680:, but in the 1920s Lokhvitskaya's name slipped into oblivion. Both the Soviet and the Russian immigrant critics labeled the author and her works "narrow-minded, trivial, saloon-wise and vulgar." The often quoted words of Valery Bryusov – "The future complete anthology of Russian poetry will feature some 10–15 of Lokhvitskaya's truly flawless poems..." – were only part of his statement, the second half of which ("...but the attentive reader will be forever excited by and engaged in the hidden drama of this poet's soul that has marked the whole of her poetry") was invariably omitted. For more than ninety years Lokhvitskaya remained unpublished in her homeland.
654:(writing in 1905) rated Lokhvitskaya as the greatest Russian woman poet ever ("or, rather, the only one, due to lack of competition"). "Full of fiery passions, yet occasionally sickly nervous, she entered this world as a strange amalgam of Heaven and Earth, flesh and spirituality, sinfulness and saintly aspirations, lowlife delights and longings for a higher plane, the future Kingdom of Beauty," he wrote. Still, Izmaylov recognized in Lokhvitskaya's poetry a kind of flatness, s narrow-mindedness which was becoming more and more obvious with the years.
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669:'s lucid clarity, her verses being easily as catchy." Summarizing Lokhvitskaya's development over the years, Gershenzon wrote: "While in her earlier poems there prevailed a 'hurry up, lover, my oil is burning' kind of motif, her latter works documented the process of her soul getting deeper and quieter. As if the moment she spotted this mysterious pattern of things beyond the passions adorning human life's fanciful facade, walls opened wide to let her see through into the unfathomable space."
442:, "the most chaste woman in Saint Petersburg, a faithful wife and most caring, protective mother of several children." Playing 'Eastern beauty' at home, she received visitors lying languidly on a couch. Still, according to Bunin, there was not a trace of pretentiousness behind this posturing; on the contrary, the hostess greatly enjoyed matter-of-fact chattering about funny and trivial things, displaying wit and disarming self-irony.
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hue of self-conscious teenager's delight disappears without a trace. The lady singer turns extremely sultry... Volume III brings her into the third and final phase with darkness choking the light. There is no joy anymore: hopelessness, suffering and death is what
Lokhvitskaya becomes preoccupied with. Lucid simplicity is gone, giving way to decorative quirkiness, with plots becoming increasingly subtle and exquisite.
390:. Sharing similar views on poetry in general, and its symbolist line of development in particular, they soon became close friends. What followed, though, was not a trivial affair, but a peculiar and obscure poetic dialogue full of allusions, to decipher the details of which one had to examine the whole bulk of the heritage of both poets. In Lokhvitskaya's poetry her lover figured as 'Lionel', after the character of
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588:...As a true bacchanal woman she was carrying in herself a fatally polarized outlook. Passion calls for and is responded to by death; pleasure brings pain. The beauty of erotic love and the demonic horrors of violence inspired her in equal measure. With daring curiosity she poised over abysses of torture. Possessed by the devilish charms of the
665:(Перед Закатом), he wrote: "She could rarely fulfill all of her ideas in one piece, but her poetic designs worked best when she herself wasn't aware of their inner meaning. In the art of bringing individual verses, lines even, to perfection, she had no equal. It looks as if not a single Russian poet has ever come as close as she did to
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suggesting that it was her and not
Akhmatova who "taught women how to speak." "Her poetic world might have been narrow, but shallow – never," biographer Alexandrova asserted. It is just that, according to Vyacheslav Ivanov, this depthness wasn't obvious: "the depth of hers was that of a sunlit well, unseen to the untutored eye."
572:," opined the critic (a Marxist himself), while her "views on the meaning and reason of life belonged to the Oriental tradition," even if "channeled through a narrow love theme." If there was one thing in Lokhvitskaya's poetry that riled most of her contemporaries, that was her almost demonstrative lack of social awareness.
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In the early 1990s, things started to change. The
Dictionary of Russian Women Writers (1994) admitted that Lokhvitskaya's "influence on her contemporaries and on later poets is only beginning to be recognized." The American slavist V. F. Markov called Lokhvitskaya's legacy "a treasury of prescience",
153:" by her contemporaries, which did not correspond with her conservative life style of dedicated wife and mother of five sons. Forgotten in Soviet times, in the late 20th century Lokhvitskaya's legacy was re-assessed and she came to be regarded as one of the most original and influential voices of the
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Mirra
Lokhvitskaya's poetry on the face of it wasn't innovative; contemporary critics praised it for lightness of touch, rare musical quality and occasionally dazzling technical perfection. In retrospect it turned out that Lochvitskaya's work bore one profoundly novel element, what one critic called
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This affair instigated public discussion and was often referred to as 'scandalous'. Whether
Lokhvitskaya and Balmont had ever been physically close, remained unclear. Some suggested they might have had a short affair in the early days; in the later years even in the geographical terms both were wide
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The history of
Lokhvitskaya's literary eroticism can be divided into three periods. Her first volume, for all its touches of cynicism, is marked by gracious naivety. "Sweet songs of love" there are aplenty, but they are addressed to her husband who brought her "happiness and joy". In Volume II this
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In 1901, Balmont and
Lokhvitskaya met, apparently, for the last time. Thereafter, their relationship was confined to enigmatically constructed poetic dialogues, full of demands and threats on his part and pleas for mercy on hers. Apparently both were taking their shared self-created world of horror
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There were numerous misconceptions about
Lokhvitskaya, according to Vengerov who refused to see in her a 'decadent' poet. "Totally devoid of sickly feebleness and vain extravagance" (generally associated with the Russian decadent movement), she was, "eager to enjoy life, declaring her right to put
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There wasn't a trace of lasciviousness left in the last, fifth volume. Lokhvitskaya excluded all poems addressed to her "spiritual lover," and what was left amounted to a fine collection of elegies full of dark premonitions, quasi-religious fables and thinly veiled farewells to her children. After
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but modern literary historians challenge this. At age fifteen, Lokhvitskaya started writing poetry and published two of her poems as a small brochure (approved by the college's authorities) not long before graduation. In 1884, Alexander
Lokhvitsky died and his widow took the children back to Saint
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Good looks certainly played a part, first in
Lokhvitskaya's meteoric rise to fame, then in the way people "refused to see beyond her beauty, remaining oblivious to the sharp intelligence that was becoming more and more obvious in her work." According to Alexandrova, Lokhvitskaya's was a "typical
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Maria Lokhvitskaya was born on November 19, 1869, in Saint Petersburg, Russia. Her father Alexander Vladimirovich Lokhvitsky (1830–1884) was a well-known lawyer of the time, famous for his public speeches, the author of several academic works on jurisprudence. The primary source of young Maria's
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Lokhvitskaya was the only person whom he remembered fondly. "Everything in her was charming: the sound of her voice, the liveliness of her speech, the glitter of her eye, her wonderful facetiousness. The colour of her face was exceptionally beautiful: opaque and smooth, like that of a ripe
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In the circle of her literary friends, Lokhvitskaya was surrounded by 'aura of adoration'; it seemed as if every man, according to a biographer, "was a little in love with her." Among them was Bunin. In a by and large grim gallery of his literary portraits (most of them crude caricatures),
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and passion seriously. Balmont was continuously complaining in his letters of being 'possessed', while Lokhvitskaya submerged herself in a quagmire of violent visions which, coupled with feelings of guilt towards her family, might have led to an illness the roots of which were obviously
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whom she had been passionately in love with. It was the stress of this strange relationship that, as some believed, had triggered her psychological crisis, and led to moral and physical demise. "Her death was enigmatic. Spiritual disturbance was the cause," Lokhvitskaya's friend
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Lokhvitskaya was reticent, attended literary parties on just rare occasions and her appearances there were not necessarily triumphant. "As she entered the stage, there was such a look of helplessness about her as to take away all the attractiveness," wrote the religious author
483:. Another original aspect of Lokhvitskaya's poetry was its unusual frankness; she was the first woman in Russian literature to enjoy total freedom of self-expression, speaking openly of sensuality, passion and sex. The famous phrase "Lasciviousness equals happiness" (
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228:(North) magazine. Several popular literary journals became interested in the young debutante and soon the moniker "Mirra" emerged. A family legend proposes that it had to do with her dying grandfather Kondrat's mysterious parting words: "...and the smell of
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But while passions of love remained the leitmotif of Lokhvitskaya's poetry, its context was transforming in quick and dramatic fashion, making the decade of her reign in Russian poetry an intriguing field for literary research. The critic and author
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deplored the way Lokhvitskaya has been totally misunderstood by the general readership; only "those enchanted by the subtle aromas of poetry, its musicality, easily recognized her exceptional gift." Speaking of the posthumous compilation
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with all the joy of unbroken soul of pagan outsider, responding to Christian demands with her wholesome, natural kindness," according to Ivanov. Typecasting her as an 'original' (as opposed to 'proto-modern') 'bacchanal character', he
212:(together with Teffi) and was a Drama Society member, but never regarded herself professional. Of Mirra's two other sisters, only the names are known: Varvara Alexandrovna (Popova, in marriage) and Lydia Alexandrovna (Kozhina).
458:(Poselyanin), remembering one such evening. Lokhvitskaya's shyness was one of the reasons why so little mention has been made of her in the extensive body of Russian Silver Age memoirs. Influential critic
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came out, Lokhvitskaya was Russia's most popular and best-loved woman poet. Far from enjoying her stardom, though, she spent the last five years of her life in physical pain and mental turmoil.
418:, Balmont's close rival/friend to be the most damaging factor. The well-publicized fact that Bryusov (who hated Lokhvitskaya, thinking she was trying to 'steal' a friend of his) dabbled in
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475:"the outright celebration of female worldview." In that respect Lokhvitskaya is now considered the founder of Russian woman's poetry and a predecessor to such groundbreaking figures as
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has often been cited as the cause of death, but this claim remained unsubstantiated and there was no mention of it in any of the obituaries. On August 29, Lokhvitskaya was interred in
342:. In 1904 Lokhvitskaya's illness progressed; she was bedridden for most of the year, tortured by pain and anxiety. In the early days of summer 1905, the family moved her to
600:, 2008) too saw the poet more as mystic seer than 'sultry songstress.' Quoting Lokhvitskaya's short poem (written in 1902, long before even the First Russian revolution):
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394:(it was Balmont who translated into Russian most of the Englishman's poetry in the 1890s), a "youth with curls coloured ripen rye" and "eyes greenish like the sea".
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forth her feelings with all the mighty fullness of her soul," he maintained. In fact, "the poetess's agility was very much akin to the challenges of
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Petersburg. Maria followed suit four years later, now as a young teacher. In 1888, several of her poems, signed M. Lokhvitskaya, were published by
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who rose to fame in the late 1890s. In her lifetime, she published five books of poetry, the first and the last of which received the prestigious
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402:(На заре) he described their relationship as 'poetic friendship'. Modern literary historians consider their relationship to have been truly
639:...she opined that "...this poem was in itself a good enough reason for Lokhvitskaya's legacy to remain unpublished in the Soviet times."
184:, fond of literature and poetry. Lokhvitskaya's younger sister Nadezhda would later become a well-known humorist writer better known as
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The exact cause of Lokhvitskaya's death remains unknown. Her health started to deteriorate in the late 1890s: she complained of
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Lokhvitskaya rose to fame in 1891 after her first long poem, "By the Seaside" (У моря), appeared in the August issue of the
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once confessed: "Sadly, Lokhvitskaya, one of the most intriguing women of the time, left but a vague trace in my memory."
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drama of a good-looking woman in whom most people failed o recognize anything beyond her physical attractiveness."
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252:(Russian Review) magazine. She became a popular figure in the Petersburg literary circles and became friends with
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her death in 1905, the lines of a late 1890s poem which sounded like a perfect epitaph have often been quoted:
592:, she ecstatically turned into one of those witches who've known all the joys of Sabbaths and burning fires...
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579:, speaking of Lokhvitskaya's enigma, marveled at her "almost antiquely harmonious nature." "She accepted
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In the course of the next few years, Lokhvitskaya published dozens of new poems, including the extensive
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People who knew Lokhvitskaya personally later spoke of the stark contrast between the poet's '
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has a single poet managed to get a grip of their readership in such a way," wrote her friend
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In the 2000s, several songs based upon the poetry of Mirra Lokhvitskaya were written by
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followed in 1898 and two years later was re-issued, coupled with the first volume, in
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283:(Стихотворения, 1889–1895), drew positive response and brought her the prestigious
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and the first in the line of modern Russian women poets who paved the way for
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The popularity of Mirra Lokhvitskaya's poetry waned quickly after his death.
346:, where her condition improved slightly, but on return she was hospitalized.
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Marina Ledkovskaia, Astman, Charlotte Rosenthal, Mary Fleming Zirin (1994).
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apart, with Balmont spending much of his time abroad. In his autobiography
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774:"Mirra Lokhvitskaya: A Russian Symbolist Poet of Decadence (1869–1905)"
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Of the one who disturbed people's hearts in order to bring them to life
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1256:"mirrelia.ru Project- 100th anniversary of Mirra Lokhvitskaya's death"
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Lokhvitskaya and Balmont met for the first time in the mid-1890s, in
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creative aspirations, though, was her mother Varvara Alexandrovna (
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who rated her among the 'outstanding Russian poets' wrote (in
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became fascinated with her and even called his fantasy world
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1228:(in Russian). The Questions of Life, 1905. № 9 С. 292–293
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and violent nightmares, suffered from bouts of severe
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Lokhvitskaya's first major book, a collection called
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in 1896, a year after its publication. "Never since
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596:The modern scholar Tatyana Alexandrova (author of
890:(in Russian). www.russianpoets.ru. Archived from
1469:People from the Russian Empire of French descent
575:Some saw her as a quintessentially mystic poet.
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963:"Poets of the Silver Age. Mirra Lokhvitskaya"
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141:; November 19, 1869 – August 27, 1905) was a
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598:Mirra Lokhvitskaya: Doomed to Melt in Flight
349:Mirra Lokhvitskaya died on August 27, 1905.
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497:Brockhaus and Efron Encyclopedic Dictionary
310:(Он и Она. Два слова) and two epic dramas,
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215:In 1874, the Lokhvitsky family moved to
1138:"From the Archives- Mirra Lokhvitskaya"
965:(in Russian). create-daydream.narod2.ru
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1283:(in Russian). Stock Exchange Gazette
450:apple," Bunin wrote in his memoirs.
374:Relationship with Konstantin Balmont
196:general and a one-time associate of
1329:Dictionary of Russian Women Writers
629:In it – all crimes of times gone by
722:St. Petersburg: A Cultural History
553:For the fires to burn till the end
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1303:"Saturday Review 'Before Sunset'"
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1092:(in Russian). Petersburg Letters
614:В нем – преступленья долгих лет,
438:') in reality was, according to
139:Мари́я Алекса́ндровна Ло́хвицкая
944:(in Russian). Slova. Silver Age
631:Death sentences of the Past...
548:Drop like a flower that's fresh
546:Tumble down like a star of gold
529:Пусть не меркнет огонь до конца
131:Maria Alexandrovna Lokhvitskaya
1410:on poems by Mirra Lokhvitskaya
1206:(in Russian). www.stihi-rus.ru
854:Handbook of Russian Literature
316:Vandelin. Springtime Fairytale
41:Maria Alexanrovna Lokhvitskaya
1:
1489:Burials at Nikolskoe Cemetery
1484:Poets from the Russian Empire
1474:Writers from Saint Petersburg
1279:А. I. Ismailov (1905-08-30).
1258:(in Russian). www.mirrelia.ru
1162:(in Russian). www.mirrelia.ru
1067:(in Russian). www.mirrelia.ru
1017:(in Russian). www.mirrelia.ru
828:(in Russian). www.mirrelia.ru
616:В нем – казнь былых времен...
485:Eto stchastye – sladostrastye
1113:(in Russian). www.peoples.ru
1065:"Mirra Lokvitskaya Volume 3"
1015:"Mirra Lokvitskaya Volume 2"
826:"М. Lokhvitskaya. Biography"
533:Что для жизни будила сердца.
232:is blown away by the wind."
155:Silver Age of Russian Poetry
1435:(public domain audiobooks)
1429:Works by Mirra Lokhvitskaya
1202:Mirra Lokhvitskaya (1900).
610:Мне ненавистен красный цвет
555:And memories forever remain
523:Облететь неувядшим цветком.
521:Золотой закатиться звездой.
293:Vasily Nemirovich-Danchenko
262:Vasily Nemirovich-Danchenko
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1423:Mirra Lokhvitskaya Website
1046:(in Russian). www.rulex.ru
772:Casimir John Norkeliunas.
1301:M. O. Gershenzon (1905).
1088:Yulia Zaguliaeva (1905).
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531:И останется память о той,
525:Я хочу умереть молодой...
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1140:(in Russian). feb-web.ru
314:(На пути к Востоку) and
180:Hoer), a well-educated
851:Terras, Victor (1990).
627:For it's forever cursed
535:Я хочу умереть молодой!
519:Я хочу умереть молодой.
244:Mirra and Eugeny Gibert
192:(1868–1933), a Russian
650:The Silver Age critic
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612:За то, что проклят он.
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355:Alexander Nevsky Lavra
320:Volume III (1898–1900)
308:Him and Her. Two Words
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1479:Pushkin Prize winners
1375:Russian Crespuscolari
1204:"I want to die young"
915:Tatyana Alexandrova.
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625:I hate the colour Red
559:I'd rather die young
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297:Volume II (1896–1898)
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200:, fought against the
1389:In my unawareness...
1226:"Mirra Lokhvitskaya"
1044:"Mirra Lokhvitskaya"
990:"Konstantin Balmont"
942:"Mirra Lokhvitskaya"
888:"Mirra Lokhvitskaya"
646:Lokhvitskaya in 1901
550:I'd rather die young
544:I'd rather die young
392:Percy Bysshe Shelley
368:Isabella Grinevskaya
1408:Larisa Novoseltseva
1224:Vyacheslav Ivanov.
689:Larisa Novoseltseva
1160:"Memoirs of Bunin"
988:Alexandrova Т. L.
757:has generic name (
658:Mikhail Gershenzon
652:Alexander Izmaylov
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382:Konstantin Balmont
363:Konstantin Balmont
359:Dukhovskaya Church
318:. By the time her
250:Russkoye Obozrenye
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190:Nikolay Lokhvitsky
119:Mirra Lokhvitskaya
23:Mirra Lokhvitskaya
1111:"Teffi biography"
717:Antonina W. Bouis
663:Before the Sunset
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577:Vyacheslav Ivanov
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270:Vladimir Solovyov
254:Vsevolod Solovyov
198:Aleksandr Kolchak
127:Ми́рра Ло́хвицкая
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1090:"Necrologue"
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68:(1905-08-27)
16:Russian poet
1459:1905 deaths
1454:1869 births
1406:, songs by
1373:Markov, V.
590:Middle Ages
426:Personality
420:black magic
400:At the Dawn
340:stenocardia
182:Frenchwoman
91:Nationality
1448:Categories
1345:2010-08-13
1309:2010-08-13
1287:2010-08-13
1262:2010-08-13
1232:2010-08-13
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870:2012-01-02
864:0300048688
832:2010-08-13
784:2010-08-13
738:2010-08-13
695:References
678:Mirralliya
440:Ivan Bunin
336:depression
210:Maupassant
204:forces in
194:White Army
83:Occupation
46:1869-11-19
1425:(Russian)
1354:cite book
923:2 January
747:cite book
432:bacchanal
303:edition.
274:Yaroslavl
169:Biography
1433:LibriVox
332:insomnia
312:Eastward
202:Red Army
1404:YouTube
1394:YouTube
667:Pushkin
570:Marxism
448:Crimean
344:Finland
206:Siberia
135:Russian
129:; born
123:Russian
94:Russian
1336:
861:
729:
584:wrote:
470:Legacy
388:Crimea
268:, and
217:Moscow
151:Sappho
109:Spouse
1417:Links
326:Death
230:myrrh
226:Sever
186:Teffi
1360:link
1334:ISBN
925:2012
859:ISBN
759:help
727:ISBN
479:and
161:and
86:poet
63:Died
38:Born
1431:at
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289:Fet
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