“Silver Age of Russian Literature” - Analysis of artistic and visual means. Silver age of Russian literature. Where and when did symbolism originate? Remember the mastermind of Italian futurism. Where and when did futurism originate? Silver age of Russian poetry (1892 - 1917). What you need to remember. Key Features. Acmeism originated in Russia in the 1910s. A celebration of individuality. Futurism. Where and why did Acmeism originate? Futurism originated in Italy in the 1910-1915s.

“History of Russian literature of the 20th century” - The Great October Socialist Revolution. 1930s – Stalinist repressions, collectivization, dispossession. Literary work must become part of the general proletarian cause. Interdependence of historical and cultural events. Features of the development of art at the turn of the century. 1914 – 1918 - World War I. 1991 – Collapse of the USSR. Russian literature at the turn of the 19th and 20th centuries. You should not look for allegories in poetry in advance.

“Literature of the October Revolution” - General. Post-October journalism. Letters and diaries. Part of the Russian intelligentsia. V. Korolenko. M. Gorky in “Untimely Thoughts”. Attitude towards the people. Day and night. Attitude to the revolution. Writer's journalism.

“Futurism in the literature of the 20th century” - Nikolai Dulgeroff. Alexey Kruchenykh. Dynamism of a cyclist. Igor Severyanin. Airplane over the train. Vladimir Vladimirovich Mayakovsky. Umberto Boccioni. Fortunato Depero. Futurism in literature and art. Kazimir Malevich. Futurism. The term "futurism". Velimir. Pablo Picasso. Futurist architecture. Umberto Boccioni "Elasticity".

“Russian literature of the 20s” - New Peasant Poetry. Ivanov Vsevolod Vyacheslavovich. Cheerful Artem. Furmanov Dmitry Andreevich. Z. Gippius. Literary group. Platonov Andrey Platonovich. O. Mandelstam. Teffi (real name Lokhvitskaya) Nadezhda Aleksandrovna. Serafimovich (Popov) Alexander Serafimovich. Tikhonov Nikolai Semenovich. Klychkov (real name Leshenkov) Sergey Antonovich. A. Bely. V. Khodasevich. Lugovskoy Vladimir Alexandrovich. Literature of the 20s.

“Acmeism in Literature” - Poetics of Acmeism. Key categories of Acmeism. M. Zenkevich. Acmeism. Reaction to symbolism. Distinctive features of Acmeism. Modernist movement. Acmeist poets. M. Zenkevich and V. Narbut. Poems by V. Narbut. Vladimir Narbut.

Acmeism

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

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

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

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

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

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

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

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

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

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

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

• O. Mandelstam

• N. Gumilev

• A. Akhmatova

• In the poetry of N. Gumilyov, Acmeism is realized in the desire to discover new worlds, exotic images and subjects. The path of the poet in Gumilyov’s lyrics is the path of a warrior, a conquistador, a discoverer. The muse that inspires the poet is the Muse of Distant Journeys.

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

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

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

• The local world of O. Mandelstam was marked by a feeling of mortal fragility before a faceless eternity. Mandelstam's Acmeism is “the complicity of beings in a conspiracy against emptiness and non-existence.” Among the Acmeists, Mandelstam was distinguished by an unusually keenly developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”; all mentioned objects acquired biblical overtones.

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

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

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

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

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Presentation on the topic: Acmeism - a literary movement in Russia

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Dictionary: Acmeism is a modernist movement (the highest degree, pinnacle, blooming time) that arose at the beginning of the twentieth century in Russia, declaring a concrete sensory perception of the outside world, returning the word to its original, not symbolic, meaning. N. Gumilyov: “I proclaim the intrinsic value of the phenomena of life...” Romance and heroism are the basis of the poet’s worldview. A. Akhmatova: “Is an everyday detail significant?” The depth of psychologism is achieved with the help of a detail, which becomes a sign of heightened feelings. J. Mandelstam: “Clear rhythms with courageous pressure approached colloquial language and soulful intonation.”

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Goal: concrete sensory perception of the external world, rejection of the vagueness of symbolism. The current is aimed at reviving a person’s thirst for life, returning the feeling of its beauty. Exotic themes, love, nature, human emotional experiences. Attention to the word. Detailed description. The desire to give a word an extremely precise, clear meaning. Basic artistic means: metaphors, oxymorons for a bright, major image of reality and giving a more capacious meaning to details. Features of Acmeism

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The birth of a new poetry... The term “Acmeism” was proposed in 1912 by N. Gumilev and S. M. Gorodetsky, who regards the struggle between symbolism and Acmeism as a struggle “for this world, sounding, colorful, having shape, weight and time, for our planet Earth." In 1911, the association “Workshop of Poets” was founded, whose leaders were Nikolai Gumilyov and Sergei Gorodetsky. In the fall of 1912, a decision was made to create a new poetic movement - Acmeism.

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Acmeism included six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. Akhmatova Anna Andreevna (1889-1966) Mandelstam Osip Emilievich (1891-1938) Gumilyov Nikolai Stepanovich (1886-1921) Gorodetsky Sergei Mitrofanovich (1884-1967)

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The legacy of the Acmeists N. S. Gumilev - “The Legacy of Symbolism and Acmeism” (1913) S. M. Gorodetsky - “Some trends in modern Russian poetry” (1913) O. E. Mandelstam - article “The Morning of Acmeism” (1913) An important feature Acmeist poetry has strong moral guidelines, an orientation towards traditional universal human values: faith, honor, conscience, duty, goodness, love. Check yourself! - Who is in the photographs?

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Music of Gorodetsky Sergei Mitrofanovich Gorodetsky was born on January 5, 1884 in St. Petersburg. In 1902 he entered the Faculty of History and Philology of St. Petersburg University. He enthusiastically studied Slavic languages, art history, Russian literature, and painted. He started writing poetry since childhood. The first book, "Yar" (late 1906), reflected the poet's interest in folk art, in reproducing ancient Slavic mythology in forms close to modern literature and brought him fame. This theme is continued by the second collection of poems “Perun” (1907), which was no longer met with such enthusiasm. How I loved you, dear, My Russia, the mother of freedoms, When, languishing under the lash, Your great people were silent. In what blind and wild faith I waited for your Sunday! And now the doors of all the prisons have fallen, I see your triumph. You are as majestic on this holiday as before in slave poverty, When both your honor and glory were crucified on the cross. Russia

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In the poems of the Acmeists one could hear... (Continuation of the poem) About the eternal peace of the entire universe, About will, brotherhood and love You sang selflessly To the peoples dying in blood. As the sun rises from the east, So the message comes from you, That there is an end to the cruel war, There is a living truth in people. And a day more beautiful than paradise is approaching, When enemies, when friends, like chains breaking fronts, will exclaim: “Your truth!” How I love you, Russia, When your people raised the Tablets of fire over the world, Tablets of eternal freedoms. One of the merits of S. Gorodetsky is the introduction of children's folklore into Russian literature. In the 1910-1920s, he wrote many books for children, collected children's drawings, and hatched plans to create his own children's newspaper. In 1945, Gorodetsky suffered a heavy loss - the death of his faithful friend and comrade-in-arms throughout his creative life, his wife Anna Alekseevna Gorodetskaya (Nymph), to whom he dedicated the poem “Afterword” (1947). In 1956, after a long break, the name of Gorodetsky reappeared in the central press, and a book of selected works was published. Gorodetsky died in June 1967 at the age of 84.

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Music by Osip Mandelstam... “For Acmeists, the conscious meaning of the word... The same beautiful form as music for the Symbolists... Love existing things and your being more than yourself - this is the highest commandment of Acmeism... The Middle Ages are dear to us because it never mixed different plans and to the otherworldly was treated with great restraint.” Osip Mandelstam

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Music by Osip Mandelstam Born January 3, 1891 in Warsaw in the family of a master tanner and a small merchant. A year later, the family settled in Pavlovsk, then in 1897 they moved to St. Petersburg. Here he graduated from one of the best St. Petersburg educational institutions - the Tenishevsky Commercial School, which gave him solid knowledge in the humanities, and this is where his passion for poetry began. In 1907, Mandelstam went to Paris, listened to lectures at the Sorbonne, met N. Gumilev... Leningrad I returned to my city, familiar to tears, to the veins, to the swollen glands of children. You have returned here, so quickly swallow the fish oil of Leningrad river lanterns, quickly recognize the December day, where the yolk is mixed with the ominous tar. Petersburg! I don't want to die yet! You have my phone numbers. Leningrad! I still have addresses where I can find the voices of the dead. I live on the black stairs, and a bell torn out with meat strikes my temple, And all night long I wait for dear guests, Moving the shackles of the door chains. 1930

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Interest in literature, history, and philosophy leads him to Heidelberg University. Mandelstam's literary debut took place in 1910, when his five poems were published in the Apollo magazine. During these years, he became interested in the ideas and creativity of symbolist poets. In the fall of 1933 he wrote the poem “We live without feeling the country beneath us...”, for which he was arrested in May 1934. Only Bukharin’s defense commuted the sentence - he was sent to Cherdyn-on-Kama, where he stayed for two weeks, fell ill, and was hospitalized. He was sent to Voronezh, where he worked in newspapers and magazines, and on the radio. He was sent by stage to the Far East. In the transit camp on the Second River (now within the boundaries of Vladivostok) on December 27, 1938, O. Mandelstam died in a hospital barracks in the camp. The poet's wife Nadezhda Mandelstam and some of the poet's trusted friends preserved his poems, which became possible to publish in the 1960s. There is no need to talk about anything, Nothing should be taught, And the dark animal soul is both sad and good: It doesn’t want to teach anything, Can’t speak at all, And swims like a young dolphin Through the gray abysses of the world.

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Music by Anna Akhmatova... Anna Andreevna Akhmatova was born in the south of Russia, in Odessa on June 11, 1889 in the Gorenko family. Two years later, the Gorenko couple moved to Tsarskoe Selo, where Anya studied at the Mariinsky Gymnasium. She spoke excellent French and read Dante in the original. Anya Gorenko met her future husband, poet Nikolai Gumilev, when she was still a fourteen-year-old girl. Later, correspondence arose between them, and in 1909 Anna accepted Gumilyov’s official proposal to become his wife. On April 25, 1910, they got married in the St. Nicholas Church in the village of Nikolskaya Sloboda near Kiev. After the wedding, the newlyweds went on their honeymoon, staying in Paris all spring. Since the 1910s, Akhmatova’s active literary activity began. At this time, the aspiring poetess met Blok, Balmont, and Mayakovsky. She published her first poem under the pseudonym Anna Akhmatova at the age of twenty, and in 1912 her first collection of poems, “Evening,” was published.

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The prisoner is a stranger! I don’t need someone else’s, I’m tired of counting my own. So why is it such a joy to see these cherry lips? Even though he blasphemes and dishonors me, I hear his muffled groan in his words. No, he will never make me Think that he is passionately in love with another. And I will never believe that it is possible, After heavenly and secret love, Again laugh and cry anxiously And curse my kisses. 1917 Music by Anna Akhmatova... In March, Anna Andreevna accompanied Nikolai Gumilyov abroad, where he served in the Russian Expeditionary Force. And already in the next 1918, when he returned from London, a break occurred between the spouses. In the autumn of the same year, Akhmatova married V.K. Shileiko, a scientist and translator of cuneiform texts. The poetess did not accept the October Revolution. For, as she wrote, “everything was plundered, sold...”

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Music by Anna Akhmatova... December 1922 was marked by a new turn in Akhmatova’s personal life. She moved in with art critic Nikolai Punin, who later became her third husband. The 1920s were marked by a new poetic rise for Akhmatova: the release of the poetry collections "Anno Domini" and "Plantain", which secured her fame as an outstanding Russian poetess. They stopped publishing new poems by Akhmatova. Her poetic voice fell silent until 1940. Hard times have come for Anna Andreevna. In the early 1930s, her son Lev Gumilyov, who survived three arrests and spent 14 years in camps, was repressed. All these years, Anna Andreevna patiently worked for the release of her son, as well as for her friend, the poet Osip Mandelstam, who was arrested at the same time. But if Lev Gumilyov was subsequently rehabilitated, then Mandelstam died in 1938 in a transit camp on the way to Kolyma. Later, Akhmatova dedicated her great and bitter poem “Requiem” to the fate of thousands and thousands of prisoners and their unfortunate families. …………………………… And the heart only asks for a quick death, Cursing the slowness of fate. More and more often the western wind brings Your reproaches and Your prayers. But do I dare to return to you? Under the pale sky of my homeland I only know how to sing and remember, But don’t you dare remember me. So the days go by, multiplying sorrows. How can I pray to the Lord for you? You guessed it: my love is such that even you couldn’t kill her.

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Music by Anna Akhmatova... In the 1960s, Akhmatova finally gained worldwide recognition. Her poems appeared in translations in Italian, English and French, and her poetry collections began to be published abroad. In 1962, Akhmatova was awarded the International Poetry Prize "Etna-Taormina" - in connection with the 50th anniversary of poetic activity. She did not complain about her age, and took old age for granted. In the fall of 1965, Anna Andreevna suffered a fourth heart attack, and on March 5, 1966, she died in a cardiological sanatorium near Moscow. Akhmatova was buried at the Komarovskoye cemetery near Leningrad. Until the end of her life, Anna Andreevna Akhmatova remained a Poet. And you, my friends of the last call! In order to mourn you, my life has been spared. Do not freeze over your memory like a weeping willow, But shout your names to the whole world! What names are there! After all, it doesn’t matter - you are with us!.. Everyone on your knees, everyone! Crimson light poured out! And Leningraders again walk through the smoke in rows - The living with the dead: for glory there are no dead.

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Music by Nikolai Gumilyov One of the leading Acmeist poets was Nikolai Stepanovich Gumilyov. In reality, his work was much broader and more varied, and his life was extremely interesting, although it ended tragically. Nikolai Stepanovich Gumilev was born on April 3, 1886 in Kronstadt, where his father worked as a military doctor. Soon his father retired, and the family moved to Tsarskoe Selo. The October Revolution found Gumilyov abroad, where he was sent in May 1917. In May 1918 he returned to revolutionary Petrograd. PHONE An unexpected and bold female voice on the phone, - How many sweet harmonies are in this voice without a body! Happiness, your favorable step does not always pass by: Louder than the lute of the seraphim You are even in the telephone receiver!

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Music by Nikolai Gumilev She I know a woman: silence, Bitter fatigue from words, Lives in the mysterious flicker of Her dilated pupils. Her soul is open greedily Only to the copper music of verse, Before life, long and joyful, Arrogant and deaf. Silent and unhurried, Her step is so strangely smooth, You can’t call her beautiful, But all my happiness is in her. When I thirst for self-will And I am bold and proud - I go to her To learn wise sweet pain In her languor and delirium. She is bright in the hours of languor and holds lightning in her hand, and her dreams are clear, like shadows on the fiery sand of heaven. He was captured by the tense literary atmosphere of that time. Gumilyov recognized Soviet power, despite the fact that he was in difficult personal conditions of existence and that the country was in a state of ruin. But the life of N.S. Gumilyov's life was tragically cut short in August 1921. For many years it was officially stated that the poet was shot for participating in a counter-revolutionary conspiracy.

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Music by Nikolai Gumilyov * * * You spoke empty words, And the girl blossomed, She was scratching her golden curls, She was cheerful in a festive way. Now, to all church needs, he goes to pray for yours. You became her sun, you became her sky, you became her gentle rain. The eyes darken, sensing thunderstorms. Her sigh is uneven and frequent. She still brings roses, But if you want, she will give her life. Gumilyov's poetry in different periods of his creative life is very different. Sometimes he categorically rejects the Symbolists, and sometimes he becomes so close to their work that it is difficult to guess that all these wonderful poems belong to one poet. The poet lived a very bright, but short life.

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

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Homework 1. Thu. pp. 137-159 2. Answer in writing according to the options: - life path of A. Akhmatova; - life path of J. Mandelstam; - Teffi's life path. “Literature 11th grade” textbook, M., “Enlightenment” 2011 Article “Diversity of artistic individualities of Silver Age poetry” L.A. Smirnova, M., “Enlightenment”, 2010 Co-author - Anna Vasilyeva, student of State Budgetary Educational Institution Secondary School No. 71 http://ruspoeti.ru/aut/gorodetskij/4824/ http://mandelshtam.velchel.ru/ http://mandelshtam. velchel.ru/index.php?cn 5. http://www.stihi-us.ru/1/Ahmatova/4.htm https://www.google.ru/webhp?sourceid=chrome-instant

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Acmeism Completed by: Biketov E. Kropachev O.

The concept of Acmeism Acmeism is a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia. The Acmeists proclaimed materiality, objectivity of themes and images, and precision of words.

As a literary movement, Acmeism did not last long - about two years (1913–1914). The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”. Acmeism counted the six most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At different times, the following took part in the work of the “Workshop of Poets”: G. Adamovich, N. Bruni, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, S. Radlov, V. Khlebnikov. At the meetings of the “Workshop,” in contrast to the meetings of the Symbolists, specific issues were resolved: “The Workshop” was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathize with Acmeism developed differently: N. Klyuev subsequently declared his non-involvement in the activities of the commonwealth, G. Adamovich and G. Ivanov continued and developed many of the principles of Acmeism in emigration; Acmeism did not have any effect on V. Khlebnikov noticeable influence.

The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”, the central figure of which was the organizer of Acmeism N. Gumilyov. The term acmeism was proposed in 1912 by N. Gumilev and S. Gorodetsky: in their opinion, symbolism, which was experiencing a crisis, is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements. The name for the literary movement, according to A. Bely, was chosen in the heat of controversy; N. Gumilev picked up randomly thrown words and dubbed a group of poets close to him Acmeists. The gifted and ambitious organizer of Acmeism dreamed of creating a “direction of directions” - a literary movement reflecting the appearance of all contemporary Russian poetry.

A. Akhmatova’s acmeism had a different character, devoid of any attraction to exotic subjects and colorful imagery. The originality of Akhmatova’s creative style as a poet of the Acmeistic movement is the imprinting of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays an entire spiritual structure. In elegantly depicted details, Akhmatova, as Mandelstam noted, gave “all the enormous complexity and psychological richness of the Russian novel of the 19th century.” A. Akhmatova’s poetry was greatly influenced by the work of In. Annensky, whom Akhmatova considered “a harbinger, an omen, of what later happened to us.” The material density of the world, psychological symbolism, and the associativity of Annensky’s poetry were largely inherited by Akhmatova.

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 for being empty. Among the Acmeists, Mandelstam was distinguished by an unusually keenly developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”; all mentioned objects acquired biblical overtones. At the same time, Mandelstam was disgusted by the abuse of sacred vocabulary, the “inflation of sacred words” among the Symbolists.

Questions of religion and philosophy, which Acmeism shunned in theory (A. Blok blamed the Acmeists for their absence), received intense resonance in the works of N. Gumilyov, A. Akhmatova, O. Mandelstam. The Acmeistic period of these poets lasted relatively short, after which their poetry went far into the realm of the spirit, intuitive revelations, and mystery. However, the titanic questions of the spirit, which were the focus of symbolism, were not specifically emphasized by the Acmeists. The main achievement of Acmeism as a literary movement is the change in scale, the humanization of turn-of-the-century literature that had veered towards gigantomania. The proportionality of a person to the world, subtle psychology, conversational intonation, the search for a full-fledged word were proposed by the Acmeists in response to the supra-worldliness of the Symbolists. The stylistic wanderings of the Symbolists and Futurists were replaced by a strictness towards a single word, “chains of complex forms”; religious and philosophical quests were replaced by a balance of metaphysics and the “here”. The Acmeists preferred the difficult service of the poet in the world to the idea of ​​“art for art’s sake” (the highest expression of such service was the human and creative path of A. Akhmatova).

Valentin Innokentievich Krivich (real name Annensky) (1880-1936) - son of the poet Innokenty Fedorovich Annensky, a lawyer by training, served as an official in St. Petersburg, lived almost his entire life in Tsarskoe Selo. He made his debut in 1902 in the “Literary and Artistic Collection”, then sometimes published poems and literary reviews in metropolitan magazines. The only collection of poems, “Flower Grasses” (1912), was read and reviewed in manuscript by In. Annensky (the poet’s father), noting the “true taste” and “some bending” in tone, akin to his own lyrics, but I. Bunin and A. Blok had a much greater influence on V. Krivich’s work. After the death of his father, he was engaged in disassembling his archive and publishing the creative heritage of In. Annensky for publication, wrote the work “I. Annensky according to family memories." His most significant poems were created in the 1920s and for the most part remained unpublished.