A.A. Andreeva

The life of Daniil Andreev,

told by his wife

In times of old - they seem to be of old

according to the volume of events that lay between us and

them, - the biography began with the listing of ancestors.

Probably, this careful peering into the earthly origins of personality makes sense.

Daniil Andreev's father, the famous Russian writer Leonid Nikolaevich Andreev, was born in the Oryol region, in that amazing Russian land that was the birthplace of so many - wonderful and different - Russian writers. According to family tradition, Leonid Andreev's father was illegitimate son the Oryol landowner Karpov (his name is still unknown) and the yard girl Glafira. The master gave the girl away for the serf shoemaker Andreev - hence the surname. The mother of Leonid Nikolaevich, Anastasia Nikolaevna, is the orphaned daughter of the ruined Polish gentry Patskovsky.

Daniil's mother was Alexandra Mikhailovna Veligorskaya, and her father was Polish. The surname Veligorsky is a Russified form of the family name of one of the branches of the Vielgorsky (more correctly, Vielgursky) counts, deprived of their title and fortune for participating in the 1863 uprising. On the female line, Alexandra Mikhailovna is Ukrainian. Her mother, Daniel's grandmother, is Evfrosinya Varfolomeevna Shevchenko. The surname Shevchenko, generally very common in Ukraine, is not a coincidence, but a relationship with Taras: Bartholomew Shevchenko was his second cousin, brother-in-law and brother-in-law.

All these family threads intertwined on November 2, 1906 (new style) in a creature that was born in Berlin: it was the second son of Leonid Nikolaevich and Alexandra Mikhailovna, named by his mother Daniil.

Daniil Leonidovich has always been - even to the point of strangeness - indifferent to his origin, he never tried to conduct any genealogical research. What is presented here is the result of a study (almost an investigation) by the employees of the Oryol Literary Museum and a woman from Kiev, Olga Vasilievna Roytsyna, the wife of Daniil Anatoly Methodievich Levitsky's second cousin.

Formidably and clearly, Fate itself stood over the cradle of the newborn.

Twenty-six-year-old, perfectly healthy, beloved by her husband, Shurochka died shortly after the birth of her second son from what was then called "puerperal fever." In many memoirs of contemporaries, her sweet, bright appearance remained; there was also a description of what a tragedy her death was for Leonid Nikolaevich. Sometimes he appears simply distraught with grief. The newborn - the cause of his wife's death - he could not see. It seemed that the child was doomed. But the elder sister of Alexandra Mikhailovna, Elizaveta Mikhailovna Dobrova, came to Berlin from Moscow. She took to Moscow an orphaned creature in which life was barely glimmering, and the child found a wonderful family. This family cannot be called anything other than native. Until the age of six, the mother of Elizabeth and Alexandra, Businka, Evfrosinya Varfolomeevsha Shevchenko, was inseparably engaged in him. Strong-willed and imperious, she enjoyed the unconditional sincere respect of all those around her - close and distant.

Perhaps, in our modern Babylon, with towers that fall long before the middle of construction, the appearances of former cities are already almost indistinguishable. And after all, each city had its own unique spiritual image, which laid a seal on its inhabitants: a Tver citizen was different from a Petersburger, Muscovites were different than Orlovites.

Moscow accompanied Daniil Andreev's childhood and youth.

The Kremlin, entering which the child at any time of the year took off his headdress, despite the cries of the nanny: he knew that it was impossible to enter the Kremlin otherwise.

Cathedral of Christ the Savior. It is useless to argue about its architectural perfection or imperfection - it was a symbol of Moscow, and the image of the White Temple over the bend of the river is inseparable from Andreev's work.

The Dobrov family, very typical of the old Moscow, lived in Maly Levshinsky Lane. Until the sixties there was two-story house, unremarkable. He was very old, he survived the fire of Moscow in the days of Napoleon. Such houses in Moscow were called so: pre-Napoleonic.

The Dobrovs occupied the entire first floor, and the kitchen and all sorts of utility rooms were in the basement, where a steep and narrow staircase led.

The front door was straight from the alley - large, high, with a copper plaque: "Doctor Philip Alexandrovich Dobrov." Entering the house, one had to climb several wide wooden steps, and everyone entering was met by a huge, full-wall, very beautiful mirror. Further on, a large, white with glass door led to the left, into the front hall. To the right of the front door was the door to the office of Philip Alexandrovich, in which his son, Alexander Filippovich, later lived, then it was the room of Daniil Leonidovich, and even later - ours with him, beloved, which in the book "Russian Gods" remained in the title of one of the chapters : "From a small room."

The door to the left from the front led into the hall. I already found him divided by curtains into several cells, in which the entire older generation of the family huddled: Philip Alexandrovich, Elizaveta Mikhailovna and another sister - Ekaterina Mikhailovna, by Mitrofanov's husband.

This happened after the revolution, when the entire Russian traditional life that met human needs was mutilated by "seals" and "communal apartments" that did not bring happiness to anyone, mutilated no less number of human destinies than war, prisons and camps.

And in happy childhood Daniel Hall played a big role. The Dobrovs' house was a patriarchal Moscow house, which means it was hospitable and open. Open to a very large number of very different people, the most disagreeing with each other, who were united by an intellectual level, a breadth of interests and respect for each other.

In the old days, the room adjacent to the hall was the bedroom of Philip Alexandrovich and Elizaveta Mikhailovna, and at the door separating these two rooms, or rather, at the keyhole, little Daniil was sticking out, looking at Chaliapin, and Bunin, and Scriabin, and the actors Art Theater, and Gorky, and many, many more guests of the Dobrovs.

Daniil not only loved the Dobrovs - everyone loved them - not only perceived this family as his own, but said many times: "It's good that I grew up with the Dobrovs, and not with my father."

Daniel's children's room was located further down the corridor leading from the front to the back of the apartment. I didn’t see her anymore, only from his stories I know that along the entire room, at the level of children’s growth, hung portraits of the rulers of a fictitious dynasty painted by him - an echo of the impression from the “gallery of tsars” in the Kremlin that struck the child’s soul: mosaics were laid out on the ceiling of this gallery wonderful portraits of the Grand Dukes and Tsars of Moscow.

He began to write very early, as a child. He wrote poetry and prose: a huge epic, where the action unfolded in interplanetary space. The planets were not those that we know, but all invented. They had their own religious cults, naturally, based on information subtracted from the children's presentation Greek myths, but with a very nice addition of his own: in addition to the traditionally relying on the gods of the Supreme, the gods of war and the goddesses of love, there was also the god of Fun invented by him.

Before school, Daniel studied at home. He had a teacher - to my shame, I forgot his name - obviously clever man and talented teacher. A lively and playful boy, by agreement with this teacher, humbled his character for two Sunday awards: if he behaved "good" all week (probably, this concept was very loose), then on Sunday the teacher drew him another letter of the Indian alphabet and drove him around Moscow by a new (for him) tram route.

Knowing what a cheerful, affectionate childhood this spoiled, kind, inventive and playful boy had, the following story sounds amazing.

Evfrosinya Varfolomeevna, Businka, died when her beloved grandson was six years old. The grandson fell ill with diphtheria, the grandmother who cared for him caught the same diphtheria. The grandson recovered, the grandmother died.

The recovering child did not see her death or funeral. They didn't know how to tell him about it.

Alexandra Filippovna, the eldest daughter of the Dobrovs, took on a difficult task. She began to tell the child that Businka was in the hospital, recovering, but she missed her daughter, his mother. In order to see her, one must die, but Businka is worried about how Danya will react to this.

Gradually, the efforts of Alexandra Filippovna led to the fact that the boy wrote a letter to his grandmother, in which he let her go to her daughter, to paradise.

But the longing for the grandmother, the desire to see an unfamiliar mother, and the idea that had developed in the child’s soul about death, as the road to Paradise, led to unexpected result. In the summer after parting with Businka, Dobrovs and Daniil lived on the Black River, where Leonid Andreev's house was (but not in this house), and the boy was caught on a bridge across the river when he was about to drown himself - not from grief, but from a passionate desire to see his lost loved ones .

Childhood gave way to adolescence, which coincided with the revolution and devastation. Life became difficult and hungry, each family looking for ways to survive. F.A. Dobrov made some unusual yeast, very useful and in great demand; they were called so: Dr. Dobrov's yeast. Apparently, they had to be drunk, and it is not clear why no one in the family, including the inventor himself, kept the recipe...

Yeast, in accordance with orders, was carried all over Moscow by children: Danya and Tanya, his girlfriend from three years of age, schoolmate and friend until the end of his life, Tatyana Ivanovna Olovyanshnikova, by Morozov's husband. Having started with these business trips, Daniil then wandered around Moscow alone all his youth, often from evening to morning.

The Dobrovs were an Orthodox family. All church holidays were celebrated in the house, fasting was observed; but there was no intolerance in them: everyone who came into contact with this family was free in their convictions, statements and even doubts. One of the close friends of the house was the actress of the Art Theater, Nadezhda Sergeevna Butova. Of her roles, I only know the role of Stavrogin's mother in "Demons". So she revealed to the fifteen-year-old Daniel the depth and spiritual beauty of Orthodox rituals, which he remembered with gratitude all his life.

But he was religious not by upbringing, not by tradition, but by the whole cast of his personality.

* * *

He studied at a private gymnasium, which he graduated from as a Soviet school. The gymnasium was founded by Evgenia Albertovna Repman and Vera Fedorovna Fedorova. It was located in Merzlyakovsky Lane and was called "Repmanovskaya".

Daniel was very fond of the gymnasium and, apparently, there was something to love for. The following fact speaks about the atmosphere, unusual for an educational institution. After the revolution, Evgenia Albertovna lived in Sudak, in the Crimea. Sick, with paralyzed legs, she had no means of subsistence. That's why former students gymnasiums that graduated from her in the twenties collected money for her every month. This continued until the start of the war; Daniel played a big role in collecting this money.

I think that his dream of creating a special school - the dream of a lifetime, reflected in the "Rose of the World" (education of a person of an ennobled image), - is rooted in some kind of spiritual sources in the peculiar atmosphere of this school.

This dream is to create a school for ethically gifted children; not young artists, biologists or geek musicians, but children with special, specifically ethical, spiritual qualities *.

* As far as I know from Daniel's story, among all kinds of undertakings of the twenties there was one similar to this one. The fate of three connected with something like such a group is known: one of them drowned while saving a drowning man; the second went to a cave monastery in the Caucasus; the third replaced the mother of the son who had gone to the monks.

* * *

In the same class with Daniil, there was a girl - I will only give her name, Galya - whom he fell in love with in childhood and loved for many years. She did not love him, and all their youth and youth were marked by the seal of these complex relationships- deep friendship and unrequited love. Later there was a period of shared feelings, and what is so vaguely called friendship - a deep spiritual interest in each other, a mutual, devoid of any selfish desire for good, understanding - survived until his death.

Galya was a man of rare nobility, charm and femininity. The cycle of poems "Moonstones" is dedicated to her.

But I won't do it. This is untimely. He went through very dark and dangerous circles during his youth. No, he was neither a drunkard nor a debauchee, nothing "dark" in the usual sense of the word was present in his life. In this life, everything most essential always lay on the plane of the irrational. The main burden of the terrible roads he traveled in his youth was unreal in the plane. If it were not for these dark roads, he would not have written much written by him - the writer writes what he knows with his soul; you can’t invent anything - there will be no art in fiction. By the time of his youth, his first marriage to a fellow student at the Higher Literary Courses, to which he entered after graduation, dates back. The marriage was strange, and he, of course, was very guilty before this woman that he knew and remembered all his life. And she paid him for evil friendship for life. It was she who began, much later, the fuss about his release, and when I returned from prison, she helped me to fuss about him.

I would like to note that Daniel's whole life was accompanied by a sincere, devoted friendship of women.

* * *

A cousin, the son of Philip Alexandrovich Dobrov, Alexander Filippovich, found a way out for him. He himself, having graduated from the Architectural Institute, could not become an architect after suffering encephalitis and worked as a graphic designer. He taught Daniil Leonidovich how to write types, which made it possible to earn a modest living.

Daniel never stopped writing.

Unusual personality traits determined the features of his work.

The tangible, the real, to use his term, is the experience of another reality. Such was the vision of the Heavenly Kremlin above the earthly Kremlin for him at the age of 15.

Stunning in its power and experienced many times the closeness of St. Seraphim in the temple during the reading of the Akathist to the Reverend.

Premonition of the image of a monster associated with the essence of the state, later understood and described by him.

A feeling, almost a vision of demons ruling over the Great Cities.

A powerful, happy touch to those whom he later called the Elementals: beautiful beings, spirits of the earthly elements.

Andreev's attitude to nature cannot be called love for it, meaning by the word "love" what is usually understood: aesthetic admiration and awareness of the vitality of an unpolluted ecological environment.

For him in direct, not in figuratively everything around was alive: Earth and Sky, Wind and Snow, Rivers and Flowers.

I remember how delighted I was with his confession that I have no doubts about the real existence of brownies and that I am friends with them - that's why it's comfortable at home ...

He went barefoot whenever he could. He said that he feels the Earth in a completely different way in different places. To my indignation: "Well, Earth, I understand this, but what can you feel on the dirty city asphalt!" - the answer followed: "The impersonal sensation of the human mass, very strong."

Everything that is written in his great work "Rose of the World" about nature, he experienced directly, as in those chapters of the book "Russian Gods" that are devoted to this topic.

In the summer he visited both near Moscow and in the Crimea, but most of all he liked to leave for Trubchevsk. Unfortunately, I don't remember how he first got there. But, once hit, he is forever fascinated by these places. He went on many days of hiking, almost always alone, barefoot, with a meager supply of simple food (he ate little at all) and smoke - he was an avid smoker. I spent the night in a random haystack, in a forest on moss.

These travels responded with many poems. And the poem "Nemerech" is just a description of one of these wanderings.

* * *

We met in March 1937. We were introduced by a man very close to him and me. He phoned Daniel to the street. We were approaching a small house along Maly Levshinsky Lane, and a tall, thin, slender man with a very light and quick gait came out of the door of this house. It was snowing heavily, and that's how I remember it: Blok's night snowfall, a tall man with a swarthy face and dark, narrow eyes. A very warm hand. So he entered my life, and I entered the Dobrovsky House, as everyone called it.

In 1937, this house was like this: "the old Dobrovs" - Philip Alexandrovich, who had already left work at the Second City Hospital and had a small private practice; Elizaveta Mikhailovna, a midwife by profession, also no longer working.

The third of the Veligorsky sisters, Ekaterina Mikhailovna, also lived with them. She worked as a nurse in psychiatric hospital believing that the mentally ill most of all need care and kindness. All three, as I have already said, lived in a large room behind curtains, and the front part of this room served as a common dining room and there was also a piano on which Philip Alexandrovich played in the evenings.

In addition to the "old men" and Daniil, in the third room, which belonged to the family, lived the daughter of the Dobrovs, Alexandra Filippovna, and her husband, Alexander Viktorovich Kovalensky, very interesting person, big, peculiar, some kind of "cold-fiery" mind. The translator of Konopnitskaya, Slovatsky, Ibsen, he himself was an outstanding poet and writer. Not printed. I read what was written to a few friends. All his works were destroyed at the Lubyanka - he and his wife were arrested in connection with our case. In his youth, Daniil Alexander Viktorovich had a great influence on him, sometimes overwhelming.

The Dobrovs never lost the habit of living with open door. And this door was open to the front, where all the tenants of the apartment and all the visitors passed, and among the tenants there was a woman who received a room by order of the NKVD. And they lost so many friends in the bowels of the Lubyanka in 1937! The enumeration of the dead was in one of the chapters of the novel "Wanderers of the Night", which was called "Martyrology". Daniil Leonidovich began writing this novel in 1937. Before him, he worked on the poem "The Song of Monsalvat", to some extent based on medieval legends. He did not finish this poem and never returned to it again.

* * *

From 1937, in essence, our common life with him went on, first as very close friends, later as husband and wife.

The way we lived, a whole circle of people lived in those years, so I will try to tell you what this life was like.

The vast majority lived at that time very poor. Almost everyone lived in communal apartments, where, for the most part, completely alien people who were incompatible with each other were forcibly pushed in.

Now they say that at that time there were frequent price cuts. Perhaps I don't remember this; but I remember well how we bought butter in the amount of 100 grams or a piece of sausage - it really was very tasty and there were many varieties, only everyone looked at the price ... And in provincial towns sent parcels with pasta.

But that was just the backdrop against which real life unfolded. And by her real life, there were wonderful concerts in the Great Hall of the Conservatory; there were meetings with friends - three or four people each, with muffled (from neighbors) conversations on the most seemingly abstract topics - the most important for us.

Daniil Andreev, writing a poem about Monsalvat, was not only understandable in being captured by these images, he was infinitely dear and necessary to us. Because for us, Russians - that is. involved Russian culture, - the theme of a hidden shrine that brings spiritual help to those who are thirsty for this help in the environment scary world, was probably the most precious.

Perhaps that is why she did not go to those years in Bolshoi Theater Rimsky-Korsakov's opera "The Legend of the Invisible City of Kitezh and the Maiden Fevronia": not only did we understand the urgency of the hidden shrine, but those who destroyed the temples were clearly shrines; who reduced the teaching of history in schools to a tendentious story of riots and revolutionary movements, where Spartacus was immediately followed by peasant wars in Germany; who broke out crosses on the graves of Vladimir Solovyov, Yazykov and Khomyakov.

The Orthodox Church, with bells torn out like tongues, celebrated the Liturgy. There are no words to express admiration for this unfading feat, it will never be clouded by any external superficial untruth. The church carried the quiet fire of candles in shackled hands.

And at concerts at the Conservatory, Wagner's music was played, and there we heard the ringing of Monsalvat's bells, and at the Bolshoi Theater even Lohengrin was playing - most likely due to thoughtlessness ...

I don't know how to describe the atmosphere of debilitating, nauseating fear in which we lived all these years. It is difficult for me to outline the boundaries of this "we" - in any case, these are all those whom I knew.

I think that such fear, for such a long time, has not been experienced by anyone in the entire history of civilized mankind. First, by the number of layers covered by it; secondly, because no reason was needed for this fear. And of course, by the many years of this soul-crippling horror. It is not true that 1937 ("thirty damned ...", etc.) was the most terrible. It's just that this year a huge snake crawled close to the communists, that's the reason for the cry. And it all started from the beginning, from 1917-1918.

For me personally, the feeling of this noose of fear on my throat, either weakening or tightening, arose in 1931 - I was 16 years old when my uncle was arrested in the process of the Industrial Party. Full of horror expectation - this night they will come for loved ones! all the women knew. Many who sat for whole nights, frozen in this expectation, or, sobbing, rushed about because their husband was half an hour late from work - they took them on the street! - just no longer alive. And some are still afraid to talk about it.

This life, very realistically described, was the background of the complex action that unfolds in the novel "Nightwalkers".

In Moscow, frozen in horror, under the vigilant gaze of all the windows of the Lubyanka, brightly lit all night, a small group of friends is preparing for the time when the oppressive tyranny collapses and the people, starving in a wingless and terrible era, will need spiritual food most of all. Each of these dreamers prepares for what is to come in their own way. A young architect, Zhenya Morgenstern, brings drawings of the temple of the Sun of the World, which should be built on Sparrow Hills. (By the way, on the very spot where new university.) This temple becomes like a symbol of the whole group. It is crowned with a cross and another emblem is inherent in it: a winged heart in a winged sun.

The leader, Indologist Leonid Fedorovich Glinsky (a tribute to Daniel's passionate love for India), was the author of an interesting theory of the alternation of red and blue eras in the history of Russia. The colors - red and blue - are conditional, but this convention is understandable: blue as the primacy of the spiritual, mystical beginning, red - the predominance of the material.

Perhaps the greatest loss associated with the death of the novel is Moscow, which lived in it. These were not "descriptions" of Moscow at that time, but the living, multifaceted, tragic city itself!

The heroes of the novel met at the first performance of Shostakovich's Fifth Symphony in the Great Hall of the Conservatory. We really were at this concert. In the novel, as it were, the Symphony was "described", part by part, its content was revealed, given by the brilliant composer through music. What a blessing that we did not know Dmitri Dmitrievich! He would not have been able to refuse such a "decipherment", because it was correct and the Fifth Symphony was written about how human soul the unbridled element of Evil crushes and only prayer remains for the soul, with which the Symphony ends.

A number of heroes were the development of some side of the author's personality: the Indologist Glinsky; poet Oleg Gorbov; archaeologist Sasha Gorbov, absolutely in love with nature in an Andreev way. At the beginning of the novel, he returns from Trubchevsk to Moscow.

The novel, of course, came from the tradition of Dostoevsky, passionately loved by Daniil Andreev. This was not an imitation of Dostoevsky, but the problems of the novel were akin to the problems of the novels of the great writer both in their Russianness and in the involvement of these problems with universal human problems - about Good and Evil and their manifestation in the world.

Daniel always came to visit with a notebook of poems or with a new chapter of the novel. One day he told me: "The best thing in me is my creativity. So I'm going to my friends with my best."

He was very shy and completely unable to "shine in society." Therefore, he could show his originality not directly, but, as it were, separating from himself, as an artist does.

The war caught him at work on the "Wanderers of the Night". He buried the manuscript in the ground and returned to poetry. Wrote a cycle of poems "Amber", dedicated to a real woman - her image is indirectly reflected in the novel. He worked on the poem "The Germans", but did not finish it - at the end of 1942 he was mobilized.

Philip Alexandrovich Dobrov died two months before the start of the war. Elizaveta Mikhailovna - in the fall of 1942; Ekaterina Mikhailovna - in the middle of the war. Daniel, returning, did not find her.

For health reasons, he was a non-combatant private. At first he was at the headquarters of military units being formed in Kubinka near Moscow; later, in the winter of 1943, as part of the 196th Infantry Division, ice track Ladoga to the besieged, terrible Leningrad. But his poem "The Leningrad Apocalypse", one of the chapters of "Russian Gods", was written about this, and there is no need for me to retell it.

After Leningrad, there were Shlisselburg and Sinyavino - names that are unforgettable for people who survived the war, as well as Yelnya, Yartsevo and many others ...

* * *

Serving in the funeral team, Daniil Leonidovich buried the dead in mass graves, read Orthodox prayers for the dead over them.

Pulling the shells, he overstrained himself and ended up in the medical battalion. There he was left as an orderly; two people tried to save his life: the head of the hospital, Alexander Petrovich Tsaplin, and the doctor Nikolai Pavlovich Amurov.

AT recent months During the war, specialists were recalled from the active army to work in the rear. The city committee of graphic artists, of which he was a member as a type designer, called him from the front, and during the last war winter Daniil Leonidovich served in Moscow, in the Museum of Communications, as a graphic designer.

Of course, having the opportunity to be at home, he returned to work on the novel. When the manuscript of the novel was taken out of the ground, it turned out that the inexperienced conspirator buried it very badly: it was written by hand, in ink, and the ink was smudged.

He started all over again, now on a typewriter, by the way, once owned by Leonid Andreev and accidentally left in Moscow. The revised work before our eyes, from chapter to chapter, became more significant.

At the end of the war, Daniil's close friends, the geographers Sergei Nikolaevich Matveev and his wife Maria Samoilovna Kaletskaya, worried about our really blatant material disorder, found an unexpected form of income for him. (I, a member of the Union of Artists, could not find any work other than making copies.) Together with Sergei Nikolaevich, Daniil wrote a short book about the Russian explorers of Gornaya Central Asia. On the part of Matveev was the name of a respected scientist and specific material; on the part of Andreev - a literary processing of this material. The work was not creativity, it was an honest, sincere, scientifically and literary qualified popularization.

A thin book was published in Geografgize, in 1946 the following order followed: a book about Russian travelers in Africa. Daniil worked on this, also a small book, with ardent enthusiasm, although he was torn between it and the novel.

He was looking for material Lenin Library. Once a shining one came and told me that he had found information about an African river named after Nikolai Stepanovich Gumilyov. That Gumilyov was the favorite poet of Daniil Andreev, next to Lermontov, Alexei Konstantinovich Tolstoy and Blok, one can not write - this is clear from the verses, and it could not be otherwise.

A book about Russian travelers in Africa was written, typed, and the set was scattered. I don't know anything more about her.

* * *

In April 1947, a strange proposal was made to Daniil Leonidovich: to fly to Kharkov with two or three companions and give a lecture there based on the material of his own, not yet published book about Russian travelers. What it was, we never knew. Most likely, a KGB staging from the very beginning.

Early in the morning of April 21, she came for Daniil passenger car, in which sat someone in civilian clothes, of an impersonal appearance, and, also in civilian clothes, a graciously fussing "organizer". I, standing at the door, accompanied him. On the way to the airfield, he was arrested, and I received a telegram from Kharkov, allegedly signed by him, about his safe arrival.

They came for me on the evening of April 23rd. The search lasted 14 hours. Of course, they took the novel - they were looking for it - and everything that was in the house, handwritten or typewritten. In the morning they took me away too - also in a passenger car.

To characterize the atmosphere of that time: out of all the tenants of the apartment, when I was being taken away, only one came out of the apartment, Anna Sergeevna Lomakina, herself, like her husband, who had served time, the mother of small children. She came up to me, kissed me and gave me some black bread and a few pieces of sugar. I gratefully remembered this - they did not do this out of fear.

Daniil was taken many times to the Lubyanka for two or three days in the pre-war years: there was such a system of preventive arrests on the days of Soviet holidays. There was also some kind of challenge at the front, which he casually spoke about.

Later, many relatives, friends and acquaintances were taken in the Andreev case. Then strangers were added to our "criminal group", just "the same".

There were no heroes in the investigation among us. I think that I was the worst of all; True, by signing "Article 206", i.e. getting acquainted with all the documents at the end of the investigation, I did not see any difference in the testimony. Why, against the backdrop of heroic partisans, anti-fascists, members of the Resistance, were many of the Russian intellectuals so weak? They don't like to talk about it.

The concept of decency and betrayal on such a scale disappear. Many of those who slandered themselves and others during the investigation (and this was sometimes the same thing) deserve the greatest respect in the rest of their lives.

I see two main reasons. Fear, which lasted for more than one decade, which in advance undermined the will to resist, and specifically to resist the "organs". Most of the people, certainly worthy of the name of heroes, held out heroically for a short time and in extreme conditions, compared to their usual life. With us, it was this soul-exhausting fear that was the norm, it was he who was our daily life.

And the second reason is that we have never been politicians. There is a whole complex of character traits that should be inherent in a politician - a revolutionary or a counter-revolutionary, it doesn't matter - we did not have it.

We were the spiritual opposition to the era, with all our weakness and defenselessness. It was this opposition that was terrible for the all-powerful tyranny. I think that those who carried the faint lights of lit candles through the storm and bad weather, without always even realizing it, did their job.

And I had one more. I could not forget that a Russian like me was sitting opposite me and interrogating me. This was used, I was deceived many times and caught in all the provocations they could think of. And yet, even now, having realized how unacceptably wrong I was then, I cannot completely cut off "us" from "them." It - different sides one huge national tragedy, and may the Lord help all of us, to whom Russia is dear, to understand and overcome this terrible knot.

And I must also say: everyone who was taken in later times knew that some voice would speak about them, that there were some kind of "human rights", that relatives and friends would do everything in their power.

In those years they took forever. Arrest meant darkness, silence and torment, and the thought of loved ones only increased tenfold despair.

Our investigation lasted 19 months: 13 months in the Lubyanka, in the inner prison, and 6 in Lefortovo. The basis of the accusation was an anti-Soviet novel and poems that were read or listened to by several people. But this was not enough for the prosecutor, and article CC 58-8 was added to the charge, Daniil Leonidovich "in 19" - preparation of a terrorist act, me and several others "in 17" - assistance in preparing an assassination attempt. This nonsense - the case was about an attempt on Stalin's life - was based on a completely conscious and extremely negative attitude towards Stalin, which has now become almost mandatory, but has always been with many. It is not true that the Russian people, ready to bow before anyone, bowed to Stalin, bowed mainly to those who somehow needed it.

The realism of the novel played a weighting role. He was interrogated about the heroes as if they were living people, especially about Alexei Yuryevich Serpukhovsky, who differed from the rest of the group in his readiness for action, not dreams. It was Serpukhovskaya who did not have a prototype in Andreev's entourage. He was felt by him, caught in all the tragic haze of that life - he could not have been. Naturally, the investigating authorities could not understand the process of the writer's creativity and stubbornly sought - from whom it was written off. Moreover, emphasizing at the same time Andreev's true intuition and the vigilance of the "organs", a little later we were arrested by a group of people who could be both the heroes of the novel and our acquaintances. But they weren't.

For a long time we were looking for weapons. He wasn't there either. We were judged by OSO-"troika". This means that there was no court and the fellow-dealers did not see each other. We were summoned one by one to the offices and "read out" the sentences. Daniil Andreev, as the main person involved in the case (now it is called a "locomotive"), received 25 years in prison. I and a few other relatives and friends - 25 years of strict regime camps. The rest - 10 years in strict regime camps.

I must say that a 25-year sentence at that time was the highest measure. For a short time in the Union, the death penalty was replaced by a 25-year sentence. That's the only reason we survived. A little sooner or a little later we would have been shot.

After the investigation, Daniil Leonidovich and I saw the act of burning the novel, poems, letters, diaries and letters of Leonid Andreev little son and Dobrov, whom he loved very much. On this "Act" Daniil Leonidovich wrote - I remember approximately: "I protest against the destruction of the novel and poems. Please keep it until my release. Please transfer my father's letters to the Literary Museum." I think everything is dead.

Daniil Andreev went to the Vladimir prison. Several people (including me) - in the Mordovian camps.

Sergei Nikolaevich Matveev died in the camp from a perforated ulcer. Alexandra Filippovna Dobrova died in the camp from cancer. Alexander Filippovich Dobrov died of tuberculosis in the Zubovo-Polyansk nursing home, having already been released and having no place to go to Moscow.

* * *

It may seem strange what I'm about to say. When we met with Daniel and were inseparable until his death, we told each other almost nothing about the investigation and conclusion. We walked parallel paths and understood each other perfectly, but there was no need to tell.

I know that the conditions in the Vladimir prison were very difficult. I also know that many prisoners developed strong friendships there, which supported them very much.

At various times with Daniil Leonidovich were: Vasily Vitalievich Shulgin; Academician Vasily Vasilyevich Parin; historian Lev Lvovich Rakov; son of General Kutepov; the Georgian Menshevik Simon Gogiberidze, who served 25 years in Vladimir; Japanese "war criminal" Tanaka-san. Art critic Vladimir Alexandrovich Alexandrov, who was released before anyone else, helped, at the request of Daniel, to find and put in order the grave of Alexandra Mikhailovna and her mother at the Novodevichy cemetery.

Of course, there were many more cellmates during the years spent in prison, but I do not remember their names.

At one time, the cell of the Vladimir prison, in which some of the ones I have listed together ended up, received the comic name "academic". They put criminals on them. I don't know the quantity, but the "quality" is easy to imagine: according to the criminal article, only real criminals receive a prison sentence.

The "academic" chamber calmly met the aliens. VV Parin began to lecture them on physiology; L.L. Rakov - on military history, and D.L. Andreev wrote short guide in versification and taught them to write poetry.

And these three prisoners - Parin, Rakov and Andreev - wrote the two-volume work "The Newest Plutarch" - grotesque fictional biographies of a wide variety of figures. LL Rakov supplied this unique work with wonderful drawings.

And Daniel spoke about the bad things, for example, like this: “You know, handkerchiefs are a great thing! If you put one under you and the other on top, it seems that it’s not so cold.”

* * *

Now I must try to write about the most important thing, about what is the basis of Daniil Andreev's work, including the source of the book "Russian Gods".

It is difficult to do this, because you have to talk about things that cannot be proven. Those for whom the world is not exhausted by the visible and tangible (in extreme cases, logically provable), for whom a different reality is no less a reality than the surrounding material one, will believe without proof. If our world is not the only one, but there are others, then interpenetration is possible between them - what is there to prove?

Those for whom the Universe is limited to the visible, audible and tangible will not believe.

I spoke about the moments in the life of Daniil Leonidovich, when the "other" world powerfully burst into the "this" world. In prison, these breakthroughs became frequent, and gradually the system of the universe and the categorical demand arose before him: to dedicate his poetic gift to tell about this system.

Sometimes such states visited him in a dream, sometimes on the verge of sleep, sometimes in reality. In a dream, he was led around other worlds (from what he understood and told me) by Lermontov, Dostoevsky and Blok - such as they are now.

So three of his main works were born: "Rose of the World", "Russian Gods", "Iron Mystery". They are all about the same thing: about the structure of the universe and about the struggle between Good and Evil penetrating this structure.

Daniil Andreev, not only in verses and poems, but also in the prose "Rose of the World" is a poet, not a philosopher. He is a poet in ancient meaning this concept, where thought, word, feeling, music (in his work - the musicality and rhythm of poetry) are merged into a single phenomenon. It was this phenomenon that ancient cultures gave a name to - a poet.

The whole structure of his work, figurative, not logical, his whole attitude to the world, as to a myth that is becoming, is poetry, not philosophy.

Are distortions possible when human language conveys images of other materials, concepts of a series unfamiliar to us? I think that is not only possible, but inevitable. The human consciousness cannot but introduce habitual concepts, logical conclusions, even just personal likes and dislikes. But, it seems to me, reading Andreev, you are convinced of his desire to be, as far as the gift is enough, a pure transmitter of what he saw and heard.

He had no "technique", no "system of meditations". The only spiritual exercise was Orthodox prayer, and even a prayer "in their own words."

I think that the heart attack he suffered in 1954 and led to an early death (in 1959) was the result of these conditions, was the payment of the human flesh for the knowledge that was revealed to him. And no matter how monstrous my words sound, no matter how infinitely sorry that Fate did not let him go for at least a few more years to work, still death is not too big and, perhaps, the purest retribution for immersion in those worlds that fell on him. share.

In "Rose of the World" he introduces the concept of "messenger" - an artist who in his work makes a connection between the worlds. That's what he was.

Vasily Vasilyevich Parin, a Soviet academician, physiologist, atheist, who became very friends in prison with Daniil, told me with surprise: “There was such an impression that he does not write, in the sense of“ composes ”, but barely has time to write down what flows over him ".

Daniel could not write. He told me that two years at the front were harder for him than ten years in prison. Not out of fear of death - death in prison was quite real and could be more painful than in war - but because of the impossibility of creativity.

At first he wrote in his cell on random scraps of paper. During the "shmons" these sheets were taken away. He wrote again. The whole cell participated in the preservation of what was written, including the "war criminals", the Germans and the Japanese, who, not knowing the language, did not know what they were helping to hide - this was the solidarity of the prisoners.

After the death of Stalin and Beria, the prison authorities were replaced. David Ivanovich Krot became the head of the regime, facilitating the regime, allowing correspondence, allowing meetings with relatives. My mother began to go to the Vladimir prison for visits that lasted an hour or two, and in the Mordovian camp I began to receive postcards and letters written in verse, in the smallest handwriting, which, probably, completely exhausted the camp censor. But he gave letters.

That's when the drafts of the "Rose of the World", "Russian Gods" and "Iron Mystery" were written; "Yantari", "Ancient Memory", "Forest Blood", "Foothills", "Moonstones" written before the arrest have been restored; a cycle of poems "The Mouth of Life" was written. Fragments from the poem "The Germans", which he remembered, were included in the chapter "From the Small Room" of the book "Russian Gods".

* * *

As time went. In 1956, the Khrushchev Commission for the Review of the Cases of Political Prisoners began its work. These commissions worked in all camps and prisons. Millions of prisoners have been released, I think. At the camp where I was, out of two thousand women, only eleven remained by the end of the work of the Commission. One of the "Great Convict Ways" Railway Moscow - Karaganda through Potma in the summer of 1956 carried the liberated by all trains, and people stood along the tracks and waved their hands in greeting to these trains.

I was released at the very end of work and very casually: the warder entered the barracks and said: "Andreeva, pack your things, you will be released tomorrow."

I went out into the golden Mordovian forest. August 15 was in Moscow, August 25, 1956 - on the first date with her husband in Vladimir.

We met in a tiny room. He was already waiting for me, he was brought earlier. Very thin, gray-haired, his head was not shaved, as prisoners were supposed to. There is nothing to say about joy - he picked me up in his arms.

The warden looked at us, full of sincere sentimental feelings, and did not see how Daniel, under the table that separated us, handed me a quarter of a notebook with poems, and I hid it in my dress.

The commission reduced his term from 25 to 10 years. There were still eight months left, but it was not scary, but the fact that upon release at the end of the term, a criminal record was not removed, which meant a refusal to register in Moscow. And he was dying, and everyone knew it. And he knew.

This decision of the Commission was caused by his own application, submitted to this Commission. The meaning of it was as follows: "I did not intend to kill anyone, in this part I ask you to reconsider my case. But until there is freedom of conscience, freedom of speech and freedom of the press in the Soviet Union, please do not consider me a completely Soviet person." It was clear that one more review of the case should be sought, but first of all, it was necessary to save the draft manuscripts created in prison. Realizing that he would be brought to Moscow for revision, we agreed that he would leave all the manuscripts in prison. Having learned that he was brought to Lubyanka, I went to Vladimir as if on a date. I was brought to the head of the regime, David Ivanovich, whom I mentioned. He told me that Daniil Leonidovich was taken to Moscow, and then he gave me a bag with things left by Daniil. On the bus, on the way to Moscow, I was already snatching notebooks with drafts of poems and "Roses of the World" out of my bag. There was deliberate confusion: slippers, books, notebooks, a shirt, etc.

Daniil Leonidovich Andreev

Daniel Andreev. 1958

Religious philosopher

Andreev, Daniil Leonidovich. Genus. 1906, mind. 1959, poet, mystic-spiritualist. Son Leonida Andreeva . Author of the treatise "Rose of the World" (published in 1991), the poetic drama "Iron Mystery" (published in 1990), etc.

Andreev, Daniil Leonidovich (1906-1959) - Rus. owls. poet and religionist philosopher, during whose lifetime there was no publ. not a single line he wrote. Son of L. Andreev, A. born. in Berlin, upon arrival in Moscow he graduated from the Higher Lit. courses; since his poetry did not fit within the framework of socialist realism, A. had to earn a living as a graphic designer. In 1937 he began work on the novel "Wanderers of the Night", conceived as an "epopee of the spirit" and a portrait of the era; work on the novel was interrupted by the war, which A. spent at the front. Upon completion, he continued to work on the novel and finished it in 1947. Roman A. was read by the MGB investigators and appreciated: 25 years in the Vladimir political isolator; the novel itself, poems, poetic symphonies, poems, the poet's archive - everything was destroyed. In prison, A. proceeds to Ch. works of his life - the treatise "Rose of the World" (hand. 1958, 1990), the poem "Iron Mystery" (hand. 1958, 1990), the book "Russian Gods" (fragm. 1990 - not in the author's version); Twice drafts were lost during searches, in 1954 A. suffered a severe heart attack, but nothing could stop "the work bequeathed by God." After reviewing the case of the terminally ill poet, the term was changed to 10 years, and in 1957 A. was released.

The triptych (all three products are related to each other) is built on the original religious-philosophical. concepts, in which the DOS. the place belongs to the "multilayered" universe, correspondingly represented in the multilayered space of the Earth. Humanity living in the Enrof layer consists of super-peoples (groups of nations or nationalities united by the cause of creating common culture) and their corresponding ascending and descending multidimensionalities, called metacultures; the metaculture is headed by the bright ethno-leader - the demiurge, and the dark guardian of the people - the Witzraor, closes the metaculture. Daughter from a future mystical marriage ross. demiurge Yarosvet with the Cathedral Soul Rus. Navnoy's superpeople - Zventa-Sventan - will solve the mystical task of mankind: to create the Rose of the World - the future harmonious world order. On the whole, A.'s creations, not being formally SF, merge with its "mystical" part.

Together with the biologist V.V. Parin and the military. historian L. L. Rakov A. wrote in the Vladimir Central a very peculiar book "The Newest Plutarch" - Sat. biographies of imaginary "outstanding historical figures"; not ed.

Vl. B.

Other biographical material:

Russian writers and poets (biographical guide).

Russian national philosophy (special project of CHRONOS)

Compositions:

Collected works: in 3 volumes. Vol. 3 in 2 books. M., 1993-97;

Rose of the world. Metaphilosophy of history. M., 1991 / after. V. Grushetsky. M., 1991 (published by the Urania Charitable Foundation - 1990, published by the World of Urania - 1999).

From the unpublished works of Daniil Andreev. Poems // Daniil Andreev in the culture of the XX century: Sat. M., 2000. S.224-225, 231-233;

Autobiography of a Red Army soldier Daniil Leonidovich Andreev, a soldier of the burial team of the 196th Red Banner Rifle Division // Daniil Andreev in the culture of the 20th century: coll. M., 2000. S. 16-21;

Archive of D.L.Andreev: Inventory. M., 2001.

Russian gods. M., 1989;

Iron Mystery. M., 1990;

The latest Plutarch: An illustrated bibliogr. dictionary of imaginary famous figures of all countries and times: From "A" to "Z". / Co-authors V. V. Parin, L. L. Rakov. M., 1991.

Literature:

Andreeva A.A. The life of Daniil Andreev, told by his wife // Andreev D. SS: in 3 vols. M., 1993. V.1. S.5-26;

Andreeva A.A. The novel "Wanderers of the Night" // Andreev D. SS: in 3 volumes. M., 1996. V.3. Book 2. pp.609-625;

Bezhin L. Watching the Mystery or the Last Knight of the Rose. - "Banner", 1994, No. 3;

Grushetsky V. Poet-herald: About the work of Daniil Andreev // Poetry. M. 1989. No. 53. pp.148-155;

Grushetsky V. Dreams of a high free prisoner ... // Andreev D. Iron mystery: a poem. M., 1990;

Grushetsky V. Man of the blue era // Andreev D. Rose of the World. M., 1991. S.283-286;

Daniil Andreev in the culture of the XX century: Sat. M., 2000;

Jimbinov S. B. Russian Swedenborg. - " New world", 1989, No. 2;

Dunaev M.M. Orthodoxy and Russian literature. Part 6. M., 2000. S.649-703;

Ignatieva A.S. D. Andreev in the process of updating Russian realism of the XX century: abstract of the thesis of a candidate of philological sciences. Vologda, 2001.

About the fiery choir, which is not on earth (in memory of the 90th anniversary of Daniil Andreev). - "New World", 1996, No. 10.

Novikov V. Wisdom fun game// Andreev D., Parin V.V., Rakov L.L. The newest Plutarch. M., 1991. S.3-11;

Larina N. [Instead of the afterword] // Andreev D., Parin V.V., Rakov L.L. The latest Plutarch. M., 1991. S.293-303;

Lidin V. About Daniil Andreev // Andreev D. L. Early glow: poems. M., 1975;

Romanov B.N. "Russian Gods" by Daniil Andreev // Andreev D. SS: in 3 vol. M., 1993. T.1. pp. 432-445;

Parygin V. Rehabilitated posthumously (1920-1930). Bryansk, 1994. S.256-304;

Pavlova G.N. Trubchev pages of the biography of D.L. Andreev // Aesthetics of dissonances: coll. works. Eagle, 1996. S.128-129;

[Memories of Andreev by D. V. L. Andreeva, V. P. Mitrofanova, I. V. Vogau, T. I. Morozova and others] // Andreev D. SS: in 3 vol. M., 1996. T 3. Book 2. S. 336-480;

(52 years old)

Daniil Leonidovich Andreev(October 20 [November 2], Berlin - March 30, Moscow) - Russian writer, literary critic, philosopher. The author of the mystical composition "Rose of the World".

Biography [ | ]

Childhood and youth[ | ]

The second son of the famous Russian writer Leonid Nikolaevich Andreev (1871-1919) and the great-niece of Taras Shevchenko Alexandra Mikhailovna Andreeva (nee Veligorskaya; 1881-1906), brother V. L. Andreev was born in the Berlin district of Grunewald at Herbertstrasse, 26.

A few days after Daniel's birth, his mother dies of puerperal fever. The shocked father accuses the newborn son of the death of his beloved wife, and grandmother Evfrosinya Varfolomeevna Veligorskaya (nee Shevchenko; 1846-1913) takes the boy to Moscow, to the family of her other daughter, Elizaveta Mikhailovna Dobrova (nee Veligorskaya; 1868-1942), wife of the famous Moscow doctor Philip Alexandrovich Dobrov. The Dobrovs lived at that time in Chulkov's house (No. 38), on the corner of the Arbat and Spasopeskovsky lane. Daniil was ill a lot, it was difficult to get him out. Later, the Dobrovs settled in Maly Levshinsky Lane (No. 5).

From a sick six-year-old Andreev, his grandmother becomes infected with diphtheria and dies. That same summer, at a dacha on the Black River near St. Petersburg, the boy was stopped at the last moment on a bridge across the river: he wanted to drown himself, eager to see his mother and grandmother again as soon as possible.

Surrounded by care and attention, the boy was brought up in his aunt's family as his own son. The Dobrov House was one of the literary and musical centers of the then Moscow, it was visited by I. A. Bunin, M. Gorky ( Godfather Daniil), A. N. Skryabin, F. I. Chaliapin, actors of the Art Theater, etc. Under the influence of the atmosphere at home, the boy begins to write poetry and prose early.

In the spring of 1915, the first poem "The Garden" appears. In the same year, the first stories "The Journey of Insects" and "The Life of Antediluvian Animals" were written (not preserved). Also in childhood, according to the memoirs of his wife A. A. Andreeva, Daniil writes a huge epic, where the action takes place in a fictitious interplanetary space. In the nursery, at the level of his height, the boy draws portraits of the rulers of the dynasty he invented.

In September 1917, Andreev entered the Moscow Gymnasium E. A. Repman (9/10 Nikitsky Boulevard), which he graduated in 1923. In 1924 he continued his studies at the Higher State Literary Courses Mosprofobra. Then work on the novel "Sinners" begins. In 1926 enters into (existed until 1929).

At the age of 15, in August 1921, in one of the squares surrounding the Cathedral of Christ the Savior, young Daniel opens the picture of the “Heavenly Kremlin”, which he writes about in the first chapter of the second book “Roses of the World”. The second event of the same order, expressed in the experience of world history as a single mystical stream, takes place with him on Easter 1928 in the Church of the Intercession in Levshin.

At the end of August 1926, Andreev marries Alexandra Lvovna Gubler (pseudonym Gorobova; 1907-1985), who studied with him at the Higher State Literary Courses. The wedding takes place in the Church of the Resurrection of the Word on the Assumption Vrazhek. The marriage does not last long and breaks up by the end of the second month. In February 1927, the couple officially divorced, and Andreev left the Higher State Literary Courses.

In 1928, the poem "Red Moscow" appeared (not preserved), work continues on the novel "Sinners" (not preserved), the cycle "Catacombs" began. The summer of 1928 takes place in Tarusa.

pre-war years. War[ | ]

In the 1930s, Andreev worked as a type artist, wrote advertisements and inscriptions, devoting most of his time and energy literary activity. In 1930, work began on the poem "Solstice" (not preserved). In the summer of the following year, he met M. A. Voloshin, and on July 29, 1931, on the banks of the Nerussa, Andreev experienced what he called the Breakthrough of Cosmic Consciousness.

From February to March 1932, Andreev worked first as a literary proofreader, and then as a manager. social welfare sector of the newspaper at the Moscow plant "Dynamo", from where he leaves of his own free will. In the summer of the same year, he completed the collection of poems "The Diary of a Poet" (destroyed by the author no later than 1933). In 1933, Andreev began work on the essay "The Outlines of the Preliminary Doctrine", which remained unfinished, and on the "Foothills" cycle. October 20, 1934 visits Koktebel, writes the poem "M. Voloshin's Grave".

In 1935, Andreev joined the Moscow City Committee of graphic designers. On September 8, the “Song” of the poem “Song of Monsalvat” appears (the poem is completed in full in 1938). In 1937, on the advice of E. P. Peshkova, he wrote a letter to I. V. Stalin with a request to facilitate the return of his brother V. L. Andreev from exile. In the autumn of 1937, Andreev began work on a novel about the spiritual quests of the intelligentsia in these years, "Wanderers of the Night", conceived as an "epopee of the spirit" and a portrait of the era; interrupted by the war, the work was almost completed in 1947.

In early March 1937, Andreev met Alla Aleksandrovna Ivasheva-Musatova (nee Bruzhes; 1915-2005), who became his wife 8 years later. Convicted together with her husband and released a year earlier than him, A. A. Andreeva became a support for Andreev in last years imprisonment and in the difficult years after. Having preserved her husband's legacy, A. A. Andreeva made it possible to publish his main works at the end of the 20th century, including The Rose of the World. Subsequently, for 15 years she was the wife of the son of the writer I. A. Belousov, Evgeny (1907-1977).

At the end of April 1941, F. A. Dobrov, whom Andreev considered his adoptive father, dies. During the Great Patriotic War, Andreev worked on the poems "Yantari" (1942) and "Germans" (not completed), he completed the cycle of poems "Catacombs" (1928-1941). In July 1942, E. M. Dobrova (nee Veligorskaya) died.

In October 1942, Andreev was drafted into the army. As part of the 196th Red Banner Rifle Division on the ice of Lake Ladoga in January 1943, Andreev enters besieged Leningrad. He was a member of the funeral team, was a nurse, a graphic designer. Received the medal "For the Defense of Leningrad". On June 25, 1945, he was recognized as an invalid of the Great Patriotic War 2nd group with a pension of 300 rubles.

Arrest. Prison years[ | ]

last years of life[ | ]

In the spring of 1958, after an exacerbation of angina pectoris and atherosclerosis, Andreev was admitted to the hospital of the Institute of Therapy of the USSR Academy of Medical Sciences. On June 4, Archpriest Nikolai Golubtsov conducts the wedding of Daniil and Alla Andreev in the Rizopolozhensky Church on Donskaya, after which they go on a trip on the Pomyalovsky steamer along the Moscow - Ufa - Moscow route. July 5, 1958 Andreev finishes the eleventh book of "Roses of the World", and on October 12 - the entire treatise.

Memory [ | ]

In 2003, by order of the writer's widow Alla Andreeva, the composer wrote music for Daniil Andreev's poem "The Leningrad Apocalypse".

Bibliography [ | ]

• Early dawn. - M., 1975.
• Russian gods. - M., 1989.
• Iron Mystery. - M., 1990.
• The latest Plutarch. - M., 1991 (co-authored with V. V. Parin and L. L. Rakov).
• Rose of the world. - M., 1991 and other publications.

, Kingdom Prussia, German Empire

Daniil Leonidovich Andreev(October 20 [November 2], Berlin - March 30, Moscow) - Russian poet and writer, author of the mystical composition "Rose World".

Encyclopedic YouTube

• 1 / 5

  The second son of the famous Russian writer Leonid Nikolaevich Andreev (1871-1919) and grand-niece of Taras Shevchenko Alexandra Mikhailovna Andreeva (nee Veligorskaya; 1881-1906) was born in the Grunewald district of Berlin at 26 Herbertstrasse.

  A few days after Daniel's birth, his mother dies of puerperal fever. The shocked father accuses the newborn son of the death of his beloved wife, and grandmother Evfrosinya Varfolomeevna Veligorskaya (nee Shevchenko; 1846-1913) takes the boy to Moscow, to the family of her other daughter, Elizaveta Mikhailovna Dobrova (nee Veligorskaya; 1868-1942), wife of the famous Moscow doctor Philip Alexandrovich Dobrov. The Dobrovs lived at that time in the house of Chulkov (No. 38), on the corner of the Arbat and Spasopeskovsky lane. Daniil was ill a lot, it was difficult to get him out. Later, the Dobrovs settled in Maly Lyovshinsky Lane (No. 5).

  From a sick six-year-old Andreev, his grandmother becomes infected with diphtheria and dies. That same summer, at a dacha on the Black River near Petersburg, the boy was stopped at the last moment on a bridge across the river: he wanted to drown himself, eager to see his mother and grandmother again as soon as possible.

  Surrounded by care and attention, the boy was brought up in his aunt's family as his own son. The Dobrov House was one of the literary and musical centers of the then Moscow, it was visited by I. A. Bunin, M. Gorky (Daniel's godfather), A. N. Skryabin, F. I. Chaliapin, actors of the Art Theater, etc. Under the influence atmosphere at home, the boy begins to write poetry and prose early.

  In the spring of 1915, the first poem "The Garden" appears. In the same year, the first stories "The Journey of Insects" and "The Life of Antediluvian Animals" were written (not preserved). Also in childhood, according to the memoirs of his wife A. A. Andreeva, Daniil writes a huge epic, where the action takes place in a fictitious interplanetary space. In the nursery, at the level of his height, the boy draws portraits of the rulers of the dynasty he invented.

  In September 1917, Andreev entered the E. A. Repman Moscow Gymnasium (9/10 Nikitsky Boulevard), which he graduated in 1923. In 1924 he continued his studies at the Higher State Literary Courses Mosprofobra. Then work on the novel "Sinners" begins. In 1926 he joined the Union of Poets (lasted until 1929).

  At the age of 15, in August 1921, in one of the squares surrounding the Cathedral of Christ the Savior, young Daniel opens the picture of the Heavenly Kremlin, about which he writes in the first chapter of the second book of Roses of the World. The second event of the same order, expressed in the experience of world history as a single mystical stream, happens to him on Easter 1928 in the Church of the Intercession in Levshin.

  At the end of August 1926, Andreev marries Alexandra Lvovna Gubler (pseudonym Gorobova; 1907-1985), who studied with him at the Higher State Literary Courses. The wedding takes place in the Church of the Resurrection of the Word on Uspensky Vrazhek. The marriage does not last long and breaks up by the end of the second month. In February 1927, the couple officially divorced, and Andreev left the Higher State Literary Courses.

  In 1928, the poem "Red Moscow" appeared (not preserved), work continues on the novel "Sinners" (not preserved), the cycle "Catacombs" began. The summer of 1928 takes place in Tarusa.

  pre-war years. War

  In the 1930s, Andreev worked as a type designer, wrote advertisements and inscriptions, devoting most of his time and effort to literary activity. In 1930, work began on the poem "Solstice" (not preserved). In the summer of the following year, he met M. A. Voloshin, and on July 29, 1931, on the banks of the Nerussa, Andreev experienced what he called the Breakthrough of Cosmic Consciousness.

  From February to March 1932, Andreev worked first as a literary proofreader, and then as a manager. social welfare sector of the newspaper at the Moscow plant "Dynamo", from where he leaves of his own free will. In the summer of the same year, he completed the collection of poems "The Diary of a Poet" (destroyed by the author no later than 1933). In 1933, Andreev began work on the essay "The Outlines of the Preliminary Doctrine", which remained unfinished, and on the "Foothills" cycle. October 20, 1934 visits Koktebel, writes the poem "M. Voloshin's Grave".

  In 1935, Andreev joined the Moscow City Committee of graphic designers. On September 8, the “Song” of the poem “Song of Monsalvat” appears (the poem is completed in full in 1938). In 1937, on the advice of E. P. Peshkova, he wrote a letter to I. V. Stalin with a request to facilitate the return of his brother V. L. Andreev from exile. In the autumn of 1937, Andreev began work on a novel about the spiritual quests of the intelligentsia in these years, "Wanderers of the Night", conceived as an "epopee of the spirit" and a portrait of the era; interrupted by the war, the work was almost completed in 1947.

  In early March 1937, Andreev met Alla Aleksandrovna Ivasheva-Musatova (nee Bruzhes; 1915-2005), who became his wife 8 years later. Convicted together with her husband and released a year before him, A. A. Andreeva became a support for Andreev in the last years of his imprisonment and in the difficult years after. Preserving her husband's legacy, A. A. Andreeva made it possible to publish his main works at the end of the 20th century, including The Rose of the World. Subsequently, for 15 years she was the wife of the son of the writer I. A. Belousov, Evgeny (1907-1977).

  At the end of April 1941, F. A. Dobrov, whom Andreev considered his adoptive father, dies. During the years of the Great Patriotic War, Andreev worked on the poems "Ambers" (1942) and "Germans" (not completed), he completed the cycle of poems "Catacombs" (1928-1941). In July 1942, E. M. Dobrova (nee Veligorskaya) died.

  In October 1942, Andreev was drafted into the army. As part of the 196th Red Banner Rifle Division on the ice of Lake Ladoga in January 1943, Andreev entered besieged Leningrad. He was a member of the funeral team, was a nurse, a graphic designer. Received the medal "For the Defense of Leningrad". On June 25, 1945, he was recognized as an invalid of the Great Patriotic War of the 2nd group with a pension of 300 rubles.

  Arrest. Prison years

  last years of life

  In the spring of 1958, after an exacerbation of angina pectoris and atherosclerosis, Andreev was admitted to the hospital of the Institute of Therapy of the USSR Academy of Medical Sciences. On June 4, Archpriest Nikolai Golubtsov conducts the wedding of Daniel and Alla Andreev in