Introduction

Valery Yakovlevich Bryusov - poet, prose writer, playwright, critic, translator, literary critic and historian, one of the organizers and recognized leader of Russian symbolism.

Creativity of Valery Bryusov in the context of symbolist poetics

The creative heritage of Valery Bryusov is diverse and multifaceted both in genre and stylistic terms. He is the author of more than ten poetry collections, several novels, as well as novellas, short stories and short stories, dramas, essays, literary and critical articles. The main trends in the development of not only Russian symbolism, but, more broadly, of all Russian literature of the late 19th - early 20th centuries were reflected in the work of Bryusov.

Valery Bryusov was born into a merchant family, where an atmosphere of materialism and atheism reigned. According to Bryusov himself, at the age of eight he read Dobrolyubov and Pisarev. Since childhood, Bryusov's favorite poet was N. Nekrasov, later - S. Nadson. However, a real revelation for Bryusov was his acquaintance with the poetry of the French symbolists C. Baudelaire, P. Verlaine, S. Mallarme. Intensely searching for his own unique path in art and driven by a strong sense of his, in general, self-imposed mission and hypertrophied youthful ambition, Bryusov writes in his diary on March 4, 1893: "Talent, even genius, will honestly give only slow success if It's not enough! It's not enough for me. I have to choose something else... Find a guiding star in the fog. And I see it: it's decadence. Yes! Say what you like, whether it's false, whether it's funny, but it goes forward, develops, and the future will be his, especially when it finds a worthy leader, and that leader will be I! Yes, I am!" .

And then Bryusov (together with a few associates, of whom only A. Miropolsky was a professional writer) performs an experiment unprecedented in its audacity. He is trying to plant in Russia a new literary trend, symbolism, releasing three collections called "Russian Symbolists" (1894-95), which consisted mostly of his own poems, placed under false names, works of his friends, amateur poets , as well as from numerous translations. The resonance caused by the appearance of these collections exceeded the wildest expectations of the author. Paradoxically, the popularity of the movement that had barely made itself known was greatly facilitated by the brilliant ironic reviews and parodies of V. Solovyov, who, however, was revered by Bryusov as the forerunner of Russian symbolism.

Of course, such a rapid success and spread of symbolist ideas had grounds in the very literary situation of that time. A new poetics has already begun to take shape, the features of which are found in the work of the so-called pre-symbolists (they include A. Fet, A. Apukhtin, A. Golenishchev-Kutuzov, V. Solovyov, sometimes the names of K. Fofanov, K. Sluchevsky, M. Lokhvitskaya). However, these features are still reduced only to the expression of the desire to resist "poor realism."

The theoretical foundations of the new art were outlined in D. Merezhkovsky's lecture "On the Causes of Decline and New Trends in Modern Russian Literature" (published in 1893). Merezhkovsky singled out three features that should characterize the art of the future: mystical content, symbols, and the expansion of artistic impressionability. The mystical content was understood as artistic idealism, "a return to the eternal, never dying." Symbols are a central category in later symbolist aesthetics, developed by such prominent symbolist theorists as V. Ivanov and A. Bely (only in the “Emblematics of Meaning” 23 definitions of a symbol are given), - Merezhkovsky defined it through a comparison with a word that limits thought , in contrast to the symbol expressing its limitless side, then through the opposition of its allegory, which is not “taken from the depths of reality”, but “artificially invented”.

Art, according to D. Dolgopolov and I. Rodnyanskaya, was understood by the Symbolists as an intuitive comprehension of world unity through symbolic “correspondences” and analogies; music was considered the ancestral basis of life and art. In the work of the Symbolists, the lyrical-poetic principle dominates, based on the belief in the closeness of the poet's inner life to the absolute and in the suprareal or irrational-magical power of poetic speech. However, not all stages of the development of symbolism have these characteristics to the same extent. Thus, the older symbolists paid great attention to the poetics of "correspondences" (in connection with the focus on French literature) and the development of new forms and techniques of "artistic impressionability", while the younger ones - to the theory of the symbol and mystical content, embodying the idea of ​​"new religious art".

Bryusov prefers metaphors and paraphrases to symbols and allegories, considering the latter as an optional feature of a symbolist work. After the Russian Symbolists, he releases two collections of poems: Chefs d "oeuvre" ("Masterpieces", 1895) and "Me eum esse" ("This is me", 1896), which ends the first period of his creativity. In these collections, some contemporaries saw "setting", outrageousness, which were fully manifested at the very beginning of the poet's creative path. But it is in "Chefs d" oeuvre "and" Me eum esse "themes and motifs that are rightfully considered discoveries already sound Bryusov.

First of all, this is the theme of the city, the “terrible world” (later picked up by Blok, to whom this definition belongs). Bryusov combines the descriptive style with the style of "aesthetic transformation, re-creation of things", which in symbolism is one of the ways of liberation from the laws of reality. This goal is also served by exoticisms, which play the same role in Bryusov as stylization in K. Balmont, M. Kuzmin and A. Bely. Again, in a new way, unconventionally for Russian literature, the theme of love is revealed in the poet's erotic poems ("Kisses" (1895), "To my Mignon" (1895)) .

One of the most famous poems in the Chefs d "oeuvre" collection - "At Night" demonstrates all the features of Bryusov's style of that period. In it, the city is described through exotic correspondences, Moscow is compared with a "female sleeping ostrich", spreading its wings and stretching out its neck ("silent , Black Yauza") The metaphor unfolds. The images of African nature that originally served as a comparison acquire an independent meaning, turning the Moscow sky into a tropical one, where "constellations sparkle brightly."

Bryusov's metaphors are distinguished by their impressionism, that is, for the poet, the perception of a thing becomes more important than the thing itself, which is thereby “rematerialized”, and the word is freed from the subject. The poetic technique is enriched with inaccurate and truncated rhymes (for example, a forest is a cross, a cloud is about). The use of exoticisms leads to the appearance of exquisite, unexpected rhymes. The introduction of new words into poetic everyday life provides new combination possibilities for those that have long been in Russian poetic vocabulary.

The second period of Bryusov's work was marked by the release of several collections of poems: "Tertia Vigilia" ("Third Guard", 1900), "Urbi et Orbi" ("To the City and the World", 1903), "Stephanos" ("Wreath"), 1906), " All tunes" (1909).

The beginning of the 20th century was the time when younger symbolists, poets and writers, who had a new vision of life and art, followers and preachers of V. Solovyov's ideas, entered the literary arena. Bryusov, who created the symbolist literary school in Russia, could not remain aloof from these trends and tried to understand, or at least come closer to understanding, what owned the minds of the young symbolists. However, their mystical aspirations were alien to Bryusov. The notorious rationalism did not allow him to recklessly believe in one thing, surrendering to it entirely. Nevertheless, the younger generation fascinated Bryusov, influenced him, which, in particular, affected his understanding of art.

In the treatise “Keys of Secrets”, Bryusov writes: “art is what in other areas we call revelation. The creation of art is a half-open door to eternity, while in an earlier article On Art he insisted that it is only an expression of the artist's soul.

It cannot be said that Bryusov was not at all interested in mysticism. He took a direct part in the seances that became fashionable at the beginning of the 20th century, and until the end of his days he retained faith in them. Bryusov combined an attraction to the mysterious and a desire to scientifically explain it. This opportunity was provided by spiritualism in combination with occultism, the study of which the poet was specially engaged.

In the early 900s, Bryusov created a number of prose and dramatic works. He includes short stories and the futurological drama "Earth" in the book "The Earth's Axis" (1907). In 1905-06, he wrote his most famous novel, The Fiery Angel, based on material from German history. The later novels "Altar of Victory", "Jupiter Defeated", "Rhea Sylvia" (1911-16) are devoted to the history of Ancient Rome, the period of the struggle between paganism and Christianity. It was precisely the transitional periods that interested Bryusov most of all, who sought in history analogies with the state of the contemporary world and tried to comprehend modernity through these analogies (“correspondences”).

The desire for experimentation was always characteristic of Bryusov. Life, including personal life, became a kind of stage. Performances were played on it, the results of which were then “recorded” in works. In the circle of symbolists, Bryusov played the role of a spokesman for dark forces (one of his poetic masks is the Old Norse god Loki) as opposed to the bright god (White).

In the poetry of this period, the priority role of the theme in relation to other technical means of verse is clearly defined; impressionistic side by side with relative "thingness" (poems "Closed", "World"); contradictory tendencies of rationality and sensuality, will and desire to surrender to the power of elemental principles are combined. D. Maksimov distinguishes two directions in which the inner life of the lyrical hero Bryusov flows: “descent” and “ascent”, in other words, self-giving to the gloomy forces of the “terrible world” and strong-willed opposition, self-affirmation. The latter prevails in the mature work of Bryusov, including in his third period, during which he created Mirror of Shadows (1912), Seven Colors of the Rainbow (1916), The Ninth Stone (1916-17), Last Dreams » (1917-19).

After the revolution, Bryusov organized and headed the Higher Literary and Art Institute. In 1919, he joined the RCP(b), a fact emphasizing his desire to overcome isolation, to join a new society in which, as it seemed to him, the heroic ideal could be embodied, which had long occupied the poet's imagination. In creativity there is a turn to "scientific poetry" (collections "Dali" (1922), "Mea" (1924)). Bryusov supported the idea of ​​Rene Gil about the possibility of such a thing for a long time. However, these verses were overloaded with names and terms, and the discoveries sung by the poet quickly grew old.

Bryusov's idea of ​​creating a grandiose poetic cycle "Dreams of Mankind" was connected with the "scientific" epic of René Gil "Euvre", in which the forms of the lyrics of all times and peoples were to be embodied: Australian natives, Egyptians, early Christians, German romantics, French symbolists and even the inhabitants of the legendary Atlantis. This plan was not carried out in full, which, however, does not negate the brilliant stylistic talent of Bryusov, who wrote the continuation of Pushkin's Egyptian Nights and, by the way, proposed using the devination method when publishing his collected works - additional creation of drafts and sketches. The novel The Fiery Angel, stylized as an autobiographical story of the 16th century, was perceived by one German collector as a real translation of an ancient manuscript.

We are given a feat by someone higher,
And he will ask authoritatively for a report.
Work until the fog falls
Look, the work has just begun!
V. Bryusov

Poetry occupied an important place in the literature of the Silver Age. The era of the rapid development of lyrics has come, bright creative individuals have appeared in poetry, among which one of the first places belongs to V. Ya. Bryusov.

Valery Bryusov is called the leader of Russian symbolism. His work was characterized by selfless devotion to his calling as a poet, passionate service to literature, regardless of the social system. He argued that skill is the most important element of artistic creativity.

In 1894-1895. three collections of poems "Russian Symbolists" were published. As it turned out later, the author of most of the poems was Bryusov, who spoke under various pseudonyms in order to create the impression of the existence of a large association of like-minded poets. The hoax was a success - readers and critics started talking about Russian symbolism.

V. Ya. Bryusov was one of the theorists of Russian symbolism. He expressed his understanding of art in the article "Keys of Secrets" (1904). For him, art is "comprehension of the world in other, non-rational ways." At the moment of creative insight, Bryusov believed, poets intuitively comprehend the world around them. It is impossible to rationally convey the contemplated secrets, so the poet is forced to resort to the help of symbolic images. Bryusov's poetry conveys this understanding of art, it expresses the complex and refined perception of the world by the "new man" of the 20th century.

The first poems by Valery Bryusov were published in 1894-1895 and immediately attracted the attention of readers with their unusualness, audacity, and exoticism. The young poet seeks to see the unusual in everyday life, to capture transient feelings in vivid images. Hence the unusual words, strange pictures, unusual comparisons: “Violet hands / On the enamel wall / Sleepily draw sounds / In the sonorous silence” (“Creativity”).

Under the canopy of a captivatingly unsteady foggy square, And the evening kisses with a smile In the eyes - passing hetaerae. ("Dust")

In his poetry collections of the early 20th century, V. Bryusov touches on many historical topics: ancient Assyria, Egypt, Greece, Rome, the Middle Ages and the Renaissance, the Napoleonic era. Turning to the heroes of history, Bryusov tries to find in their thoughts and actions something that is consonant with modernity.

The heroes of Bryusov are united by purposefulness, devotion to the chosen path, faith in their historical destiny. Bryusov is attracted by the power of mind and spirit, which allows him to rise above everyday worries, to discover the unknown. But they are always alone, they are not capable of self-sacrifice, they do not have a sense of serving people.

The disconnection of the characters from the surrounding people, alienation lead Bryusov to some picturesqueness, rhetoric, coldness of poetry. Dedicating his poems to "all the gods", the author, in essence, remains indifferent to the content of their work.

Bryusov always gravitated towards urban lyrics - he was the singer of the city, which seemed to him the center of civilization and at the same time a kind of octopus. Bryusov foresaw that Rock would fall on this octopus city. This foreboding of the poet is symbolically expressed in the poem "The Pale Horse": material from the site

The street was like a storm. Crowds passed, As if they were pursued by the inevitable Doom.

The theme of loneliness, life disorder, defenselessness and weakness of a person are colored lines dedicated to urban life. In the poet’s imagination, “a dying city near a bright star” is increasingly appearing. "A dull and weary world" is drawing to a close. Beyond the fatal line, either slavish obedience to the established order is possible, or an explosion of spontaneous forces of protest.

Bryusov feels the doom of civilization. He considers the approaching revolution inevitable, historically natural, therefore there is no fear in him, no hatred. The forces of the future revolution appear to him as an element, a shaft that moves "through the yet undiscovered Pamirs." The future world will be "the common gift of the coming generations." But how it will be built, on what foundations, who will be the "free man" who will live in it - all this for Bryusov is extremely vague and indefinite.

From his first poetic steps, Bryusov carefully worked on "a refined and complete phrase." A man of encyclopedic education and high culture, the poet encourages the reader to expand his knowledge, teaches respect for human thought, gives pleasure to the mind.

Didn't find what you were looking for? Use the search

On this page, material on the topics:

• Bryusov theorist and practitioner of symbolism
• briefly what is Bryusov's personality
• what attracts Bryusov in symbolism
• bryusov - symbolist poet composition
• Bryusov as a symbolist theorist

Bryusov's reputation as one of the initiators and leaders of Russian symbolism has long been established and is well known to everyone. But it is no less known that this obvious truth, without explanations and fundamental amendments, becomes one-sided, that is, ceases to be the truth. Bryusov in the first half of his creative life was really deeply connected with Russian symbolism, mainly with its “decadent”, individualistic element, which prevailed, primarily in the 90s (F. Sologub, Z. Gippius, partly Balmont), but retained representation at the beginning of the new century. Hence - Bryusov's repulsion from positivist and materialistic philosophy, from democratic realism, and the struggle against naturalistic tendencies in art.

However, Bryusov's position, his worldview, aesthetics and poetics are not limited to the common features that unite him with symbolism.

When literary historian P. N. Sakulin, welcoming Bryusov on his 50th birthday, called him “the most sober, most realist” and even “utilitarian” among the Symbolists, Bryusov warmly supported this characterization in his response speech. Indeed, against the backdrop of the romantically elevated, ecstatic, mystically colored worldview of the Symbolists, which largely influenced Bryusov's work, Bryusov stood out for the rationalistic warehouse of his poetic consciousness, in which the elements of passion and the impulse to mystery (“cosmic curiosity”) were combined with creative self-control and sober thought - a combination to which Blok's formula could be applied: "the heat of cold numbers."

Moreover, the centrifugal forces that owned Bryusov, the desire for an unlimited expansion of his creative horizons, as well as familiarization with the traditions of classical art, took him beyond the boundaries of the literary school to which he belonged, prompted him over time and under the influence of time to overcome its previously established canons. Yes, and symbolism itself, many of its representatives did not remain in place, departed from the chamber, "cell" forms of their literary existence, expanded their base, mastered the broad layers of universal culture and the humanistic precepts of the Russian classics understood in their own way, that is, they also overcame their the original foundations did not hinder Bryusov's internal development in this sense either.

This complex dialectic manifested itself in all areas of Bryusov's work - in his poetry, in his artistic prose and, of course, in his criticism. It was reflected in his understanding of art, in his critical method and in his specific critical assessments.

The direction of Bryusov's theoretical and literary-critical statements, like his poetry, at that time could not be tolerated in any Russian journal. Bryusov could only hope for the future and for his own publishing initiative.

In the center of Bryusov's attention in those years was the question of symbolism, its essence and its signs. At the same time, Bryusov, in his early statements, did not so much fight for the ideas of symbolism and declared them, as the theoreticians and ideologists of the newly emerging school do, but rather inquisitively looked at the phenomena of the “new art” (mainly French poetry) and, as a historian of literature, tried to - it is still timid - to derive their generalizing principles.

Young Bryusov believes that the main task of this art, which is replacing realistic creativity with its aspiration to the objective world, is to expose the subjective principle, the personality of the creator, his soul as the primary element of artistic creation. In parallel with this main statement, Bryusov dwelled on the features of the “concrete poetics” of symbolism, in particular, on the “theory of allusions” (“suggestive construction”) of the French Symbolist Mallarmé, which attracted him especially.

The aesthetic views of Bryusov in the early 900s, as before, did not result in a strictly developed system. Bryusov partly developed, but partly rebuilt those thoughts about art that he had expressed in the previous period. The individualistic tendencies of the end of the century took shape with Bryusov in the slogan of "free art". At the same time, it was precisely this position, as well as the general nature of modernist predilections and tastes, that determined the most general line of Bryusov's connection at the beginning of the century with the aesthetics of early individualistic symbolism - "decadentism" - and with the literature in which these aesthetic trends were continued.

Bryusov, together with his associates, acted in those years as a critic who fought against ideological and aesthetic trends hostile to symbolism - with the philosophy of positivism and materialism, with realism, and even more so with naturalism, and also - and this is even more characteristic of his position - with all kinds of , in which he saw "tendentious", "biased" attitudes, especially with a "civil direction" in art.

Valery Bryusov - poet of Russian symbolism

Valery Yakovlevich Bryusov - poet and theorist of Russian symbolism. Being a man of great culture, he created the doctrine of artistic knowledge of the world. In his opinion, works are captured moments of insight and inspiration. The poetry of V. Bryusov is as melodic and mysterious as the reality surrounding him. Bryusov believes that for a real creator everything is not simple and clear. The incomprehensibility of the world is the main condition for the existence of a writer. His life is the pursuit of the always elusive truth, and there is no absolute truth in the world for everyone and forever. The poet is trying to understand at least part of the big world that surrounds him. Through himself, his own "I", Bryusov tries to penetrate into the essence of things, admires beauty, not wanting to destroy it with excessive tediousness, realism:

My spirit was not exhausted in the mist of contradictions,

The mind has not weakened in fatal clutches.

And I love all dreams, all speeches are dear to me,

And to all the gods I dedicate a verse.

Bryusov is a poet who does not try to limit creativity to certain limits, he is wider and more diverse than theorists. His poetry reveals to us the inner world of its author:

On the island of dreams, where are the statues, where are the songs,

I explored the paths in the lights and without the lights,

He worshiped those that are brighter, that are more fleshly.

It trembled in anticipation of the shadows.

The poet often goes beyond the symbolism, which he himself defined. Reflecting on this topic, Bryusov comes to the conclusion that poetry is powerful, it reigns over the world, filled with magical charm and magical sound. In the symbolism of Valery Bryusov there is no mystical, on the contrary, the poet approaches realism. In his poems, a specific sketch is very often found, a vivid detail that is quickly remembered. Bryusov's talent is undeniable. The poet is not afraid to plunge into the abyss of the unknown, he is in constant search of the new, he understands the excitement of the pioneers. The more sublime his dream and the more difficult it is to achieve, the more fearlessly and with great desire the poet follows her on the road:

No, I'm not yours!

Your goals are alien to me,

Your unwinged cry is strange to me,

But in a noisy circle to your common bowl

And I would, as a faithful one, take an oath!

Where are you - a thunderstorm, a destructive element,

I call to destroy the foundations of centuries,

Create space for future seeds.

The poems of Valery Bryusov amaze with the brightness of images, a large number of metaphors, various themes. Bryusov's poetry is varied and interesting, as it was created by a very talented person.

In the history of Russian literature, Bryusov forever remained a discoverer of new paths, a “seeker of a vague paradise”, a magnificent master of verse, who proved that a poet can convey the whole variety of human passions, all the “treasures” inherent in feeling.

Bryusov created his own style - sonorous, chased, picturesque. It is characterized by a variety of forms, their tireless search, the desire to embrace all times and countries in his work. Bryusov introduced into Russian poetry the image of a modern big city with its crowds of people and advertising lights. Bryusov has always been close to the social and civil theme. Labor, the creative possibilities of a person subordinating the forces of nature to his will, are one of the most important motifs in Bryusov's poetry.

Bryusov is characterized by the poetry of allusions.

For analysis, I chose the poem “At Night”, because. it most clearly reflects his work.

Moscow slumbers like a female sleeping ostrich,

Dirty wings spread across the dark soil,

Round-heavy eyelids are lifelessly shifted,

The neck stretches - silent, black Yauza.

You feel yourself in the African desert on vacation.

Chu! what's that noise? Are the Arab horsemen flying?

Not! shaking fearsome wings in the air,

That approaching birds of prey - vultures.

The smell fell familiar to the winged robbers,

You get up, you look ... and they all circle over the dead man,

The constellations sparkle brightly in the tropical sky.

In this poem, Bryusov seems to take us into another reality, into another dimension, he contrasts Russia with Africa and compares Moscow with a female ostrich. In this case, the female sleeping ostrich is a symbol of Moscow. The repetition of the sounds gr - kr - rsk - kr reminds us of the cries of an ostrich. All this evokes a mystical thrill. Bryusov chose a meter unusual for Russian poetry - with a different number of stressed syllables in the lines. He shows the beauty of the ugly (dirty wings, vultures, carrion). We seem to be in an unreal world, space, where peace and quiet reign. In the first stanza, through an ostrich, Bryusov draws an analogy with Moscow, saying “Dirty wings are spread over dark soil, // Round-heavy eyelids are lifelessly shifted,// The neck stretches - silent, black Yauza”, he means that Moscow was filled with mud and shadows filled her entire space. She was tired of enduring all the vulgarity that filled everything!

With other non-symbolist poets, the symbol takes on a more allegorical form, the form of similes; the symbolists, on the other hand, go beyond allegory. With them, the symbol acquires more extensive boundaries, while taking on the most extraordinary forms. This is clearly seen in this poem. Bryusov compares Moscow with an ostrich.

Bryusov, as we know, refused the honor of being considered the "leader of symbolism." At the same time, according to him, when his older comrades left him and “more and more younger generations grouped around him,” he found himself at the center of the movement.

But this is only part of the truth. The situation was more difficult. And if in his aesthetic views Bryusov disagreed with Merezhkovsky and strove to find a common language with the young, he nevertheless disagreed with them in the main. And in his poetic work, as will be shown below, Bryusov constantly generally broke beyond the boundaries of symbolism.

It seems to me that the poetry of Valery Bryusov stands somehow apart from the main stream of the “Silver Age”. And he himself as a person differs sharply from his contemporary poets. He is all urban, cube-shaped, tough, cunning, a very strong-willed person. This image came to me after reading his memoirs and various literary articles, where his name appeared in one way or another. He was not loved, like O. Mandelstam, Vyach. Ivanov, I. Severyanin or E. Balmont. He apparently lacked a certain personal charm. As, however, there is no charm in the urban landscape. I am sure that no one will look at any, even the most beautiful city with such emotion, as at a rural landscape.

This direction of his work was prepared by family traditions. Bryusov was brought up, as he recalled, "in the principles of materialism and atheism." The writers who were especially revered in the family were N.A. Nekrasov and D.I. Pisarev. From childhood, Bryusov was instilled with an interest in the natural sciences, independence of judgment, and faith in the great destiny of a human creator. Such beginnings of education affected the entire future life and career of Bryusov.

Individualism and subjectivism became the basis of the poetic practice and theoretical views of the young Bryusov on art. At that time, he believed that in poetry and art, the personality of the artist comes first, and everything else is just a form. Another theme of Bryusov was the theme of the city, which went through all the work of the poet. Continuing and uniting diverse traditions (Dostoevsky, Nekrasov, Verlaine, Baudelaire and Verhaarne), Bryusov became, in fact, the first Russian urban poet of the 20th century, reflecting a generalized image of the newest capitalist city. At first, he looks for beauty in the city's labyrinths, calls the city a "deliberate miracle", admires the "violence" of crowds of people and the "sacred twilight" of the streets. But for all his urban nature, Bryusov portrayed the city as a tragic space where dark and obscene deeds of people are carried out: murders, debauchery, revolutions, etc.

Bryusov's poems echoed those of the over-urbanist Mayakovsky. Bryusov tries to predict the fall and destruction of cities as a vicious space, but he does it worse than Mayakovsky or, for example, Blok. The protest against the soullessness of urban civilization led Bryusov to reflect on nature, the healing principles of which the poet did not recognize in his early work. Now he is looking for in nature the integrity and harmony of being lost by modern man. But it should be noted that his "natural" verses are significantly inferior to his urban lyrics.

With great artistic power, the world of vulgarity dissolved in the city is opposed by Bryusov's poetry of love. Poems about love are grouped, like poems on other topics, into special semantic cycles - “Another fairy tale”, “Ballads”, “Elegies”, “Eros, invincible in battle”, “Dead tunes” and others. But we will not find in the poems of these cycles of melodiousness, spiritual awe, lightness. For Bryusov, love is all-consuming, elevated to tragedy, “ultimate”, “heroic passion”. Behind Bryusov, as you know, a dark tail of various gossip and rumors dragged all his life. He appeared in the noisiest restaurants, had affairs with famous ladies. During the new revolutionary transformations, a rather uncomfortable and disturbing life began in the city, poverty was universal. But Bryusov treated the atom with his characteristic sarcasm. No wonder at the time it was written:

Beautiful, in the power of formidable power,

Eastern king Assargadon

And the ocean of popular passion,

In the chips crushing fragile throne.

In Bryusov's poetry, the city is inseparable from his personality, and in the tragedy of the city, first of all, one feels the tragedy of the author himself, for whom tragedies often turn into a farce.

The poet responded with lively passion to all the most important events of our time. At the beginning of the 20th century, the Russo-Japanese War and the 1905 Revolution became the themes of his work, largely determining his outlook on life and art. In those years, Bryusov declared his contempt for bourgeois society, but he also showed distrust of social democracy, believing that it encroaches on the creative freedom of the artist. However, in the revolution, Bryusov saw not only the elements of destruction, he sang the happy future of the “new world” as the triumph of “freedom, brotherhood, equality”:

The poet is always with people when a thunderstorm roars,

And a song with a storm - forever sisters ...

Bryusov's poems about the first Russian revolution, along with Blok's poems, are the pinnacle works written on this subject by poets of the beginning of the century. But during the years of reaction, Bryusov's poetry no longer rises to high life-affirming pathos. Old motifs are sung, the theme of fatigue and loneliness intensifies:

Cold, the body is secretly binding,

Cold, soul enchanting ...

Everything in me is only death and silence,

The whole world is just a firmament and the moon in it.

Uncherished dreams go out in the heart,

The flowers of the ridiculed spring are dying...

But even during this period of creativity, the poet continues to glorify the man-worker, seeker and creator, believes in the future triumph of the revolution. Bryusov's post-October poems open the last period of his literary path, represented by the collections On Such Days, Moment, Dali. The poet is looking for new artistic forms to express a new turn in his worldview and to recreate revolutionary reality in art (“Third Autumn”, “Towards the Russian Revolution”).

Bryusov's original artistic work is not limited to poetry. Knowing the main classical and European languages, Bryusov was actively engaged in translations. He translated Maeterlinck, Verlaine, Hugo, Poe, Verhaarn, Rainis, Finnish and Armenian poets. In Bryusov, in addition to the gift of the artist, there lived an indomitable spirit of a researcher who was looking for rationalistic “keys of secrets” to the most secret human feelings, and also sought to understand the reasons for the birth of new forms in art, the logic of their development. Bryusov made a significant contribution to Russian culture; modern readers are grateful to him for the fact that with his work he created the era of the “Silver Age”, the era of brilliant achievements of Russian poetry.