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

The formation of acmeism is closely connected with the activities of the "Workshop of poets"

, the central figure of which was the organizer of acmeismN. Gumilyov. Contemporaries gave the term other interpretations: Vl. Pyast saw its origins in a pseudonymA. Akhmatova, in Latin it sounds like "akmatus", some pointed to its connection with the Greek "acme" - "point". The term acmeism was proposed in 1912 by N. Gumilyov and S. Gorodetsky: in their opinion, the symbolism that is in crisis is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements. Name for a literary movement, according toA. Bely, was chosen in the heat of controversy and was not entirely justified: he spoke about "Acmeism" and "Adamism" jokinglyVyach.Ivanov, N. Gumilyov picked up accidentally thrown words and christened a group of poets close to himself as acmeists. The gifted and ambitious organizer of acmeism dreamed of creating a "direction of directions" - a literary movement that reflects the appearance of all contemporary Russian poetry.

S. Gorodetsky and N. Gumilyov also used the term "Adamism": the first poet, in their view, was Adam, giving names to objects and creatures and thereby participating in the creation of the world. In Gumilyov's definition, Adamism is "a courageously firm and clear view of the world."

As a literary trend, acmeism did not last long - about two years (1913-1914), but one cannot ignore its ancestral ties with the "Poets' Workshop", as well as the determining influence on the fate of Russian poetry of the twentieth century. Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova,

O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. He claimed the role of the "seventh acmeist"G. Ivanov, but this point of view was protested by A. Akhmatova: "There were six Acmeists, and there never was a seventh." At various times, the work of the "Workshop of Poets" was attended by:G.Adamovich, N.Bruni, Vas.V.Gippius, Vl.V.Gippius, G.Ivanov,N.Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky , S. Radlov, V. Khlebnikov. At the meetings of the "Workshop", in distinct from symbolist collections, specific issues were resolved: “Workshop» was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathized with acmeism developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the community, G. Adamovich and G. Ivanov continued and developed many principles of acmeism in emigration, acmeism did not have any effect on V. Khlebnikov noticeable influence.

The magazine became the platform of acmeists

"Apollo"edited by S. Makovsky, in which printed the declarations of Gumilyov and Gorodetsky. The program of acmeism in "Apollo" included two main provisions: firstly, concreteness, materiality, this-worldliness, and secondly, the improvement of poetic skill. The rationale for the new literary trend was given in the articles of N. GumilyovThe legacy of symbolism and acmeism (1913), S. Gorodetsky (1913), O. MandelstamMorning of acmeism (1913, not published in Apollo).

However, for the first time the idea of ​​a new direction was expressed on the pages of "Apollo" much earlier: in 1910 M. Kuzmin appeared in the magazine with an article

About beautiful clarity , which anticipated the appearance of declarations of acmeism. By the time the article was written, Kuzmin was already a mature person, he had experience of cooperation in symbolist periodicals. Otherworldly and vague revelations of the Symbolists, "incomprehensible and dark in art" Kuzmin opposed "beautiful clarity", "clarism" (from the Greek clarus - clarity). The artist, according to Kuzmin, must bring clarity to the world, not obscure, but clarify the meaning of things, seek harmony with those around him. The philosophical and religious searches of the Symbolists did not fascinate Kuzmin: the artist's job is to focus on the aesthetic side of creativity, artistic skill. "Dark in the last depth of the symbol" gives way to clear structures and admiring the "charming little things." Kuzmin's ideas could not help but influenceon acmeists: “beautiful clarity” turned out to be in demand by the majority of participants in the “Workshop of Poets”.

Three years after the publication of Kuzmin's article in Apollo, the manifestos of Gumilyov and Gorodetsky appeared - from that moment it is customary to count the existence of acmeism as a literary movement that has taken shape. In the article "The Heritage of Symbolism and Acmeism" N. Gumilyov drew a line under the "indisputable values ​​and reputations" of the Symbolists. “Symbolism has completed its circle of development and is now falling,” stated N. Gumilyov

. The poets who succeed the Symbolists must declare themselves worthy successors of their predecessors, accept their legacy and answer the questions they pose. “Russian symbolism directed its main forces into the realm of the unknown. Alternately he fraternizedwith mysticism, then with theosophy, then with the occult,” Gumilev wrote. He called attempts in this direction "unchaste". One of the main tasks of acmeism is to correct the tilt 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 offend your thoughts about it with more or less probable guesses” - such is the principle of acmeism. Acmeists did not renounce the highest reality, recognized by the Symbolists as the only true one, but preferred to remain silent about it: the unsaid must remain unsaid. Acmeism was a kind of movement towards "true symbolism", based on attachment to everyday life, respect for simple human existence. Gumilev proposed to consider the recognition of the “intrinsic value of each phenomenon” as the main difference between acmeism - it is necessary to make the phenomena of the material world more tangible, even rough, freeing them from the power of foggy visions. Here Gumilyov named the names of the artists most dear to acmeism, its "cornerstones": Shakespeare, Rabelais, Villon, T. Gauthier. Shakespeare showed the inner world of a person, Rabelais - his body and physiology, Villon told us about "a life that does not doubt itself a lot." T. Gauthier found "worthy clothes of impeccable forms." The combination of these four moments in art is the ideal of creativity. Having absorbed the experience of their predecessors, the acmeist poets begin a new era of "aesthetic puritanism, great demands on the poet as a creator of thought and on the word as a material of art." Equally rejecting the utilitarian approach to art and the idea of ​​"art for the sake of art", the founder of acmeism proclaimed an attitude to poetic creativity as a "higher craft".

S. Gorodetsky in the article

Some currents in modern Russian poetry (1913) also noted the catastrophe of symbolism: the attraction of symbolism to the “fluidity of the word”, its ambiguity leads the artist from the “calling, colorful world” into the foggy spheres of fruitless wanderings. “Art is balance,” Gorodetsky argued, “there is strength.” “The struggle for our planet Earth” is the work of the poet, the search for “moments that can be eternal” is at the heart of the poetic craft. The world of acmeists is "good in itself", outside of its mystical "correspondences". “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 was also written

Morning of acmeism published only six years later. The delay in publication was not accidental: Mandelstam's acmeistic calculations differed significantly from the declarations of Gumilyov and Gorodetsky and did not make it to the pages of Apollo. The central metaphor of Mandelstam's article is architecture, architecture. Poetic creativity Mandelstam likens construction: "We do not fly, we climb only those towers that we ourselves can build." A collection of the same stellar for acmeism and rich in the declaration of 1913, Mandelstam calledA rock . A stone is “the word as such”, waiting for its sculptor for centuries. Mandelstam likens the work of the poet to the work of a carver, an architect who hypnotizes space.

The term “word as such” was proposed by the futurists and rethought by Mandelstam: for the futurists, the word is a pure sound, free from meaning, Mandelstam, on the contrary, emphasizes its “heaviness”, loaded with meaning. If the Futurists sought to return to the foundations of nature through the sound of the word, then Mandelstam saw in the comprehension of its meanings the way to the foundations of culture. The article also contained a controversy with the Symbolists: not the musicality of speech, but “conscious meaning”, Logos was exalted by Mandelstam. “... Love the existence of a thing more than the thing itself and your being more than yourself - this is the highest commandment of acmeism,” wrote Mandelstam.

The publication of articles by Gorodetsky and Gumilyov in Apollo was accompanied by a representative selection of poetic materials, which by no means always corresponded to the theoretical provisions of acmeism, revealing their precocity, vagueness, and weak argumentation. Acmeism as a trend did not have a sufficient theory: “the intrinsic value of the phenomenon”, “the struggle for this world” were hardly sufficient arguments for declaring a new literary direction. “Symbolism was fading away” - Gumilyov was not mistaken in this, but he failed to form a current as powerful as Russian symbolism.

Questions of religion, philosophy, which acmeism shied away from in theory (for their absence it blamed the acmeists

A. Blok), received a tense sound in the works of N. Gumilyov, A. Akhmatova, O. Mandelstam. The acmeistic period of these poets did not last long, after which their poetry went far into the realm of the spirit, intuitive revelations, and mystery. This largely allowed researchers, in particular the literary critic B. Eikhenbaum, to consider acmeism as a new stage in the development of symbolist poetics, denying him independence. However, the titanic questions of the spirit, which were in the center of attention of symbolism, were not specially pointed out by the acmeists. Acmeism returned to literature "a man of normal growth", spoke to the reader in compliance with the usual intonation, devoid of exaltation and superhuman tension. The main accomplishment of acmeism as a literary trend is the change in scale, the humanization of the literature of the turn of the century that deviated towards the gigantomania. Outstanding scientistS. Averintsevwittily called acmeism "a challenge to the spirit of the times as the spirit of utopia." The proportionality of a person to the world, subtle psychology, colloquial intonation, the search for a full-fledged word were proposed by the acmeists in response to the transcendent nature of the symbolists. The stylistic wanderings of the Symbolists and Futurists were replaced by exactingness to a single word, “chains of difficult forms”, religious and philosophical quests were replaced by a balance of metaphysics and the “local”. The acmeists preferred the poet’s difficult service to the world to the idea of ​​“art for the sake of art” (the human and creative path of A. Akhmatova became the highest expression of such service).

Poorly substantiated as a literary trend, acmeism united exceptionally gifted poets - N. Gumilyov, A. Akhmatova, O. Mandelstam, the formation of creative individuals of which took place in the atmosphere of the "Poet's Workshop", disputes about "beautiful clarity". The history of acmeism can be viewed as a kind of dialogue between its three prominent representatives. Subsequently, acmeistic poetics was complexly and ambiguously refracted in their work.

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.

A. Akhmatova's acmeism had a different character, devoid of attraction to 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 this couplet - the whole woman,” spoke of Akhmatova

The song of the last meeting M. Tsvetaeva. 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 creativityIn. Annensky, which 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.

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.

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 dissimilarity of the Adamists with the Gumilyov-Akhmatova-Mandelstam triad has been repeatedly noted in criticism. In 1913, Narbut offered Zenkevich to found an independent group or go "from Gumilyov" to the Cubo-Futurists. The Adamic worldview was most fully expressed in the work of S. Gorodetsky. Novel

Gorodetsky 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. Block in the preface to the poemRetribution noted that the slogan of Gorodetsky and the Adamists "was a man, but some other man, completely without humanity, some kind of primordial Adam."

Another Adamist, M. Zenkevich, according to the apt definition of Vyach. Ivanov, "was captivated by Matter and was horrified by it." Dialogues between man and nature in Zenkevich's work were replaced by gloomy pictures of the present, a premonition of the impossibility of restoring the lost harmony, balance in the relationship between man and the elements.

Book by V. Narbut

Hallelujah contained variations on the theme of poems by S. Gorodetsky, included in the collectionWillow . In contrast to Gorodetsky, Narbut gravitated not to the "leaf life", but to the image of the unsightly, sometimes naturalistically ugly sides of reality.

Acmeism united dissimilar creative individualities, manifested itself in various ways in the “spiritual objectivity” of A. Akhmatova, the “distant wanderings” of M. Gumilyov, the poetry of O. Mandelstam’s reminiscences, pagan dialogues with nature by S. Gorodetsky, M. Zenkevich, V. Narbut. The role of acmeism is in an effort to maintain a balance between symbolism, on the one hand, and realism, on the other. In the work of acmeists there are numerous points of contact with symbolists and realists (especially with the Russian psychological novel of the 19th century), but in general, representatives of acmeism found themselves in the “middle of contrast”, not slipping into metaphysics, but not “mooring to the ground”.

Acmeism strongly influenced the development of Russian poetry in exile, on the "Parisian note": Gumilyov's students emigrated to France

G. Ivanov, G. Adamovich , N. Otsup, I. Odoevtseva. The best poets of the Russian emigration G. Ivanov and G. Adamovich developed acmeistic principles: restraint, muffled intonation, expressive asceticism, subtle irony. In Soviet Russia, the manner of acmeists (mainly N. Gumilyov) was imitatedNick.Tikhonov, I. Selvinsky, M. Svetlov, E.Bagritsky. Acmeism also had a significant impact on the author's song.Tatiana Scriabina LITERATURE Anthology of Acmeism. Poems. Manifests. Articles. Notes. Memoirs. M., 1997
Lekmanov O. Book about acmeism . Tomsk, 2000

Acmeism (from Greek akme- the highest degree of something, flourishing, maturity, peak, tip) - one of the modernist trends in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism. Acmeists united in the group "Workshop of Poets", in 1912-1913. published the journal "Hyperborea". 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 1913 in No. 1 of the Apollo magazine (the literary organ of the group during its heyday) , edited by S. Makovsky.

Acmeism did not put forward a detailed philosophical and aesthetic concept. Poets shared the views of the Symbolists on the nature of art, absolutizing the role of the artist. But they called for a cleansing of poetry from the use of vague allusions and symbols, proclaiming a return to the material world and accepting it as it is.

For acmeists, the impressionist tendency to perceive reality as a sign of the unknowable, as a distorted likeness of higher entities, turned out to be unacceptable. Acmeists valued such elements of the artistic form as stylistic balance, pictorial clarity of images, precisely measured composition, and sharpness of details. In their poems, the fragile facets of things were aestheticized, an atmosphere of admiration for everyday, familiar trifles was affirmed.

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;
• echo with past literary epochs, the broadest aesthetic associations, "longing for world culture"

Acmeists have developed subtle ways of conveying the inner world of a lyrical hero. Often the state of feelings was not revealed directly, it was conveyed by a psychologically significant gesture, by listing things. A similar manner of reification of experiences was typical, in particular, for many poems by A. A. Akhmatova.

O. E. Mandelstam noted that acmeism is not only a literary, but also a social phenomenon in Russian history. Together with him, moral strength was revived in Russian poetry. Depicting the world with its joys, vices, injustice, acmeists defiantly refused to solve social problems and affirmed the principle of "art for art's sake".

After 1917, N. S. Gumilyov revived the "Workshop of Poets", but as an organized trend, acmeism ceased to exist in 1923, although there was another attempt to restore this literary movement in 1931.

The fate of the acmeist poets developed differently. The leader of the Acmeists N. S. Gumilyov was shot. O. E. Mandelstam died in one of the Stalinist camps from extreme exhaustion. A. A. Akhmatova suffered severe hardships: her first husband was shot, her son was arrested twice and sentenced to hard labor in the camp. But Akhmatova found the courage to create a great poetic testimony of the tragic era - "Requiem".

Only S. M. Gorodetsky lived a fairly prosperous life: abandoning the principles of acmeism, he learned to create “according to the new rules”, obeying the ideological demands of the authorities. In the 1930s created a number of opera librettos (“Breakthrough”, “Alexander Nevsky”, “Thoughts about Opanas”, etc.). During the war years, he was engaged in translations of Uzbek and Tajik poets. In the last years of his life, Gorodetsky taught at the Literary Institute. M. Gorky. He passed away in June 1967.

Moscow State University named after M.V. LOMONOSOV

FACULTY OF JOURNALISM

Performed:

Teacher:

Moscow, 2007

Introduction

At the turn of the 19th and 20th centuries, an interesting phenomenon arose in Russian literature, which was later called "poetry of the silver age." It was a time of new ideas and new directions. If the 19th century, nevertheless, for the most part passed under the sign of a desire for realism, then a new surge in poetic creativity at the turn of the century followed a different path. This period was with the desire of contemporaries for the renewal of the country, the renewal of literature, and with a variety of modernist trends, as a result, that appeared at that time. They were very diverse both in form and content: symbolism, acmeism, futurism, imagism…

Thanks to such different directions and currents, new names appeared in Russian poetry, many of which happened to stay in it forever. The great poets of that era, starting in the bowels of the modernist movement, very quickly grew out of it, striking with their talent and versatility of creativity. This happened with Blok, Yesenin, Mayakovsky, Gumilyov, Akhmatova, Tsvetaeva, Voloshin and many others.

Conventionally, the beginning of the "Silver Age" is considered to be 1892, when the ideologist and oldest member of the Symbolist movement Dmitry Merezhkovsky read a report "On the Causes of the Decline and New Trends in Modern Russian Literature." So for the first time the symbolists declared themselves.

The beginning of the 1900s was the heyday of symbolism, but by the 1910s the crisis of this literary trend began. The attempt of the Symbolists to proclaim a literary movement and master the artistic consciousness of the era failed. The question of the relationship of art to reality, of the significance and place of art in the development of Russian national history and culture, is again sharply raised.

Some new direction should have appeared, raising the question of the relationship between poetry and reality in a different way. This is exactly what acmeism has become.

Acmeism as a literary movement

The emergence of acmeism

In 1911, among the poets who were striving to create a new direction in literature, a circle “Poets' Workshop” appeared, headed by Nikolai Gumilyov and Sergey Gorodetsky. The members of the "Workshop" were mostly novice poets: A. Akhmatova, N. Burliuk, Vas. Gippius, M. Zenkevich, Georgy Ivanov, E. Kuzmina-Karavaeva, M. Lozinsky, O. Mandelstam, Vl. Narbut, P. Radimov. At various times, E. Kuzmina-Karavaeva, N. Nedobrovo, V. Komarovsky, V. Rozhdestvensky, S. Neldikhen were close to the "Workshop of Poets" and acmeism. The most striking of the "junior" acmeists were Georgy Ivanov and Georgy Adamovich. In total, four almanacs "The Workshop of Poets" were published (1921 - 1923, the first under the title "Dragon", the last was published already in Berlin by the emigrated part of the "Workshop of Poets").

The creation of a literary trend called “acmeism” was officially announced on February 11, 1912 at a meeting of the “Academy of Verse”, and articles by Gumilyov “The Heritage of Symbolism and Acmeism” and Gorodetsky “Some Trends in contemporary Russian poetry", which were considered manifestos of the new school.

Philosophical basis of aesthetics

In his famous article “The Heritage of Symbolism and Acmeism”, N. Gumilyov wrote: “A new direction is replacing symbolism, no matter how it is called, whether acmeism (from the word acmh (“acme”) is the highest degree of something, color, blooming time ), or Adamism (a courageously firm and clear view of life), in any case, requiring a greater balance of power and a more accurate knowledge of the relationship between subject and object than was the case in symbolism.

The chosen name of this direction confirmed the desire of the acmeists themselves to comprehend the heights of literary skill. Symbolism was very closely connected with acmeism, which its ideologists constantly emphasized, starting from symbolism in their ideas.

In the article "The Legacy of Symbolism and Acmeism", Gumilyov, acknowledging that "symbolism was a worthy father", stated that he "has completed his circle of development and is now falling." After analyzing both domestic and French and German symbolism, he concluded: “We do not agree to sacrifice other methods of influence to him (the symbol) and are looking for their complete consistency”, “It is more difficult to be an Acmeist than a symbolist, as it is more difficult to build a cathedral than tower. And one of the principles of the new direction is to always follow the line of greatest resistance.”

Speaking about the relationship between the world and human consciousness, Gumilyov demanded "always remember the unknowable", but at the same time "not offend your thoughts about it with more or less probable guesses." Negatively referring to the aspiration of symbolism to know the secret meaning of being (it remained secret even for acmeism), Gumilyov declared the “unchasteness” of the knowledge of the “unknowable”, “childishly wise, painfully sweet feeling of one’s own ignorance”, the inherent value of the “wise and clear” reality surrounding the poet. Thus, acmeists in the field of theory remained on the basis of philosophical idealism. The program of acmeistic acceptance of the world was also expressed in Sergei Gorodetsky's article “Some trends in modern Russian poetry”: “After all sorts of “rejections”, the world was irrevocably accepted by acmeism, in the totality of beauties and ugliness.”

Sorry, captivating moisture

And primeval fog!

There is more goodness in the transparent wind

For countries created for life.

Spacious world and polyphonic,

And he is more colorful than rainbows,

And here he is entrusted to Adam,

Name Inventor.

Name, recognize, rip off the covers

And idle secrets and decrepit haze.

Here is the first feat. New feat

Sing praises to the living earth.

Genre-compositional and stylistic features

The main attention of the acmeists was focused on poetry. Of course, they also had prose, but it was poetry that formed this direction. As a rule, these were works of small volume, sometimes in the genre of a sonnet, an elegy.

The most important criterion was attention to the word, to the beauty of the sounding verse. There was a certain general orientation towards traditions of Russian and world art other than those of the Symbolists. Speaking about this, V.M. Zhirmunsky wrote in 1916: “Attention to the artistic structure of words now emphasizes not so much the importance of the melodiousness of lyrical lines, their musical effectiveness, but the picturesque, graphic clarity of images; poetry of allusions and moods is replaced by the art of accurately measured and balanced words... there is a possibility for young poetry to come closer not to the musical lyrics of the romantics, but to the clear and conscious art of French classicism and the French 18th century, emotionally poor, always rationally self-controlled, but graphic rich variety and sophistication of visual impressions, lines, colors and forms.

It is quite difficult to talk about the general theme and stylistic features, since each outstanding poet, whose, as a rule, early poems can be attributed to acmeism, had his own characteristic features.

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.

A. Akhmatova's acmeism had a different character, devoid of attraction to 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 exquisitely drawn details, Akhmatova, as Mandelstam remarked, gave "all the enormous complexity and psychological richness of the Russian novel of the 19th century

The local world of O. Mandelstam was marked by a sense of mortal fragility in the face of 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.

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 dissimilarity of the Adamists with the Gumilyov-Akhmatova-Mandelstam triad has been repeatedly noted in criticism. In 1913, Narbut offered Zenkevich to found an independent group or go "from Gumilyov" to the Cubo-Futurists. 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."

And yet, you can try to analyze the main features of acmeism on the example of individual works. One such example is Theophile Gauthier's poem "Art", translated by Gumilyov. Theophile Gauthier was generally an iconic figure in the formation of Russian acmeism. “Apparently, in the aesthetic program of Gauthier,” writes I.A. Pankeev, - Gumilyov was most impressed by declarations close to himself: "Life is the most important quality in art; everything can be forgiven for it"; "... less meditation, idle talk, synthetic judgments; only thing, thing and thing again" is needed.

So let's get back to the poem.

Making the more beautiful Than taken material more dispassionate - Verse, marble or metal. O bright friend, Drive embarrassment, Tighten the coils. Away with easy tricks Shoe on all feet Familiar Both the poor and the gods. Sculptor, don't be humble And sluggish clay lump, Dreaming of something else. With Parian or Carrara Fight the wreckage you As with royal The home of beauty. Great dungeon! Through the bronze of Syracuse looks The arrogant appearance of the muses. By the hand of a gentle brother Outline slope And Apollo comes out.

Artist! watercolors You won't be sorry! Melt your enamel. Create green sirens With a smile on my lips inclined Monsters on coats of arms. In a three-tiered radiance Madonna and Christ Latin cross. All dust. - One, rejoicing, Art will not die. The people will survive. And on a simple medal Open among the stones unknown kings. And the gods themselves are perishable, But the verse won't stop singing Haughty, More powerful than copper. Mint, bend, fight, - And the unsteady dream of a dream Will join In immortal features.

In general, we have a classic verse: rhyme, rhythm and meter are observed everywhere. The sentences are usually simple, without complex multi-stage turns. Vocabulary is mostly neutral, obsolete words were practically not used in acmeism, high vocabulary. However, colloquial vocabulary is also missing. There are no examples of "word-creation", neologisms, original phraseological units. The verse is clear and understandable, but at the same time unusually beautiful.

If you look at parts of speech, nouns and verbs predominate. There are practically no personal pronouns, since acmeism is more directed to the outside world, and not to the inner experiences of a person.

Various expressive means are present, but do not play a decisive role. Of all the tropes, comparison prevails.

Thus, the acmeists created their poems not at the expense of multi-stage constructions and complex images - their images are clear, and the sentences are quite simple. But they are distinguished by the desire for beauty, the sublimity of this very simplicity. And it was the acmeists who were able to make ordinary words play in a completely new way.

Conclusion

Despite numerous manifestos, acmeism still remained weakly expressed as a holistic direction. His main merit is that he was able to unite many talented poets. Over time, all of them, starting with the founder of the school, Nikolai Gumilyov, "outgrew" acmeism, created their own special, unique style. However, this literary direction somehow helped their talent to develop. And for this alone, acmeism can be given an honorable place in the history of Russian literature at the beginning of the 20th century.

Nevertheless, the main features of the poetry of acmeism can be distinguished. Firstly, attention to the beauty of the surrounding world, to the smallest details, to distant and unknown places. At the same time, acmeism does not seek to know the irrational. He remembers it, but prefers to leave it untouched. As for the stylistic features directly, this is the desire for simple sentences, neutral vocabulary, the absence of complex turns and piling up of metaphors. However, at the same time, the poetry of acmeism remains unusually bright, sonorous and beautiful.

Bibliography

1. Acmeism // Literary manifestos from symbolism to the present day. Comp.S. Jimbins. - M .: Consent, 2000.

2. Acmeism, or Adamism // Literary Encyclopedia: In 11 volumes - [M.], 1929-1939. T.1

3. Gumilyov N. The legacy of symbolism and acmeism // Gumilyov N. Favorites. – M.: Veche, 2001. – 512 p. - P.367-370.

4. Zhirmunsky V.M. Overcoming symbolism: article [Electronic resource]. – Access mode: http: // gumilev. ru/main. phtml? aid=5000895

5. Pankeev I.A. In the middle of the earthly wandering (lit.-biographical chronicle) // Gumilyov N., Selected. – M.: Enlightenment, 1991.

6. Skryabina T. Acmeism // Encyclopedia "Round the World": Encyclopedia [Electronic resource]. – Access mode: http: // www. krugosvet. ru/articles/102/1010275/1010275a1. htm

Cit. by Acmeism // Literary manifestos from symbolism to the present day. Comp. S. Jimbinov. - M .: Consent, 2000.

Zhirmunsky V.M. Overcoming symbolism: article [Electronic resource]. – Access mode: http://gumilev.ru/main.phtml?aid=5000895

Pankeev I. A. In the middle of the earthly wandering (lit.-biographical chronicle) // Gumilyov N., Selected. - M .: Education, 1991. - S. 11.

Acmeism is one of the modernist trends in Russian poetry.

It had to flourish.

The poets N. Gumilyov and S. Gorodetsky are considered to be the ideological inspirers of Russian acmeism.

Aesthetic maturity of poetry

Throughout its existence, poetry has undergone many different currents and directions. In the first decade of the 20th century, in opposition to symbolism, a new modernist trend, acmeism, was formed in Russian poetry. Translated from Greek, this term means the highest degree, peak, maturity, flourishing.

Creative people, and especially poets, are most often far from such concepts as modesty. Almost everyone considers themselves a genius, or at least a great talent. In this way, a group of young poets, connected not only by creativity, but also by personal friendship, were indignant at the harsh criticism of one of them, Nikolai Gumilyov, and created their own association with the somewhat artisanal name "Poets' Workshop".

But already in the title itself, there is a desire to look not just as lovers of the lyrical poetic genre, but to be artisans, professionals. Acmeists published the magazines "Hyperborea" and "Apollo". Not only poems were published there, but there were also polemics with poets of other trends in the genre of prose.

acmeist poets photo

The ideological inspirers of acmeism, Nikolai Gumilyov and Sergei Gorodetsky, published in these journals a kind of program manifesto of a new poetic trend.

Basic concepts of acmeism

• Poetry must be expressed in a clear and understandable style;
• the reality and vitality of feelings and actions are much more important than emasculated, idealized, far-fetched and sensual concepts;
  
• frozen symbols should not prevail over the human worldview;
• the mystical creed must be completely abandoned;
• earthly life is full of diversity and brilliance, which must be brought into poetry;
• the poetic word must sound precisely and definitely - each object, phenomenon or act must be voiced clearly and understandably;
• a man with his genuine, primordial, one might even say biological emotions, and not fictional, sleek and varnished feelings and experiences - that's a worthy, hero of real poetry;
• Acmeists should not reject past literary epochs, but take from them aesthetically valuable principles, have an inseparable connection with world culture.

The Acmeists considered the Word to be the basis of the foundation in their poetry. The backbone of the first composition of the “Workshop of Poets” was made up not only of poets close in their ideology, but also people connected with each other by bonds of friendship. Subsequently, the names of these poets were included in the Golden Fund of Russian Literature.

Acmeist poets

• - was born in the 90s of the 19th century. He received an excellent education in a truly intelligent family, where morality, culture and education were considered the main values. By the time of the creation of acmeism, he was a famous poet.
• - an unusual and talented personality, a romantic with a very courageous appearance and a subtle soul. From a young age, he tried to establish himself as a person and find his place in this difficult life. Very often, this desire grew from position to pose, which may have led to an early and tragic departure from life.
• - pride, glory, pain and tragedy of Russian poetry. The poetic soul of this courageous woman gave birth to poignant words about the great mystery of love, placing her poems among the beautiful creations of immortal Russian literature.
• - a poetically gifted young man, subtly feeling art. Poems, in his own words, overwhelmed him and sounded like music in him. Friendship with Nikolai Gumilyov and Anna Akhmatova considered the most important success of his life.
• Mikhail Zenkevich, a poet and translator, the only one of the founders of acmeism, lived until the 80s of the 20th century, successfully avoiding repression and persecution.
• Vladimir Narbut, a young poet, belonged to the circle of visitors to the Vsevolod Ivanov Tower, warmly embraced the idea of ​​acmeism.

Outcome

As a literary movement, acmeism existed for a little over two years. For all the controversial concepts of this trend, its value is not only that it was an exclusively Russian trend, but that the work of remarkable Russian poets is associated with acmeism, without whose work it is impossible to imagine Russian poetry of the 20th century.

Russian acmeism as a literary trend arose when the political upsurge in Russia coexisted with society's fatigue from the stormy searches of previous years.

Acmeism - the history of definition

(from the Greek "Akme" - flowering, peak, point).

However, this literary movement had two more names - adamism(From the first man - Adam) and clarism(from the French "Clare" - clarity).

The main features of acmeism asliterary direction

They are considered:

• declaration of break with symbolism
• continuity with predecessors
• rejection of the symbol as the only way of poetic influence
• "the intrinsic value of each phenomenon" in creativity
• denial of the mystical
• the cornerstone of acmeism is the names of Shakespeare. Rabelais, F. Villon, T. Gauthier, as well as the poetry of I. Annensky
• connection in the creativity of the inner world of a person with "wise physiology"
• “clothing of impeccable forms” (N. Gumilyov).

Russian acmeists, to a greater extent than, went into the circle of purely literary tasks. In the Russian classics and in world literature, they chose what in the philosophy of creativity was associated with the elements of immediate vitality, in the circle of "non-politicized" culture, in search of a poetic word.

O. Mandelstam

So, O. Mandelstam in the article "On the nature of the word" admired the "Nominalism" of the Russian language.

Making the more beautiful

Than taken material

more dispassionate -

Verse, marble or metal.

Or Mandelstam:

The sound is wary and muffled

The fruit that fell from the tree

In the midst of the silent chant

The sad silence of the forest.

Such unity in theory did not exclude the peculiarities of the creative development of everyone who considered himself a member of this literary trend in Russian acmeism.

So, in the poetry of O. Mandelstam there is no concentration on the image of a lyrical hero. His poetry has long been alien to ideological certainty. In different years, various world cultural layers (Gothic, Hellenism, St. Petersburg) were refracted in his poetry in a peculiar way.

The poet's lyrical self is hidden in the subtext, in the semantic atmosphere of poetic texts. Mandelstam put forward the thesis of poetic architecture. The word is like a stone, which is the basis of the building of poetry.
The poet's first collection of poems was called "Stone". The objectivity of Mandelstam's poems is always associated with the mood of the character. Along with the stone, music, the world of ideas, and architecture are poeticized. The poet's world is alien to mysticism or symbolism. Ultimate clarity and materiality are the characteristics of this world (“Beautiful is the temple bathed in the world…”, “Notre Dame”).

A. Akhmatova and acmeism

Early Akhmatova's poems are a world of sounds and colors, smells and weight ("A dark-skinned youth wandered along the alleys ..."). The verses are extremely clear: the simplicity of vision, the world of objects that surrounds the lyrical heroine, the colloquial nature of poetic speech, the monologue, the gravitation towards the stage nature of the verse, while the main thing is the laconicism of the plot (“I saw my friend to the front ...”). At the same time, Akhmatova is alien to hedonism and "divine physiology" in poetry.

For N. Gumilyov himself, acmeism is the pathos of the heroic, the cult of male risk, courage, courage, the affirmation of the high pathos of life. Gumilyov is always accurate in details. At the same time, he, like many acmeists, turns to previous centuries of world culture (“Padua Cathedral”, “Pisa”). At the same time, unlike Blok, who, for example, saw the sunset of its former greatness in Italy, Gumilyov's colors are life-affirming, bright and pure.

Our presentation on acmeism

The meaning of Russian acmeism

The fate of Russian acmeism

The fate of Russian acmeism, like many literary movements that characterize the Silver Age of Russian culture, is largely tragic.

Acmeism, with all the declaration of clarity, life-affirmation, had to defend itself in the struggle. For many years of Soviet history, these poets were practically not talked about. The fate of many acmeists in Russia is tragic. N. Gumilyov was shot, V. Narbut and O. Mandelstam were destroyed. A tragic fate befell A. Akhmatova.

At the same time, in the words of the American professor of Russian studies O. Ronen, the "platinum age" of Russian poetry was buried along with acmeism.

Did you like it? Do not hide your joy from the world - share