Presentation of acmeism as a literary movement. Presentation on the topic “Acmeism. Your new feat will begin for me
Valentin Innokentievich Krivich (real name Annensky) (1880-1936) - the son of the poet Innokenty Fedorovich Annensky, a lawyer by education, served as an official in St. Petersburg, lived almost all his life in Tsarskoye Selo. He made his debut in 1902 in the "Literary and Artistic Collection", then sometimes published poems and literary reviews in the capital's magazines. The only collection of poems "Flower Grass" (1912) managed to read and review the manuscript by Ying. Annensky (the poet's father), noting the "true taste" and "some bending" in tone, related to his own lyrics, but I. Bunin and A. Blok had a much greater influence on the work of V. Krivich. After the death of his father, he was engaged in dismantling his archive and publishing the creative heritage of Ying. Annensky for publication, wrote the work “I. Annensky according to family memories. The most significant poems were created by him in the 1920s and for the most part remained unpublished.
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Definition
ACMEISM is a modernist trend that declared a concrete-sensory perception of the outside world, a return to the word of its original, non-symbolic meaning. The name "acmeism" comes from the Greek. “acme” - point, peak
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Story
The actual acmeist association was small and existed for about two years (1913-1914). But blood ties connected him with the “Shop of Poets”, which arose almost two years before the acmeist manifestos and resumed after the revolution. The members of the “Shop” were mainly novice poets: A. Akhmatova, N. Burliuk, Vas. Gippius, M. Zenkevich, Georgy Ivanov, E. Kuzmina-Karavaeva, M. Lozinsky, O. Mandelstam, Vl. Narbut, P. Radimov. Meetings of the "Workshop" were attended by N. Klyuev and V. Khlebnikov. "Tsekh" began to publish collections of poems and a small monthly magazine "Hyperborey".
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In 1912, at one of the meetings of the “Workshop”, the issue of acmeism as a new poetic school was resolved. The name of this trend emphasized the aspiration of its adherents to new heights of art. The main organ of the acmeists was the Apollon magazine (ed. S. Makovsky), which published poems by members of the “Workshop”, manifesto articles by N. Gumilyov and S. Gorodetsky. The new trend in poetry opposed itself to symbolism, which, according to Gumilyov, “has completed its circle of development and is now falling” or, as Gorodetsky argued more categorically, is experiencing a “catastrophe”. However, in essence, the “new trend” was not at all antagonistic in relation to symbolism. The claims of the acmeists turned out to be clearly untenable.
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“We will fight for strong and vital art beyond the limits of the painful decay of the spirit,” the editors proclaimed in the first issue of the Apollo magazine (1913), in which N. Gumilyov wrote in the article “The Legacy of Symbolism and Acmeism”: “Symbolism is being replaced by a new direction, no matter how it is called, is it acmeism (from the word ???? (“acme”) - the highest degree of something, color, blooming time), or adamism (a courageously firm and clear outlook on life), - in 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. However, in order for this current to assert itself in its entirety and be a worthy successor to the previous one, it is necessary that it accept its legacy and answer all the questions posed by it. The glory of the ancestors obliges, and symbolism was a worthy father”
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In an effort to dispel the atmosphere of the irrational, to free poetry from the "mystical fog" of symbolism, the acmeists accepted the whole world - visible, sounding, audible. But this “unconditionally” accepted world turned out to be devoid of positive content.
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Every direction is in love with one or another creators and epochs. Dear graves bind people the most. In circles close to acmeism, the names of Shakespeare, Rabelais, Villon and Theophile Gauthier are most often pronounced. Each of these names is the cornerstone for the building of acmeism, high voltage one element or another. Shakespeare showed us the inner world of man; Rabelais - the body and its joys, wise physiology; Villon told us about a life that does not doubt itself in the least, although it knows everything - and God, and vice, and death, and immortality; Théophile Gautier for this life found in art worthy clothes of impeccable forms. To combine these four moments in oneself is the dream that united people who so boldly called themselves acmeists.
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Aesthetics of acmeism:
The world must be perceived in its visible concreteness, its realities must be valued, and not taken off the ground; - the source of poetic values is on earth, and not in the unreal world; - it is necessary to revive love for one's body, the biological principle in a person, to appreciate a person, nature; - 4 beginnings should be merged in poetry 1) Shakespeare's traditions in depicting the inner world of a person; 2) traditions of Rabelais in the chanting of the body; 3) the traditions of Villon in singing the joys of life; 4) Gauthier's tradition of celebrating the power of art.
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Basic principles of acmeism:
The liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give the word a specific, precise meaning; - objectivity and clarity of images, sharpness of details; - an appeal to a person, to the "authenticity" of his feelings; - poetization of the world of primordial emotions, primitive biological nature; - a call to the past literary epochs, the broadest aesthetic associations, "longing for world culture".
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Distinctive features of acmeism:
Hedonism (enjoyment of life), adamism (animal essence), clarism (simplicity and clarity of language); - lyrical plot and depiction of the psychology of experience; - colloquial elements of the language, dialogues, narratives. Acmeists are interested in the real, and not the other world, the beauty of life in its concrete - sensual manifestations. Nebula and hints of symbolism were opposed by a major perception of reality, the authenticity of the image, and the clarity of the composition. In some ways, the poetry of acmeism is the revival of the “golden age”, the time of Pushkin and Baratynsky.
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Acmeist poets
Akhmatova Anna Gumilev Nikolai Gorodetsky Sergei Zenkevich Mikhail Ivanov Georgy Krivich Valentin Lozinsky Mikhail Mandelstam Osip Narbut Vladimir Shileiko Vladimir G. Ivanov
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M.Zenkevich A.Akhmatova
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Gorodetsky S. Mandelstam O.
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M. Lozinsky
V. Shileyko
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V.Narbut V.Krivich
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In comparison with other poetic directions of Russian Silver Age Acmeism in many ways is seen as a marginal phenomenon. In others European literatures it has no analogues (which cannot be said, for example, about symbolism and futurism); the more surprising are the words of Blok, Gumilyov's literary opponent, who declared that acmeism was just an "imported foreign thing." After all, it was acmeism that turned out to be extremely fruitful for Russian literature. Akhmatova and Mandelstam managed to leave behind "eternal words." Gumilyov appears in his poems as one of the brightest personalities of the cruel time of revolutions and world wars. And today, almost a century later, interest in acmeism has survived mainly because the work of these outstanding poets, who had a significant impact on the fate of Russian poetry of the 20th century, is associated with it.
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October Revolution caused differentiation among the acmeists and determined their various paths in the post-revolutionary years: some were shot, others ended up in exile, others fell silent, having no common language with the Soviet people. A number of poets (A. Akhmatova, S. Gorodetsky, M. Zenkevich) entered Soviet literature and gave it their talent.
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The principles of acmeism The liberation of poetry from symbolist calls to the ideal, the return to it of clarity, materiality, "joyful admiration of being"; The liberation of poetry from symbolist calls to the ideal, the return to it of clarity, materiality, "joyful admiration of being"; The desire to give the word a certain exact meaning, to base works on specific imagery, the requirement for “beautiful clarity”; The desire to give the word a certain exact meaning, to base works on specific imagery, the requirement for “beautiful clarity”; Appeal to a person, to the “authenticity of his feelings”; Appeal to a person, to the “authenticity of his feelings”; Poeticization of the world of primordial emotions, primitive biological nature, prehistoric life of the Earth and man. Poetization of the world of primordial emotions, primitive biological nature, prehistoric life of the Earth and man.
The term acmeism was proposed in 1912 by N. Gumilyov and S. Gorodetsky: in their opinion, symbolism in crisis is being replaced by a direction that generalizes the experience of 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 A. Akhmatova, which sounds like “akmatus” in Latin, some pointed to its connection with the Greek “acme” - “point”.
As a literary trend, acmeism did not last long - about two years (1913-1914), but one cannot ignore its ancestral ties with the "Poets' Workshop", as well as the decisive influence on the fate of Russian poetry of the twentieth century. Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At the meetings of the "Tsekh", in contrast to the meetings of the Symbolists, specific issues were resolved: the "Tsekh" was a school for mastering poetic skills, a professional association. The creative fates of poets who sympathize with acmeism have developed differently: N. Klyuev subsequently declared his non-involvement in the activities of the community, G. Adamovich and G. Ivanov continued and developed many principles of acmeism in exile, acmeism did not have any noticeable influence on V. Khlebnikov.
The platform of the acmeists was the Apollo magazine, 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, versatility, and secondly, the improvement of poetic skills. The rationale for the new literary trend was given in the articles of N. Gumilyov The Heritage 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 One of the main tasks of acmeism is to straighten out the bias characteristic of symbolism towards the otherworldly, to establish a “living balance” between the metaphysical and the earthly. The acmeists did not renounce metaphysics: “always remember the unknowable, but do not offend your thoughts about it with more or less probable guesses” - such is the principle of acmeism.
Poorly substantiated as a literary trend, acmeism united exceptionally gifted poets - N. Gumilyov, A. Akhmatova, O. Mandelstam, the formation of creative individuals of which took place in the atmosphere of the "Poet's Workshop", disputes about "beautiful clarity". The history of acmeism can be viewed as a kind of dialogue between its three prominent representatives. Subsequently, acmeistic poetics was complexly and ambiguously refracted in their work. O. Mandelstam N. Gumilyov A. Akhmatova
Elephant My love for you now is an elephant, Born in Berlin or Paris And stomping with cotton feet In the rooms of the menagerie owner. Don't offer him French rolls, Don't offer him cabbage rolls. He can only eat a slice of tangerine, A piece of sugar or a piece of candy. Do not cry, O tender one, that in a cramped cage He will become a laughing stock of the mob, So that cigar smoke will be blown into his nose by the clerks to the laughter of the midiettes. Do not think, my dear, that the day will come When, in a frenzy, he will break the chains And run through the streets, and will, Like a bus, crush people screaming. No, let him dream in the morning In brocade and copper, in ostrich feathers, Like the one, the Magnificent, that once Carried Hannibal to the quivering Rome.
A. Akhmatova's acmeism had a different character, devoid of attraction to exotic plots and colorful imagery. The originality of the creative manner of Akhmatova as a poet of the acmeist direction is the imprint of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays a whole spiritual structure. “In this couplet - the whole woman,” M. Tsvetaeva spoke about Akhmatova's Song of the last meeting.
X x x I went crazy, oh strange boy, On Wednesday, at three o'clock! The ringing wasp pricked my ringing finger. I accidentally pressed her, And it seemed that she died, But the end of the poisoned sting Was sharper than the spindle. Will I cry for you, strange one, Will your face smile at me? Look! On the ring finger So beautifully smooth ring March 1913, Tsarskoye Selo
The local world of O. Mandelstam was marked by a sense of mortal fragility before faceless eternity. Mandelstam's acmeism is "the complicity of beings in a conspiracy against emptiness and non-existence." 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.
American bar No girls yet to be seen in the bar, The footman is impolite and sullen; And in a strong cigar the American seems to have a caustic mind. The counter shines with red lacquer, And the soda-whiskey fort teases: Who is unfamiliar with the buffet sign And is not too hard in labels? Golden pile of bananas Just in case filed, And the wax saleswoman As imperturbable as the moon. First, we'll feel a little sad, We'll ask for coffee with curasso. In half a turn, our Fortune wheel will turn! Then, talking softly, I climb onto a swivel chair in a hat and, with a straw, Interfering with the ice, I listen to the rumble... The master's eye is yellower than a chervonets The dreamers will not be offended... We are dissatisfied with the light of the sun, With the flow of measured orbits! No later than June 1913
Acmeism strongly influenced the development of Russian poetry in exile, on the “Parisian note”: G. Ivanov, G. Adamovich, N. Otsup, I. Odoevtseva emigrated to France from Gumilyov’s students. The best poets of the Russian emigration G. Ivanov and G. Adamovich developed acmeistic principles: restraint, muffled intonation, expressive asceticism, subtle irony. In Soviet Russia, the manner of acmeists (mainly N. Gumilyov) was 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 individualities, manifested itself in various ways in the “spiritual objectivity” of A. Akhmatova, the “distant wanderings” of M. Gumilyov, and the poetry of O. Mandelstam’s reminiscences. The role of acmeism is in an effort to maintain a balance between symbolism, on the one hand, and realism, on the other. In the work of acmeists, there are numerous points of contact with symbolists and realists (especially with the Russian psychological novel of the 19th century), but in general, representatives of acmeism found themselves in the “middle of contrast”, not slipping into metaphysics, but not “mooring to the ground”.
"Poets of the Russian Diaspora" - The writer met the events of 1917 with open hostility. Compare what is shown on the slide with the textbook material. "Our immortal gift is speech." And we have no other property! Russian Poets Abroad. See how the stars above burn brightly for you and me. Grief, do not think about me, But let me stay in a starry dream.
"Romanticism in Literature" - Romantic poem. Romantics opened to literature: Mary Shelley 1797-1851. Ballads. Hoffmann Ernst Theodor 1776-1822. The theme of "humiliated and insulted"; Exit. Characters, which were based on deep internal contradictions. Dialectics of psychological states. Psychological detective; signs of romanticism.
"About poets" - Afanasy Afanasyevich Fet: 1820 - 1892 Alexander Sergeevich Pushkin: 1799 - 1837 Tyutchev - poet, diplomat, publicist, corresponding member of the St. Petersburg Academy of Sciences. Tolstoy - Russian writer, corresponding member of the St. Petersburg Academy of Sciences. Tolstoy - prose writer, publicist, philosopher. Tokmakova is a children's poet, prose writer, translator of children's poems.
“Russian poets of the 19th century” - What response thoughts and feelings did the poem evoke in you? The merit of the writers of the older generation was not only the creation outstanding works. Ile draws you to earthly bondage The distant, bright sky to itself? .. The XIX century began rapidly and unusually. The 19th century is called the golden age of Russian literature.
"About poetry" - The undertakings ended badly - An old rope burst ... And at dawn the cherry glue hardens in the form of a clot. Journey along the poetic path. Warmed by the late sun, A fly came to life in a crack. Indian summer has come - Days of farewell warmth. Golden foliage spun... Beautiful pages of poetry. The snow has melted under the pine tree, and it is warm on the soft moss,
"Poets about nature" - Born on September 21, 1895 in the village of Konstantinovo, Ryazan province. The boy's grandmother knew many songs, fairy tales and ditties. Landscape poetry. Rhyme. Creative work. Later, the mother went to work and left the poet with her grandparents. short biography poet. As a child, he grew up without a father (his parents broke up).
There are 16 presentations in total in the topic
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Western European and domestic origins of acmeism Prepared by the teacher of the Russian language and literature of the 1st qualification category Strakhova Irina Alexandrovna, MBOU "Polyanskaya secondary school" of the Spassky district of the Republic of Tatarstan
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Objectives: to give the concept of acmeism; highlight the main features of his poetics; give a brief description of the work of acmeist poets.
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“The retinue makes the king” The two largest poets of acmeism A. Akhmatova and O. Mandelstam already by the mid-1910s went beyond this school, and G. Ivanov and G. Adamovich most fully met the requirements of A. Akhmatov’s acmeism O. Mandelstam G. Ivanov, G. Adamovich
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Acmeism is a modernist trend (from the Greek akme, a point, peak, the highest degree, a pronounced quality), declaring a concrete-sensory perception of the outside world, returning the word to its original, non-symbolic meaning.
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Start creative way Young poets, future acmeists, were close to symbolism, visited "Ivanovo environments" in the St. Petersburg apartment (in the "tower") Vyach. Ivanova. Here, young poets were trained in versification. In October 1911 they founded a new literary association"Shop of poets". The “Workshop” was a school of professional skill, and young poets N. Gumilyov and S. Gorodetsky became its leaders N. Gumilyov S. Gorodetsky, 1910
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Western European and domestic origins of acmeism The initiator of this peculiar "shop" of poets was Pushkin himself. Speaking as a faithful follower of the work of Peter the Great, Pushkin in almost every verse testifies to the deepest knowledge and the most subtle understanding of the national poetic element of each people. Pushkin's miracle could not be realized without a strong impetus from the dominant culture of that time, that is, French culture. Are not Voltaire and even Parny, not to mention Molière, Racine, Corneille, François Villon, the nameless authors of folk epic songs, Pushkin's creative exciters on a par with Derzhavin and Batyushkov, or with fairy tales and legends of Russian folklore? Modernists discover a new Europe; they are attracted especially by France, but they are also receptive to the call of Africa and Asia, ancient historical and even prehistoric times.
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Western European and domestic origins of acmeism In the first collection of poems, The Path of the Conquistadors, Gumilyov fails to hide his dependence on those poets who too clearly influence his style: Bryusov and Balmont among Russians, and among French poets grouped around Modern Parnassus, in features of Ch. Leconte de Lisle and J. M. Heredia. The very image of the conquistador must have arisen in his mind when he saw a portrait of Heredia, one of his then most beloved poets, in luxurious sham armor of a conquistador. Critics have repeatedly noted that, as a poet, Gumilyov performed under a mask. And I am in the family of the hippopotamus: Dressed in the armor of my shrines, I walk solemnly and straight Without fear in the middle of the deserts. These verses from Theophile Gauthier's Miscellaneous Poems, masterfully translated by Gumilyov, could serve as an epigraph to his entire life.
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The association of acmeists existed for about 2 years (1913-1914). It also included A. Akhmatova, O. Mandelstam, M. Zenkevich, V. Narbut and others. In the article “The Legacy of Symbolism and Acmeism,” Gumilyov criticized symbolism for mysticism, for being fascinated by the “region of the unknown.” The article proclaimed "the intrinsic value of each phenomenon"
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Acmeism - Adamism Such an interpretation implied "a courageously firm and clear outlook on life." The world is spacious and polyphonic, And it is more polyphonic than rainbows, And now the world is entrusted to Adam, the Inventor of names. To name, to know, to rip off the veils And idle secrets, and decrepit darkness - This is the first feat. A new feat - to sing praises to the Living Earth. (S. Gorodetsky "Adam")
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Requirements of acmeism He believes in weight, he honors space, He dearly loves material, He did not reproach matter For slowness and constancy. Stanzas obedient quadriga He loves - violently dispersed - Stop. And in that he is right, That in eternity he is submissive to the moment. (1913, S. Gorodetsky to O. Mandelstam) Acmeists are interested in the real, not the other world, the beauty of life in its concrete sensory manifestations. Nebula and hints of symbolism were opposed by a major perception of reality, the authenticity of the image, and the clarity of the composition.
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Gumilyov's hero This is a traveler, a conquistador, a man of strong will. The poet's poems contain romantic motifs, geographical and historical exoticism. Graceful harmony and bliss is given to him, And his skin is adorned with a magical pattern, With which only the moon dares to equal, Shattering and swaying on the moisture of wide lakes. (1907, "Giraffe") N.S. Gumilyov (1886-1921)
