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ACMEISM (from the Greek akme - the highest degree of something, blooming power) is a trend in Russian poetry of the 1910s. (S. M. Gorodetsky, M. A. Kuzmin, early N. S. Gumilyov, A. A. Akhmatova, O. E. Mandelstam); proclaimed the liberation of poetry from symbolist impulses to the “ideal”, from the ambiguity and fluidity of images, complicated metaphor, a return to the material world, the object (or element of “nature”), the exact meaning of the word. The "earthly" poetry of acmeism is characterized by individual modernist motifs, a tendency to aestheticism, intimacy, or to the poeticization of the feelings of primitive man.
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Adamism The world is spacious and polyphonic, And it is more colorful than rainbows, And so the world is entrusted to Adam, the Inventor of names. To name, to know, to rip off the veils And idle secrets, and decrepit darkness - This is the first feat. A new feat - to sing praises to the Living Earth.
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Sergei Gorodetsky Birch tree I fell in love with you on an amber day, When laziness oozed from each branch of a grateful body, white as hops Ebullient lake waves. Laughing, merry Lel pulled Rays of black hair. And Yarila himself magnificently crowned Their network with pointed foliage And, smiling, scattered In the azure of the sky, the color green. June 14, 1906
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Osip Mandelstam "On pale blue enamel ..." On pale blue enamel, Which is conceivable in April, Birch branches raised And imperceptibly evening. The pattern is honed and small, A thin grid has frozen, As on a porcelain plate A drawing drawn aptly, - When his dear artist Displays it on a glassy firmament, In the consciousness of momentary strength, In oblivion of a sad death. 1909.
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Nikolai Gumilyov April 3 (15), 1886, Kronstadt - August 25, 1921, near Petrograd) I am a conquistador in an iron shell, I am merrily chasing a star. I pass over abysses and abysses And rest in a joyful garden.
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Childhood The son of a naval doctor. As a child, he lived in Tsarskoye Selo, from 1895 - in St. Petersburg, in 1900-03 - in Tiflis, where Gumilev's poem (1902) was first published in a local newspaper.
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From the lair of the serpent, From the city of Kyiv, I took not a wife, but a sorceress. And I thought a funny woman, Guessed - a wayward, A cheerful songbird. If you call, it frowns, If you hug it, it bristles, And the moon comes out, it becomes languid, And it looks and groans, As if it is burying Someone, and wants to drown itself. I tell her: baptized, With you in a tricky way, now it’s not the right time for me to mess around. Carry the languor you In the Dnieper whirlpools, On the sinful Bald Mountain. She is silent - she only shudders, And she can’t do anything, I feel sorry for her, guilty, Like a downed bird, Undermining a birch Above happiness, cursed by God.
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“Letters on Russian Poetry” “his assessments are always to the point; they reveal in brief formulas the very essence of the poet ”(V. Ya. Bryusov).
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Declaring a new direction - acmeism - the heir of symbolism, which ended "its own path of development", Gumilyov called on poets to return to the "thingness" of the world around him (article "The Legacy of Symbolism and Acmeism", 1913). Gumilev's first acmeist work is considered to be the poem "The Prodigal Son", included in his collection "Alien Sky" (1912). Criticism noted the virtuosity of form: according to Bryusov, the meaning of Gumilyov's poems "is much more in how he says than in what he says."
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War I am a conquistador in an iron armor, I am merrily pursuing a star, I pass through abysses and abysses And rest in a joyful garden. How vague in the wild and starless sky! The fog is growing... but I am silent and waiting And I believe I will find my love... I am a conquistador in an iron shell. And if there are no half-day words to the stars, Then I myself will create my own dream And lovingly enchant with the song of battles. I am an eternal brother to abysses and storms, But I will weave the Star of the valleys into a warlike outfit, a blue lily.
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Acmeism (from the Greek akme - the highest degree of something, flourishing, maturity, peak, point) is one of the modernist trends in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism.
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Acmeists, or - as they were also called - "Hyperboreans" (after the name of the printed mouthpiece of acmeism, the magazine and publishing house "Hyperborey"), immediately acted as a single group. They gave their union the significant name of the “Workshop of Poets”. Acmeists published 10 issues of their journal "Hyperborea" (editor Lozinsky M.L.), as well as several almanacs "Workshop of Poets".
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The basic principles of acmeism: the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; the desire to give the word a specific, precise meaning; objectivity and clarity of images, sharpness of details; an appeal to a person, to the "authenticity" of his feelings; poetization of the world of primordial emotions, the primitive biological natural principle;
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Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. G. Ivanov claimed the role of the "seventh acmeist", but A. Akhmatova protested this point of view: "There were six acmeists, and there never was a seventh." At the meetings of the "Workshop" specific issues were resolved, it was a school for mastering poetic skills, a professional association.
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Anna Akhmatova Anna Akhmatova (pseudonym Anna Andreevna Gorenko; 1889-1966) wrote her first poem at the age of 11, she first appeared in print in 1907. Her first collection of poetry, Evening, was published in 1912. Anna Akhmatova belonged to the group of acmeists, but her poetry, dramatically intense, psychologically profound, extremely concise, devoid of self-valuable aestheticism, in essence did not coincide with the program settings of acmeism. The connection between Akhmatova's poetry and the traditions of Russian classical lyrics, especially Pushkin's, is obvious. Of the contemporary poets, I. Annensky and A. Blok were closest to her.
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The creative activity of Anna Akhmatova lasted almost six decades. During this time, her poetry has undergone a certain evolution, while maintaining fairly stable aesthetic principles that were formed in the first decade of her career. But for all that, the late Akhmatova undoubtedly had a desire to go beyond the range of topics and ideas that are present in her early lyrics, which was especially clearly expressed in the poetic cycle “The Wind of War” (1941-1945), in “A Poem without a Hero” (1940-1940). 1962). Speaking about her poems, Anna Akhmatova stated: “For me, they are connected with the time, with the new life of my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal.
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Nikolai Gumilev Nikolai Stepanovich Gumilev (1886-1921), Russian poet. In the 1910s one of the leading representatives of acmeism. The poems are characterized by an apologia for a "strong man" - a warrior and a poet, decorativeness, sophistication of poetic language (collections "Romantic Flowers", 1908, "Bonfire", 1918, "Pillar of Fire", 1921). Translations. Shot as a participant in a counter-revolutionary conspiracy; in 1991, the case against Gumilyov was dismissed for lack of corpus delicti.
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Declaring a new direction - acmeism - the heir of symbolism, which ended "its own path of development", Gumilyov called on poets to return to the "thingness" of the world around him (article "The Legacy of Symbolism and Acmeism", 1913). Gumilev's first acmeist work is considered to be the poem "The Prodigal Son", included in his collection "Alien Sky" (1912). Criticism noted the virtuosity of form: according to Bryusov, the meaning of Gumilyov's poems "is much more in how he says than in what he says." The next collection, The Quiver (1916), the dramatic fairy tale The Child of Allah, and the dramatic poem Gondla (both 1917) testify to the strengthening of the narrative principle in Gumilyov's work.
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Osip Mandelstam Osip Emilievich Mandelstam (1891-1938) first appeared in print in 1908. Mandelstam was one of the founders of acmeism, but occupied a special place in acmeism. Most of the poems of the pre-revolutionary period were included in the collection "Stone" (the first edition - 1913, the second, expanded - 1916). The early Mandelstam (before 1912) gravitates toward the themes and images of the Symbolists. Acmeist tendencies were most clearly manifested in his poems about world culture and architecture of the past ("Hagia Sophia", "Notre-Dame", "Admiralty" and others). Mandelstam showed himself as a master of recreating the historical flavor of the era ("Petersburg Stanzas", "Dombey and Son", "Decembrist" and others). During the First World War, the poet wrote anti-war poems (The Menagerie, 1916).
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The poems written during the years of the revolution and the civil war reflected the difficulty of the poet's artistic understanding of the new reality. Despite ideological hesitation, Mandelstam was looking for ways to creatively participate in a new life. This is evidenced by his poems of the 20s. New features of Mandelstam's poetry are revealed in his lyrics of the 1930s: an attraction to broad generalizations, to images embodying the forces of the "chernozem" (the cycle "Poems of 1930-1937"). Articles on poetry occupy a significant place in Mandelstam's work. The most complete presentation of the poet's aesthetic views was placed in the treatise "Conversation about Dante".
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Sergei Gorodetsky Sergei Mitrofanovich Gorodetsky (1884-1967). Father is a real state councilor and writer, author of works on archeology and folklore. He studied at the historical and philological faculty of St. Petersburg University, where he became friends with A. Blok in 1903, began to write poetry under the strong influence of his poetics; also took up painting. For involvement in the revolutionary movement in 1907, he spent some time in the Kresty prison. Interest in folklore, in particular - children's, which he inherited from his father, played a decisive role in finding the poet's own poetic voice.
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Gorodetsky's literary fate was decided in one evening in January 1906, when he read on the "tower" Vyach. Ivanov in the presence of V. Bryusov, poems, which were later included in his first book, Yar (1907; published at the end of 1906). "Yar" enjoyed exceptional success with the reader, evoked enthusiastic responses from critics, captivated by the young power of stylized "pagan" songs. A bright debut hindered further literary development of Gorodetsky: he either tried to consolidate the image of a savage poet, an ingenuous pantheist, intoxicated with youth and sensual joys of life, or he made attempts to expand the range of his work, to break the stereotypes of readers' ideas. In the collection "Perun" (1907), the violent elements of Yarila are opposed by modern man, "city children, stunted flowers." But none of the subsequent collections reached the level or success of "Yari": "Wild Will" (1908), "Rus" (1910), "Iva" (1914) went almost unnoticed.
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Mikhail Zenkevich Mikhail Alexandrovich Zenkevich (1891-1973). He studied at the Saratov gymnasium, was taken under the supervision of the police for his connection with the Bolsheviks. In St. Petersburg in 1915 he graduated from the Faculty of Law, attended lectures on philosophy in Berlin. He began to publish in a Saratov magazine as an author of political poetry. In 1908, his “pretentious but figurative” poems appeared in the capital’s magazines “Spring” and “Obrazovanie”, and then in “Apollo”, after which N. Gumilyov attracted him to the newly created “Workshop of Poets”.
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One of the first books published under the brand name of this circle is "Wild Porphyry" (1912) by M. Zenkevich. The words of Baratynsky from the poem “Last Death”, chosen as the title, clarified the pathos of the “primitive” poems of M. Zenkevich, with their prophecies of an impending cosmic catastrophe, a return to the original chaos, when the earth will take revenge on the person who offended her. The natural-philosophical and natural-science themes of the collection brought him closer to another poet of the "left flank of acmeism" - V. Narbut. Fellows in the workshop welcomed the “Adamism” of the “free hunter” and his commitment to the “earth”; Bryusov reservedly noted "scientific"; Vyacheslav Ivanov, who understood the meaning of “geological and paleontological pictures” more deeply than others, wrote: “Zenkevich was captivated by matter, and was horrified by it.” Passion for material nature and frank physiological descriptions, deliberate anti-aestheticism, led to the fact that the subsequent works of M. Zenkevich could not always be passed by censorship, and the author himself sometimes refused to read them publicly. Also, over time, more and more switched to translation work.
Valentin Innokentievich Krivich (real name Annensky) (1880-1936) - the son of the poet Innokenty Fedorovich Annensky, a lawyer by education, served as an official in St. Petersburg, lived almost all his life in Tsarskoye Selo. He made his debut in 1902 in the "Literary and Artistic Collection", then sometimes published poems and literary reviews in the capital's magazines. The only collection of poems "Flower Grass" (1912) managed to read and review the manuscript by Ying. Annensky (the poet's father), noting the "true taste" and "some bending" in tone, related to his own lyrics, but I. Bunin and A. Blok had a much greater influence on the work of V. Krivich. After the death of his father, he was engaged in dismantling his archive and publishing the creative heritage of Ying. Annensky for publication, wrote the work “I. Annensky according to family memories. The most significant poems were created by him in the 1920s and for the most part remained unpublished.
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Acmeism (from the Greek akme - the highest degree of something, flourishing, maturity, peak, tip) is one of the modernist movements in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism.
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Overcoming the predilection of the symbolists for the "superreal", the ambiguity and fluidity of images, the complicated metaphor, the acmeists strove for the sensual plastic-material clarity of the image and accuracy, the chasing of the poetic word. Their "earthly" poetry is prone to intimacy, aestheticism and poeticization of the feelings of primitive man. Acmeism was characterized by extreme apoliticality, complete indifference to the topical problems of our time. The Acmeists, who replaced the Symbolists, did not have a detailed philosophical and aesthetic program. But if in the poetry of symbolism the determining factor was the transience, the momentaryness of being, a kind of mystery covered with a halo of mysticism, then a realistic view of things was put as the cornerstone in the poetry of acmeism. The hazy unsteadiness and fuzziness of symbols were replaced by precise verbal images. The word, according to the acmeists, should have acquired its original meaning.
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The highest point in the hierarchy of values for them was culture, identical to universal human memory. Therefore, acmeists often turn to mythological plots and images. If the Symbolists in their work focused on music, then the Acmeists - on spatial arts: architecture, sculpture, painting. The attraction to the three-dimensional world was expressed in the acmeists' passion for objectivity: a colorful, sometimes exotic detail could be used for a purely pictorial purpose. That is, the “overcoming” of symbolism took place not so much in the sphere of general ideas, but in the field of poetic style. In this sense, acmeism was just as conceptual as symbolism, and in this respect they are undoubtedly in a succession.
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In comparison with other poetic trends of the Russian Silver Age, acmeism in many ways is seen as a marginal phenomenon. It has no analogues in other European literatures (which cannot be said, for example, about symbolism and futurism); the more surprising are the words of Blok, Gumilyov's literary opponent, who declared that acmeism was just an "imported foreign thing." After all, it was acmeism that turned out to be extremely fruitful for Russian literature. Akhmatova and Mandelstam managed to leave behind "eternal words." Gumilyov appears in his poems as one of the brightest personalities of the cruel time of revolutions and world wars. And today, almost a century later, interest in acmeism has survived mainly because the work of these outstanding poets, who had a significant impact on the fate of Russian poetry of the 20th century, is associated with it.
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The basic principles of acmeism: - the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give the word a specific, precise meaning; - objectivity and clarity of images, sharpness of details; - an appeal to a person, to the "authenticity" of his feelings; - poetization of the world of primordial emotions, primitive biological nature; - a call to the past literary epochs, the broadest aesthetic associations, "longing for world culture".
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Representatives Acmeist poets: Gumilyov Nikolay Anna Akhmatova Gorodetsky Sergey Zenkevich Mikhail Ivanov Georgy Krivich Valentin Lozinsky Mikhail Mandelstam Osip Narbut Vladimir Shileiko Vladimir.
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Anna Akhmatova Anna Akhmatova (pseudonym Anna Andreevna Gorenko; 1889-1966) wrote her first poem at the age of 11, she first appeared in print in 1907. Her first collection of poetry, Evening, was published in 1912. Anna Akhmatova belonged to the group of acmeists, but her poetry, dramatically intense, psychologically profound, extremely concise, devoid of self-valuable aestheticism, in essence did not coincide with the program settings of acmeism. The connection between Akhmatova's poetry and the traditions of Russian classical lyrics, especially Pushkin's, is obvious. Of the contemporary poets, I. Annensky and A. Blok were closest to her.
Slide 9
The creative activity of Anna Akhmatova lasted almost six decades. During this time, her poetry has undergone a certain evolution, while maintaining fairly stable aesthetic principles that were formed in the first decade of her career. But for all that, the late Akhmatova undoubtedly had a desire to go beyond the range of topics and ideas that are present in her early lyrics, which was especially clearly expressed in the poetic cycle “The Wind of War” (1941-1945), in “A Poem without a Hero” (1940- 1962). Speaking about her poems, Anna Akhmatova stated: “For me, they are connected with the time, with the new life of my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal.
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Sergei Gorodetsky Sergei Mitrofanovich Gorodetsky (1884-1967). Father is a real state councilor and writer, author of works on archeology and folklore. He studied at the historical and philological faculty of St. Petersburg University, where he became friends with A. Blok in 1903, began to write poetry under the strong influence of his poetics; also took up painting. For involvement in the revolutionary movement in 1907, he spent some time in the Kresty prison. Interest in folklore, in particular - children's, which he inherited from his father, played a decisive role in finding the poet's own poetic voice. Gorodetsky's literary fate was decided in one evening in January 1906, when he read on the "tower" Vyach. Ivanov in the presence of V. Bryusov, poems, which were later included in his first book, Yar (1907; published at the end of 1906).
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"Yar" enjoyed exceptional success with the reader, evoked enthusiastic responses from critics, captivated by the young power of stylized "pagan" songs. A bright debut made Gorodetsky's further literary development difficult: either he tried to consolidate the image of a savage poet, an ingenuous pantheist, intoxicated with youth and sensual joys of life, or he made attempts to expand the range of his work, to break the stereotypes of readers' ideas. In the collection "Perun" (1907), the violent elements of Yarila are opposed by modern man, "city children, stunted flowers." But none of the subsequent collections reached the level or success of "Yari": "Wild Will" (1908), "Rus" (1910), "Iva" (1914) went almost unnoticed.
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The desire to return to the peak once conquered makes Gorodetsky frantically rush about, look for new ways, running from one literary camp to another, often opposite in aesthetic aspirations. For seven years, he became an extremist in almost all literary movements: from “mystical anarchism” and acmeism (the program-acmeist collection “Blossoming Staff”) to the circle of folk writers “Krasa” he created for S. Yesenin’s “spring brother”. But Gorodetsky failed to create anything more significant than "Yar".
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Mikhail Zenkevich Mikhail Alexandrovich Zenkevich (1891-1973). He studied at the Saratov gymnasium, was taken under the supervision of the police for his connection with the Bolsheviks. In St. Petersburg in 1915 he graduated from the Faculty of Law, attended lectures on philosophy in Berlin. He began to publish in a Saratov magazine as an author of political poetry. In 1908, his “pretentious but figurative” poems appeared in the capital’s magazines “Spring” and “Obrazovanie”, and then in “Apollo”, after which N. Gumilyov attracted him to the newly created “Workshop of Poets”. One of the first books published under the brand name of this circle is "Wild Porphyry" (1912) by M. Zenkevich. The words of Baratynsky from the poem “Last Death”, chosen as the title, clarified the pathos of the “primitive” poems of M. Zenkevich, with their prophecies of an impending cosmic catastrophe, a return to the original chaos, when the earth will take revenge on the person who offended her.
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The natural-philosophical and natural-science themes of the collection brought him closer to another poet of the "left flank of acmeism" - V. Narbut. Fellows in the workshop welcomed the “Adamism” of the “free hunter” and his commitment to the “earth”; Bryusov reservedly noted "scientific"; Vyacheslav Ivanov, who understood the meaning of “geological and paleontological pictures” more deeply than others, wrote: “Zenkevich was captivated by matter, and was horrified by it.” Passion for material nature and frank physiological descriptions, deliberate anti-aestheticism, led to the fact that the subsequent works of M. Zenkevich could not always be passed by censorship, and the author himself sometimes refused to read them publicly. Also, over time, more and more switched to translation work.
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Georgy Ivanov Georgy Vladimirovich Ivanov (1894-1958) was born on October 29 in the Kovno province in a poor noble family. He spent his childhood in the Studenki estate, on the border with Poland. He received his primary education at home, and then joined the cadet regiment. It was there that he began to write his first poems. For the first time, Ivanov's poems appeared in literary magazines (Apollo, Sovremennik, etc.) in 1910. In the autumn of 1911, an acmeist "Workshop of Poets" was created, into which, at the beginning of the next year, G. Ivanov joined.
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In 1912, the first book of poems was published - "Departure to the island of Cythera", then collections appeared: "Border" (1914), "Monument of Glory" (1915), "Heather" (1916), "Gardens" (1921), "Lampada" (1922). Motives of fatigue, disappointment, etc. appear in early poems. In 1927, he participates in the Green Lamp society, being its permanent chairman. Published in various publications ("New House", "Numbers", "Circle", etc.), having become by that time one of the largest poets of the Russian emigration. In 1930, the collection of poems "Roses" was published. During the years of emigration, he acts as a prose writer: the memoirs Petersburg Winters (1928, Paris), The Third Rome (1929, unfinished novel).
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Valentin Krivich Valentin Innokentievich Krivich (real name Annensky) (1880-1936) - the son of the poet Innokenty Fedorovich Annensky, a lawyer by education, served as an official in St. Petersburg, lived almost all his life in Tsarskoe Selo. He made his debut in 1902 in the "Literary and Artistic Collection", then sometimes published poems and literary reviews in the capital's magazines. The only collection of poems "Flower Grass" (1912) managed to read and review the manuscript by Ying. Annensky (the poet's father), noting the "true taste" and "some bending" in tone, related to his own lyrics, but I. Bunin and A. Blok had a much greater influence on the work of V. Krivich. After the death of his father, he was engaged in dismantling his archive and publishing the creative heritage of Ying. Annensky for publication, wrote the work “I. Annensky according to family memories. The most significant poems were created by him in the 1920s and for the most part remained unpublished.
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Osip Mandelstam Osip Emilievich Mandelstam (1891-1938) first appeared in print in 1908. Mandelstam was one of the founders of acmeism, but occupied a special place in acmeism. Most of the poems of the pre-revolutionary period were included in the collection "Stone" (the first edition - 1913, the second, expanded - 1916). The early Mandelstam (before 1912) gravitates toward the themes and images of the Symbolists. Acmeist tendencies were most clearly manifested in his poems about world culture and architecture of the past ("Hagia Sophia", "Notre-Dame", "Admiralty" and others). Mandelstam showed himself as a master of recreating the historical flavor of the era ("Petersburg Stanzas", "Dombey and Son", "Decembrist" and others). During the First World War, the poet wrote anti-war poems (The Menagerie, 1916).
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The poems written during the years of the revolution and the civil war reflected the difficulty of the poet's artistic understanding of the new reality. Despite ideological hesitation, Mandelstam was looking for ways to creatively participate in a new life. This is evidenced by his poems of the 20s. New features of Mandelstam's poetry are revealed in his lyrics of the 1930s: an attraction to broad generalizations, to images embodying the forces of the "chernozem" (the cycle "Poems of 1930-1937"). Articles on poetry occupy a significant place in Mandelstam's work. The most complete presentation of the poet's aesthetic views was placed in the treatise "Conversation about Dante".
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Nikolai Gumilev Nikolay Stepanovich Gumilev (1886-1921), Russian poet. In the 1910s one of the leading representatives of acmeism. The poems are characterized by an apologia for a "strong man" - a warrior and a poet, decorativeness, sophistication of poetic language (collections "Romantic Flowers", 1908, "Bonfire", 1918, "Pillar of Fire", 1921). Translations. Shot as a participant in a counter-revolutionary conspiracy; in 1991, the case against Gumilyov was dismissed for lack of corpus delicti.
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Declaring a new direction - acmeism - the heir of symbolism, which ended "its own path of development", Gumilyov called on poets to return to the "thingness" of the world around him (article "The Legacy of Symbolism and Acmeism", 1913). Gumilev's first acmeist work is considered to be the poem "The Prodigal Son", included in his collection "Alien Sky" (1912). Criticism noted the virtuosity of form: according to Bryusov, the meaning of Gumilyov's poems "is much more in how he says than in what he says." The next collection, The Quiver (1916), the dramatic fairy tale The Child of Allah, and the dramatic poem Gondla (both 1917) testify to the strengthening of the narrative principle in Gumilyov's work.
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The idea of such a new direction in literature was first expressed by Mikhail Kuzmin (1872-1936) in his article “On Beautiful Clarity” (1910). It outlined all the main postulates of future acmeists. Actually, the acmeist movement arose in 1913 on the basis of the author's association "The Workshop of Poets". The first manifestoes of acmeism appeared in Apollo (the modernist literary magazine of the turn of the century) in January. In his article “The Legacy of Symbolism and Acmeism,” Gumilyov subjected the Symbolists to strong criticism; Sergei Gorodetsky, in his article “Some Trends in Modern Russian Literature,” spoke out even more sharply, declaring the catastrophe of symbolism. But nevertheless, many acmeists still gravitated towards the poetry of Balmont, Bryusov or Blok, although they considered Innokenty Annensky and Mikhail Kuzmin to be their Teachers. And although the acmeists, as an association, did not last long, only 2 years, they undoubtedly made a huge contribution to Russian literature.
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A presentation on the topic "Acmeism and Acmeists" (Grade 10) can be downloaded absolutely free of charge on our website. Subject of the project: MHK. Colorful slides and illustrations will help you keep your classmates or audience interested. To view the content, use the player, or if you want to download the report, click on the appropriate text under the player. The presentation contains 19 slide(s).
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Acmeism (from the Greek acme - “the highest degree of something, flourishing, pinnacle, point”) is a trend of Russian modernism that was formed in the 1910s and in its poetic attitudes is based on its teacher - Russian symbolism. The acmeists opposed the transcendental two-worldness of the Symbolists with the world of ordinary human feelings, devoid of mystical content. By definition, V.M. Zhirmunsky, acmeists - "overcoming symbolism". The name that the acmeists chose for themselves was supposed to indicate the desire for the heights of poetic skill.
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The Acmeists, who replaced the Symbolists, did not have a detailed philosophical and aesthetic program. But if in the poetry of symbolism the determining factor was the transience, the momentaryness of being, a kind of mystery covered with a halo of mysticism, then a realistic view of things was put as the cornerstone in the poetry of acmeism. The hazy unsteadiness and fuzziness of symbols were replaced by precise verbal images. The word, according to the acmeists, should have acquired its original meaning. The highest point in the hierarchy of values for them was culture, identical to universal human memory. Therefore, acmeists often turn to mythological plots and images. If the Symbolists in their work focused on music, then the Acmeists - on spatial arts: architecture, sculpture, painting. The attraction to the three-dimensional world was expressed in the acmeists' passion for objectivity: a colorful, sometimes exotic detail could be used for a purely pictorial purpose. That is, the “overcoming” of symbolism took place not so much in the sphere of general ideas, but in the field of poetic style. In this sense, acmeism was just as conceptual as symbolism, and in this respect they are undoubtedly in a succession.
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It is necessary to note the generic connection of acmeism with the literary group "Workshop of Poets". The Workshop of Poets was founded in October 1911 in St. Petersburg in opposition to the Symbolists, and the protest of the members of the group was directed against the magical, metaphysical nature of the language of Symbolist poetry. The group was headed by N. Gumilyov and S. Gorodetsky. The group also included A. Akhmatova, G. Adamovich, K. Vaginov, M. Zenkevich, G. Ivanov, V. Lozinsky, O. Mandelstam, V. Narbut, I. Odoevtseva, O. Otsup, V. Rozhdestvensky. "Tsekh" published the journal "Hyperborey". The name of the circle, formed on the model of the medieval names of craft associations, indicated the attitude of the participants to poetry as a purely professional field of activity. The "workshop" was a school of formal craftsmanship, indifferent to the peculiarities of the worldview of the participants. At first, they did not identify themselves with any of the currents in literature, and did not strive for a common aesthetic platform.
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The main ideas of acmeism were outlined in the program articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Trends in Modern Russian Poetry”, published in the journal Apollo (1913, No. 1), published under the editorship of S. Makovsky. The first of them said: “Symbolism is being replaced by a new direction, no matter how it is called, whether acmeism (from the word akme - the highest degree of something, a flowering 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 trend to assert itself in its entirety and be a worthy successor to the previous one, it must accept its legacy and answer all the questions it posed. The glory of the ancestors obliges, and symbolism was a worthy father.
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S. Gorodetsky believed that “symbolism… having filled the world with ‘correspondences’, turned it into a phantom, important only insofar as it… shines through other worlds, and belittled its high inherent value. Among the Acmeists, the rose again became good in itself, with its petals, smell and color, and not with its conceivable similarities with mystical love or anything else. In 1913, Mandelstam's article "Morning of Acmeism" was also written, which was published only six years later. The delay in publication was not accidental: Mandelstam's acmeist views differed significantly from the declarations of Gumilyov and Gorodetsky and did not make it to the pages of Apollo.
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The basic principles of acmeism: - the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give the word a specific, precise meaning; - objectivity and clarity of images, sharpness of details; - an appeal to a person, to the "authenticity" of his feelings; - poetization of the world of primordial emotions, primitive biological nature; - a call to the past literary epochs, the broadest aesthetic associations, "longing for world culture".
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A coffee pot, a sugar bowl, saucers, Five cups with a narrow border On a blue tray are pressed, And their mute story is intelligible: First - with a thin brush A skillful master of the hand, To make the background seem golden, He drew curls with carmine. And his plump cheeks blushed, Eyelashes pointed lightly to Cupid, who wounded the frightened shepherd boy with an arrow. And now the cups are already washed with a hot black jet. An important and gray-haired dignitary plays checkers over coffee, Il lady, smiling subtly, Pretentiously regales her friends. Meanwhile, as a smart lapdog On its hind legs serves her ...
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Nikolay Gumilyov
GUMILEV Nikolai Stepanovich (1886, Kronstadt - 1921, around Petrograd) - poet. The son of a naval doctor. Moving with his father, he studied at the gymnasiums of St. Petersburg and Tiflis. He became interested in Marxism and even promoted it. In 1903 he settled in Tsarskoye Selo. Gumilyov, under the influence of symbolism, moved away from socialist ideas and was filled with disgust for politics. Writing poetry from the age of 12, Gumilyov, realizing himself a poet, saw the meaning of life only in poetry. In 1905, Gumilev's first collection of poems, The Path of the Conquistador, was published. Gumilyov studied poorly, but in 1906 he graduated from the gymnasium and left for Paris: he studied at the Sorbonne, studied painting and literature, published Russian. magazine "Sirius". In 1908 he entered the law faculty of St. Petersburg, un-ta, and then moved to the historical and philological faculty. In 1910 he married A. Akhmatova.
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In 1911, he organized the "Workshop of Poets", which became the beginning of a literary group of acmeists (S. Gorodetsky, M. Kuzmin, and others), who left the "nebulae" of the Symbolists for the exact objective meaning of the word. In 1913 he traveled around Africa and brought rare exhibits for the Museum of Anthropology and Ethnography. In 1914 he volunteered for the front and was awarded two St. George's Crosses. In 1917 - 1918 he was at the headquarters of the Russian expeditionary corps in Paris. In 1918 he returned to Russia and lived in Petrograd. He taught, participated in the work of the publishing house "World Literature". He published several collections of poems. Gumilyov's poems are refined, decorative, sensually palpable and romantic; they contrasted the image of a "strong personality" with dull reality. In 1921, the Cheka was arrested on a fabricated case and shot.
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In the poetry of N. Gumilyov, acmeism is realized in a craving for the discovery of new worlds, exotic images and plots. The path of the poet in Gumilyov's lyrics is the path of a warrior, a conquistador, a discoverer. The muse that inspires the poet is the Muse of Far Wanderings. Renewal of poetic imagery, respect for the "phenomenon as such" was carried out in Gumilev's work through travels to unknown, but quite real lands. Travels in N. Gumilyov's poems carried the impressions of the poet's specific expeditions to Africa and, at the same time, echoed symbolic wanderings in "other worlds". Gumilyov contrasted the transcendental worlds of the Symbolists with the continents he had first discovered for Russian poetry.
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GIRAFFE Today, I see your eyes are especially sad And your arms are especially thin, hugging your knees. Listen: far, far away, on Lake Chad Exquisite, a giraffe roams. Graceful slenderness and bliss is given to him, And his skin is adorned with a magical pattern, With which only the moon dares to equal, Shattering and swaying on the moisture of wide lakes. In the distance it is like the colored sails of a ship, And its flight is smooth, like a joyful bird's flight. I know that the earth sees many wonderful things, When at sunset he hides in a marble grotto. I know funny tales of mysterious countries About the black maiden, about the passion of the young leader, But you inhaled the heavy fog for too long, You don't want to believe in anything but rain. And how can I tell you about a tropical garden, About slender palm trees, about the smell of unimaginable herbs. You are crying? Listen ... far away, on Lake Chad the Exquisite, a giraffe roams.
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Nikolai Gumilyov from early youth attached exceptional importance to the composition of the work, its plot completeness. The poet called himself a "master of a fairy tale", combining in his poems dazzlingly bright, rapidly changing pictures with an extraordinary melody and musicality of the narration. A certain fabulousness in the poem "Giraffe" is manifested from the first lines: The reader is transported to the most exotic continent - Africa. The human imagination simply does not fit the possibility of the existence of such beauties on Earth. The poet invites the reader to look at the world differently, to understand that "the earth sees many wonderful things", and a person, if desired, is able to see the same thing. The poet invites us to cleanse ourselves of the "heavy fog" that we have been inhaling for so long, and to realize that the world is huge and that there are still paradises on Earth. Turning to a mysterious woman, whom we can only judge from the position of the author, the lyrical hero is in dialogue with the reader, one of the listeners of his exotic tale. A woman immersed in her worries, sad, does not want to believe in anything - why not a reader? Reading this or that poem, we willy-nilly express our opinion about the work, criticize it in one way or another, do not always agree with the poet's opinion, and sometimes do not understand it at all. Nikolai Gumilyov gives the reader the opportunity to observe the dialogue between the poet and the reader (listener of his poems) from the outside. Ring framing is typical for any fairy tale. As a rule, where the action began, it ends there. However, in this case, one gets the impression that the poet can talk about this exotic continent again and again, draw magnificent, vivid pictures of a sunny country, revealing more and more new, previously unseen features in its inhabitants. The ring frame demonstrates the poet's desire to talk about "heaven on Earth" again and again in order to make the reader look at the world differently. In his fairy-tale poem, the poet compares two spaces, distant on the scale of human consciousness and very close on the scale of the Earth. About the space that is "here", the poet says almost nothing, and this is not necessary. There is only a "heavy fog" that we inhale every minute. In the world we live in, only sadness and tears remain. This leads us to believe that heaven on Earth is impossible. Nikolai Gumilyov tries to prove the opposite: "... far, far away, on Lake Chad // An exquisite giraffe roams."
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The acmeism of A. Akhmatova (A. Gorenko) had a different character, devoid of inclination towards exotic plots and colorful imagery. The originality of the creative manner of Akhmatova as a poet of the acmeist direction is the imprint of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays a whole spiritual structure. In delicately drawn details, Akhmatova, as Mandelstam remarked, gave "all the enormous complexity and psychological richness of the Russian novel of the 19th century." The poetry of A. Akhmatova was greatly influenced by the work of In. Annensky, whom Akhmatova considered "a harbinger, an omen, of what happened to us later." The material density of the world, the psychological symbolism, the associativity of Annensky's poetry were largely inherited by Akhmatova.
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THE SONG OF THE LAST MEETING So helplessly my chest grew cold, But my steps were light. I put on the Glove from my left hand on my right hand. It seemed that there were many steps, And I knew that there were only three of them! Between the maples an autumn whisper Asked: "Die with me! I will be deceived by my dull, changeable, evil fate." I answered: "Darling, dear - And so am I. I'll die with you!" This is the song of the last meeting. I looked at the dark house. Only in the bedroom candles burned with an indifferent yellow fire. “In this couplet - the whole woman,” M. Tsvetaeva spoke about Akhmatova’s Song of the Last Meeting
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Osip Mandelstam
The local world of O. Mandelstam was marked by a sense of mortal fragility before faceless eternity. Mandelstam's acmeism is "the complicity of beings in a conspiracy against emptiness and non-existence." The overcoming of emptiness and non-existence takes place in culture, in the eternal creations of art: the arrow of the Gothic bell tower reproaches the sky with the fact that it is empty. Among the acmeists, Mandelstam was distinguished by an unusually sharply developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”, all the mentioned objects acquired biblical overtones. At the same time, Mandelstam was disgusted by the abuse of sacred vocabulary, the "inflation of sacred words" among the Symbolists.
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IMPRESSIONISM The artist has depicted us A deep swoon of lilacs And sonorous steps of colors On the canvas, like scabs, laid. He understood the density of oils - His dried-up summer is warmed up by the lilac brain, Expanded into stuffiness. And the shadow, the shadow is all purple, Whistle or whip, like a match, goes out - You will say: cooks in the kitchen Prepare fat pigeons. The swing is guessed, The veils are unpainted, And in this sunny collapse The bumblebee is already hosting.
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From the acmeism of Gumilyov, Akhmatova and Mandelstam, the adamism of S. Gorodetsky, M. Zenkevich, V. Narbut, who constituted the naturalistic wing of the movement, differed significantly. The Adamic worldview was most fully expressed in the work of S. Gorodetsky. Gorodetsky's novel Adam described the life of a hero and a heroine - "two smart animals" - in an earthly paradise. Gorodetsky tried to restore in poetry the pagan, semi-animal worldview of our ancestors: many of his poems took the form of incantations, lamentations, contained bursts of emotional imagery extracted from the distant past of the scene of everyday life. The naive adamism of Gorodetsky, his attempts to return man to the shaggy embrace of nature, could not but evoke irony in the modernists, who were sophisticated and well studied the soul of a contemporary. Blok in the preface to the poem Retribution noted that the slogan of Gorodetsky and the Adamists "was a man, but some other man, completely without humanity, some kind of primordial Adam."
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Birch I fell in love with you on an amber day, When, radiant azure Born, laziness oozed From each grateful branch. The body was white, white as hops Ebullient lake waves. Laughing, merry Lel pulled Rays of black hair. And Yarila himself magnificently crowned Their network with pointed foliage, And, smiling, scattered In the azure of the sky, the color green.
