Acmeism poetry. Silver Age. Acmeism

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

Acmeism - history of definition

(from the Greek “Acme” - flowering, peak, tip).

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 a break with symbolism
  • continuity with predecessors
  • rejection of the symbol as the only method 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. Gautier, as well as the poetry of I. Annensky
  • the connection in creativity of a person’s inner world with “wise physiology”
  • “clothes of impeccable shape” (N. Gumilyov).

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

O. Mandelstam

Thus, O. Mandelstam, in his article “On the Nature of the Word,” admired the “Nominalism” of the Russian language.

Creation is all the more beautiful

What material was taken from?

More dispassionate -

Poem, marble or metal.

Or from Mandelstam:

The sound is cautious and dull

The fruit that fell from the tree

Among the incessant chant

Sad silence of the forest.

Such unity in theory did not exclude the peculiarities of the creative development of everyone who considered themselves to be part of this literary movement in Russian Acmeism.

Thus, in the poetry of O. Mandelstam there is no concentration on the image of the lyrical hero. His poetry was for a long time alien to ideological certainty. IN different years in his poetry various world cultural layers (Gothic, Hellenism, St. Petersburg) were uniquely refracted.

The poet's lyrical self is hidden in the subtext, in the semantic atmosphere of poetic texts. Mandelstam put forward a thesis about poetic architecture. The word is like a kind of stone that forms the basis of the building of poetry.
The poet’s first collection of poems was called “Stone”. The subjectivity of Mandelstam's poems is always connected with the mood of the character. Along with stone, music, the world of ideas, and architecture are poeticized. The poet's world is alien to mysticism or symbol. Extreme clarity and materiality are the characteristics of this world (“Beautiful is the temple, bathed in peace...”, “Notre Dame”).

A. Akhmatova and Acmeism

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

For N. Gumilyov himself, Acmeism is the pathos of the heroic, the cult of male risk, courage, bravery, the affirmation of the high pathos of life. Gumilyov is always precise in details. At the same time, he, like many Acmeists, is drawn to previous centuries of world culture (“Cathedral of Padua”, “Pisa”). Moreover, unlike Blok, who, for example, in Italy saw the decline of his former greatness, Gumilyov’s are life-affirming, bright and pure colors.

Our presentation about Acmeism

The meaning of Russian acmeism

The fate of Russian acmeism

The fate of Russian acmeism, as well as many literary movements that characterize Silver Age Russian culture is tragic in many ways.

Acmeism, with all its declaration of clarity and life-affirmation, had to defend itself in the struggle. For many years Soviet history These poets were practically not talked about. The fate of many Acmeists in Russia is tragic. N. Gumilev was shot, V. Narbut and O. Mandelstam were killed. Tragic fate fell to the lot of A. Akhmatova.

At the same time, according to the American Russian professor O. Ronen, the “platinum age” of Russian poetry was buried along with Acmeism.

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A. Akhmatova (who was his secretary and active participant) and S. M. Gorodetsky.

Contemporaries gave the term other interpretations: Vladimir Piast saw its origins in the pseudonym of Anna Akhmatova, which in Latin sounded like “akmatus”, some pointed to its connection with the Greek “akme” - “edge”.

The term “acmeism” was proposed by N. Gumilyov and S. M. Gorodetsky: in their opinion, symbolism, which is 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 and was not entirely justified: Vyacheslav Ivanov jokingly spoke about “Acmeism” and “Adamism”, Nikolai Gumilyov picked up randomly thrown words and dubbed a group of poets close to him Acmeists .

Acmeism was based on a preference for describing real, earthly life, but it was perceived asocially and ahistorically. The little things of life and the objective world were described. 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.

Acmeism in the works of writers

Literature

  • Kazak V. Lexicon of Russian literature of the 20th century = Lexikon der russischen Literatur ab 1917. - M.: RIK "Culture", 1996. - 492 p. - 5000 copies. - ISBN 5-8334-0019-8
  • Kikhney L. G. Acmeism: Worldview and Poetics. - M.: Planet, 2005. Ed. 2nd. 184 p. ISBN 5-88547-097-X.

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See what “Acmeism” is in other dictionaries:

    - (from the Greek flourishing, peak, edge) a literary movement that reflected new aesthetics. trends in early art 1910s, which covered not only literature, but also painting (K. Korovin, F. Malyavin, B. Kustodiev), and music (A. Lyadov... Encyclopedia of Cultural Studies

    Acmeism, plural no, m. [from Greek. akme – top] (lit.). One of the trends in Russian poetry in the tenth years of the 20th century, which opposed itself to symbolism. Big dictionary foreign words. Publishing house "IDDK", 2007. acmeism a, plural. no, m. (... Dictionary of foreign words of the Russian language

    acmeism- a, m. acmé f. gr. vertex. An extremely reactionary bourgeois-noble movement in Russian literature that arose in 1912-1913. The poetry of the Acmeists was characterized by individualism, aestheticism, formalism, and the preaching of art for art's sake. SIS... ... Historical Dictionary of Gallicisms of the Russian Language

    - (from the Greek akme the highest degree of something, blooming power), a movement in Russian poetry in the 1910s. (S.M. Gorodetsky, M.A. Kuzmin, early N.S. Gumilev, A.A. Akhmatova, O.E. Mandelstam). Overcoming the symbolists' predilection for the superreal,... ... Modern encyclopedia

    - (from the Greek akme, the highest degree of something, flowering power), a movement in Russian poetry in the 1910s. (S. M. Gorodetsky, M. A. Kuzmin, early N. S. Gumilev, A. A. Akhmatova, O. E. Mandelstam); proclaimed the liberation of poetry from symbolist impulses to... ... Big Encyclopedic Dictionary

    ACMEISM, acmeism, pl. no, husband (from Greek akme top) (lit.). One of the trends in Russian poetry in the tenth years of the 20th century, which opposed itself to symbolism. Dictionary Ushakova. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary

    ACMEISM, huh, husband. In Russian literature of the 20th century: a movement that proclaimed liberation from symbolism. | adj. Acmeist, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

    Acmeism- (from the Greek akme the highest degree of something, blooming power), a movement in Russian poetry in the 1910s. (S.M. Gorodetsky, M.A. Kuzmin, early N.S. Gumilev, A.A. Akhmatova, O.E. Mandelstam). Overcoming the symbolists’ predilection for the “superreal”,... ... Illustrated encyclopedic dictionary

    - (from the Greek akme - the highest degree of something, blooming power), a movement in Russian poetry in the 1910s. Acmeism arose from the literary school “The Workshop of Poets” (1911 14), which was headed by N. S. Gumilyov and S. M. Gorodetsky, the secretary was A. A. Akhmatova, in ... ... Literary encyclopedia

    acmeism- a, only units, m. Modernist movement in Russian poetry of the early 20th century. (see also modernism). When Acmeism was born and we had no one closer to Mikhail Leonidovich [Lozinsky], he still did not want to renounce symbolism (Akhmatov). Related... Popular dictionary of the Russian language

Books

  • Acmeism in criticism. 1913-1917, . For the first time, the collection contains under one cover articles and fragments of articles by contemporary critics about such a phenomenon of Russian poetry of the Silver Age as Acmeism. Among the “main characters” of the collection are…
  • History of Russian literature of the Silver Age (1890s - early 1920s) in 3 parts. Part 3. Acmeism, futurism and others. Textbook for bachelor's and master's degrees, Mikhailova M.V.. The textbook reflects the history of Russian literature of the 1890-1920s, presents creative individuals, trends, modifications of artistic practices, the specifics of genre searches, ...

Acmeism (from Greek Akme- the highest degree of something, blossoming, maturity, peak, edge) - one of the modernist movements 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 magazine "Hyperborea". The main ideas of Acmeism were set out in the programmatic articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Currents in Modern Russian Poetry”, published in 1913 in No. 1 of the Apollo magazine (the literary organ of the group during its heyday) , published under the editorship of S. Makovsky.

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

For the 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. The Acmeists valued such elements of artistic form as stylistic balance, pictorial clarity of images, precisely measured composition, and precision of detail. Their poems aestheticized the fragile edges of things and established an atmosphere of admiring everyday, familiar little things.

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 certain, 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;
  • echoes of past literary eras, broad aesthetic associations, “longing for world culture”

Acmeists have developed subtle ways of conveying the inner world of the lyrical hero. Often the state of feelings was not revealed directly; it was conveyed by a psychologically significant gesture, a listing of things. This manner of materializing experiences was characteristic, in particular, of 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. With him, moral strength was revived in Russian poetry. Depicting the world with its joys, vices, injustice, the Acmeists pointedly refused to resolve 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 movement, Acmeism ceased to exist in 1923, although there was another attempt to restore this literary movement in 1931.

The fates of the Acmeist poets turned out 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 a camp. But Akhmatova found the courage to create a great poetic testimony to the tragic era - “Requiem”.

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

(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.

The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”

, the central figure of which was the organizer of AcmeismN. Gumilyov. Contemporaries gave the term other interpretations: Vl. Piast saw its origins in the pseudonymA. Akhmatova, in Latin sounding like "akmatus", some have pointed out its connection with the Greek "acme" "edge". 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. Name for a literary movement, according to evidenceA. Bely, was chosen in the heat of controversy and was not entirely justified: he started talking about “Acmeism” and “Adamism” as a jokeVyach.Ivanov, N. Gumilyov picked up the 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 that would reflect the appearance of all contemporary Russian poetry.

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

As a literary movement, Acmeism did not last long - about two years (1913-1914), but one cannot fail to take into account its generic connections with the “Workshop of Poets”, as well as its decisive influence on the fate of Russian poetry of the twentieth century. Acmeism counted six of the most active participants in the movement: N. Gumilyov, A. Akhmatova,

O. Mandelstam, S. Gorodetsky, M. Zenkevich, V.Narbut. Claimed to be the “seventh acmeist”G. Ivanov, but such a point of view was protested by A. Akhmatova: “There were six Acmeists, and there was never a seventh.” At different times, the following took part in the work of the “Workshop of Poets”:G. Adamovich, N.Bruni, Vas.V.Gippius, Vl.V.Gippius, G.Ivanov,N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M.Lozinsky, S.Radlov, V. Khlebnikov. At the meetings of the “Workshop”, in difference from Symbolist meetings, specific issues were resolved: “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 magazine became the platform of acmeists

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

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

About beautiful clarity , which anticipated the appearance of declarations of Acmeism. By the time the article was written, Kuzmin was already a mature man and had experience of collaboration in symbolist periodicals. Kuzmin contrasted the otherworldly and foggy revelations of the Symbolists, the “incomprehensible and dark in art,” with “beautiful clarity,” “clarism” (from the Greek clarus clarity). An artist, according to Kuzmin, must bring clarity to the world, not obscure, but clarify the meaning of things, seek harmony with the environment. The philosophical and religious quest of the Symbolists did not captivate Kuzmin: the artist’s job was to concentrate on the aesthetic side of creativity and artistic skill. “The symbol, dark in its deepest depths,” gives way to clear structures and admiration for “lovely little things.” Kuzmin's ideas could not help but influenceto the Acmeists: “beautiful clarity” turned out to be in demand by the majority of participants in the “Workshop of Poets.”

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

. Poets who replace the Symbolists must declare themselves worthy successors to their predecessors, accept their legacy and answer the questions they pose. “Russian symbolism directed its main forces into the realm of the unknown. Alternately he fraternizedwith mysticism, then with theosophy, then with occultism,” wrote Gumilyov. He called attempts in this direction “unchaste.” One of the main tasks of Acmeism is 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 unknowable, but do not insult your thoughts about it with more or less probable guesses” - this is the principle of Acmeism. The Acmeists did not renounce the highest reality, recognized by the symbolists as the only true one, but preferred to remain silent about it: what is unsaid must remain unsaid. Acmeism was a kind of movement towards “true symbolism”, based on attachment to everyday life, respect for simple human existence. Gumilev proposed to consider the main difference of Acmeism to be the recognition of “the intrinsic 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. Here Gumilev named the names of the artists most dear to Acmeism, its “cornerstones”: Shakespeare, Rabelais, Villon, T. Gautier. Shakespeare showed inner world man, Rabelais - his body and physiology, Villon told us about “a life that does not doubt itself much.” T. Gaultier found “decent clothes with impeccable shapes.” The combination of these four moments in art is the ideal of creativity. Having absorbed the experience of their predecessors, the Acmeist poets begin new era“aesthetic puritanism, great demands on the poet as a creator of thought and on the word as a material of art.” Equally rejecting the utilitarian approach to art and the idea of ​​“art for art’s sake,” the founder of Acmeism proclaimed an attitude towards poetic creativity as a “higher craft.”

S. Gorodetsky in the article

Some trends in modern Russian poetry (1913) also noted the catastrophe of symbolism: the gravity of symbolism towards the “fluidity of the word”, its polysemy takes the artist away from the “calling, colorful world” into the foggy realms of fruitless wanderings. “Art is balance,” stated Gorodetsky, “is strength.” “The fight for our planet Earth” is the work of the poet, the search for “moments that can be eternal” is the basis of the poetic craft. The world of the Acmeists is “good in itself,” apart from its mystical “correspondences.” “Among the Acmeists, the rose again became good in itself, with its petals, scent and color, and not with its conceivable likenesses with mystical love or anything else...”

Mandelstam's article was also written in 1913

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

The term “word as such” was proposed by the futurists and reinterpreted by Mandelstam: for the futurists, the word is pure sound, free of meaning; Mandelstam, on the contrary, emphasizes its “heaviness”, loaded with meaning. If the futurists sought to return to the foundations of nature through the sound of the word, then Mandelstam saw in understanding its meaning the path to the foundations of culture. The article also contained a polemic with the symbolists: not the musicality of speech, but the “conscious meaning”; Logos was exalted by Mandelstam. “...Love the existence of a thing more than the thing itself and your existence more than yourself - this is the highest commandment of Acmeism,” wrote Mandelstam.

The publication of articles by Gorodetsky and Gumilyov in Apollo was accompanied by a representative selection of poetic materials, which did not always correspond to the theoretical principles of Acmeism, revealing their precocity, vagueness, and weak argumentation. Acmeism as a movement did not have a sufficient theory: “the intrinsic value of a phenomenon”, “the struggle for this world” hardly seemed to be sufficient arguments for declaring a new literary movement. “Symbolism was fading away” Gumilev was not mistaken in this, but he failed to form a movement as powerful as Russian symbolism.

Questions of religion and philosophy, which Acmeism shunned in theory (acmeists were blamed for their absence

A.Blok), received intense sound 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. This largely allowed researchers, in particular the literary critic B. Eikhenbaum, to consider Acmeism as a new stage in the development of symbolist poetics, denying it independence. However, the titanic questions of the spirit, which were the focus of symbolism, were not specifically emphasized by the Acmeists. Acmeism returned the “man of normal height” to literature and spoke to the reader with normal intonation, devoid of exaltation and superhuman tension. 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. Outstanding ScientistS.Averintsevwittily called Acmeism “a challenge to the spirit of the times as the spirit of utopia.” The proportionality of a person to the world, subtle psychology, 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”, to the religious and philosophical quest for a balance between 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).

Poorly substantiated as a literary movement, Acmeism united exceptionally gifted poets: N. Gumilyov, A. Akhmatova, O. Mandelstam, the formation of whose creative individualities 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 a complex and ambiguous way in their work.

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, conquistador, discoverer. Muse that inspires the poet Muse of Distant Journeys. Renewal of poetic imagery, respect for the “phenomenon as such” was carried out in Gumilyov’s work through travel to unknown, but very real lands. Travels in N. Gumilyov’s poems carried impressions of the poet’s specific expeditions to Africa and, at the same time, echoed symbolic wanderings in “other worlds.” Gumilev contrasted the transcendental worlds of the Symbolists with the continents they first discovered for 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 this couplet the whole woman,” spoke about Akhmatova

Song of the last meeting M. Tsvetaeva. 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 creativityIn. Annensky, which Akhmatova considered “a harbinger, an omen, of what later happened to us.” The material density of the world, psychological symbolism, and the associative nature of Annensky’s poetry were largely inherited by Akhmatova.

The local world of O. Mandelstam was marked by a feeling of mortal fragility before a faceless eternity. Mandelstam's Acmeism “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.

The Adamism of S. Gorodetsky, M. Zenkevich, V. Narbut, who formed the naturalistic wing of the movement, differed significantly from the Acmeism of Gumilyov, Akhmatova and Mandelstam. The dissimilarity of the Adamists with the triad of Gumilev Akhmatova Mandelstam has been repeatedly noted in criticism. In 1913, Narbut suggested that Zenkevich found an independent group or move “from Gumilyov” to the Cubo-Futurists. The Adamistic worldview was most fully expressed in the work of S. Gorodetsky. Novel

 Gorodetsky Adam described the life of the hero and heroine “two smart animals” in the earthly paradise. Gorodetsky tried to restore in poetry the pagan, semi-animal worldview of our ancestors: many of his poems took the form of spells, lamentations, and contained bursts of emotional imagery drawn from the distant past of everyday life. Gorodetsky’s naive Adamism, his attempts to return man to the shaggy embrace of nature could not but evoke irony among sophisticated modernists who had studied the soul of his contemporary well. Block in the preface to the poemRetribution noted that the slogan of Gorodetsky and the Adamists “was a man, but some kind of different man, without humanity at all, some kind of primordial Adam.”

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

Book by V. Narbut

Hallelujah contained variations on the theme of S. Gorodetsky's poems included in the collectionWillow . Unlike Gorodetsky, Narbut gravitated not towards “leaf life”, but towards depicting the unsightly, sometimes naturalistically ugly sides of reality.

Acmeism united dissimilar creative individualities, manifested itself differently in the “spiritualized objectivity” of A. Akhmatova, the “distant wanderings” of M. Gumilyov, the reminiscence poetry of O. Mandelstam, pagan dialogues with nature by S. Gorodetsky, M. Zenkevich, V. Narbut. The role of Acmeism 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.”

Acmeism greatly influenced the development of Russian poetry in emigration, the “Parisian note”: Gumilyov’s students emigrated to France

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

Currents in Russian literature of the early 20th century. It got its name from the Greek word “acme” (height, peak, rise, blossom). Acmeism manifested itself mainly in lyric poetry and united the poets of a new generation who replaced the Symbolists, from whom many Acmeists went through a literary school. Polemicizing with the poetry of symbolism, marked by the complexity of metaphors and aesthetic associations, the Acmeists strove for clarity of images. Hence another name - clarism (“clear”).

The most famous representatives of Acmeism are Nikolai Stepanovich Gumilev, Anna Andreevna Akhmatova, Mikhail Alekseevich Kuzmin, Sergei Mitrofanovich Gorodetsky, Osip Emilievich Mandelstam. In 1911, the Acmeists created the “Workshop of Poets” association. Its name emphasized that in poetry, Acmeists rely more on skill and skill than on fleeting, momentary inspiration. The cult of craft, preached by the Acmeists, aroused rejection among the poets of the older generation (article by Alexander Alexandrovich Blok “Without God, Without Inspiration”). By the end of the 1910s, the movement of Acmeism disintegrated. However, all the poets associated with him in their subsequent work remained committed to his aesthetic principles. The tradition of Acmeism turned out to be one of the most influential in Russian poetry.

"Workshop of Poets"

The name of three literary associations located in St. Petersburg in 1911-1922. The first “Workshop of Poets” was formed by Nikolai Stepanovich Gumilev and Sergei Mitrofanovich Gorodetsky in 1911 and became the center of the formation of Acmeism. Among the members of the association were M. A. Kuzmin, A. A. Akhmatova, O. E. Mandelstam, G. V. Ivanov and others. They organized meetings, published the magazine Hyperborea (1912-1913; ten issues were published) and poetic almanacs. In 1914 the association ceased to exist. In 1916, on the initiative of Georgy Vladimirovich Ivanov and Georgy Viktorovich Adamovich, the second “Workshop of Poets” was created, which existed for about a year. The third “Workshop of Poets” was organized by Gumilev in 1920. Many of its participants emigrated from Russia and until the mid-1920s supported its activities in Berlin and Paris.

House of Mikhail Leonidovich Lozinsky

Since October 1912, meetings of the “Workshop of Poets” took place regularly on Fridays in the apartment of Mikhail Leonidovich Lozinsky. The editorial office of the Hyperborea magazine was also located here. In addition to Lozinsky’s apartment, the Acmeists sometimes held meetings in the house of Nikolai Stepanovich Gumilyov and Anna Andreevna Akhmatova in Tsarskoe Selo.