What genre is not typical for teffi? From the reviews of contemporaries about Nadezhda Alexandrovna Teffi

Ideas about Russian literature are most often formed in a person through the course school curriculum. It cannot be argued that this knowledge is completely wrong. But they do not reveal the subject fully. Many significant names and phenomena remained outside the scope of the school course. For example, an ordinary school student, even who has passed an exam in literature with an excellent mark, is often completely unaware of who Teffi Nadezhda Aleksandrovna is. But quite often these so-called second-tier names deserve our special attention.

View from the other side

The versatile and bright talent of Nadezhda Alexandrovna Teffi is viewed with great interest by everyone who cares about the turning point in Russian history in which she happened to live and work. This writer can hardly be considered a literary star of the first magnitude, but the image of the era without her will be incomplete. What is especially interesting for us is the view of Russian culture and history from those who found themselves on the other side of its historical divide. And outside Russia, to use a figurative expression, there was an entire spiritual continent of Russian society and Russian culture. Nadezhda Teffi, whose biography turned out to be split into two halves, helps us to better understand those Russian people who consciously did not accept the revolution and were its consistent opponents. They had good reasons for this.

Nadezhda Teffi: biography against the backdrop of the era

Nadezhda Aleksandrovna Lokhvitskaya’s literary debut took place at the beginning of the twentieth century with short poetic publications in metropolitan periodicals. Basically, these were satirical poems and feuilletons on topics that worried the public. Thanks to them, Nadezhda Teffi quickly gained popularity and became famous in both capitals Russian Empire. This literary fame acquired in his youth turned out to be surprisingly stable. Nothing could undermine the public's interest in Teffi's work. Her biography includes wars, revolutions and long years emigration. The literary authority of the poetess and writer remained indisputable.

Creative pseudonym

The question of how Nadezhda Aleksandrovna Lokhvitskaya became Nadezhda Teffi deserves special attention. Adopting a pseudonym was a necessary measure for her, because under real name it was difficult to publish. Nadezhda's older sister, Mirra Lokhvitskaya, began her literary career much earlier, and her surname had already become famous. Nadezhda Teffi herself, whose biography has been widely circulated, mentions several times in notes about her life in Russia that she chose as a pseudonym the name of a fool she knew, whom everyone called “Steffy.” One letter had to be shortened so that a person would not have an unreasonable reason for pride.

Poems and humorous stories

The first thing that comes to mind when meeting with creative heritage poetess, this is the famous saying of Anton Pavlovich Chekhov - “Brevity is the sister of talent.” Early works Teffi corresponds to him fully. The poems and feuilletons of the regular author of the popular magazine "Satyricon" were always unexpected, bright and talented. The public was constantly expecting a continuation, and the writer did not disappoint the people. It is very difficult to find another such writer, whose readers and fans were so different people, as Sovereign Emperor Autocrat Nicholas II and leader of the world proletariat Vladimir Ilyich Lenin. It is quite possible that Nadezhda Teffi would have remained in the memory of posterity as the author of light humorous reading, if not for the whirlwind revolutionary events, which covered the country.

Revolution

The beginning of these events, which changed Russia beyond recognition within a few years, can be observed in the stories and essays of the writer. The intention to leave the country did not arise overnight. At the end of 1918, Teffi, together with the writer Arkady Averchenko, even tours the country, which is burning in flames. civil war. During the tour, performances in front of the public were planned. But the scale of the events that unfolded was clearly underestimated. The trip dragged on for about a year and a half, and every day it became more and more obvious that there was no turning back. The Russian land underfoot was rapidly shrinking. Ahead there was only the Black Sea and the path through Constantinople to Paris. This was done by Nadezhda Teffi together with the retreating units. Her biography subsequently continued abroad.

Emigration

Existing far from the homeland has turned out to be simple and problem-free for few people. However, cultural and literary life in the world of Russian emigration was in full swing. Periodicals were published in Paris and Berlin and books were published in Russian. Many writers were able to develop to their full potential only in emigration. The experienced socio-political upheavals became a very unique stimulus for creativity, and the forced separation from home country became a constant theme in emigrant works. The work of Nadezhda Teffi is no exception here. Memories of Lost Russia and literary portraits figures of the Russian emigration became the dominant themes of her books and articles in periodicals for many years.

One can be called curious historical fact that the stories of Nadezhda Teffi were published in 1920 Soviet Russia on the initiative of Lenin himself. In these notes, she spoke very negatively about the morals of some emigrants. However, the Bolsheviks were forced to consign the popular poetess to oblivion after they became acquainted with her opinion about themselves.

Literary portraits

Notes dedicated to various figures of Russian politics, culture and literature, both those who remained in their homeland and those who found themselves beyond its borders due to historical circumstances, are the pinnacle of Nadezhda Teffi’s creativity. Memories of this kind always attract attention. Memoirs of famous people are simply doomed to success. And Nadezhda Teffi, short biography which is conventionally divided into two large parts - life at home and in exile, I was personally acquainted with many prominent figures. And she had something to say about them to her descendants and contemporaries. The portraits of these figures are interesting precisely because of the personal attitude of the author of the notes towards the persons depicted.

The pages of Teffi's memoir prose give us the opportunity to get acquainted with such historical figures as Vladimir Lenin, Alexander Kerensky. WITH outstanding writers and artists - Ivan Bunin, Alexander Kuprin, Ilya Repin, Leonid Andreev, Zinaida Gippius and Vsevolod Meyerhold.

Return to Russia

Nadezhda Teffi's life in exile was far from prosperous. Despite the fact that her stories and essays were readily published, literary fees were unstable and ensured an existence somewhere on the verge of the subsistence level. During the period of the fascist occupation of France, the life of Russian emigrants became significantly more difficult. Many well-known figures faced the question: Nadezhda Aleksandrovna Teffi belonged to that part of Russian people abroad who categorically rejected cooperation with collaborationist structures. And such a choice doomed a person to complete poverty.

The biography of Nadezhda Teffi ended in 1952. She was buried in the suburbs of Paris at the famous Russian cemetery of Saint-Genevieve-des-Bois. She was destined to return to Russia only in her own They began to be published en masse in Soviet periodicals in the late eighties of the twentieth century, during the period of perestroika. Books by Nadezhda Teffi were also published separate publications. They were well received by the reading public.

Teffi(real nameNadezhda Aleksandrovna Lokhvitskaya, by husbandBuchinskaya) - Russian writer and poet, memoirist, translator , author of such famous stories as"Demonic Woman" And "Kefer". After the revolution - emigrated . The poet's sister Mirra Lokhvitskaya and military leaderNikolai Alexandrovich Lokhvitsky. Nadezhda Aleksandrovna Lokhvitskaya was born on April 24 (May 6), 1872 in St. Petersburg (according to other sources, inVolyn province) in the family of a lawyer Alexander Vladimirovich Lokhvitsky ( 1830 - 1884). Studied at the gymnasium Liteiny Prospekt.

In 1892, after the birth of her first daughter, she settled with her first husband, Vladislav Buchinsky, on his estate near Mogilev. In 1900, after the birth of her second daughter Elena and son Janek, she separated from her husband and moved to St. Petersburg, where she began her literary career.

Published since 1901. In 1910, the publishing house "Rosehipnik" published the first book of poems " Seven lights" and the collection " Humorous stories».

She was known for her satirical poems and feuilletons, and was part of the permanent staff magazine "Satyricon". Teffi's satire was often very original; Thus, the poem “From Mickiewicz” of 1905 is based on the parallel between the well-known ballad of Adam Mickiewicz “The Voivode” and a specific, topical event that occurred recently. Teffi's stories were systematically published in such authoritative Parisian newspapers and magazines as " The Coming Russia", "Link", "Russian Notes", " Modern notes" Nicholas II was a fan of Teffi, and sweets were named after Teffi. At Lenin's suggestion, stories from the 1920s, which described the negative aspects of emigrant life, were published in the USSR in the form of pirated collections until the writer made a public accusation.

After closing in 1918 newspapers Russian word» , where she worked, Teffi went to Kyiv and Odessa with literary performances. This trip brought her to Novorossiysk, from where in the summer of 1919 she went to Turkey. In the fall of 1919 she was already in Paris, and in February 1920 two of her poems appeared in a Parisian literary magazine, and in April she organized a literary salon. In 1922-1923 she lived in Germany.

From the mid-1920s she lived in a de facto marriage with Pavel Andreevich Thixton (d. 1935).

She died on October 6, 1952 in Paris, two days later she was buried in Alexander Nevsky Cathedral in Paris and buried in Russian Cemetery of Sainte-Genevieve-des-Bois.

She was called the first Russian humorist of the early 20th century, “the queen of Russian humor,” but she was never a supporter of pure humor, always combining it with sadness and witty observations of the life around her. After emigrating, satire and humor gradually ceased to dominate her work, and her observations of life acquired a philosophical character.

Nickname

There are several options for the origin of the pseudonym Teffi.

The first version is stated by the writer herself in the story "Nickname". She didn't want to sign her texts male name, as contemporary writers often did: “I didn’t want to hide behind a male pseudonym. Cowardly and cowardly. It’s better to choose something incomprehensible, neither this nor that. But what? We need a name that would bring happiness. Best of all is the name of some fool - fools are always happy.". To her "I remembered<…>one fool, truly excellent and, in addition, one who was lucky, which means that fate itself recognized him as an ideal fool. His name was Stepan, and his family called him Steffy. Out of delicacy, discarding the first letter (so that the fool does not become arrogant)", writer “I decided to sign my play “Taffy””. After the successful premiere of this play, in an interview with a journalist, when asked about her pseudonym, Teffi replied that “this is... the name of one fool... that is, such a surname”. The journalist noticed that he "they said it was from Kipling". Teffi, who remembered Kipling's song “Taffy was a walshman / Taffy was a thief...”(Russian) Taffy from Wales, Taffy was a thief), agreed with this version.

The same version is voiced by researcher Teffi E. Nitraur, indicating the name of the writer’s acquaintance as Stefan and specifying the title of the play - "Women's Question", and a group of authors under the general leadership of A.I. Smirnova, who attribute the name Stepan to a servant in the Lokhvitsky house.

Another version of the origin of the pseudonym is offered by researchers of Teffi’s creativity E.M. Trubilova and D.D. Nikolaev, according to whom the pseudonym for Nadezhda Alexandrovna, who loved hoaxes and jokes, and was also the author of literary parodies and feuilletons, became part of literary game aimed at creating an appropriate image of the author.

There is also a version that Teffi took her pseudonym because her sister, the poetess Mirra Lokhvitskaya, who was called the “Russian Sappho,” was published under her real name.

Creation

Since childhood, Teffi has been interested in classical Russian literature. Her idols were A.S. Pushkin and L.N. Tolstoy, she was interested in modern literature and painting, was friends with the artist Alexander Benois . Teffi was also greatly influenced by N.V. Gogol, F. M. Dostoevsky and her contemporaries F. Sologub and A. Averchenko.

Nadezhda Lokhvitskaya began writing as a child, but her literary debut took place at almost thirty years of age. Teffi's first publication took place on September 2, 1901 in the magazine "North" - it was a poem “I had a dream, crazy and beautiful...”

Teffi herself spoke about her debut like this: “They took my poem and took it to an illustrated magazine without telling me a word about it. And then they brought me an issue of the magazine where the poem was published, which made me very angry. I didn’t want to be published then, because one of my older sisters, Mirra Lokhvitskaya, had been publishing her poems with success for a long time. It seemed to me something funny if we all delved into literature. By the way, that’s how it happened... So - I was unhappy. But when the editors sent me the fee, it made the most gratifying impression on me.” .

In 1905, her stories were published in a supplement to the Niva magazine.

In the years First Russian Revolution (1905-1907) Teffi composes topical poems for satirical magazines (parodies, feuilletons, epigrams). At the same time, the main genre of all her work was determined - a humorous story. First in the newspaper “Rech”, then in “ Stock news“Every Sunday issue publishes Teffi’s literary feuilletons, which soon brought her all-Russian love. In the pre-revolutionary years, Teffi was very popular. Was a permanent employee at magazines "Satyricon"(1908 -1913) and “New Satyricon” (1913-1918), which were led by her friend A. Averchenko.

Poetry collection "Seven Lights" was published in 1910. The book went almost unnoticed in the background resounding success Teffi's prose. In total, before emigrating, the writer published 16 collections, and throughout her life - more than 30. In addition, Teffi wrote and translated several plays. Her first play "Women's Question" was staged by the St. Petersburg Maly Theater.

Her next step was the creation in 1911 of a two-volume book "Humorous Stories", where she criticizes philistine prejudices, and also depicts the life of the St. Petersburg “demimonde” and the working people, in a word, petty everyday “nonsense.” Sometimes the author comes across representatives of the working people with whom the main characters come into contact; these are mostly cooks, maids, painters, represented as stupid and senseless creatures. Everyday life and routine are noticed by Teffi evilly and accurately. She prefaced her two-volume work with an epigraph from "Ethics" Benedict Spinoza, which accurately defines the tonality of many of her works: “For laughter is joy, and therefore in itself is good.”

In 1912, the writer created a collection “And so it became”, where it describes not social type bourgeois, but shows the ordinariness of gray everyday life, in 1913 - a collection "Carousel"(here we have an image common man, crushed by life) and "Eight Miniatures" in 1914 - "Smoke without fire", in 1916 - "Life", "Unliving Beast"(where the writer describes the feeling of tragedy and trouble in life; positive ideal for Teffi here are children, nature, people).

The events of 1917 are reflected in essays and stories "Petrograd Life", "Panic Managers" (1917 ), "Trading Rus'", "Mind on a String", "Street Aesthetics", "In the market"(1918), feuilletons "Dog Time", "A little about Lenin", "We believe", "We waited", "Deserters" (1917), "Seeds" (1918).

At the end of 1918, together with A. Averchenko, Teffi left for Kyiv, where their public performances were to take place, and after a year and a half of wandering around the Russian south (Odessa, Novorossiysk, Ekaterinodar) she arrived through Constantinople to Paris. According to the book "Memories", Teffi had no intention of leaving Russia. The decision was made spontaneously, unexpectedly for her: “A trickle of blood seen in the morning at the gates of the commissariat, a slowly creeping trickle across the sidewalk cuts the road to life forever. You can't step over it. It is impossible to go further. You can turn and run".

Teffi recalls that she was still hopeful of a quick return to Moscow, although her attitude towards October revolution she determined long ago: “Of course, it wasn’t death that I was afraid of. I was afraid of angry mugs with a flashlight pointed directly at my face, of stupid idiotic anger. Cold, hunger, darkness, the sound of rifle butts on the parquet, screams, crying, gunshots and the death of others. I'm so tired of all this. I didn't want this anymore. I couldn't take it anymore" .

In exile

Teffi's books continued to be published in Berlin and Paris, and exceptional success accompanied her until the end of her long life. In exile, she published more than a dozen books of prose and only two collections of poetry: "Shamram"(Berlin, 1923) and "Passiflora"(Berlin, 1923). Depression, melancholy and confusion in these collections are symbolized by the images of a dwarf, a hunchback, a crying swan, a silver ship of death, and a yearning crane.

In exile, Teffi wrote stories depicting pre-revolutionary Russia, the same bourgeois life that she described in collections published in her homeland. Melancholic title "That's how we lived" What unites these stories is that they reflect the collapse of the emigration's hopes of returning the past, the complete futility of an unattractive life in a foreign country. In the first issue of the newspaper "

Nadezhda Teffi - Adventure novel

16.05.2010 - 15:42

Famous writer Nadezhda Aleksandrovna Teffi spoke about herself like this: “I was born in St. Petersburg in the spring, and, as you know, our St. Petersburg spring is very changeable: sometimes the sun is shining, sometimes it’s raining. That’s why I, like on the pediment of an ancient Greek theater, have two faces: a laughing one and crying." This is true: all of Teffi’s works are, on the one hand, funny, and on the other, very tragic...

Family of poets

Nadezhda Aleksandrovna was born in April 1972. Her father, A.V. Lokhvitsky was a very famous person - a professor of criminology, a wealthy man. The large Lokhvitsky family was distinguished by a variety of talents, the main of which was literary. All the children wrote, especially being fond of poetry.

Teffi herself said this about it: “For some reason, this activity was considered very shameful among us, and as soon as anyone catches a brother or sister with a pencil, a notebook and an inspired face, they immediately begin to shout: “He’s writing!” He’s writing!” The caught man makes excuses, and the accusers mock him and jump around him on one leg: “He’s writing! Writes! Writer!"

Only the eldest brother, a creature full of dark irony, was above suspicion. But one day, when after summer holidays he went to the Lyceum, in his room scraps of papers were found with some poetic exclamations and the line repeated several times: “Oh, Mirra, pale moon!” Alas! And he wrote poetry! This discovery affected us strong impression, and who knows, maybe my elder sister, Masha, having become a famous poetess, took the pseudonym Mirra Lokhvitskaya precisely because of this impression"

The poet Mirra Lokhvitskaya was very popular in Russia at the turn of the century. It was she who introduced younger sister V literary world, introducing her to many famous writers.

Nadezhda Lokhvitskaya also started with poetry. Her first poem was published already in 1901, still under her real name. Then plays and the mysterious pseudonym Teffi appear.

Nadezhda Aleksandrovna herself spoke about its origins like this: “I wrote a one-act play, but I didn’t know at all what to do in order for this play to get on stage. Everyone around said that it was absolutely impossible, that you need to have connections in theater world and you need to have a big one literary name, otherwise the play will not only not be staged, but will never be read. This is where I started thinking. I didn’t want to hide behind a male pseudonym. Cowardly and cowardly. It’s better to choose something incomprehensible, neither this nor that. But what? We need a name that would bring happiness. The best name of some fool is - fools are always happy.

Of course, it was not a matter of fools. I knew a lot of them. But if you have to choose, then something excellent. And then I remembered one fool, a really excellent one, and, in addition, one who was lucky. His name was Stepan, and his family called him Steffy. Out of delicacy, discarding the first letter (so that the fool would not become arrogant), I decided to sign my play “Taffy” and sent it directly to the management of the Suvorinsky Theater "...

Sick of fame

And soon the name Teffi becomes one of the most popular in Russia. Without exaggeration, the whole country reads her stories, plays, and feuilletons. Fan of the young and talented writer even becomes a Russian emperor.

When a jubilee collection was compiled for the 300th anniversary of the House of Romanov, Nicholas II was asked which of the Russian writers he would like to see in it, he decisively answered: “Taffy! Only her. No one else is needed but her. Just Teffi!”

It’s interesting that even with such a powerful admirer, Teffi did not suffer at all." star fever", was ironic not only in relation to her characters, but also to herself. On this occasion, Teffi, in her characteristic humorous manner, said: “I felt like an all-Russian celebrity on the day when the messenger brought me a large box tied with red silk ribbon. I untied the ribbon and gasped. It was full of sweets wrapped in colorful pieces of paper. And on these pieces of paper was my portrait in paint and the signature: “Taffy!”

I immediately rushed to the phone and showed off to my friends, inviting them to try Taffy candies. I called and called on the phone, calling guests, in a fit of pride, I gobbled up candy. I came to my senses only when I had emptied almost the entire three-pound box. And then I started to feel sick. I ate my fame to the point of nausea and immediately recognized reverse side her medals."

The funniest magazine in Russia

Teffi in general, unlike many comedians, was a cheerful, open, cheerful person in life. Just like he is the wittiest person both in life and in his works. Naturally, Averchenko and Teffi soon begin a close friendship and fruitful cooperation.

Averchenko was the editor-in-chief and creator of the famous "Satyricon", with which the most famous people that time. Illustrations were drawn by artists Re-mi, Radakov, Junger, Benois, Sasha Cherny, S. Gorodetsky, O. Mandelstam and Mayakovsky delighted with their poems, L. Andreev, A. Tolstoy, A. Green included their works. Teffi, surrounded by such brilliant names, remains a star - her stories, very funny, but with a tinge of sadness, always find a warm response from readers.

Teffi, Averchenko and Osip Dymov wrote a wonderful, amazing funny book "The World History, processed by "Satyricon", illustrated by Remi and Radakov.. It was written as a parody of textbooks, and that's all historical events turned upside down in it. Here is an excerpt from the chapter about Ancient Greece, written by Teffi: “Laconia formed the southeastern part of the Peloponnese and received its name from the manner of the local inhabitants to express themselves laconically.” Modern readers What’s striking about this book is not so much the humor itself, but the level of education and extensive knowledge of the authors - you can only joke about something you know very well...

Nostalgia

Teffi spoke about the events associated with the revolution in her book “Memoirs”. This is very terrible work, despite the fact that Teffi tries to hold on and look at the most monstrous things with humor. It is impossible to read this book without shuddering...

Here, for example, is an episode of a meeting with a commissar nicknamed the Beast, who became famous for her cruelty in dealing with “alien elements.” When Teffi looks at her, she recognizes with horror the dishwasher woman from the village where Teffi rented a dacha.

This person always volunteered to help the cook when it was necessary to cut up chickens: “Your life was boring, ugly boring. You couldn’t go anywhere on your short legs. And what a luxurious feast fate had prepared for you! You drank your fill of tart, warm, human wine , drunk. She poured out her voluptuousness, sick, black. And not from around the corner, secretly, lustfully and timidly, but at the top of her lungs, in all her madness. Those comrades of yours in leather jackets, with revolvers, are simple murderers and robbers. , the mob of crime. You contemptuously threw handouts to them - fur coats, rings, money. They, perhaps, listen to you and respect you precisely for this unselfishness, for your “ideology.” You gave them your menial, your “dirty” work. You left it for yourself...”

Having fled in horror from Soviet Russia, Teffi finds herself in Paris. Here she is quickly becoming as popular as in her homeland. Her phrases, jokes, and witticisms are repeated by all Russian emigrants. But one can feel a heavy sadness and nostalgia in them - “The town was Russian, and a river flowed through it, which was called the Seine. Therefore, the residents of the town said: “We live poorly, like dogs on the Seine.”

Or famous phrase about the Russian refugee general from the story "Kefer?" (What to do?). “Coming out onto the Place de la Concorde, he looked around, looked at the sky, at the square, at the houses, at the motley, talkative crowd, scratched the bridge of his nose and said with feeling:

All this, of course, is good, gentlemen! Everything is very good. But... ke fer? Fer-to-ke?" But Teffi herself did not face the eternal Russian question - what to do? She continued to work, Teffi’s feuilletons and stories were constantly published in Parisian publications.

During the occupation of Paris by Nazi troops, Teffi was unable to leave the city due to illness. She had to endure the torment of cold, hunger, and lack of money. But at the same time, she always tried to maintain courage, not burdening her friends with her problems, on the contrary, helping them with her participation and kind words.

In October 1952, Nadezhda Alexandrovna was buried in the Russian cemetery of Sainte-Genevieve des Bois near Paris. Take her to last way very few people came - almost all of her friends had already died by that time...

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Teffi (real name Nadezhda Aleksandrovna Lokhvitskaya, married Buchinskaya; May 9 (21), 1872, St. Petersburg - October 6, 1952, Paris) - Russian writer and poetess, memoirist, translator, author of such famous stories as “The Demonic Woman” " and "Kefer". After the revolution she emigrated. Sister of the poetess Mirra Lokhvitskaya and military leader Nikolai Alexandrovich Lokhvitsky.

Nadezhda Aleksandrovna Lokhvitskaya was born on May 9 (21), 1872 in St. Petersburg (according to other sources in the Volyn province) in the family of lawyer Alexander Vladimirovich Lokhvitsky (1830-1884). She studied at the gymnasium on Liteiny Prospekt.

French indecency is piquant, but Russian is offensive to the ear.

Teffi Nadezhda Alexandrovna

In 1892, after the birth of her first daughter, she settled with her first husband, Vladislav Buchinsky, on his estate near Mogilev. In 1900, after the birth of her second daughter Elena and son Janek, she separated from her husband and moved to St. Petersburg, where she began her literary career.

Published since 1901. In 1910, the first book of poems, “Seven Lights,” and the collection “Humorous Stories” were published by the publishing house “Rosehipnik.”

She was known for her satirical poems and feuilletons, and was a member of the permanent staff of the Satyricon magazine. Teffi's satire was often very original; Thus, the poem “From Mickiewicz” of 1905 is based on the parallel between Adam Mickiewicz’s well-known ballad “The Voevoda” and a specific, recent topical event. Teffi’s stories were systematically published in such authoritative Parisian newspapers and magazines as “The Coming Russia”, “Link”, “Russian Notes”, “Modern Notes”. Nicholas II was a fan of Teffi, and sweets were named after Teffi. At Lenin’s suggestion, stories from the 1920s, which described the negative aspects of emigrant life, were published in the USSR in the form of pirated collections until the writer made a public accusation.

After the closure of the newspaper “Russian Word” in 1918, where she worked, Teffi went to Kyiv and Odessa with literary performances. This trip brought her to Novorossiysk, from where in the summer of 1919 she went to Turkey. In the fall of 1919 she was already in Paris, and in February 1920 two of her poems appeared in a Parisian literary magazine, and in April she organized a literary salon. In 1922-1923 she lived in Germany.

From the mid-1920s she lived in a de facto marriage with Pavel Andreevich Thixton (d. 1935).

She died on October 6, 1952 in Paris, two days later she was buried in the Alexander Nevsky Cathedral in Paris and buried in the Russian cemetery of Sainte-Genevieve-des-Bois.