Presentation on the topic Acmeism in Russian literature. Presentation on the topic “Acmeism. Explanation of new material

06.03.2024

Principles of Acmeism Liberation of poetry from symbolist calls to the ideal, returning it to clarity, thinghood, “joyful admiration of being”; Liberation of poetry from symbolist calls to the ideal, returning it to clarity, thinghood, “joyful admiration of being”; The desire to give a word a certain precise meaning, to base works on specific imagery, the requirement for “excellent clarity”; The desire to give a word a certain exact meaning, to base works on specific imagery, the requirement for “excellent clarity”; Appeal to a person, to the “authenticity of his feelings”; Appeal to a person, to the “authenticity of his feelings”; Poeticization of the world of primordial emotions, primitive biological natural principles, prehistoric life of the Earth and man. Poeticization of the world of primordial emotions, primitive biological natural principles, prehistoric life of the Earth and man.

The term acmeism was proposed in 1912 by N. Gumilev and S. Gorodetsky: in their opinion, symbolism, which was experiencing a crisis, is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements. The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”, the central figure of which was the organizer of Acmeism N. Gumilyov. Contemporaries gave the term other interpretations: Piast saw its origins in the pseudonym of A. Akhmatova, which in Latin sounds like “akmatus”, some pointed to its connection with the Greek “acme” - “edge”.

As a literary movement, Acmeism did not last long - about two years (1913–1914), but one cannot ignore its generic connections with the “Workshop of Poets,” as well as its decisive influence on the fate of Russian poetry of the twentieth century. Acmeism counted the six most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At the meetings of the “Workshop,” in contrast to the meetings of the Symbolists, specific issues were resolved: the “Workshop” was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathize with Acmeism developed differently: N. Klyuev subsequently declared his non-involvement in the activities of the commonwealth, G. Adamovich and G. Ivanov continued and developed many of the principles of Acmeism in emigration; Acmeism did not have any effect on V. Khlebnikov noticeable influence.

The platform of the Acmeists was the magazine Apollo, edited by S. Makovsky, in which the declarations of Gumilyov and Gorodetsky were published. The program of acmeism in "Apollo" included two main provisions: firstly, concreteness, materiality, comprehensiveness, and secondly, the improvement of poetic skill. The justification for the new literary movement was given in the articles by N. Gumilyov The Heritage of Symbolism and Acmeism (1913), S. Gorodetsky Some Currents in Modern Russian Poetry (1913), O. Mandelstam The Morning of Acmeism (1913, was not published in Apollo).

One of the main tasks of Acmeism One of the main tasks of Acmeism is to straighten the tendency towards the otherworldly, characteristic of symbolism, to establish a “living balance” between the metaphysical and the earthly. The Acmeists did not renounce metaphysics: “always remember the unknowable, but do not insult your thoughts about it with more or less probable guesses” - this is the principle of Acmeism.

Poorly substantiated as a literary movement, Acmeism united exceptionally gifted poets - N. Gumilyov, A. Akhmatova, O. Mandelstam, the formation of whose creative individuals took place in the atmosphere of the “Poet's Workshop”, disputes about “beautiful clarity”. The history of Acmeism can be considered as a kind of dialogue between its three outstanding representatives. Subsequently, Acmeist poetics was refracted in complex and ambiguous ways in their work. O. Mandelstam N. Gumilyov A. Akhmatova

Baby Elephant My love for you is now a baby elephant, Born in Berlin or Paris And stamping with cotton feet Through the rooms of the owner of the menagerie. Don't offer him French rolls, Don't offer him cabbage rolls. He can only eat a slice of tangerine, a piece of sugar or candy. Do not cry, oh gentle one, that in a cramped cage He will become the laughing stock of the mob, So that the clerks will blow cigar smoke into his nose while the midettes laugh. Don’t think, dear, that the day will come, When, enraged, he will break the chains and run through the streets, and will, like a bus, crush people screaming. No, let you dream of him in the morning In brocade and copper, in ostrich feathers, Like the Magnificent One who once carried Hannibal to the trembling Rome.

A. Akhmatova’s acmeism had a different character, devoid of any attraction to exotic subjects and colorful imagery. The originality of Akhmatova’s creative style as a poet of the Acmeistic movement is the imprinting of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays an entire spiritual structure. “This couplet contains the whole woman,” M. Tsvetaeva spoke about Akhmatova’s Song of the Last Meeting.

X x x I've gone crazy, oh strange boy, On Wednesday at three o'clock! A ringing wasp pricked my ring finger. I accidentally pressed her, And it seemed that she died, But the end of the poisoned sting was sharper than a spindle. Will I cry for you, strange one, will your face smile at me? Look! On the ring finger So beautifully smooth ring March 1913, Tsarskoe Selo

The local world of O. Mandelstam was marked by a feeling of mortal fragility before a faceless eternity. Mandelstam's Acmeism is “the complicity of beings in a conspiracy against emptiness and non-existence.” Among the Acmeists, Mandelstam was distinguished by an unusually keenly 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 mentioned objects acquired biblical overtones.

American bar The girls are still not visible in the bar, The footman is impolite and sullen; And in the strong cigar of the American one can see a caustic mind. The counter shines with red varnish, And the soda-whisky fort teases: Who is unfamiliar with the buffet sign And is not too firm in labels? A golden pile of bananas is served just in case, and the wax saleswoman is as calm as the moon. At first we will feel a little sad, We will ask for coffee with curasso. In half a turn the wheel of our Fortune will turn around! Then, talking quietly, I climb onto a swivel chair wearing a hat and, stirring the ice with straws, I listen to the hum... The master's eye is yellower than a chervonets. It will not offend Dreamers... We are dissatisfied with the light of the sun, The flow of measured orbits! No later than June 1913

Acmeism greatly influenced the development of Russian poetry in emigration, the “Parisian note”: among Gumilev’s students, G. Ivanov, G. Adamovich, N. Otsup, I. Odoevtseva emigrated to France. The best poets of the Russian emigration G. Ivanov and G. Adamovich developed acmeistic principles: restraint, muted intonation, expressive asceticism, subtle irony. In Soviet Russia, the style of the Acmeists (mainly N. Gumilyov) was imitated by Nik. Tikhonov, I. Selvinsky, M. Svetlov, E. Bagritsky. Acmeism also had a significant impact on the author's song.

Acmeism united dissimilar creative individuals and manifested itself differently in the “spiritualized objectivity” of A. Akhmatova, the “distant wanderings” of M. Gumilyov, and the reminiscence poetry of O. Mandelstam. The role of Acmeism is in the desire to maintain a balance between symbolism, on the one hand, and realism, on the other. In the work of the Acmeists there are numerous points of contact with the symbolists and realists (especially with the Russian psychological novel of the 19th century), but in general the representatives of Acmeism found themselves in the “middle of the contrast”, not slipping into metaphysics, but also not “mooring to the ground.”

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Acmeism (from the Greek akme - the highest degree of something, flowering, maturity, peak, edge) 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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The Acmeists, or - as they were also called - "Hyperboreans" (after the name of the printed mouthpiece of Acmeism, the magazine and publishing house "Hyperboreas"), immediately acted as a single group. They gave their union the significant name “Workshop of Poets.” The Acmeists published 10 issues of their magazine “Hyperborea” (editor M.L. Lozinsky), as well as several almanacs of the “Workshop of Poets”.

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Basic principles of Acmeism: liberation of poetry from symbolist appeals to the ideal, returning it to clarity; rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; the desire to give a word a certain, precise meaning; objectivity and clarity of images, precision of details; appeal to a person, to the “authenticity” of his feelings; poeticization of the world of primordial emotions, primitive biological natural principles;

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Acmeism counted the six 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 such a point of view was protested by A. Akhmatova: “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 of Gorenko Anna Andreevna; 1889-1966), according to her confession, wrote her first poem at the age of 11, and 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 laconic, alien to self-valued aesthetics, in essence did not coincide with the programmatic guidelines of Acmeism. The connection between Akhmatova’s poetry and the traditions of Russian classical lyric poetry, primarily Pushkin’s, is obvious. Of the modern poets, I. Annensky and A. Blok were closest to her.

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Anna Akhmatova's creative activity lasted almost six decades. During this time, her poetry experienced a certain evolution, while maintaining fairly stable aesthetic principles that were formed in the first decade of her creative career. But for all that, the late Akhmatova undoubtedly had a desire to go beyond the range of themes and ideas that are present in the early lyrics, which was especially clearly expressed in the poetic cycle “Wind of War” (1941-1945), in “Poem without a Hero” (1940-1945). 1962). Speaking about her poems, Anna Akhmatova stated: “For me, they contain a connection with time, with the new life of my people. When I wrote them, I lived by the rhythms that sounded in the heroic history of my country. I am happy that I lived during these years and saw events that had no equal.”

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Nikolai Gumilev Gumilyov Nikolai Stepanovich (1886-1921), Russian poet. In the 1910s one of the leading representatives of Acmeism. The poems are characterized by an apology for a “strong man” - a warrior and a poet, decorativeness, and 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 dropped for lack of evidence of a crime.

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Having declared a new direction - Acmeism - the heir of symbolism, which had completed “its path of development,” Gumilev called on poets to return to the “thingness” of the world around them (article “The Legacy of Symbolism and Acmeism,” 1913). Gumilyov’s first acmeistic work is considered to be the poem “The Prodigal Son,” included in his collection “Alien Sky” (1912). Critics noted his virtuoso mastery of form: according to Bryusov, the meaning of Gumilyov’s poems “is much more in how he speaks than in what he says.” The next collection “Quiver” (1916), the dramatic fairy tale “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 among 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” (first edition - 1913, second, expanded - 1916). Early Mandelstam (before 1912) gravitated toward the themes and images of the Symbolists. Acmeistic tendencies were most clearly manifested in his poems about world culture and architecture of the past (“Hagia Sophia”, “Notre-Dame”, “Admiralty” and others). Mandelstam proved himself to be 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 civil war reflected the difficulty of the poet’s artistic comprehension of the new reality. Despite ideological hesitations, Mandelstam looked for ways to creatively participate in a new life. His poems of the 20s testify to this. New features of Mandelstam’s poetry are revealed in his lyrics of the 30s: a tendency towards broad generalizations, towards images that embody the forces of the “black soil” (the cycle “Poems 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 an active state councilor and writer, author of works on archeology and folklore. He studied at the Faculty of History and Philology of St. Petersburg University, where he became friends with A. Blok in 1903 and began writing poetry under the strong influence of his poetics; He also did painting. For involvement in the revolutionary movement in 1907, he spent some time in the Kresty prison. His interest in folklore, in particular children's folklore, which he inherited from his father, played a decisive role in the poet acquiring his own poetic voice.

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Gorodetsky’s literary fate was decided one evening in January 1906, when he read Vyach on the “tower”. Ivanov, in the presence of V. Bryusov, wrote poems that were later included in his first book, “Yar” (1907; published at the end of 1906). “Yar” enjoyed exceptional success among readers and evoked enthusiastic responses from critics, who were captivated by the youthful power of stylized “pagan” songs. The bright debut complicated Gorodetsky’s further literary development: he either tried to consolidate the image of a savage poet, an ingenuous pantheist, intoxicated by youth and the sensual joys of life, or he made attempts to expand the range of his creativity and 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), “Willow” (1914) went almost unnoticed.

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One of the first books published under the brand of this circle was “Wild Porphyry” (1912) by M. Zenkevich. The words of Baratynsky chosen as the title from the poem “The Last Death” 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 insulted it. The natural philosophical and natural science themes of the collection brought him closer to another poet of the “left flank of Acmeism” - V. Narbut. Fellow craftsmen welcomed the “Adamism” of the “free hunter” and his commitment to the “earth”; Bryusov reservedly noted the “scientific nature”; 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.” The fascination with 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. Over time, I also switched more and more to translation work.

Acmeism

ACMEISM(from the Greek akme - highest degree, peak, flowering, blooming time) - a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia.

Principles of Acmeism

Liberation of poetry from symbolist appeals to the ideal, returning to it clarity, materiality, “joyful admiration of being”;
The desire to give a word a certain precise meaning, to base works on specific imagery, the requirement for “beautiful clarity”;
Appeal to a person, to “the authenticity of his feelings”;
Poeticization of the world of primordial emotions, primitive biological natural principles, prehistoric life of the Earth and man.

The term acmeism was proposed in 1912 by N. Gumilev and S. Gorodetsky: in their opinion, symbolism, which was experiencing a crisis, is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements.

The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”, the central figure of which was the organizer of Acmeism N. Gumilyov. Contemporaries gave the term other interpretations: Piast saw its origins in the pseudonym of A. Akhmatova, which in Latin sounds like “akmatus”, some pointed to its connection with the Greek “acme” - “edge”.

As a literary movement, Acmeism did not last long - about two years (1913–1914), but one cannot ignore its generic connections with the “Workshop of Poets,” as well as its decisive influence on the fate of Russian poetry of the 20th century. Acmeism counted the six most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut.

At the meetings of the “Workshop,” in contrast to the meetings of the Symbolists, specific issues were resolved: the “Workshop” was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathize with Acmeism developed differently: N. Klyuev subsequently declared his non-involvement in the activities of the commonwealth, G. Adamovich and G. Ivanov continued and developed many of the principles of Acmeism in emigration; Acmeism did not have any effect on V. Khlebnikov noticeable influence.

The platform of the Acmeists was the magazine Apollo, edited by S. Makovsky, in which the declarations of Gumilyov and Gorodetsky were published. The program of acmeism in "Apollo" included two main provisions: firstly, concreteness, materiality, comprehensiveness, and secondly, the improvement of poetic skill. The rationale for the new literary movement was given in the articles of N. Gumilyov The legacy of symbolism and acmeism(1913), S. Gorodetsky Some trends in modern Russian poetry(1913), O. Mandelstam Morning of Acmeism(1913, was not published in Apollo).

One of the main tasks of Acmeism – to straighten the tendency towards the otherworldly, characteristic of symbolism, to establish a “living balance” between the metaphysical and the earthly. The Acmeists did not renounce metaphysics:

“always remember the unknown, but do not insult your thoughts about it with more or less probable guesses” - This is the principle of Acmeism.

The main difference between Acmeism Gumilyov proposed recognizing the “inherent value of each phenomenon” - it is necessary to make the phenomena of the material world more tangible, even crude, freeing them from the power of foggy visions.

Poorly substantiated as a literary movement, Acmeism united exceptionally gifted poets - N. Gumilyov, A. Akhmatova, O. Mandelstam, the formation of whose creative individuals took place in the atmosphere of the “Poet's Workshop”, disputes about “beautiful clarity”. The history of Acmeism can be considered as a kind of dialogue between its three outstanding representatives. Subsequently, Acmeist poetics was refracted in complex and ambiguous ways in their work.

O. Mandelstam

N. Gumilev

A. Akhmatova

In the poetry of N. Gumilyov, Acmeism is realized in the desire to discover new worlds, exotic images and subjects. 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 Distant Journeys.

Baby elephant
My love for you now is a baby elephant,
Born in Berlin or Paris
And stomping with cotton feet
Through the rooms of the owner of the menagerie.
Don't offer him French rolls,
Don't offer him cabbage cabbages -
He can only eat a slice of tangerine
A piece of sugar or candy.
Don't cry, oh gentle one, who is in a tight cage
He will become the laughing stock of the mob,
So that cigar smoke blows into his nose
Clerks to the laughter of the midinettes.
Don't think, honey, that the day will come,
When, enraged, he breaks the chains
And he will run through the streets, and it will be
Like a bus, crushing people screaming.
No, let you dream about him in the morning
In brocade and copper, in ostrich feathers,
Like the Magnificent one that once
Carried Hannibal to trembling Rome.

A. Akhmatova’s acmeism had a different character, devoid of any attraction to exotic subjects and colorful imagery. The originality of Akhmatova’s creative style as a poet of the Acmeistic movement is the imprinting of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays an entire spiritual structure. “This couplet contains the whole woman,” she spoke of Akhmatova Song of the last meeting M. Tsvetaeva.

x x x
I've lost my mind, oh strange boy,
Wednesday at three o'clock!
Pricked my ring finger
A wasp ringing for me.
I accidentally pressed her
And it seemed she died
But the end of the poisoned sting,
It was sharper than a spindle.
Will I cry for you, strange one,
Will your face make me smile?
Look! On the ring finger
So beautifully smooth ring.
March 18-19, 1913,
Tsarskoe Selo

The local world of O. Mandelstam was marked by a feeling of mortal fragility before a faceless eternity. Mandelstam's Acmeism is “the complicity of beings in a conspiracy against emptiness and non-existence.” Among the Acmeists, Mandelstam was distinguished by an unusually keenly 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 mentioned objects acquired biblical overtones.

American bar
Still no girls to be seen in the bar,
The footman is impolite and sullen;
And in a strong cigar it seems
The American has a caustic mind.
The stand shines with red varnish,
And the soda-whisky fort teases:
Who is unfamiliar with the buffet sign
And not too hard on labels?
Golden pile of bananas
Just in case, served
And the wax saleswoman
Unperturbed as the moon.

At first we will feel a little sad,
We'll ask for coffee with curasso.
Turns around in half a turn
Our fortune wheel!
Then, talking quietly,
I'm on a swivel chair
I climb in with a hat and a straw
While stirring the ice, I listen to the hum...
The master's eye is yellower than a chervonets
No offense to dreamers...
We are dissatisfied with the light of the sun,
By the flow of measured orbits!
No later than June 1913

Acmeism greatly influenced the development of Russian poetry in emigration, the “Parisian note”: among Gumilev’s students, G. Ivanov, G. Adamovich, N. Otsup, I. Odoevtseva emigrated to France. The best poets of the Russian emigration G. Ivanov and G. Adamovich developed acmeistic principles: restraint, muted intonation, expressive asceticism, subtle irony. In Soviet Russia, the style of the Acmeists (mainly N. Gumilyov) was imitated by Nik. Tikhonov, I. Selvinsky, M. Svetlov, E. Bagritsky.
Acmeism also had a significant impact on the author's song.

Acmeism united dissimilar creative individuals and manifested itself differently in the “spiritualized objectivity” of A. Akhmatova, the “distant wanderings” of M. Gumilyov, and the reminiscence poetry of O. Mandelstam.
The role of Acmeism is in the desire to maintain a balance between symbolism, on the one hand, and realism, on the other.
In the work of the Acmeists there are numerous points of contact with the symbolists and realists (especially with the Russian psychological novel of the 19th century), but in general the representatives of Acmeism found themselves in the “middle of the contrast”, not slipping into metaphysics, but also not “mooring to the ground.”

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Acmeism (from the Greek akme - the highest degree of something, blossoming, maturity, peak, edge) 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 Symbolists’ predilection for the “superreal,” polysemy and fluidity of images, and complicated metaphors, the Acmeists strove for sensual plastic-material clarity of the image and accuracy, precision of the poetic word. Their “earthly” poetry is prone to intimacy, aestheticism and poeticization of the feelings of primordial man. Acmeism was characterized by extreme apoliticality, complete indifference to the pressing 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 transience, the immediacy of existence, a certain mystery covered with an aura of mysticism, then a realistic view of things was set as the cornerstone in the poetry of Acmeism. The vague instability and vagueness of symbols was replaced by precise verbal images. The word, according to 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. That is why Acmeists often turn to mythological subjects and images. If the Symbolists focused their work on music, then the Acmeists focused on the 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 purely pictorial purposes. That is, the “overcoming” of symbolism occurred not so much in the sphere of general ideas, but in the field of poetic stylistics. In this sense, Acmeism was as conceptual as symbolism, and in this respect they are undoubtedly in continuity.

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In comparison with other poetic movements 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 times of revolutions and world wars. And today, almost a century later, interest in Acmeism has remained mainly because the work of these outstanding poets, who had a significant influence on the fate of Russian poetry of the 20th century, is associated with it.

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Basic principles of Acmeism: - liberation of poetry from symbolist appeals to the ideal, returning it to clarity; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give a word a specific, precise meaning; - objectivity and clarity of images, precision of details; - appeal to a person, to the “authenticity” of his feelings; - poeticization of the world of primordial emotions, primitive biological natural principles; - a echo of past literary eras, the broadest aesthetic associations, “longing for world culture.”

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Representatives Acmeist poets: Gumilev Nikolay Anna Akhmatova Gorodetsky Sergey Zenkevich Mikhail Ivanov Georgy Krivich Valentin Lozinsky Mikhail Mandelstam Osip Narbut Vladimir Shileiko Vladimir.

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“Yar” enjoyed exceptional success among readers and evoked enthusiastic responses from critics, who were captivated by the youthful power of stylized “pagan” songs. The bright debut complicated Gorodetsky’s further literary development: he either tried to consolidate the image of a savage poet, an ingenuous pantheist, intoxicated by youth and the sensual joys of life, or he made attempts to expand the range of his creativity and 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), “Willow” (1914) went almost unnoticed.

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The desire to return to the once conquered peak forces Gorodetsky to frantically rush around, look for new paths, running from one literary camp to another, often with opposite aesthetic aspirations. Over the course of seven years, he became an extremist in almost all literary movements: from “mystical anarchism” and acmeism (the programmatic acmeist collection “Blooming Staff”) to the circle of folk writers “Beauty” that 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 and was taken under police supervision for his connections with the Bolsheviks. In St. Petersburg in 1915 he graduated from the Faculty of Law and attended lectures on philosophy in Berlin. He began publishing in a Saratov magazine as an author of political poetry. In 1908, his “pretentious but imaginative” poems appeared in the capital’s magazines “Spring” and “Education”, 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 of this circle was “Wild Porphyry” (1912) by M. Zenkevich. The words of Baratynsky chosen as the title from the poem “The Last Death” 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 insulted it.

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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. Fellow craftsmen welcomed the “Adamism” of the “free hunter” and his commitment to the “earth”; Bryusov reservedly noted the “scientific nature”; 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.” The fascination with 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. Over time, I also switched more and more to translation work.

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Georgy Ivanov Georgy Vladimirovich Ivanov (1894-1958) was born on October 29 in the Kovno province into a poor noble family. He spent his childhood on 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. Ivanov’s poems first appeared in literary magazines (Apollo, Sovremennik, etc.) in 1910. In the fall of 1911, the acmeistic “Workshop of Poets” was created, which G. Ivanov joined at the beginning of the next year.

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In 1912, the first book of poems was published - “Sailing to the Island of Cythera”, then the collections appeared: “Border” (1914), “Monument of Glory” (1915), “Heather” (1916), “Gardens” (1921), “Lamp” (1922). In the early poems, motifs of fatigue, disappointment, etc. appear. In 1927, he participated in the Green Lamp society, being its permanent chairman. Published in various publications (“New House”, “Numbers”, “Circle”, etc.), becoming by that time one of the largest poets of the Russian emigration. In 1930, a collection of poems, “Roses,” was published. During the years of emigration he appeared as a prose writer: 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) - son of the poet Innokenty Fedorovich Annensky, a lawyer by training, served as an official in St. Petersburg, lived almost his entire life in Tsarskoye Selo. He made his debut in 1902 in the “Literary and Artistic Collection”, then sometimes published poems and literary reviews in metropolitan magazines. The only collection of poems, “Flower Grasses” (1912), was read and reviewed in manuscript by In. Annensky (the poet’s father), noting the “true taste” and “some bending” in tone, akin to his own lyrics, but I. Bunin and A. Blok had a much greater influence on V. Krivich’s work. After the death of his father, he was engaged in disassembling his archive and publishing the creative heritage of In. Annensky for publication, wrote the work “I. Annensky according to family memories." His most significant poems were created in the 1920s and for the most part remained unpublished.

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Nikolai Gumilev Gumilev Nikolai Stepanovich (1886-1921), Russian poet. In the 1910s one of the leading representatives of Acmeism. The poems are characterized by an apology for a “strong man” - a warrior and a poet, decorativeness, and 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 dropped for lack of evidence of a crime.

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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 basic postulates of future Acmeists. The acmeist movement itself arose in 1913 on the basis of the author’s association “Workshop of Poets”. The first manifestos of Acmeism appeared in the magazine Apollo (a modernist literary magazine of the turn of the century) in January. In his article “The Legacy of Symbolism and Acmeism,” Gumilev subjected the Symbolists to strong criticism; Sergei Gorodetsky, in his article “Some Trends in Modern Russian Literature,” spoke out even more harshly, 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 their Teachers. And although the Acmeists, as an association, did not last long, only 2 years, they, without a doubt, made a huge contribution to Russian literature.

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ACMEISM (from the Greek akme - the highest degree of something, blooming power) is a movement in Russian poetry of the 1910s. (S. M. Gorodetsky, M. A. Kuzmin, early N. S. Gumilev, A. A. Akhmatova, O. E. Mandelstam); proclaimed the liberation of poetry from symbolist impulses towards the “ideal”, from the polysemy and fluidity of images, complicated metaphors, 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 towards aestheticism, intimacy or poeticization of the feelings of primordial man.

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Adamism The world is spacious and multi-voiced, And it is more colorful than rainbows, And so the world is entrusted to Adam, the Inventor of names. To name, to recognize, to tear off the veils of both idle secrets and decrepit darkness - This is the first feat. A new feat - to sing praises to the Living Earth.

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Sergey Gorodetsky Birch I fell in love with you on an amber day, When Born in the luminous azure, laziness oozed From every grateful branch The body whitened, white as the hops of the boiling waves of the lake. Laughing, the cheerful Lel drew rays of black hair. And Yarila himself magnificently crowned Their network with pointed foliage And, smiling, scattered the color green in the azure sky. June 14, 1906

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Osip Mandelstam "On pale blue enamel..." On pale blue enamel, Which is conceivable in April, The birch branches lifted And imperceptibly grew dark. The pattern is sharpened and small, A thin mesh has frozen, Like on a porcelain plate A pattern drawn accurately, - When the dear artist draws it on the glassy surface, In the consciousness of momentary power, In the oblivion of 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 cheerfully chasing a star. I walk across abysses and abysses And rest in a joyful garden.

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Childhood Son of a naval doctor. As a child he lived in Tsarskoe Selo, from 1895 in St. Petersburg, in 1900-03 in Tiflis, where Gumilev’s poem was first published in a local newspaper (1902).

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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 one, I guessed a wayward one, A cheerful songbird. If you call, he winces, If you hug him, he puffs up, And the moon comes out, and he becomes exhausted, And he looks and groans, As if he’s burying Someone, and he wants to drown himself. I repeat to her: baptized, Now it’s not the time for me to mess around with you in a sophisticated way. Take the languor to the Dnieper whirlpools, To the sinful Bald Mountain. She is silent - she just shudders, And she still can’t bear it, I feel sorry for her, guilty, Like a shot down bird, A birch tree undermined Above happiness, cursed by God.

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“Letters on Russian Poetry” “his assessments are always on the merits; they reveal in brief formulas the very essence of the poet” (V. Ya. Bryusov).

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War I am a conquistador in an iron shell, I cheerfully pursue a star, I walk across abysses and abysses And rest in a joyful garden. How dim it is in the wild and starless sky! The fog is growing... but I am silent and wait And I believe that I will find my love... I am a conquistador in an iron shell. And if there are no mid-day words to the stars, Then I myself will create my dream and lovingly enchant it with the song of battles. I am an eternal brother to abysses and storms, But I will weave into a warlike outfit the Star of the Valleys, the blue lily.