Article Gumilyov heritage of symbolism and acmeism analysis. The legacy of symbolism and acmeism. The literature of the nineteenth century was called the "golden age"

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THE HERITAGE OF SYMBOLISM AND ACMEISM

Nikolay Gumilyov

It is clear to the attentive reader that symbolism has completed its circle of development and is now falling. And the fact that symbolic works almost do not appear anymore, and if they do, they are extremely weak, even from the point of view of symbolism, and that more and more voices are heard in favor of revising so recently indisputable values and reputations, and that, that futurists, ego-futurists and other hyenas have appeared, always following the lion (Let the reader not think that with this phrase I put an end to all extreme aspirations contemporary art...). Symbolism is being replaced by a new direction, no matter how it is called, whether acmeism (from the word akme - highest degree something, a color, a blooming season), or Adamism (a courageous, firm and clear outlook on life), - in any case, requiring a greater balance of power and a more accurate knowledge of the relationship between subject and object than was in symbolism. However, in order for this current to assert itself in its entirety and be a worthy successor to the previous one, it is necessary that it accept its legacy and answer all the questions posed by it. The glory of the ancestors obliges, and symbolism was a worthy father.

French symbolism, the ancestor of all symbolism as a school, brought to the fore purely literary tasks: free verse, a more peculiar and unsteady style, a metaphor elevated above all, and the notorious "theory of correspondences". The latter betrays with his head not a Romanesque and, consequently, not a national, alluvial soil. The Romanesque spirit is too fond of the element of light, dividing objects, clearly drawing a line; the same symbolic fusion of all images and things, the variability of their appearance could only be born in the foggy darkness of the German forests. The mystic would say that the symbolism in France was a direct consequence of the Sedan. But at the same time, he revealed in French literature the aristocratic thirst for the rare and difficult to achieve, and thus saved it from the vulgar naturalism that threatened it.

We Russians cannot reckon with French symbolism, if only because the new current I spoke of above strongly prefers the Romanesque spirit to the German one. Just as the French were looking for a new, freer verse, the acmeists strive to break the fetters of meter by skipping syllables, more than ever by a free rearrangement of stresses, and there are already poems written according to the newly thought-out syllabic system of versification. The dizziness of symbolic metaphors taught them to bold turns of thought; the fragility of the words to which they listened prompted them to look for new ones in the living folk speech - with a more stable content; and a radiant irony, which does not undermine the roots of our faith—an irony which could not fail to manifest itself at least occasionally in Romanesque writers—has now taken the place of that hopeless German seriousness which our Symbolists cherished so much. Finally, while highly appreciating the Symbolists for pointing out to us the significance of the symbol in art, we do not agree to sacrifice other means of poetic influence to it and seek their complete agreement. With this we answer the question about the comparative "beautiful difficulty" of the two currents: it is more difficult to be an acmeist than a symbolist, how difficult it is to build a cathedral than a tower. And one of the principles of the new direction of direction is to always follow the line of greatest resistance.

German symbolism, in the person of its founders Nietzsche and Ibsen, raised the question of the role of man in the universe, the individual in society, and resolved it, finding some objective goal or dogma that should have been served. This showed that German symbolism does not feel the inherent value of each phenomenon, which does not need any justification from outside. For us, the hierarchy in the world of phenomena is only the relative weight of each of them. moreover, the weight of the most insignificant is still immeasurably greater than the absence of weight, non-existence, and therefore, in the face of non-existence, all phenomena are brothers.

We would not dare to make the atom worship God if it were not in its nature. But, feeling ourselves as phenomena among phenomena, we become involved in the world rhythm, accept all influences on us and, in turn, influence ourselves. Our duty, our will, our happiness and our tragedy, is to guess every hour what the next hour will be for us, for our cause, for the whole world, and to hasten its approach. And as the highest reward, without stopping our attention for a moment, we dream of the image of the last hour, which will never come. To rebel in the name of other conditions of existence here, where there is death, is just as strange as a prisoner breaking a wall when in front of him - opened door. Here ethics becomes aesthetics, expanding into the realm of the latter. Here individualism in its highest tension creates the public. Here God becomes the living God, because man felt himself worthy of such a God. Here death is a curtain separating us from the actors, from the spectators, and in the inspiration of the game we despise cowardly peeking - what will happen next? As Adamists, we are a bit of a forest animal and, in any case, we will not give up what is bestial in us in exchange for neurasthenia. But here is the time to speak to Russian symbolism. symbolism acmeism poet genre

Russian symbolism directed its main forces into the realm of the unknown. Alternately, he fraternized with mysticism, then with theosophy, then with the occult. Some of his searches in this direction almost approached the creation of a myth. And he has the right to ask the current that is replacing him, whether it can only boast of animal virtues, and what is its attitude towards the unknowable. The first thing that acmeism can answer such a question will be an indication that the unknowable, in the very meaning of the word, cannot be known. The second is that all attempts in this direction are unchaste. All beauty, all sacred meaning stars in that they are infinitely far from the earth and will not get closer with any success in aviation. The poverty of the imagination will be revealed by those who always imagine the evolution of personality in the conditions of time and space. How can we remember our former existences (unless this is clearly a literary device) when we were in the abyss, where there are myriad other possibilities of being, of which we know nothing but that they exist? After all, each of them is denied by our being and, in turn, denies it. A childishly wise, painfully sweet feeling of one's own ignorance - this is what the unknown gives us. Francois Villon, asking where the most beautiful ladies of antiquity are now, answers himself with a sorrowful exclamation: “... Mais ou sont les neiges d "antan!" (fr.: ...But where is the snow of the old days!)

And this makes us feel more unearthly than entire volumes of reasoning on which side of the moon are the souls of the dead ... Always remember the unknowable, but not offend your thoughts about it with more or less probable guesses - this is the principle of acmeism. This does not mean that he denied for himself the right to depict the soul in those moments when it trembles, approaching another; but then she should only shudder. Of course, knowing God beautiful lady Theology will remain on its throne, but the Acmeists do not want to reduce it to the level of literature, nor to raise literature to its diamond cold. As for angels, demons, elemental and other spirits, they are part of the material of artists and should no longer outweigh other images taken by them with earthly weight.

Every direction is in love with one or another creators and epochs. Dear graves bind people the most. In circles close to acmeism, the names of Shakespeare, Rabelais, Villon and Theophile Gautier are most often pronounced. The choice of these names is not arbitrary. Each of them is the cornerstone for the building of acmeism, high voltage one or another of his elements. Shakespeare showed us the inner world of a person, Rabelais - the body and its joys, wise physiology, Villon told us about life, not a little doubting itself, although knowing everything - and God, and vice, and death, and immortality. Théophile Gautier for this life found in art worthy clothes of impeccable forms. To combine these four moments in oneself is the dream that now unites people who so boldly called themselves acmeists.

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Osip Mandelstam

MORNING OF ACMEISM

I

With great emotional excitement associated with works of art, it is desirable that talk about art be distinguished by the greatest restraint. For the vast majority, a work of art is seductive only insofar as the artist's worldview shines through in it. Meanwhile, the artist's attitude is a tool and means, like a hammer in the hands of a bricklayer, and the only real thing is the work itself. To exist is the highest pride of an artist. He wants no other paradise than being, and when they tell him about reality, he only smiles bitterly, because he knows the infinitely more convincing reality of art. The spectacle of a mathematician, without hesitation squaring some ten-digit number, fills us with some surprise. But all too often we lose sight of the fact that the poet raises the phenomenon to the power of ten, and the humble appearance of a work of art often deceives us about the monstrously condensed reality that it possesses. This is reality in poetry - the word as such. Now, for example, setting out my thought as accurately as possible, but by no means poetic, I speak, in essence, with consciousness, and not with a word. Deaf-mutes understand each other perfectly, and railway semaphores perform a very complex function without resorting to the help of a word. Thus, if the meaning is considered content, everything else that is in the word must be considered a mere mechanical appendage that only hinders the rapid transmission of thought. Slowly, "the word as such" was born. Gradually, one by one, all the elements of the word were drawn into the concept of form, only the conscious meaning, the Logos, is still erroneously and arbitrarily considered content. From this unnecessary honor, the Logos only loses. Logos requires only equality with other elements of the word. The futurist, unable to cope with conscious meaning as the material of creativity, frivolously threw it overboard and, in essence, repeated the gross mistake of his predecessors. For the Acmeists, the conscious meaning of the word, the Logos, is as beautiful a form as music is for the Symbolists. And, if among the Futurists the word as such is still crawling on all fours, in acmeism for the first time it takes a more worthy vertical position and enters into stone Age of its existence.

II

The tip of acmeism is not a stiletto and not a sting of decadence. Acmeism is for those who, possessed by the spirit of construction, do not cowardly refuse their heaviness, but joyfully accept it in order to wake up and use the architecturally dormant forces in it. The architect says: I'm building, so I'm right. The consciousness of being right is dearest to us in poetry, and, contemptuously discarding the spillikins of the Futurists, for whom there is no higher pleasure than to hook a difficult word with a knitting needle, we introduce Gothic into the relationship of words, just as Sebastian Bach approved it in music. What fool would agree to build if he does not believe in the reality of the material whose resistance he must overcome. A cobblestone under the hands of an architect turns into a substance, and he is not born to build, for whom the sound of a chisel breaking a stone is not a metaphysical proof. Vladimir Solovyov experienced a special prophetic horror before the gray-haired Finnish boulders 1 . The mute eloquence of the granite block stirred him like an evil sorcery. But Tyutchev's stone, that "having rolled down from the mountain, lay down in the valley, torn off by itself, or was overthrown by a thinking hand" 2 - there is a word. The voice of matter in this unexpected fall sounds like articulate speech. This challenge can only be answered by architecture. Acmeists reverently lift the mysterious Tyutchev stone and put it at the base of their building. The stone, as it were, yearned for a different existence. He himself discovered the potential ability of dynamics hidden in him - as if asked to be in the "cross vault" - to participate in the joyful interaction of his own kind.

III

The Symbolists were bad couch potatoes, they loved travelling, but they felt bad, uncomfortable in the cell of their organism and in that world cell which Kant built with the help of his categories. In order to successfully build, the first condition is a sincere reverence for the three dimensions of space - to look at them not as a burden and an accident, but as a God-given palace. Indeed: what can you say about an ungrateful guest who lives at the expense of the owner, enjoys his hospitality, and yet in his heart despises him and only thinks about how to outwit him. It is possible to build only in the name of "three dimensions", since they are the condition of any architecture. That's why an architect has to be a good homebody, and the Symbolists were bad architects. To build means to struggle with emptiness, to hypnotize space. A good arrow of a Gothic bell tower is evil, because its whole meaning is to prick the sky, to reproach it with the fact that it is empty.

IV

The peculiarity of a person, that which makes him an individual, is implied by us and enters into a much more significant concept of the organism. Acmeists share love for the body and organization with the physiologically brilliant Middle Ages. In the pursuit of sophistication, the 19th century lost the secret of real complexity. What in the thirteenth century seemed to be a logical development of the concept of the organism - the Gothic cathedral - now aesthetically functions as monstrous. Notre Dame is a celebration of physiology, its Dionysian revelry. We don't want to entertain ourselves with a walk in the "forest of symbols" because we have a more virgin, more dense forest - the divine physiology, the infinite complexity of our dark organism. The Middle Ages, defining in its own way the specific gravity of a person, felt and recognized him for everyone, completely regardless of his merits. The title of master was applied willingly and without hesitation. The humblest craftsman, the lowest clerk, possessed a secret of solid importance, pious dignity, so characteristic of this era. Yes, Europe has passed through the labyrinth of an openwork-fine culture, when an abstract being, an unadorned personal existence, was valued as a feat. Hence the aristocratic intimacy that binds all people, so alien in spirit to "equality and fraternity" Great Revolution. There is no equality, no rivalry, there is complicity of beings in a conspiracy against emptiness and non-existence. Love the existence of a thing more than the thing itself and your being more than yourself - this is the highest commandment of acmeism.

V

A = A: how beautiful poetic theme. Symbolism languished, missed the law of identity, acmeism makes it its slogan and offers it instead of the dubious a realibus ad realiora 3 . The ability to be surprised is the main virtue of the poet. But how can one not be surprised then by the most fruitful of laws - the law of identity? Whoever is imbued with reverent surprise before this law is an undoubted poet. Thus, by recognizing the sovereignty of the law of identity, poetry receives into lifelong fief possession of everything that exists without conditions and restrictions. Logic is the realm of surprise. To think logically means to be constantly surprised. We loved the proof music. Logical connection for us is not a song about a chizhik, but a symphony with organ and singing, so difficult and inspired that the conductor has to strain all his abilities to keep the performers in obedience. How persuasive is Bach's music! What power of proof! Proving and proving endlessly: taking anything in art on faith is unworthy of an artist, easy and boring... We don't fly, we climb only those towers that we ourselves can build.

VI

The Middle Ages are dear to us because they possessed to a high degree a sense of boundaries and partitions. It never mixed different plans and treated the other world with great restraint. A noble mixture of rationality and mysticism and a sense of the world as a living balance makes us related to this era and encourages us to draw strength from the works that arose on Romanesque soil around 1200. Let us prove that we are right in such a way that the whole chain of causes and effects from alpha to omega would tremble in response to us, let us learn to wear “the movable shackles of being more easily and freely” 4 . 1912

Comments

Printed by: Mandelstam O."Word and Culture". First published: Sirena, 1919, No. 4/5, 30 Jan. The article was written in 1912. 1 This refers to the poems by V. Solovyov "Sorcerer-Stone" (1894), "In the vicinity of Abo" (1894) and "In the country of frosty blizzards ..." (1882). 2 Quote from the original version of F. I. Tyutchev's poem "Rgoblema" (1833). 3 From real to real (Latin); slogan put forward by Vyach. Ivanov in his book “According to the Stars. Philosophical, aesthetic and critical experiments” (St. Petersburg, 1909, p. 305). 4 An inaccurate quotation from the octave by S. M. Gorodetsky in the book “Blossoming Staff” (1914); from Gorodetsky: "... freer and more fun / / Wear the movable shackles of being." Futurist Manifestos. December 18, 1912 in Moscow in the edition of G. Kuzmin and S. Dolinsky with a circulation of 600 copies. the almanac "Slap in the face of public taste" with the manifesto of the same name came out of print. Of the seven authors of the collection (D. Burliuk, V. Khlebnikov, A. Kruchenykh, V. Mayakovsky, B. Livshits, N. Burliuk, V. Kandinsky), the first four signed the manifesto "in defense of the new art". In February 1913, a polemical leaflet "A Slap in the Face of Public Taste" was published in Moscow. Below is the text of the 1912 manifesto: A SLAMP TO PUBLIC TASTE To those who read our New First Unexpected.
Only we - the face of our Time. The horn of time blows us in verbal art.
The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs. Throw Pushkin, Dostoevsky, Tolstoy and so on. and so on. from the ship Modernity.
Whoever does not forget his first love will not recognize his last.
Who, gullible, will turn the last Love to the perfumery fornication of Balmont? Does it reflect the courageous soul of today? Who, cowardly, will be afraid to steal paper armor from the black tailcoat of Bryusov's warrior? Or are they the dawn of unknown beauties?
Wash your hands that have touched the filthy slime of the books written by those innumerable Leonid Andreevs.
To all these Maxims Gorkys, Kuprins, Bloks, Sologubs, Remizovs, Averchenkos, Chernys, Kuzmins, Bunins and so on. and so on. - All you need is a cottage on the river. Such an award is given by fate to tailors.
From the height of skyscrapers we look at their insignificance!
We command to honor the rights of poets:
one). To increase the vocabulary in its volume with arbitrary and derivative words (Word-innovation).
2). To an irresistible hatred for the language that existed before them.
3). With horror, remove from your proud forehead from bath brooms the Wreath of penny glory you made.
four). To stand on a block of the word "we" in the midst of a sea of whistling and indignation.
And if for the time being the dirty stigmas of your “common sense” and “good taste” still remain in our lines, then for the first time the lightning of the New Coming Beauty of the Self-valuable (self-sufficient) Word is already trembling on them. Moscow, 1912. December D. BURLYUK, Alexander KRUCHENYKH ,
V. MAYAKOVSKY, Viktor KHLEBNIKOV- The name Alexander was included in the pseudonym Kruchenykh under the manifesto in the Slap in the Face of Public Taste and in the Troy collection, then the poet began to use his real name Alexei or the capital letter A. Sometimes (for example, in the Declaration of the word as such) he put the name Alexander in brackets after Alexei.

Judges' cage II

[Foreword]

Finding all the principles outlined below as integrally expressed in the 1st "Judges' Garden" and putting forward the previously notorious and rich, only in the sense of Metzl and Co., futurists, we nevertheless consider this path we have traveled and, leaving its development to those who do not have new tasks, we use some form of spelling to focus the general attention on the new tasks that are already opening before us. We put forward new principles of creativity, which are clear to us in the following order: 1. We stopped considering word construction and word pronunciation according to grammatical rules, starting to see in letters only guiding speeches. We loosened the syntax. 2. We began to give content to words according to their descriptive and phonic characteristics. 3. We are aware of the role of prefixes and suffixes. 4. In the name of freedom of personal chance, we deny spelling. 5. We characterize nouns not only by adjectives (as they did mainly before us), but also by other parts of speech, also by individual letters and numbers: a) considering his blot and vignette of creative expectation as part of an inseparable work, c) in handwriting as a component of a poetic impulse , c) in Moscow, therefore, we published books (autographs) "self-written". 6. We have destroyed punctuation marks, than the role of the verbal mass was put forward for the first time and realized. 7. We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell. 8. We have crushed the rhythms. Khlebnikov put forward the poetic meter of the living colloquial word. We stopped looking for sizes in textbooks; every movement gives birth to a new free rhythm for the poet. 9. Front rhyme (David Burliuk), middle, reverse rhyme (Mayakovsky) developed by us. 10. The richness of the poet's vocabulary is his justification. 11. We consider the word to be the creator of the myth, the word, dying, gives birth to the myth, and vice versa. 12. We are dominated by new themes: uselessness, meaninglessness, the secret of imperious insignificance are glorified by us. 13. We despise glory; we know feelings that did not live before us. We are the new people of the new life. David Burliuk, Elena Guro, Nikolai Burliuk, Vladimir Mayakovsky, Ekaterina Nizen, Viktor Khlebnikov, Benedict Livshits, A. Kruchenykh. (1913)

DECLARATION OF THE WORD AS SUCH

4) Thought and speech do not keep pace with the experience of inspiration, therefore the artist is free to express himself not only in a general language (concepts), but also in a personal one (the creator is individual), and in a language that does not have a definite meaning, (Not frozen), abstruse. Mutual language binds, free allows you to express yourself more fully (Example: go osneg kaid, etc.).

5) Words die, the world is forever young. The artist saw the world in a new way and, like Adam, gives everything his own names. Lily is beautiful, but the word lily is ugly, captured and “raped”. Therefore, I call the lily eyy - the original purity is restored.

2) Consonants give life, nationality, severity, vowels - the opposite - the all-Lena language. One vowel poem:

3) The verse gives (unconsciously) rows of vowels and consonants. These rows are inviolable. It is better to replace the word with another, close not in thought, but in sound (lyki - myki - kyka).

Identical vowels and consonants, being replaced by features, form patterns that are inviolable (eg: III - I - I - III).

Therefore, it is impossible to translate from one language to another, you can only write and give an interlinear. Former d.s. n. translations are only interlinear, like works of art, they are the grossest vandalism.

1) A new verbal form creates a new content, and not vice versa.

6) By giving new words, I bring new content, where everything began to slide (the convention of time, space, etc. Here I agree with N. Kulbin, who discovered the 4th dimension - heaviness, the 5th - movement and 6 or 7 th time).

7) There may be unresolved dissonances in art - “unpleasant for hearing”, because there is a dissonance in our soul, which resolves the first one. For example - holes bul schyl, etc.

8) All this does not narrow art, but acquires new fields.

Alexey (Alexander) Kruchenykh

Note. 1) What was said in theses 3, 6 and 7 coincides with the thoughts of N. Kulbin. 2) The guiding provisions of this declaration, taken by our "critics" for the position of futurism, were expressed long before its appearance in Russia in the lectures of N. Kulbin in St. Petersburg in 1907-8. and practically implemented at exhibitions - Wreath and others and in the books "Judges' Garden I" (1908) and "Impressionist Studio" (1910) (futurism appeared in 1910).

The evolution of A. Blok's poetic system. A. Blok and Russian symbolism. The concept of the elements, the principle of inseparability and inseparability. Duality in the poet's lyrics

The first poems of Alexander Blok (1897-1900), subsequently combined into the cycle "Ante Lucem", did not portend a conflict with the "Beketov" culture. These poems testify that the poet learns a lot from Russian romantics (from Pushkin, Lermontov) and lyric poets of the middle of the century (from Fet, Tyutchev).

The next stage in the work of Alexander Alexandrovich is the time of the creation of the collection "Poems about the Beautiful Lady" (1901). The impact of "Beketov's" traditions was replaced by a deep feeling for L.D. Mendeleeva, pre-revolutionary moods of the people and impressions from the mystical lyrics of Vladimir Solovyov. All this dramatically changed the world of Alexander Blok.

The early 1900s immediately determined Blok's place as a junior symbolist. In 1900-1901, Alexander Alexandrovich was not associated with either the "decadents" or the "Solovievites". Only in 1902 did Alexander Alexandrovich get acquainted with Merezhkovsky, and through the Solovyov family he became close to A. Bely. Since the beginning of the century, the poet has internally resisted the influence of "Beketov's" culture.

The formation, development and creative growth of Blok is connected with the influence of the ideas of symbolism on his aesthetic views. The influence of the Russian philosopher and poet Vl. Solovyov. It was from his works that Blok borrowed the idea of an impending world catastrophe and the doctrine of the World Soul, or Eternal Femininity, designed to renew the world. This influence and biographical love for L. D. Mendeleeva largely determined the mystical and elegiac orientation of Blok's poems, their individualism and detachment from the world.

In the drama Okaneya, for the first time in the dramaturgical heritage that had just begun to take shape, A. Blok tested his concept of "inseparability - inseparability" of the basic conditions of human existence, which would become decisive for all his subsequent work.

The sources of the formula "inseparability and inseparability" in A. Blok is the creed, which correlates the divine and human principles in Christ, the most ancient mythological ideas about the world, and, finally, this idea is found in reminiscences in N. Minsky and V. Solovyov (1). This formula contains the principle of Blok's worldview, which permeates his entire artistic system: recognition of the original unity with the world and at the same time a tragic break with it.

Duplicity in the work of Blok, according to D.E. Maksimov, is an inevitable phenomenon of the poet's development. He, remaining in all cases a violation of the integrity of the individual, took different forms with Blok and accompanied his poetry throughout its entire length. It is no coincidence that the first phrase that opens Blok's youthful diaries contains confessions of his own bifurcation - a prerequisite for duality, its psychological and ideological basis. Blok wrote that "in each person there are several people, and everyone is fighting among themselves."

Problems of the people and the intelligentsia, the intelligentsia and the revolution in L. Blok's "prose" (articles "The People and the Intelligentsia", "The Intelligentsia and the Revolution" The collapse of humanism in the poem Twelve. Artistic Features poems

famous article Blok "Intelligentsia and Revolution" is the culmination, the quintessence of the state of the Blok itself during the revolutionary and post-revolutionary events in Russia. It sums up in itself everything that Blok said in previous years, only more vividly and contrastingly. This article reflects the state of mind of Blok himself, his view of the world: a state of horror, accepting this horror as something right and not resisting it.

Two years later, in 1908, in the article "The People and the Intelligentsia", Blok more clearly describes the maturing of the catastrophe. The catastrophe, in his opinion, is brewing because the whole of Russia, the whole world is moving by inertia "in the wrong direction." The intelligentsia, which, according to Blok, is not what it should be, that is, wrong, which has not comprehended the people, cannot help in any way.

Blok speaks of people-loving intellectuals, collectors of folklore, who "mourn the people; go to the people, filled with hopes and despair; finally, they die, go to execution and starvation for the cause of the people": "Maybe, finally understood even the soul of the people; but how did you understand? Doesn't it mean to understand all and fall in love all- even hostile, even that which requires the renunciation of what is most dear to oneself - does not this mean nothing not understand and nothing not love?"

Emphasizing the regularity of the approaching, Blok repeats that "enmity is primordial", that is, enmity between the people and the intelligentsia. And not just misunderstanding or indifference, namely enmity - aggression.

"Intelligentsia and Revolution" is not an article, it is an experience put on paper, the pain of a poet. He sought to drown out this pain in himself, deceiving himself that what was happening "this is the way it should be", that "this is right, and therefore good." And the publication of this article, its actual existence in the press, is a desire to instill more strongly into oneself that terrible is beautiful, that evil is actually good and right, that violence is actually justice.

The collapse of humanism" in Blok also directly opposes the "collapse of humanism", as Vyach comprehended at the same time. Ivanov in the article "Tough". For Ivanov, humanism is completely and entirely a false culture, "which turned us away from Christian promises and otherworldly hopes, wholly engaged in earthly management", which gave birth to a revolution. He hails the "collapse of humanism" as a return to "drawing all into Christ." Blok sees everything in a different light. Humanism is a "great movement", a "great factor in world culture", which at one time asserted a "free human personality". But later, Blok believes, - in the 19th century, when the masses of the people appeared on the scene, humanism lost its meaning and “integrity”, became the banner not of a healthy individuality, but of sick individualism, fragmentation, “separation from the world”, lack of will, narrow specialization, cabinet-like turned people into machines. To this degenerate humanism, which has become from "culture - civilization", Blok foreshadows the "collapse", opposing it with a new culture - "artistic, musical, synthetic", reviving man, his "creative work". And this, according to Blok, is carried by the revolutionary masses, for "the main thing that a revolution brings with it is a strong-willed, musical, synthetic impulse"

MM. Bakhtin said that in Blok's The Twelve there is a "combination of old themes. Blok is the only one among modern poets, as if poured from one piece. Indeed, the symbolism of a blizzard, white and black colors, etc. came to the poem from Blok's lyrics. Her "intellectual hero" "was marked with the same sign of rebellion as his "mass hero" in the poem. Blok's Trilogy, all the way. passed by him, made it possible to create "The Twelve" - an attempt by the poet, without renouncing himself, remembering himself, to go beyond his limits. Last thing - common place Soviet literary criticism: Blok allegedly wrote the shortest of epic poems ("a total of 335 lines, of which about half are one- and two-word").

Aesthetic manifestos (article by N. Gumilyov “The Heritage of Symbolism and Acmeism and O. Mandelstam “Morning of Acmeism”) and the creative practice of Acmeism

In January 1913, manifestoes of acmeist poets appeared: N. Gumilyov's article "The Heritage of Symbolism and Acmeism" and S. Gorodetsky's article "Some Trends in Modern Russian Poetry" (Apollo magazine).

N. Gumilyov's article "The Heritage of Symbolism and Acmeism" (1913) opens with the following words: "It is clear to the attentive reader that symbolism has completed its circle of development and is now falling." N. Gumilyov called symbolism a "worthy father", but at the same time emphasized that the new generation had developed a different, "courageously firm and clear outlook on life."

Acmeism, according to Gumilyov, is an attempt to rediscover the value of human life, the real world. The reality surrounding a person is valuable in itself for an acmeist and does not need metaphysical justifications. Therefore, one should stop flirting with the transcendent (going beyond human knowledge) and return to the image of the three-dimensional world; the simple objective world must be rehabilitated; it is significant in itself, and not only in that it reveals higher beings.

N. Gumilyov renounces the "unchaste" desire of the Symbolists to cognize the unknowable: "the unknowable cannot be cognized by the very meaning of this word... All attempts in this direction are unchaste."

In 1913, Mandelstam wrote the manifesto "Morning of Acmeism", which is not inferior in importance to the program articles of N. Gumilyov and S. Gorodetsky, but for unknown reasons, his article was published only in 1919.

Thus, in the article "Morning of Acmeism", written in 1913, but published only in 1919, Mandelstam substantiates the thesis about poetic architecture, about the architectonicity of poetry. The word is a kind of stone that acmeists put at the base of their building. What is built in an artistic creation can also be considered as a kind of organism with its own inner life, just as a Gothic cathedral is a "celebration of physiology." It is here that the poet's thought should "walk", and not in the dense "forest of symbols".

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Acmeism(from the Greek. άκμη - "highest degree, peak, flowering, flowering time") - literary movement, opposed to symbolism and arose at the beginning of the 20th century in Russia. Acmeists proclaimed the materiality, objectivity of themes and images, word accuracy.

The formation of acmeism is closely connected with the activities "Workshop of poets", the central figure of which was the organizer of acmeism N. S. Gumilyov.

The term "acmeism" was proposed in 1912 by N. Gumilyov and S. M. Gorodetsky: in their opinion, the symbolism in crisis is being replaced by a direction summarizing the experience of predecessors and leading the poet to new heights of creative achievements.

In January 1913, manifestos of acmeist poets appeared: an article by N. Gumilyov “The Heritage of Symbolism and Acmeism” and an article by S. Gorodetsky “Some Trends in Modern Russian Poetry” (Apollo magazine).

N. Gumilyov's article "The Heritage of Symbolism and Acmeism" (1913) opens with the following words: "It is clear to the attentive reader that symbolism has completed its circle of development and is now falling." N. Gumilev called symbolism a "worthy father", but at the same time emphasized that the new generation had developed a different, "courageously firm and clear outlook on life."

The main thing in the poetry of acmeism is the artistic development of the diverse and vibrant real earthly world. After all sorts of “rejections”, the world is irrevocably accepted by acmeism, in the totality of beauties and ugliness.

A. Akhmatova:

When would you know from what rubbish Poems grow, not knowing shame, Like a yellow dandelion by the fence Like burdock and quinoa. An angry cry, a fresh smell of tar, Mysterious mold on the wall... And the verse already sounds, fervent, gentle, For the joy of you and me.

Acmeists constantly sound notes of doom and longing.

Acmeists, in contrast to the symbolist nebula, proclaimed the cult of real earthly existence, "a courageously firm and clear outlook on life."

Acmeists considered themselves the heirs of a "worthy father" - symbolism, which, in the words of N. Gumilyov, "... completed its circle of development and is now falling."

Acmeists argue that their images are sharply different from realistic ones, because they are "... born for the first time" "as hitherto unknown, but now real phenomena." This determines the sophistication and peculiar mannerism of the acmeistic image, in whatever deliberate bestial savagery it appears. For example, Voloshin:

People are animals, people are reptiles,

Like a hundred-eyed evil spider,

Weave in rings looks.

As a literary trend, acmeism did not last long for about two years (1913-1914). Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At the meetings, in contrast to the meetings of the Symbolists, specific issues were resolved: the Workshop was a school for mastering poetic skills.

Symbolism as a phenomenon in literature and art first appeared in France in the last quarter of the 19th century. By the end of the century, it had spread to most of Europe. But after France, it is in Russia that symbolism is realized as the most large-scale, significant and original phenomenon in culture. Symbolism becomes the first significant modernist movement in Russia; simultaneously with the emergence of symbolism in Russia, the Silver Age of Russian literature begins. In addition to the search for new literary perspectives in form and subject matter, perhaps the only thing that united Russian symbolists was distrust of the ordinary word, the desire to express themselves through allegories and symbols. “A thought spoken is a lie” - a verse by the Russian poet Fyodor Tyutchev, the forerunner of Russian symbolism.

Peculiarities:"Beauty will save the world."

“Nature creates unfinished freaks - sorcerers improve Nature and give life a beautiful face” (K. Balmont).

Older generation

Russian symbolism makes itself known in the first half 1890s. Merezhkovsky and his wife, Zinaida Gippius, were at the origins of symbolism in St. Petersburg, Valery Bryusov - in Moscow.

But perhaps the most read, the most sonorous and musical poems on early stage Russian symbolism were the works of Konstantin Balmont. Already at the end of the nineteenth century, K. Balmont most clearly states the "search for correspondences" characteristic of the Symbolists between sound, meaning and color - the semantic fabric of the text - music that gives birth to meaning. Balmont’s passion for sound writing, colorful adjectives that displace verbs, leads to the creation of almost “meaningless”, according to ill-wishers, texts, but this interesting phenomenon in poetry leads over time to the emergence of new poetic concepts (sound-writing, zaum, melodeclamation);

I am the sophistication of Russian slow speech,

Before me are other poets - forerunners,

I first discovered in this speech deviations,

Perepevnye, angry, gentle ringing.

K. Balmont

younger generation

Andrey Bely, M. Kuzmin, A. Blok.

In Moscow in the 1900s, the editorial office of the Scorpion publishing house, where Valery Bryusov became the permanent editor-in-chief, was without hesitation called the authoritative center of symbolism. This publishing house prepared issues of the most famous symbolist periodical - "Scales".

In their work, the Symbolists strove to create a complex, associative metaphor, abstract and irrational. This is the desire for “that which is not in the world” in Gippius, “ringing-sounding silence” in Bryusov, “Rebellion is dark in bright eyes” in Vyach. Ivanov, “the abyss of azure torn to shreds” by Blok, “dry deserts of shame” by A. Bely. Symbolists defined the concept of "symbol" as the sign that connects two realities, two worlds - earthly and heavenly, and this connection is established only by feelings, intuitively, irrationally. Bryusov called symbolism "poetry of allusions". Representatives of this trend believed that only art helps to achieve ideals, to join the kingdom of the soul. The role of the symbolist poet they erected to the fact that he is the creator of a new life, a prophet, he helps to create a new person. The symbolists considered the mission of the poet to be the highest on earth, since art for them was above all spheres of human life.

Futurism

Around 1910, Futurism becomes not only an art, but also determines the lifestyle and behavior of many young nihilists. They enjoyed their shocking, shocking and scaring the townsfolk became fun. Futurist poets appeared in flashy clothes, painted with unthinkable bright colors, wore bright yellow jackets. Mayakovsky also wore such a jacket. He was the real futurist. They published collections of their poems either on wrapping or wallpaper paper, the titles were also shocking: “Dead Moon”, “Mare's Milk”, “Go to Hell”, “Milk Milk Cows”, “Exhausted Toad Milkers”, “Kra's Sugar ”,“ Roaring Parnassus ”. The first serious creative association of futurist poets called "Gilea". It included the Burliuk brothers, Velimir Khlebnikov, A. Kruchenykh, V Kamensky, E. Guro, V. Mayakovsky. They called themselves "budetlyane".

In 1912, a collection of poems appeared with a shocking, very defiant title. "A slap in the face of public taste."

Music, its mystery, the mysticism of sounds also attracted futurists. Especially "musical" was Velimir Khlebnikov(Viktor Vladimirovich Khlebnikov)

We charm and shy away.

Enchanting there, avoiding here,

Tochurahar, tocharakhar,

Here churil, there charil.

Or: Oh, laugh, laughers!

Oh, laugh, laughers!

they laugh with laughter, that they laugh with laughter, 0, laugh with laughter!

Futurism- direction in literature and fine arts appeared at the beginning of the 20th century. Assigning itself the role of a prototype of the art of the future, futurism as the main program put forward the idea of destroying cultural stereotypes and instead offered an apology for technology and urbanism as the main signs of the present and future.

In Russia, the first futurists were the artists brothers Burliuks. David Burliuk is the founder of the futurist colony "Gilea" on his estate. He manages to rally around himself the most diverse, bright, unique personalities. Mayakovsky, Khlebnikov, Kruchenykh, Benedikt Livshits, Elena Guro are the most famous names. In the first manifesto, “Slapping the Face of Public Taste,” the call: “Give up Pushkin, Dostoevsky, Tolstoy, and so on. and so on. from the steamer of modern times.

Futurist Manifesto

. We put forward for the first time new principles of creativity, which are clear to us in the following order:

1. We have ceased to consider word construction and word pronunciation according to grammatical rules, having begun to see in letters only guiding speeches. We loosened the syntax.

2. We began to give content to words according to their descriptive and phonic characteristics.

3. We are aware of the role of prefixes and suffixes.

4. In the name of freedom of personal chance, we we reject spelling.

5. We characterize nouns not only by adjectives (as we did mainly before us), but also by other parts of speech, also by individual letters and numbers:
b) in handwriting assuming a component of the poetic impulse;
c) in Moscow, therefore, we published books (autographs) "self-letters".

6. We have destroyed punctuation marks.

7. We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell.

8. We have crushed the rhythms. Khlebnikov put forward the poetic size of the colloquial word. We have ceased to look for dimensions in textbooks - every movement gives birth to a new free rhythm for the poet.

9. Front rhyme (David Burliuk), middle, reverse rhyme (Mayakovsky) developed by us.

10. The richness of the poet's vocabulary is his justification.

11. We consider the word to be the creator of the myth: the word, dying, gives birth to a myth, and vice versa.

12. We are dominated by new themes: uselessness, meaninglessness, the mystery of insignificance are glorified by us.

13. We despise fame: we know feelings that did not live before us. We are the new people of the new life. David Burliuk, Elena Guro, Nikolai Burliuk, Vladimir Mayakovsky, Ekaterina Nyzen, Viktor Khlebnikov, Benedikt Livshits, A. Kruchenykh 1913

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The legacy of symbolism and acmeism
author Nikolai Stepanovich Gumilyov (1886-1921) Reader →

THE HERITAGE OF SYMBOLISM AND ACMEISM

It is clear to the attentive reader that symbolism has completed its circle of development and is now falling. And the fact that symbolic works almost do not appear anymore, and if they do, they are extremely weak, even from the point of view of symbolism, and that more and more voices are heard in favor of revising so recently indisputable values and reputations, and then, that there were futurists, ego-futurists and other hyenas always following the lion. Symbolism is being replaced by a new direction, no matter how it is called, whether acmeism (from the word άκμη - the highest degree of something, color, blooming time), or adamism (a courageously firm and clear outlook on life), - in any case, requiring a greater balance of power and a more precise knowledge of the relationship between subject and object than was the case in symbolism. However, in order for this current to assert itself in its entirety and be a worthy successor to the previous one, it is necessary that it accept its legacy and answer all the questions posed by it. The glory of the ancestors obliges, and symbolism was a worthy father.

French symbolism, the ancestor of all symbolism as a school, brought to the fore purely literary tasks, free verse, a more peculiar and unsteady style, a metaphor exalted above all else, and the notorious “theory of correspondences”. The latter betrays with his head not Romanesque and therefore not national, alluvial soil. The Romanesque spirit is too fond of the element of light, dividing objects, clearly drawing a line; the same symbolic fusion of all images and things, the variability of their appearance, could only be born in the foggy darkness of the German forests. The mystic would say that the symbolism in France was a direct consequence of the Sedan. But, along with this, he revealed in French literature the aristocratic thirst for the rare and difficult to achieve, and thus saved it from the vulgar naturalism that threatened it.

We Russians cannot but reckon with French symbolism, if only because the new current I spoke of above strongly prefers the Romanesque spirit to the German one. Just as the French were looking for a new, freer verse, the acmeists strive to break the fetters of meter by skipping syllables, more than ever by a free rearrangement of stresses, and there are already poems written according to the newly thought-out syllabic system of versification. The dizziness of symbolic metaphors taught them to bold turns of thought; the fragility of the words to which they listened prompted them to look for new ones in the living folk speech - with a more stable content; and a radiant irony, which does not undermine the roots of our faith—an irony which could not fail to appear at least occasionally in Romanesque writers—has now taken the place of that hopeless German seriousness which our Symbolists cherished so much. Finally, while highly appreciating the Symbolists for pointing out to us the significance of the symbol in art, we do not agree to sacrifice other means of poetic influence to it and seek their complete agreement. With this we answer the question about the comparative "beautiful difficulty" of the two currents: it is more difficult to be an acmeist than a symbolist, how difficult it is to build a cathedral than a tower. And one of the principles of the new direction is to always follow the line of greatest resistance.

German symbolism, in the person of its founders Nietzsche and Ibsen, raised the question of the role of man in the universe, the individual in society, and resolved it, finding some objective goal or dogma that should have been served. This showed that German symbolism does not feel the inherent value of each phenomenon, which does not need any justification from outside. For us, the hierarchy in the world of phenomena is only the specific gravity of each of them, and the weight of the most insignificant is still incommensurably greater than the absence of weight, non-existence, and therefore, in the face of non-existence, all phenomena are brothers.

We would not dare to make the atom worship God if it were not in its nature. But, feeling ourselves as phenomena among phenomena, we become involved in the world rhythm, accept all influences on us and, in turn, influence ourselves. Our duty, our will, our happiness and our tragedy is to guess every hour what the next hour will be for us, for our cause, for the whole world, and to hasten its approach. And as the highest reward, without stopping our attention for a moment, we dream of the image of the last hour, which will never come. To rebel in the name of other conditions of being here, where there is death, is just as strange as a prisoner breaking down a wall when there is an open door in front of him. Here ethics becomes aesthetics, expanding into the realm of the latter. Here individualism in its highest tension creates the public. Here God becomes the Living God, because man felt himself worthy of such a God. Here, death is the curtain that separates us actors from the audience, and in the inspiration of the game, we despise cowardly peeking - what will happen next? As Adamists, we are a bit of a forest animal and in any case we will not give up what is bestial in us in exchange for neurasthenia. But here is the time to speak to Russian symbolism.

Russian symbolism directed its main forces into the realm of the unknown. Alternately, he fraternized with mysticism, then with theosophy, then with the occult. Some of his searches in this direction almost approached the creation of a myth. And he has the right to ask the current that is replacing him, whether it can only boast of animal virtues, and what is its attitude towards the unknowable. The first thing that acmeism can answer to such an interrogation will be an indication that the unknowable, in the very meaning of the word, cannot be known. The second is that all attempts in this direction are unchaste. The whole beauty, the whole sacred meaning of the stars lies in the fact that they are infinitely far from the earth and will not get closer with any success of aviation. The poverty of the imagination will be revealed by those who always imagine the evolution of personality in the conditions of time and space. How can we remember our former existences (unless this is clearly a literary device) when we were in the abyss, where there are myriad other possibilities of being, of which we know nothing but that they exist? After all, each of them is denied by our being and, in turn, denies it. A childishly wise, painfully sweet feeling of one's own ignorance - this is what the unknown gives us. Francois Villon, asking where the most beautiful ladies of antiquity are now, answers himself with a sorrowful exclamation:

…Mais où sont les neiges d'antan!

And this makes us feel more unearthly than whole volumes of reasoning on which side of the moon the souls of the departed are ... Always remember the unknowable, but not offend your thoughts about it with more or less probable guesses - this is the principle of acmeism. This does not mean that he denied for himself the right to depict the soul in those moments when it trembles, approaching another; but then she should only shudder. Of course, the knowledge of God, the beautiful lady Theology, will remain on her throne, but the acmeists do not want to reduce it to the level of literature, nor to raise literature into its diamond cold. As for angels, demons, elemental and other spirits, they are part of the artist's material and should no longer outweigh other images taken by him by earthly gravity.

Every direction is in love with one or another creators and epochs. Dear graves bind people the most. In circles close to acmeism, the names of Shakespeare, Rabelais, Villon and Theophile Gautier are most often pronounced. The choice of these names is not arbitrary. Each of them is the cornerstone for the building of acmeism, the high tension of one or another of its elements. Shakespeare showed us the inner world of man; Rabelais - the body and its joys, wise physiology; Villon told us about a life that does not doubt itself in the least, although it knows everything - and God, and vice, and death, and immortality; Théophile Gautier for this life found in art worthy clothes of impeccable forms. To combine these four moments in oneself is the dream that now unites people who so boldly called themselves acmeists.

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N. Gumilyov The legacy of symbolism and acmeism

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and Oleg Lekmanov Foreword and notes by Oleg Lekmanov

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