.
But only in response to hit the stump
steel ax -
the night will pass, the day will come,
and the choir will roar
then in me, opening my eyes,
wake up again
wave of the seas, storm skies,
my love.
The draft does not show that Kharms included these lines in the main text. But later, in the spring of 1933, he quoted lines from Guidon in his notebook, in which, in his opinion, genuine purity had been achieved - these lines were just included in the pieces attached to the main text.
On December 30, Kharms turned 25 years old - this was his first anniversary. His father woke him up at ten o'clock in the morning, called him a hero of the day and presented him with consecrated prosphora, wine and books. Attached to the gifts was a poem of congratulations:
Twenty-five years from the date of birth
Today, on the holiday of the name day,
We congratulate you
Seven books and wine decanter to them.
In January-February 1931, Harms actively studied magic and the occult, was especially interested in Tarot cards, and tried to study Hebrew. Reads a lot of books on a variety of fields of knowledge, including the most unexpected ones (for example, on the theory of atomic nucleus). The spring and summer of this year were very productive in a creative sense: almost two dozen poems written at that time and several prose texts have come down to us. Perhaps the most serious innovation was the appearance in the work of Kharms of a curious mythopoetic image - a girl named Hnyu:
water and henhnyu:
Where where
are you in a hurry, water?Water:
Left.
There, around the corner
there is a gazebo.
The young lady is sitting in the gazebo.
Her hair is a black net
wrapped around her soft body.
A swallow flew to the bridge of her nose.
The young lady got up and went out into the garden.
He's on his way to the gate.hnyu:
Where?Water:
There, around the corner.
Young lady Katya steps on the grass
round heels.
Cornflower on the left eye,
and on the right
shining moon hill
and feats.hnyu:
How?Water:
I said this in water.hnyu:
Oh, someone is coming towards us!Water:
Where?hnyu:
There.Water:
This is the fisherman Fomka.
His daughter drowned in me.
He comes to stone me.
Let's get it loud
talk about the recent.Fisherman:
Only I.
Branches extend from me.
Rough hands cannot lift needles.
When I look out to sea
my eyes water quickly.
I get on the boat
but the boat is sinking.
I'm jumping to the shore
the coast is shaking.
I climb on the stove
where my grandfathers lived
but the oven is crumbling.
Hey fellow fishermen,
what should I do?
(Seeing Hnya.)
Really Hnu?Hnyu (silently):
Yes. It's me.
And here is my fiancé Nikandr.Nikandr:
I love, I confess, your daughter.
And in this I ask you to help
me to possess her innocence.
I myself Butyrlinsky region,
girls being raped while playing
giveaway with them.
And as a reward, fisherman,
I will give a steel net
and cork floats.Fisherman:
Thanks, thanks!Nikandr:
Catch half!Water:
What a disgusting picture I see.
The old man caught a half in his mouth.
Hurry, hurry around the corner
I will direct my voiced strings.hnyu:
Goodbye water.
You do not love me?Water:
Yes.
Your legs are too thin.
I'm leaving. Where is my staff?hnyu:
Do you like black people?Water:
Zhyrk, zhyrk,
lu-lu-lu.
Buzz, buzz.
club,
club,
clubEverything
(1931)
Hnyu is a variant of the forest maiden. According to the stories, in Kharms's room there was a picture of the artist Pyotr Sokolov "Forest Girl", which, apparently, gave impetus to the creation of this image:
Khnyu walked out of the forest.
With their feet they kneaded swamps and clay.
Hnyu fed on root
crow horns raspberries.
Or Hnyu tore shoots
Merry hop, native of the groves.
The gods rode in a cart.
Power was clearly felt
gods filled with liana juice
and centenarians.
And the thought lay in the high skull, all petrified.
Teeth clicking in the moss
chest puffed out on banners.
strangers cooked their ear,
flying naked flying squirrels,
hanging in other moments on knots upside down.
They instantly rested, then raising a terrible howl,
rushing into the cauldron with cabbage soup,
grabbing meat in the red mouth.
That bullfinches flew into a bunch of stoves,
then a bear sitting on a tree and
running claws into the bark so as not to fall.
talked about the justice of grasshoppers.
That God in the bushes nursed a butterfly chrysalis,
two wolves played a knocker -
such was the look of the night svidrigal,
where Hnyu hurriedly ran
and thought, counting the stumps of the heartbeat.
("Khnyu", April 1931)
At the same time, a new genre appeared in the work of Kharms - a literary prayer:
PRAYER BEFORE SLEEPLord, in broad daylight
laziness hit me.
Let me lie down and sleep, Lord,
and while I sleep pump me Lord
By Your strength.
I want to know a lot
but not books and not people will tell me this.
Only You enlighten me Lord
through my poetry.
Wake me strong to the battle with meanings,
quick-to-manage words
and diligent in praising the name of God
forever and ever.
By the way, despite the explicit Christian phraseology, Kharms' understanding of the divine essence was more of an individual character. Kharms addressed God primarily as a personal deity, conducted an intimate and deeply personal dialogue with him. Sometimes he gave this personal deity a name invented by himself - it could be the number one in Japanese (“Ichi”) or the name of the first letter of the Hebrew alphabet (“Aleph”), wrote appeals in letters, etc. So in this prayer Kharms considers his poems as a way of knowing the world and asks for help, for enlightenment...
Kharms considered such prayers as one of the types of "verbal machines" - that is, ways of influencing reality with a word. His famous saying is known: “Poems must be written in such a way that if you throw a poem through a window, the glass will break.” The combination of words appeared to Kharms as a way to release the mysterious and powerful power inherent in the words.
“The power of words must be released,” he writes in his diary in April 1931. - There are such combinations of words in which the effect of force becomes more noticeable. It is not good to think that this force will make things move. I'm sure the power of words can do just that. But the most valuable action of force is almost indefinable. We get a rough idea of this force from the rhythms of rhythmic verses. Those difficult ways, like the help of metrical verses when moving any member of the body, should also not be considered fiction. These grossest actions of this force are hardly accessible to our reasonable understanding. If one can think of a method for investigating these forces, then this method must be completely different from the methods hitherto used in science. Here, first of all, a fact or experience cannot serve as evidence. I XY find it difficult to say how to prove and verify what has been said. So far, I know four types of verbal machines: poems, prayers, songs and incantations. These machines are not built by calculation or reasoning, but by another way, the name of which is ALPHABETS.
Kharms here relies primarily on Kabbalistic concepts that attribute special power and divinely inspired meaning to the letters of the Hebrew alphabet, projecting them onto the Russian alphabet. For him, the process of creativity becomes an analogue of Kabbalistic calculations.
The whole of 1931 was the year of home evenings for Kharms - it was no longer possible to arrange any other evenings. In his notebooks, the names of friends he visited flash by: university lecturer P.P. Kalashnikov, Lipavsky and Tamara Meyer (later Lipavskaya), B. Zhitkov and others read poetry, prose, and talked.
In November, Kharms completes his romance with Raisa Ilyinichnaya Polyakovskaya, which began in the summer of the same year. Harms, as was his custom, gave his love a mystical character: he interpreted her name as a symbol of salvation and hung the inscription "Thought of Paradise" over the bed. Realizing that their relationship had no prospects, he stopped meeting with her from mid-September, and on November 2 he wrote the large letter already cited earlier explaining his feelings, but did not dare to send it. Instead, on the same day, he sent her a short letter:
“Dear Raisa Ilyinishna,
I can't tell you anything about the reason why I haven't seen you since September 19th.
Of course, I recognized your voice when you called me on the phone.
Since I won’t see you again anyway, I can tell you: I fell in love and love you.
I loved Esther for seven years, and now I will love you for seven years.
Wherever I am, the thought of Paradise does not leave me.
Daniel Haarms.
A little earlier, on October 4, OBERIU suffered its first loss. Yuri Vladimirov, a young poet who was considered a student of Kharms, an avid yachtsman, died of acutely progressive pulmonary tuberculosis. On his yacht, friends often sailed around the Gulf of Finland. He was buried at the Smolensk cemetery. L. Panteleev recalled how he was struck by the fact that Kharms did not come to either the home lithium or the cemetery, and then, met by Panteleev on Nevsky, answered his puzzled question: “I never see anyone off!”
In the press and at writers' meetings, Kharms's name was now used, if at all, almost exclusively in a negative context: in October, Rappovite M. Chumandrin declared that Kharms and Vvedensky were in bourgeois positions and were "sitting out" in children's literature (the last statement, it should be noted, not far from the truth), in November, the editor of the children's sector of the State Publishing House, A. Serebryanikov, in his article published in Smena, called the Oberiuts "literary hooligans" and "bohemian bourgeois descendants." The clouds over the Oberiuts thickened - and the thunder struck in December.
Notes
The question mark in front of this item was put by Kharms in his notebook.
Part 1
Extracurricular reading lesson
in 2nd grade
"It's the other way around." Funny poems by Yu. Moritz, D. Kharms,
Yu. Vladimirova, G. Sapgira.
Teacher: Kudryashova N.A.
(2009 - 2010 academic year)
Theme of the lesson: "Everything is the other way around." Merry poems by Y. Moritz, D. Kharms, Y. Vladimirov, G. Sapgir.
The purpose of the lesson : to acquaint with the work of poets - Oberiuts, pay attention to the word creation of poets; develop observation, fantasy, imagination; educate interest in poetry, poetic creativity.
Equipment: portraits of oberiut poets, an exhibition of books with poetry for children, recordings of songs based on poems by poets and cartoons.
During the classes
Organizing time.
But now the lesson is special: dedicated to funny poems.
Knowledge update.
In the lessons of classroom and extracurricular reading, you learned that the beginning creative way many poets associated with the study of folklore. K.I. Chukovsky wrote: “Poetry for children is such a genre that it takes many years to prepare to master it.” According to many children's poets, folk poetry was a compass on their way. Rhyming rhymes, nursery rhymes, teasers, ditties can now be read in the poetry of children's writers. Chukovsky studied the speech of children in order to answer the question: "How should one write good children's poems?" It turned out that children love to invent new words, compose counting rhymes, play with words. K. I. Chukovsky wrote the book “From two to five”, this is a collection of statements by children from 2 to 5 years old. This book helped the poets who wrote children's poems a lot.
Listen to the children say: - He worked, worked and worked out a steamboat! I can't figure out what's in this picture. I remembered, I remembered, and then I remembered. Mom is angry, but fertilizes quickly.
Setting the goal of the lesson.
What poems of these poets have you read?
Why are these verses interesting?
Today we will get acquainted with the cheerful poems of children's poets, in whose works incredible transformations of words take place.
4. Learning new material.
a) Almost 90 years ago, in the city of Leningrad (now St. Petersburg), several talented poets united in a group called OBERIU. This is deciphered as follows: a society of real (non-fictional) art.
Which letter is left undeciphered? (y) To the question "Why Y?" members of this group answered: "Because it ends in U. For fun." Here are the same cheerful, without fantasy, but sometimes incomprehensible were the verses of poets - oberiuts. This group included D. Kharms, A. Vvedensky, Yu. Vladimirov, N. Zabolotsky. They came up with new words, sound combinations, created the real out of the unusual. They believed that poems for children should be fun, like a game. Today in the lesson we will observe how poets play with words, how they change the meaning of words. Many poems are remembered by your grandparents, your parents. Let's hear what verses you read. By today's lesson, some children have memorized poems and drew a picture for their poem.
1. Yurinova Zoya: A. Vvedensky "About the fisherman and the eccentric"
Yarutkina Valeria Yu. Vladimirov "Ninochkin's purchases"
These are poems of poets - Oberiuts. Children at that time most of all liked the poems of D. Kharms. Listen to the verse. D. Kharms "How Volodya quickly flew downhill."
What genre of oral folk art do these poems resemble?
What interesting words do you remember? Did you like it? Which are not real events become real in poetry?
b) Many modern children's poets also use word games in their poems. Let's listen to the verses of some poets:
Yunna Moritz:
Brumm Christina: "The roof was going home"
Korotyaeva Alina "Lazy cat"
Dementieva Ekaterina "Laughing Confusion"
Safonov Dmitry "The Ballad of Chocolate Tricks"
Dementieva Ekaterina "Cook"
G. Sapgira:
Borzikhina Polina "The Cannibal and the Princess or the other way around"
Koklyukhin Alexander and Puchko Vadim: "Fables"
Consolidation.
And tomorrow the old woman will have to again
A boat is sailing on the river, it is sailing from afar ,
There are four very brave people on the boat .... (sailor)
And you know that U, and you know that Pa
Do you know what PY is? That my dad had forty .... (sons)
Lived in an apartment forty-four,
Forty-four funny .... (siskin)
They praised the horse, bought her a cracker,
And then they gave a notebook and .... (primer book)
b) reading poems by children (from books selected independently)
5. Summary of the lesson
Our acquaintance with poetry for children does not end there. In the reading lessons, we will learn more about their work, get acquainted with new poems and talk in more detail about their content.
6. Homework: poems by Marshak, Barto, Mikhalkov, Zakhoder and other poets.
You read a lot today, and I also want to read you a poem by the poet Tim Sobakin, who can also write merrily and playfully. Poem
"Net yak":
So that our thoughts do not comprehend
Opponent is nasty
Let's invent a language
Only the two of us understand.
We are letters in the middle of words
Discard imperceptibly -
And it will be ready in a day
The language is completely secret.
Here we want to say Dumpling,
But let's cut it down first.
And we will know that the word STUMP
Dumpling stands for.
Words are not hard to cut!
Let's remember for sure:
EXIT means EXIT
AND FOAM IS CHANGE.
Compote, perhaps, will be a CAT,
And the NOSE is a good pump!
No one in the world will understand
That porridge is a galosh.
We start talking
with each other gradually:
“You need to quickly OUT of the class,
When big FOAM "
Pumps up the NOSE balls ...
In a glass of CAT from melon ...
And porridge dries on the stove ...
And the STUMP in the plate is getting cold ...
What does CAT mean? What does PEN mean?
We think hard! ..
And I'm afraid that in a day
We will not understand each other.
- What does "Net yak" mean?
Decipher the sentence: You GET TO GIVE. (you go to rest)
Thank you guys for the lesson. Today you were not just my assistants, but my colleagues. Our artists receive an award - a "palette", and readers - a photo of a "wise owl."
part 1
Extracurricular reading.
Topic. "It's the other way around." Merry poems by Y. Moritz, D. Kharms, Y. Vladimirov.
Lesson of "discovery" of new knowledge
Target: to teach to plan work in the lesson, to come up with questions on the content,
choose a title, highlight the main idea, navigate the magazine.
Tasks: pay attention to the word creation of poets; to teach to look for a new meaning in the meaning of a word, alogism, to invent new words; develop observation, fantasy, imagination; educate interest in poetry, poetic creativity.
UUD. R: control and correction aimed at comparing the plan and the real process
P: recognition of the features of the construction of the poem
TO: build statements that are understandable for the partner, taking into account what the partner knows and sees, and what is not.
During the classes
I. Motivation for learning activities
II. Knowledge update
At one of the extracurricular reading lessons, you learned that the beginning of the creative path of many poets is inextricably linked with the study of the folklore of peoples different countries, with the study of this genre.
The children's poet K. Chukovsky believed that poetry for children is "such an artistically responsible genre that it takes many years to quickly master it." And a compass along the way, admittedly.
Name the names of the poets whose poems you see today at our exhibition.
(D. Kharms, G. Satir, Yu. Vladimirov, I. Tokmakova, B. Zakhoder, S. Marshak, V. Berestov, etc.)
III. Determining the topic and objectives of the lesson
What poems of these poets have you read? Why are these verses interesting?
Why is our lesson called "All the way around"? ( This is the name of one of the collections at the exhibition.)
IV. Learning new material
I. Teacher's story.
In the 20-30s of the twentieth century in the city of Leningrad (now it is St. Petersburg), several talented poets united in a group and called themselves OBERIU (it stands for: Society (OB) of real (ER) art (I). Which letter remained undeciphered? (U)
At private members of the literary and poetic group answered: “Because it ends with “U”. For fun". The group included poets D. Kharms, A. Vvedensky, Yu. Vladimirov. These poets boldly experimented with speech, invented new words, sound combinations, created real events from unusual ones, gave new sensations of life to objects.
Therefore, children and adults fell in love with the cheerful poems of Yu. Moritz, B. Zakhoder, V. Berestov and others.
These poems are characterized by a bright spectacle, as at a Russian fair. Therefore, in their works you will find genres of oral folk art familiar to you: riddles, rhymes, shifters, nursery rhymes, teasers, tongue twisters, etc.
2. Work on the poem by Y. Vladimirov "Eccentrics"
- Now we will read a poem by another poet from the OBERIU literary and poetic group - Yuri Dmitrievich Vladimirov "Eccentrics" (p. 176).
- It was written in the footsteps of a prank by Kharms. And it was like that. Before Kharms went to Moscow, Vladimirov gave him two five-ruble bills with a request to buy hooks, fishing line, and books. Returning Kharms gave back the money and said that he had forgotten which five was intended for what. Vladimirov laughed and wrote "Eccentrics"
Students (3 people) read a poem. And they answer questions.
What strange words did you come across?
Pyatak- a coin of 5 kopecks. Sash- wide and long belt.
- And who are these weirdos? Who do we call freaks?
- What trouble happened to the eccentrics in the market? Read.
- What do you think, is the situation that the author tells about funny, sad, funny, instructive?
Does the title of the poem match its content?
- Listen to how the People's Artist of the Russian Federation Veniamin Smekhov reads this poem.
Expressive reading of the poem by students.
V. Consolidation of the studied material.
Literary gameTour "In a wonderful country"
Pick a rhyme at the end of each poem, remember the author.
In one country, in a wonderful country, where you and I will not be
Shoe with a black tongue laps in the morning ... (milk).(I. Tokmakova)
I sent eccentrics to the bazaar, I gave the eccentrics nickels.
One nickel - for a sash, another nickel - for a cap.
And the third penny - ...(So).(Yu. Vladimirov)
And tomorrow the old woman will have to again
A boat is sailing on the river.
He swims from afar. Four on the boat
very brave... (sailor).(D. Harms)
The game"Million".
Paste instead of dots, a word denoting a number. .
When it's cold or hot outside.
And the pony rides to work to ...
Trolleybus from the trolleybus depot.
Bus from the bus depot
ready us for the gates of the zoo,
bring to the gates of the zoo. (Nine)(Favorite pony. Yu. Moritz)
It's time for my date
Well... it's five minutes to.
How late!
Goodbye! Sit on the chain. (Eight)(Bulldog and_taxi. D. Kharms)
Tour "Learn the Poem"
Listen to songs on the verses of poets that you have read today. Find out the poem and remember the name of the author. (Listening to songs on poems by Y. Moritz “Favorite pony”)
VI. Lesson summary
Who are the Oberiut poets?
What is interesting about their work for children?
Why did composers, artists, animators turn to these poems in their work?
What modern poets use word games, fantastic events, children's sayings in their poems? (V. Berestov, E, Blaginina, O. Grigoriev, B, Zakhoder, Yu. Moritz, E. Moshkovskaya, G. Oster, G, Sapgir, T, Sobakin, etc.)
VII. Homework
For children and about children, such children's poets as S. Ya. Marshak, A. Barto, S. Mikhalkov and others wrote poems. Your mothers and fathers also read these poems when they were small.
Read the verses of these poets for the next lesson.
Learn one poem by heart.
CHINARI-OBERIUT -an independent association established in 1928 (OBERIU - Association of Real Art), which included I. Bakhterev, A. Vvedensky, D. Kharms (Yuvachev), K. Vaginov (Wagenheim), N. Zabolotsky, writers B. Levin, Yu. Vladimirov, N. Tyuvelev, philosophers and essayists Yakov Druskin and Leonid Lipavsky. N. Oleinikov, E. Schwartz and the artists K. Malevich and P. Filonov were also close to the Oberiuts.
Declaring themselves an esoteric community of plane trees, in their manifesto they declared a rejection of traditional forms of poetry and declared that their aesthetic preferences were in the field of avant-garde art.
Fate:
D.HARMS(first arrest in 1931, second in 1941; to avoid beatings, he faked insanity, died of starvation in a prison psychiatric hospital in 1942)
N. ZABOLOTSKY(arrested in 1938 “... they didn’t shoot me just because I retained my mind during the torture and did not sign a single confession” (from the memoirs of N. Zabolotsky)
A. VVEDENSKY(arrested in 1941, fell ill with dysentery, then pleurisy, died in the train on the way to the camp)
KONSTANTIN VAGINOV(prose writer, poet) (died of tuberculosis in 1934)
YURI VLADIMIROV(children's poet) (died before the start of big arrests in 1931 from tuberculosis, at that time he was 23 years old)
Igor BAKHTEREV(writer, poet) (arrested in 1931, subsequently expelled without the right to reside in the Moscow and Leningrad regions)
DOIVBER (Boris Mikhailovich) LEVIN(writer, screenwriter) (died in 1941 on the Leningrad front)
NIKOLAI OLEYNIKOV(writer, screenwriter) (shot in 1937)
KAZIMIR MALEVICH(artist) (arrested in 1930 as a "German spy", released, died in 1935 in Leningrad from cancer)
PAVEL FILONOV(artist) (died of starvation in besieged Leningrad in 1941)
LEONID LIPAVSKY(philosopher and poet) (disappeared at the front in the first month of the war)
Of those few OBERIUTs and those close to this association who managed to avoid arrests, death from illness, bullets or starvation, there were a storyteller and screenwriter. Evgeny Schwartz, and further Yakov Druskin(philosopher, mathematician, art critic)
It was thanks to Yakov Druskin that many works of the “Oberiuts” were preserved and published - in 42 he took his poems and manuscripts from the bombed house of Kharms, and also hid the legacy of repressed friends and kept it until the time when the manuscripts could see the light .
The works of Yakov Semyonovich himself, an existentialist philosopher and theologian, his own religious and philosophical essays, treatises and diaries, for the most part, have not yet been published.
Daniil Kharms
One beautiful merchant
with a flower in a braid, in the prime of life,
gait light, flexible, dexterous
entered the surgeon's office.
The surgeon took off her dress from the tradeswoman;
seeing women's beauty,
he took her in his arms
and laughed through his mustache.
His wife, Maria Lvovna,
ran in with a cry of "Help!",
and in exactly half a minute
the surgeon was wounded in the skull by a chair.
…………..
"The Bulldog growls at Taxi:
"I won't give you anything!"
Bulldog runs after Taxi
And Taksik - from him!
Alexander Vvedensky
alas, there was a deplorable chair
the village was sitting on that chair
a big patient was sitting on it
sat with his back to the living
he saw the river and forests
where the erased fox rushes
where the worm leads the chicken
wreath bell and krakowiak
sitting sick scratching his mustache
wishes salt sausage
wants brushes and carpets
he was sour, gloomy and unwell
……….
Mirror and musician
Musician Prokofiev:
what to think?
what to live?
what to eat?
what to drink?
Ivan Ivanovich:
eat polka
drink flowers
think so much
how much are you...
Konstantin Vaginov
I am a poet in a sermyage. Shaved skull. In the Vyborg snow country, in barrack No 9, I turned the wheel to antiquity ....
Philostratus stands from earth to heaven. A purple cloak is thrown over his shoulders, his feet are buried in a swamp, his head is surrounded by pure stars. Bowing his head, he weeps over the world. About cities that will never return, about peoples that will never see the sun, about religions that have gone into the dusk.<…>
("Star of Bethlehem")
Yuri Vladimirov
Freaks
I sent eccentrics to the market,
Gave eccentrics nickels:
One nickel
- On the sash,
Another nickel - on the cap,
And the third nickel - so.
On the way to the market eccentrics
Messed up all the pennies:
Which nickel -
On the sash
Which nickel -
on the cap,
And which penny -
So.
Only at night the eccentrics came,
They brought me back the nickels.
- Sorry,
But we are in trouble:
We forgot -
Which - where:
Which nickel is on a sash,
Which nickel - on the cap,
And which penny -
So.
Igor Bakhterev
TWO CONVERSATIONS
Morning conversation:
I asked:
- What time is it?
He replied:
- White chair.
Evening conversation:
You are a nine legged god
Open the womb with numbers
And show the dying hour
wooden head
I won't speak
Because I am stronger
Because I'm cuter
Because I am a lantern
Because I'm a kunari
Because because because because...
Gradually the conversation ends.
………..
Quiet in my room
The doors are opening
With the marvelous whistle of rooks
Long hat to the ears
Longhaired and longhaired
The old man is
Coming up….
Nikolay Zabolotsky
Thunderstorms roamed around the village,
And often, full of longing,
Lightning strikes through tears
They broke the sky into pieces.
Whipped, as if from an eggplant,
And over a collection of birches
A feast of electricity and moisture
Merged into a furious chaos.
And we walked along the road
Among the bushes and herbs,
Like the ancient Greek gods
Raise the tridents into the cloud.
