In which country did acmeism originate? Acmeism in literature and its short history. Acmeism message briefly

"Workshop of poets" - the founders of acmeism

Acmeism is one of the modernist trends in Russian poetry, which was formed at the beginning of the 20th century as the art of completely accurate and balanced words, opposed to symbolism. The program of acmeism was officially announced on December 19, 1912 in St. Petersburg.

Acmeism overcame symbolist aspirations, imbued with extreme mysticism and individualism. Symbolism, understatement, mystery and vagueness of images, which caused correspondences and analogies, of symbolism were replaced by clear and precise, unambiguous and refined poetic verbal images.

Guided by a real view of things, acmeism proclaimed the materiality, specificity, accuracy and clarity of the text, it significantly stood out among literary movements for a number of its features: a separate approach to each object and phenomenon, their artistic transformation, the involvement of art in ennobling human nature, the clarity of a poetic text ( "lyrics of impeccable words"), aestheticism, expressiveness, unambiguity, certainty of images, image of the material world, earthly beauties, poeticization of feelings primitive man etc.

Origin of the term "acmeism"

The term "acmeism" was introduced by N. S. Gumilyov and S. M. Gorodetsky in 1912 as a new literary trend as opposed to symbolism.

The name of the direction behind the words of Andrei Bely appeared during the discussion between V. V. Ivanov and N. S. Gumelev, when N. S. Gumelev picked up the words “Acmeism” and “Adamism” pronounced by V. V. Ivanov and called them an association close to himself poets. Hence the other used name for acmeism is "Adamism".

Due to the spontaneous choice of the name of the group, the concept of acmeism was not fully justified, which caused the doubts of critics about the legitimacy of the term. Precise definition Acmeism could not be given as participants in the movement, among which the poet O.E. Mandelstam, linguist and literary critic V. M. Zhirmunsky, and researchers of Russian literature: R. D. Timenchik, Omri Ronen, N. A. Bogomolov, John Malmstad and others. Therefore, the number of adherents of acmeism varies depending on what is put into the content of this concept. The movement usually includes six poets.

Their contemporaries found another meaning of the term. For example, V. A. Pyast found its beginnings in the pseudonym of Anna Akhmatova, which in Latin sounds “akmatus”, similar to the meaning of the Greek “akme” - “edge, tip, point”.

The formation of acmeism took place under the influence of the creativity of the "Workshop of Poets", the opposition group "Academy of Verse", the main representatives of which were the creators of acmeism Nikolay Gumilyov, Sergey Gorodetsky and Anna Akhmatova.

The concept of "acmeism" is little substantiated in the manifestos of the commonwealth. Even the main members of the group did not always adhere to the basic provisions of the acmeist manifestos in practice. But, for all the vagueness of the term, the lack of its specificity, "acmeism" covers the general ideas of poets proclaiming the materiality, the objectivity of images, the clarity of words.
Acmeism in literature

Acmeism is a literary school consisting of six gifted and different poets, who were primarily united not by a common theoretical program, but by personal friendship, which contributed to their organizational cohesion. In addition to its founders N. S. Gumilyov and S. M. Gorodetsky, the community included: O. E. Mandelstam, A. Akhmatova, V. I. Narbut and M. A. Zenkevich. V. G. Ivanov also tried to join the group, which was disputed by Anna Akhmatova, according to whom "there were six acmeists, and there never was a seventh." Acmeism is reflected in theoretical works and works of art writers: the first two manifestos of acmeists - articles by N. S. Gumilyov “The Heritage of Symbolism and Acmeism” and S. M. Gorodetsky “Some Trends in Modern Russian Poetry”, were published in the first issue of the Apollo magazine in 1913, from which it was accepted consider acmeism as a well-formed literary trend, the third manifesto - an article by O. E. Mandelstam "Morning of Acmeism" (1919), written in 1913, was published only 6 years later due to the divergence of the poet's views with the views of N. S. Gumilyov and S. M. Gorodetsky.

Acmeist poems were published after the first manifestos in the third issue of Apollo in 1913. In addition, during 1913-1918. a literary magazine of acmeist poets "Hyperborea" was published (hence another name for acmeists - "Hyperboreans").

The predecessors of acmeism, whose work served as its basis, N. S. Gumilyov in his manifestos calls: William Shakespeare, Francois Villon, Francois Rabelais and Theophile Gauthier. Among Russian names such cornerstones were I. F. Annensky, V. Ya. Bryusov, M. A. Kuzmin.

The principles indicated in the manifestoes sharply contradicted the poetic creativity of the participants in the association, which attracted the attention of skeptics. The Russian symbolist poets A. A. Blok, V. Ya. Bryusov, V. I. Ivanov considered the acmeists to be their followers, the futurists perceived them as opponents, and the supporters of the Marxist ideology who changed them, starting with L. D. Trotsky, called the acmeists an anti-Soviet trend desperate bourgeois literature. The composition of the school of acmeism was extremely mixed, and the views of the group of acmeists represented by V.I. This discrepancy between poetic views within one movement has prompted literary critics to long reflections. It is not surprising that neither V.I. Narbut and M.A. Zenkevich were members of the second and third professional associations "Poets' Workshop".

The poets tried to leave the current before, when in 1913 V. I. Narbut suggested that M. A. Zenkevich leave the community of acmeists and create a separate creative group of two people or join the Cubo-Futurists, whose sharp concepts were much closer to him than refined aestheticism Mandelstam. A number of literary researchers came to the conclusion that the founder of the association, S. M. Gumilyov, deliberately tried to connect inorganic creative ideologies in one movement for the harmonious polyphony of a new unlimited direction. But more likely is the opinion that both sides of acmeism - poetic-acmeist (N. S. Gumilyov, A. Akhmatova, O. E. Mandelstam) and materialistic-Adamist (V. I. Narbut, M. A. Zenkevich, S. M. Gorodetsky) - united the principle of deviation from symbolism. Acmeism as a literary school comprehensively defended its concepts: opposing itself to symbolism, it simultaneously struggled with the frantic word-creation of the parallel trend of futurism.

Sunset of acmeism

In February 1914, when there was a discord between N. S. Gumilyov and S. M. Gorodetsky, the first school of mastering the poetic mastery “The Workshop of Poets” collapsed, and acmeism fell. As a result of these events, the direction was severely criticized, and B. A. Sadovskaya even announced the “end of acmeism”. Nevertheless, the poets of this group were called acmeists for a long time in publications, and they themselves did not cease to attribute themselves to this direction. Four students and comrades of N. S. Gumilyov, who are often referred to as junior acmeists, inherited and tacitly continued the traditions of acmeism: G. V. Ivanov, G. V. Adamovich, N. A. Otsup, I. V. Odoevtseva. In the works of contemporaries, young writers, Gumilyov's like-minded people, who are inherent in the ideology of the "Workshop of Poets" are often found.

Acmeism as a literary trend existed for about two years, publishing 10 issues of the Hyperborea magazine and several books, leaving an invaluable legacy of the eternal words of outstanding poets who had a significant impact on Russian poetic creativity of the 20th century.

The word acmeism comes from the Greek word acme, which in translation means: peak, peak, highest point, heyday, strength, point.

The beginning of the 1900s was the heyday of symbolism, but by the 1910s the crisis of this literary movement began. The attempt of the symbolists to proclaim literary movement and to 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.

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. IN different time 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.

In his famous article “The Legacy of Symbolism and Acmeism,” N. Gumilyov wrote: “A new direction is replacing symbolism, no matter how it is called, in any case, requiring a greater balance of power and more accurate knowledge of the relationship between subject and object than it was 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 main attention of the acmeists was focused on poetry. Of course, they also had prose, but it was poetry that formed this trend. 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. It is rather 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.

But everywhere rhyme, rhythm and meter are observed. 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.

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.

40714

Acmeism(from Greek akme - highest degree something, flourishing, maturity, pinnacle, edge) is one of the modernist trends in Russian poetry of the 1910s, formed as a reaction to extremes symbolism .

Overcoming the predilection of the symbolists for the "super-real", the ambiguity and fluidity of images, the complicated metaphor, acmeists strove for sensual plastic-material clarity of the image and accuracy, chasing poetic word. Their "earthly" poetry is prone to intimacy, aestheticism and poeticization of the feelings of primitive man. for akm e ism was characterized by extreme apoliticality, complete indifference to the topical problems of our time.

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, momentary being, a kind of mystery covered with a halo of mysticism, then as a cornerstone in poetry acmeism put a realistic view of things. The hazy unsteadiness and fuzziness of symbols were replaced by precise verbal images. Word, according to acmeists had to acquire its original meaning.

The highest point in the hierarchy of values ​​for them was culture, identical to universal human memory. That's why it's so common acmeists appeal to mythological plots and images. If the Symbolists in their work were guided by music, then acmeists- on spatial arts: architecture, sculpture, painting. The attraction to the three-dimensional world was expressed in the passion acmeists objectivity: a colorful, sometimes exotic detail could be used for a purely pictorial purpose. That is, the “overcoming” of symbolism took place not so much in the sphere of general ideas, but in the field of poetic style. In this sense acmeism was as conceptual as symbolism, and in this respect they are undoubtedly in a succession.

hallmark acmeist circle of poets was their "organizational cohesion." Essentially, acmeists were not so much an organized movement with a common theoretical platform, but a group of talented and very different poets who were united by personal friendship. The Symbolists had nothing of the kind: Bryusov's attempts to reunite his brethren were in vain. The same was observed among the futurists - despite the abundance of collective manifestos that they issued. Acmeists, or - as they were also called - "Hyperboreans" (after the name of the printed mouthpiece acmeism, magazine and publishing house "Hyperborey"), immediately acted as a single group. They gave their union the significant name of the “Workshop of Poets”. And the beginning of a new trend (which later became almost an "obligatory condition" for the emergence of new poetic groups in Russia) was laid by a scandal.

In the autumn of 1911, in the poetic salon of Vyacheslav Ivanov, the famous "Tower", where the poetic society gathered and poetry was read and discussed, a "revolt" broke out. Several talented young poets defiantly left the next meeting of the "Academy of Verse", outraged by the derogatory criticism of the "masters" of Symbolism. Nadezhda Mandelstam describes this incident as follows: “Gumilyov's Prodigal Son was read at the Academy of Verse, where Vyacheslav Ivanov reigned, surrounded by respectful students. He subjected the Prodigal Son to a real rout. The performance was so rude and harsh that Gumilyov's friends left the Academy and organized the Poets' Workshop in opposition to it.

And a year later, in the autumn of 1912, the six main members of the "Tsekh" decided not only formally, but also ideologically to separate from the Symbolists. They organized a new commonwealth, calling themselves " acmeists”, i.e. the top. At the same time, the "Workshop of Poets" as organizational structure preserved - acmeists remained in it as an internal poetic association.

Main Ideas acmeism were outlined in program articles N. Gumilyova"The legacy of symbolism and acmeism” and S. Gorodetsky “Some trends in modern Russian poetry”, published in the journal Apollo (1913, No. 1), edited by S. Makovsky. The first of them said: “The symbolism is being replaced by a new direction, no matter how it is called, acmeism whether (from the word akme - the highest degree of something, blooming time) or adamism (a courageously firm and clear outlook on life), in any case, requiring a greater balance of power and a more accurate knowledge of the relationship between subject and object than was in symbolism . However, in order for this trend to assert itself in its entirety and be a worthy successor to the previous one, it must accept its legacy and answer all the questions it posed. The glory of the ancestors obliges, and symbolism was a worthy father.

S. Gorodetsky believed that “symbolism… having filled the world with ‘correspondences’, turned it into a phantom, important only insofar as it… shines through other worlds, and belittled its high inherent value. At acmeists the rose has again become good in itself, with its petals, smell and color, and not with its conceivable likenesses with mystical love or anything else.

In 1913, Mandelstam's article " Morningacmeism”, which was released only six years later. The delay in publication was not accidental: acmeistic Mandelstam's views differed significantly from the declarations of Gumilyov and Gorodetsky and did not make it to the pages of Apollo.

However, as T. Scriabina notes, “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 journal with an article “On Excellent Clarity,” which anticipated the appearance of declarations 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 admiration of “pretty little things.” Kuzmin's ideas could not help but influence acmeists: “beautiful clarity” turned out to be in demand by the majority of participants in the “Workshop of Poets”.

Another "forerunner" acmeism can be considered Ying. Annensky, who, formally being a symbolist, actually paid tribute to him only in the early period of his work. Later, Annensky took a different path: the ideas of late symbolism had practically no effect on his poetry. But the simplicity and clarity of his poetry was well learned acmeists.

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 acmeism as an established literary movement.

Acmeism has six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. For the role of "seventh acmeist"G. Ivanov claimed, but this point of view was protested by A. Akhmatova, who stated that" acmeists there were six, and there never was a seventh." O. Mandelstam was in solidarity with her, who, however, considered that even six was too much: “ Acmeists only six, and among them there was one extra ... ”Mandelstam explained that Gorodetsky was“ attracted ”by Gumilev, not daring to oppose the then powerful symbolists with only“ yellow-mouthed ”. “Gorodetsky was [by that time] famous poet... ". At various times, the work of the "Workshop of Poets" was attended by: G. Adamovich, N. Bruni, Nas. Gippius, Vl. Gippius, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, V. Khlebnikov and others. school of mastering poetic skills, professional association.

Acmeism As a literary trend, it united exceptionally gifted poets - Gumilyov, Akhmatova, Mandelstam, the formation of creative individuals of which took place in the atmosphere of the "Workshop of Poets". History acmeism can be considered as a kind of dialogue between these three prominent representatives of it. However, from "pure" acmeism The adamism of Gorodetsky, Zenkevich and Narbut, who made up the naturalistic wing of the current, was significantly different from the above-mentioned poets. The difference between the Adamists and the Gumilyov-Akhmatova-Mandelstam triad has been repeatedly noted in criticism.

as a literary movement acmeism did not last long - about two years. In February 1914, it split. The "shop of poets" was closed. Acmeists managed to publish ten issues of their journal "Hyperborea" (editor M. Lozinsky), as well as several almanacs.

“Symbolism was fading away” - Gumilyov was not mistaken in this, but he failed to form a current as powerful as Russian symbolism. Acmeism failed to gain a foothold in the role of the leading poetic direction. The reason for its rapid extinction is called, among other things, "the ideological unsuitability of the direction to the conditions of a drastically changed reality." V. Bryusov noted that “for acmeists there is a gap between practice and theory”, and “their practice was purely symbolist”. This is where he saw the crisis. acmeism. However, Bryusov's statements about acmeism always been sharp; He first stated that "... acmeism- fiction, whim, metropolitan fad "and foreshadowed:" ... most likely, in a year or two there will be no acmeism. His very name will disappear, ”and in 1922, in one of his articles, he generally denies him the right to be called a direction, a school, believing that there is nothing serious and original in acmeism no, and that it is "outside the mainstream of literature".

However, attempts to resume the activities of the association were subsequently made more than once. The second "Workshop of poets, founded in the summer of 1916, was headed by G. Ivanov together with G. Adamovich. But he didn't last long either. In 1920, the third "Workshop of Poets" appeared, which was Gumilyov's last attempt to organizationally preserve acmeist line. Poets united under his wing, identifying themselves with the school acmeism: S. Neldichen, N. Otsup, N. Chukovsky, I. Odoevtseva, N. Berberova, Vs. Rozhdestvensky, N. Oleinikov, L. Lipavsky, K. Vatinov, V. Pozner and others. The third "Workshop of Poets" existed in Petrograd for about three years (in parallel with the "Sounding Shell" studio) - until the tragic death of N. Gumilyov.

The creative fate of poets, one way or another connected with acmeism, developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the commonwealth; G. Ivanov and G. Adamovich continued and developed many principles acmeism in exile; on V. Khlebnikov acmeism did not have any noticeable effect. IN Soviet time poetic manner acmeists(mainly N. Gumilyov) were imitated by N. Tikhonov, E. Bagritsky, I. Selvinsky, M. Svetlov.

In comparison with other poetic trends of the Russian Silver Age acmeism in many respects it is seen as a marginal phenomenon. It has no analogues in other European literatures (which cannot be said, for example, about symbolism and futurism); all 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 is acmeism turned out to be extremely fruitful for Russian literature. Akhmatova and Mandelstam managed to leave behind "eternal words." Gumilyov appears in his poems as one of the brightest personalities of the cruel time of revolutions and world wars. And today, almost a century later, interest in acmeism survived mainly because the work of these outstanding poets, who had a significant impact on the fate of Russian poetry of the 20th century, is associated with it.

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;
- a call to past literary eras, the broadest aesthetic associations, "longing for world culture."

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 impressionistic 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 inner world 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 Stalin's 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 last years life Gorodetsky taught at the Literary Institute. M. Gorky. He passed away in June 1967.

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 a circle 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 the theory did not exclude the peculiarities creative development 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 in his poetry, various world cultural layers (Gothic, Hellenism, St. Petersburg) were refracted in a peculiar way.

The lyrical self of the poet is hidden in the subtext, in the semantic atmosphere 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 conversational character poetic speech, monologue, gravitation towards theatricality 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. Gumilev 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 trends characterizing silver Age Russian culture, in many ways tragic.

Acmeism, with all the declaration of clarity, life-affirmation, had to defend itself in the struggle. Long years 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