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 Legacy 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 precise 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 the article by Sergei Gorodetsky “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 precisely 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 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.

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 elegantly outlined details, Akhmatova, according to Mandelstam, 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 (literary-biographical chronicle) // Gumilyov N., Selected. - M .: Education, 1991. - S. 11.

It often happens with pioneers that instead of the planned opening of a short route to India, the New World is unexpectedly discovered, and instead of El Dorado, the Inca Empire. Something similar happened at the beginning of the twentieth century with the Acmeists. The direction of acmeism arose in opposition to its predecessors, but, as it turned out later, it only continued them and became a kind of crown of symbolism. However, many researchers believe that the difference between the two poetic groups was much deeper than it seemed at the beginning of the last century. Speaking about what acmeism is, it is worth telling not only about the features of the literary work of its representatives, but also about their life path.

The emergence of the movement

The history of the movement began in 1911, when poets under the leadership of Gorodetsky and Nikolai Gumilyov gathered for the first time in St. Petersburg. In an effort to emphasize the importance of craft and training in poetic creativity, the organizers called the new society the "Poets' Workshop". Thus, answering the question of what acmeism is, we can start with the fact that this is a literary trend, the founders of which were two St. Petersburg poets, who were later joined by no less significant heroes of the literary scene.

The first acmeists manifested their fundamental difference from the symbolists, arguing that, unlike the first, they strive for maximum reality, reliability and plasticity of images, while the symbolists tried to penetrate into "superreal" spheres.

Members of the poetry club

The official opening of the poetry club took place in 1912 at a meeting of the so-called Academy of Verse. A year later, two articles were published in the almanac "Apollo", which became fundamental for a new literary trend. One article, written by Nikolai Gumilyov, was titled "The Legacy of Symbolism and Acmeism." Another was written by Gorodetsky, and it was called "Some Trends in Modern Russian Poetry."

In his programmatic article on acmeism, Gumilyov points out the desire of himself and his associates to reach the heights of literary mastery. In turn, mastery was achievable only by working in a close-knit group. It was the ability to work in such a group and organizational cohesion that distinguished representatives of acmeism.

According to the testimony of Andrei Bely, the name itself appeared quite by accident in the heat of a dispute between friends. On that decisive evening, Vyacheslav Ivanov jokingly began to talk about Adamism and Acmeism, but Gumilyov liked these terms, and since then he began to call himself and his comrades Acmeists. The term "Adamism" was less popular, as it evoked associations with brutality and soilism, with which the acmeists had nothing in common.

Basic principles of acmeism

Answering the question of what acmeism is, one should name the main features that distinguished it from other artistic movements of the Silver Age. These include:

• romanticization of the feelings of the first man;
• talk about earthly primeval beauty;
• clarity and transparency of images;
• understanding of art as a tool for improving human nature;
• influence on the imperfection of life by artistic images.

All these differences were reflected by the members of the informal community and reworked into specific instructions, which were followed by such poets as Nikolai Gumilyov, Osip Mandelstam, Mikhail Zinkevich, Georgy Ivanov, Elizaveta Kuzmina-Karavaeva and even Anna Akhmatova.

Nikolai Gumilyov in acmeism

Although many researchers insist that acmeism was one of the most cohesive movements of the early twentieth century, others, on the contrary, argue that it is more worth talking about the community of very different and talented poets in their own way. However, one thing remains indisputable: most of the meetings were held in Vyacheslav Ivanov's "Tower", and the literary journal "Hyperborea" was published for five years - from 1913 to 1918. In literature, acmeism occupies a very special place, being separated from both symbolism and futurism.

It will be convenient to consider all the internal diversity of this trend using the example of such key figures as Akhmatova and Gumilyov, who were married from 1910 to 1918. These two poets gravitated toward two fundamentally different types of poetic utterance.

From the very beginning of his work, Nikolai Gumilyov chose the path of a warrior, discoverer, conquistador and inquisitor, which was reflected not only in his work, but also in his life path.

In his texts, he used vivid expressive images of distant countries and fictional worlds, idealized much in the world around him and beyond, and in the end he paid for it. In 1921 Gumilev was shot on charges of espionage.

Anna Akhmatova and acmeism

This direction played an important role in the life of Russian literature even after the "Workshop of Poets" ceased to exist. Most members of the poetic community have lived difficult and eventful lives. However, Anna Andreevna Akhmatova lived the longest life, becoming a real star of Russian poetry.

It was Akhmatova who was able to perceive the pain of the people around her as her own, because the terrible age also cast its shadow on her fate. However, despite all the hardships of life, Anna Andreevna throughout her entire work remained faithful to acmeist principles: careful attitude to the word, heredity of times, respect for culture and history. One of the main consequences of the influence of acmeism was that in Akhmatova's work, personal experiences always merged with social and historical ones.

It seems that everyday life itself did not leave room for mysticism and romantic reflections on the lyrical. For many years, Akhmatova was forced to stand in lines to deliver parcels to her son in prison, she suffered from deprivation and disorder. Thus, daily life forced the great poetess to follow the acmeist principle of clarity of speech and honesty of expression.

Osip Mandelstam appreciated Akhmatova's work so highly that he compared the richness and imagery of her literary language with all the richness of the Russian classical novel. Anna Andreevna also achieved international recognition, but the Nobel Prize, for which she was nominated twice, was never awarded.

Akhmatova's lyrical acmeism contrasted sharply with the temperament of another poet from her circle, Osip Mandelstam.

Mandelstam in the circle of acmeists

Osip Mandelstam stood apart among young poets, distinguished from his compatriots by a special sense of the historical moment, for which he paid the price by dying in the Far Eastern camps.

The legacy of the great poet has survived to this day only thanks to the truly heroic efforts of his devoted wife, Nadezhda Yakovlevna Mandelstam, who kept her husband's manuscripts for several decades after his death.

It is worth noting that such behavior could cost Nadezhda Yakovlevna her freedom, because even for storing the manuscript of an enemy of the people, a serious punishment was due, and his wife not only saved, but also copied, and also distributed Mandelstam's poems.

Mandelstam's poetics is distinguished by a subject carefully inscribed in the context of European culture. His lyrical hero not only lives in the difficult time of Stalin's repressions, but also in the world of Greek heroes wandering the seas. It is possible that his studies at the historical and philological faculty of the university left their mark on the poet's work.

A conversation about what acmeism is for Russian culture cannot do without mentioning the tragic fates of its main representatives. As already mentioned, after the exile, Osip Mandelstam was sent to the Gulag, where he went missing, and his wife was forced to wander around different cities for a long time, without having a permanent home. The first husband and son of Akhmatova also spent many years in prison, which became an important topic in the texts of the poetess.

"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, depiction of the material world, earthly beauties, poeticization of the feelings of 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 the association of those close to him 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. An exact definition of acmeism could not be given as participants in the movement, including 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 the theoretical works and works of art of writers: the first two manifestos of acmeists - articles by N. S. Gumilyov "The Legacy of Symbolism and Acmeism" and S. M. Gorodetsky "Some Trends in Modern Russian Poetry" were published in the first issue of the journal "Apollo" in 1913, from which it is customary to consider acmeism as a well-established literary movement, the third manifesto - an article by O. E. Mandelstam "Morning of Acmeism" (1919), written in 1913, was published only 6 years later due to discrepancies views of the poet 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. 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.

"Portrait in painting" - Develop visual associations. Who is the portrait about? “Only a pure beautiful soul perceives true beauty. "Acquaintance with a child's portrait." Who is usually called that? I. Repin Dragonfly. Average age. V. A. Serov. To teach children to see movement and character in a portrait. Happy?

"Trends in painting" - Representatives. Aesthetic positions of naturalism. Long live the mysterious meaning of sounds!” A. Rimbaud Striving for the world of the beyond, beyond. The main trends in the literature of the early twentieth century. Emile Zola (1840-1902). Naturalism. Archaeological finds showing that Symbolism. critical realism.

"Painting styles" - "Pine trees illuminated by the sun." Paul Cezanne. Mount Saint Victoire. Surrealism (derived from the French surrealisme - over + realism) is one of the trends of modernism. Bowed Harlequin. Floor polishers. Annunciation. Lovers. Monet. Picasso. Suprematism. Demon's head against the backdrop of mountains. Daemon. Kitsch. Kandinsky Vasily Vasilievich.

"History of Painting" - K. Petrov - Vodkin. Veronese recreated one of the most significant moments in the life of Christ. Rock painting. The portrait of the old man, despite the naturalistic details, is full of charm. Pan. Greyhound. The color of the icons is conventional and decorative. Imagine a poplar. The history of painting begins with rock carvings of primitive man.

"Painting of the 20th century" - Innovation in all areas of art - this is the main slogan of the avant-garde. Self-portrait, 1912 Black square. One of the types of composer technique of the XX century. V. V. Kandinsky. Futurism. Velemir Khlebnikov. Pierre Boulez. In 1910 he became one of the organizers of the art association "Jack of Diamonds". Subject: MHC.

"Acmeism" - 1911 - the literary association "Workshop of Poets" The leaders of the "Workshop": N. Gumilyov and S. Gorodetsky 1913 "Apollo" magazine - a declaration of the acmeist group. Acmeism. The poem "Giraffe" 1907 1913 - 1914 S. Gorodetsky "Some currents in modern Russian poetry" Criticism of the "blurring" of symbolism, installation on the unknowability of the world.

The name of the literary modernist trend in Russian poetry of the early twentieth century, akmeizim, comes from the Greek word "akme", translated into Russian meaning the heyday, peak or pinnacle of something (according to other versions, the term comes from the Greek roots of Akhmatova's pseudonym "akmatus").

This literary school was created in opposition to symbolism, as a response to its extremes and excesses. Acmeists advocated the return of clarity and materiality to the poetic word and the refusal to let in the mysterious fog of mysticism when describing reality (as was customary in symbolism). The adherents of acmeism advocated the accuracy of the word, the objectivity of themes and images, the acceptance of the surrounding world in all its diversity, colorfulness, sonority and tangible concreteness.

The founders of acmeism are such Russian poets of the Silver Age of Russian poetry as Nikolai Gumilyov, Anna Akhmatova and Sergei Gorodetsky, later they were joined by O. Mandelstam, V. Narbut, M. Zenkevich.

In 1912, they founded their own school of professional skill, the Workshop of Poets, in 1913, articles by Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Trends in Modern Russian Poetry” appear in the Apollon magazine, in which the term “ acmeism”, describes its main features. In these articles, which are a kind of program for the acmeist movement, its main humanistic plan was proclaimed - the revival of a new thirst for life in people, the return of a sense of its colorfulness and brightness. The first works of acmeist poets were published in the third issue of the Apollo magazine (1913) after the release of manifesto articles. During 1913-1919. the acmeists' own magazine "Hyperboreans" was published (therefore they were also often called "Hyperboreans").

Unlike symbolism, which, according to many literary researchers, has undeniable similarities with the art of music (like music, it is also mysterious, polysemantic, can have a large number of interpretations), acmeism is more close to such three-dimensional spatial trends in art as architecture, sculpture or painting.

Poems-poets of acmeists are distinguished not only by their amazing beauty, but also by their accuracy, consistency, extremely simple meaning, understandable to any reader. The words used in the works of acmeists are designed to convey exactly the meaning that was originally laid down in them, there are no various exaggerations or comparisons, metaphors and hyperbole are practically not used. Aggressiveness was alien to acmeist poets, they were not interested in political and social topics, great importance is attached to the highest human values, the spiritual world of man comes to the fore. Their poems are very easy to understand, listen to and remember, because complex things in their talented description become simple and understandable for each of us.

Representatives of this literary movement were united not only by a single passion for the new school of poetry, in life they were also friends and like-minded people, their organization was distinguished by great cohesion and unity of views, although they lacked a certain literary platform and standards on which they could rely when writing their works. The verses of each of them, differing in structure, character, mood and other creative features, were extremely specific, accessible to the understanding of readers, as required by the school of acmeism, and did not cause additional questions after reading them.

Despite the friendship and solidarity between the acmeist poets, the limited scope of this literary movement for such brilliant poets as Gumilyov, Akhmatova or Mandelstam soon became tight. After Gumilyov's quarrel with Gorodetsky in February 1914, the Poets' Workshop school of professional skills, after two years of its existence, 10 issues of the Hyperborea magazine and several poetry collections, broke up. Although the poets of this organization did not cease to attribute themselves to this literary movement and were published in literary magazines and newspapers, in which the publishers called them acmeists. Young poets Georgy Ivanov, Georgy Adamovich, Nikolai Otsup, Irina Odoevtseva called themselves successors of Gumilyov's ideas.

A unique feature of such a literary trend as acmeism is that it was born and developed exclusively on the territory of Russia, having a huge impact on the further development of Russian poetry in the early twentieth century. Literary researchers call the invaluable merit of the acmeist poets the invention of a special, subtle way of conveying the spiritual world of lyrical characters that can be betrayed with the help of a single movement, gesture, a way of listing any things or important little things that cause many associations to appear in the imagination of readers. This ingeniously simple kind of "materialization" of the feelings and experiences of the main lyrical hero has enormous power of influence and becomes understandable and accessible to every reader.