Axism in the literature - the current that originated at the very beginning of the 20th century and got a lot of distribution among all the poets that came their masterpieces during this period of time. Mostly he hooked Russian literature, and also became a kind of response toward the symbolism. This direction is characterized by clarity, utmost clarity and landing, but at the same time, there is no place for household problems.

Small style description

Aqmeism in the literature always differed sensuality, a tendency to analyze human feelings and experiences. Poets that have written their works in this style have been sufficiently specific, did not use metaphor and hyperball. As modern writers believed, such characteristics appeared as it were, as it were, the previously existing symbolism appeared, which, in turn, was famous for the ambiguity of images, a complete lack of specifics and accuracy. At the same time, the ameists gave meaning only by the highest human needs, that is, described the spiritual world. They were alien to political or social topics, aggressiveness and the like. That is why their poems are so easily perceived, because they write very simple things about difficult things.

What akmeism was based on

As such philosophy, which would define at that time, the aqmeism in Russian literature was not. Such a support point has developed only in the process of existence and prosperity of the style when the first verses of his representatives have already become on the light, based on which it was possible to determine the whole essence written. Thus, acmeism in the literature differed in a realistic look not only on the overall picture of life, but also on enough "unearthly" problems that are associated with feelings and mental experiences. A key role in any product, according to the authors, should play the word. It is with its help with extreme accuracy that all thoughts and events were to be expressed that were described.

Inspiration that drew the poets of this era

Most often, symbolism, which was a precursor of aqmeism, compared with music. It is the same mysterious, multivalued, can be interpreted in all sorts of ways. It is thanks to such art techniques that the style has become a concept in the art. In turn, acmeism as a course in the literature has become a very significant opposite of its predecessor. The poets of the representatives of this direction themselves compare their creativity more with architecture or with sculpture than with music. Their verses are incredibly beautiful, but at the same time accurate, folding and extremely clear for any audience. Each word transmits the sense directly, which initially laid in it, without any exaggeration or comparisons. That is why acmeist verses are so easy to teach all schoolchildren to memory, and so simply understand their essence.

Representatives of aqmeism in Russian literature

A distinctive feature of all representatives of this was not just cohesion, but even friendship. They worked in one harness, and at the very beginning of their creative path loudly declared themselves, founding the so-called "plant of poets" in Leningrad. They did not have a certain literary platform, standards for which it was necessary to write poetry, or other production parts. It can be said that each of the poets knew what his work should be, and knew how to file every word so that it was extremely clear to others. And among these clarity, the famous names are: Anna Akhmatova, her husband Nikolai Gumilev, Osip Mandelstam, Vladimir Narbut, Mikhail Kuzmin and others. The verses of each of the authors differ from each other in their structure, and in nature, and on the configuration. However, each work will be understandable, and the person does not arise extra questions after reading it.

Glory of aqmeista during their existence

When acmeism appeared in the literature, the first reports of it were read in the journal "Hyperbori", which was released edited by the familiar poets to us. By the way, in this regard, often aqmeists were also called hyperborers who fought for the novelty and the beauty of domestic art. Then a number of articles were followed, written by almost every participant in the "poets shop", which revealed the essence of this shit of existence and much more. But, despite the zeal for work and even on the friendship of all poets, which became the founders of a new trend in art, acmeism in Russian literature began to fade. By 1922, the "shop of poets" had already ceased to exist, attempts to resume were in vain. As the then literary critics believed, the reason for the failure was that the theory of acmeists did not coincide with the practical intentions, and it was not possible to finally break away from the symbolism.

Moscow State University named after M.V. Lomonosov

Faculty of journalism

Performed:

Teacher:

Moscow, 2007.

Introduction

At the turn of the XIX and XX centuries in Russian literature, an interesting phenomenon arises, then called the "Poet of Silver Century". It was the time of new ideas and new directions. If the XIX century is still in most part under the sign of the desire for realism, the new surge of poetic creativity at the turn of the centuries was already on another way. This period was with the desire of contemporaries to update the country, refreshing literature and with a variety of modernist currents, as a result, which appeared at this time. They were very diverse both in shape and content: symbolism, acmeism, futurism, imagine ...

Thanks to such different directions and trends in Russian poetry, new names have appeared, many of which had the opportunity to remain forever. The great poets of that era, starting in the depths of the modernist flow, very quickly grow out of it, hitting the talent and the versatility of creativity. It happened with the block, Yesenin, Mayakovsky, Gumilev, Akhmatova, Tsvetaeva, Voloshin and many others.

Conditionally the beginning of the "silver century" it is considered to be 1892, when the ideologist and the oldest participant of the symbolist movement Dmitry Merezhkovsky read the report "On the reasons for decline and the new currents of modern Russian literature." So for the first time, the symbolists declared themselves.

The beginning of the 1900s was a flourishing symbolism, but by 1910 the crisis of this literary direction began. The attempt of symbols to sculp the literary movement and master the artistic consciousness of the era failed. Again, the question of the relationship of art is sharply raised, about the importance and place of art in the development of Russian national history and culture.

A certain new direction was to appear, otherwise the question of the ratio of poetry and reality. This is exactly how the aquesis became.

Axism as a literary direction

Appearance of akmeism

In 1911, in the midst of the poets, they strive to create a new direction in the literature, there is a circle of "Poets", at the head of which Nikolai Gumilyov and Sergey Gorodetsky are becoming. Members of the "shop" were mainly novice poets: A. Akhmatova, N. Burluk, you. Hippius, M. Zenkevich, Georgy Ivanov, E. Kuzmina Karavaeva, M. Lozinsky, O. Mandelstam, Vl. Narbut, P. Radimov. At different times, E. Kuzmina Karavaeva, N. Kuzminovo, V. Komarovsky, V. Christmas, S. Neldihan were close to the "shop of poets" and aqmeism. Georgy Ivanov and Georgy Adamovich were the most vivid of the "younger" acmeists. A total of four Almanacs "Platifying Poets" (1921 - 1923, the first called "Dragon", the latter was already published in Berlin an emigrated part of the "poets shop").

On the creation of the literary direction called "Akmeism" was officially announced on February 11, 1912 at a meeting of the "Academy of Verse", and in No. 1 of Apollo magazine for 1913, articles of Gumilyev "Heritage of Symbolism and Akmeism" and Gorodetsky "Some currents in Modern Russian poetry, "who were considered manifests of a new school.

Philosophical basis of aesthetics

In his famous article "Heritage of symbolism and akmeism", N. Gumilyov wrote: "A new direction is replaced by a new direction, no matter how it is called, Akmeism is (from the word ACMH (Akme) the highest degree of something, color, blooming time ), or adamism (courageously solid and clear look at life), in any case, requiring greater equilibrium of the forces and more accurate knowledge of the relationship between the subject and the object, which was in symbolism. "

In the chosen name of this direction, the desire of the aqmeists themselves comprehend the vertices of literary skills. The symbolism was very closely connected with the aqmesis that his ideologues constantly emphasized, in their ideas pushing out of symbolism.

In the article "Heritage of Symbolism and Akmeism" Gumilev, recognizing that "symbolism was a worthy father," said he "finished his development range and now falls." After analyzing both domestic and French and German symbolism, he concluded: "We do not agree to bring to him (symbol) to sacrifice other ways to exposure and looking for their complete consistency," "Akmeist is more difficult to be than a symbolist how harder to build a cathedral than a symbolist tower. And one of the principles of the new direction is always to follow the largest resistance line. "

Arguing about the relationship of the world and human consciousness, Gumilev demanded "always remember the unrecognizable", but at the same time "not to insult his thought about it more or less likely guesses." Negatively related to the aspiration of symbolism to know the secret meaning of Being (he remained secret and for acmeism), Gumilyov declared the "non-community" knowledge of the "unrecognizable", "Childish wise, to the pain of a sweet feeling of his own ignorance", the intrinsicness of the "wise and clear" poet of reality. Thus, the aqmeists in the field of theory remained on the basis of philosophical idealism. The program of anxistic adoption of the world was also expressed in the article Sergey Gorodetsky "Some currents in modern Russian poetry": "After any" disadvantages ", the world is irrevocably accepted by acmeism, in the entire totality of beauty and disgrace."

Sorry, captivating moisture

And the brilliance of the fog!

In the transparent wind more good

For created countries.

Spacious world and multilaterally,

And multicolored rainbow he,

And here Adam is charged,

Inventor names.

Call, find out, disrupting covers

And idle secrets and dilapidated Molly.

Here is the first feat. Feat new

Live land fell praise.

Genre composite and stylistic features

The main focus of acmeists was focused on poetry. Of course, they had a prose, but it was poems that lay this direction. As a rule, it was small in terms of work, sometimes in the genre of Sonet, Elegy.

The most important criterion was attention to the word, to the beauty of the sounding verse. There was a certain overall orientation to others than the symbols, the traditions of Russian and world art. Speaking about it, V.M. Zhirmunsky in 1916 wrote: "Attention to the artistic structure of words emphasizes not so much the value of the observance of lyrical lines, their musical effect, how many picturesque, graphical clarity of images; The poetry of hints and sentiments is replaced by the art of precisely extinted and suspended words ... It is possible to bring the rabbit of young poetry no longer with the musical lyrics of romantics, but with a clear and conscious art of French classicism and with the French XVIII century, emotionally poor, always dissolutely, but graphic rich variety and sophistication of visual impressions, lines, paints and forms. "

It's rather difficult to talk about the total theme and stylistic features, since each outstanding poet, whose, as a rule, early, verses can be attributed to the aqmeism, were their characteristic features.

In the poetry N. Gumilev, the aqmeism is implemented in a pull to the opening of new worlds, exotic images and plots. The path of the poet in Lyric Gumileva is the path of warrior, Konquistador, the discoverer. Muza, inspirational poems - Musa of distant wanderings. Upgrading poetic imagery, respect for "phenomenon as such" was carried out in the work of Gumilyov through traveling to unknown, but quite real lands. Traveling in verses N. Gumileev was impressive of the specific expeditions of the poet in Africa and, at the same time, rejected with symbolic wanders in the "worlds of others". The transient worlds of symbolists Gumilev contrasted the continents for Russian poetry.

Another character was acknowledged by A. Akhmatova, deprived of exotic plots and motley imagery. The originality of the creative manner of Akhmatova as a poet of an acmeistic direction is improved spiritualized substrate. Through the striking accuracy of the real world, Akhmatova displays a whole soulful system. In the elegantly outlined details of Akhmatov, according to Mandelstam's remark, gave "all the tremendous complexity and psychological wealth of the Russian novel of the 19th century

The local world of O. Mandelstam was marked by the feeling of death fragility in front of a faceless eternity. Akmeism Mandelstam - "Companies in a conspiracy against emptiness and non-existence." Overcoming emptiness and non-existence is performed in culture, in the eternal creatures of art: Arrow of the Gothic bell tower assumes the sky because it is empty. Among the Ambameists, Mandelstam allocated an unusually acutely developed sense of historicism. The thing is inscribed in his poetry in a cultural context, to the world warmed by the "secret teleological warmth": the person was surrounded by no impersonal objects, but "utensils", all mentioned items acquired the biblical subtext. At the same time, Mandelstam was published by the abuse of sacred vocabulary, "inflation of sacred words" from symbolists.

From Akmeism Gumileva, Akhmatova and Mandelstam significantly differed by Adamism S. Gorodetsky, M. Zenkevich, V. Narbet, which made a naturalistic wing of movement. The nanity of Adamistov with Tryathoi Gumilev - Akhmatova - Mandelstam was repeatedly noted in criticism. In 1913, Narbut offered Zenkevich to establish an independent group or go "from Gumileva" to the Cubal fellow. Of all, adamistical globalism was expressed in the work of S. Gorodetsky. Roman Gorodetsky Adam described the life of the hero and heroine - "Two smart animals" - in the earthly paradise. Gorodetsky tried to restore the pagan in poetry, the semi-bodily globility of our Gods: many of his poems had the shape of spells, exemptions, contained bursts of emotional imagery, extracted from the distant past scene of life. Naive Adamism Gorodetsky, his attempts to return a person in the rude arms of nature could not but cause irony from the sophisticated and well-studied modernist modernist modernist. The block in the preface to the poem of Retribution noted that the slogan of Gorodetsky and Adamistov "was a man, but some other person, at all, without humanity, some priest adam."

Basic principles of aqmeism - page number 1/1

Basic principles of aqmeism:

- the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it;

- rejection of mystical nebula, the adoption of the earthly world in its manifold, visible concreteness, soundness, colorfulness;

- the desire to give the word defined, accurate value;

- subject and clarity of images, deposit of parts;

- appeal to man, to« authenticity» his feelings;

- poetization of the world of primordial emotions, primitive-biological natural principle;

- rolling with past literary epochs, widest aesthetic associations,« movie Culture».

Poets-ameist

Akhmatova Anna

Gumilev Nikolagorodetsky Sergey

Zenkevich Mikhail

Ivanov Georgy.

Krivich Valentine

Lozinsky Mikhail

Mandelshtam Osip.

Narbut Vladimir

Shileiko Vladimir

Axism (from Greek. AKME is the highest degree of something, flourishing, maturity, top, edge) - one of the modernist currents in the Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism.

Overcoming the addiction of symbolists to« supercoile», multivocities and yielding of images, complicated metaphoricity, the aqmeists sought to feel sensual plastic clarity of the image and accuracy, the chasingness of the poetic word. Them« earth» poetry is prone to the camera, the aesthetism and poetization of the senses of the pristine person. For acmeism, extreme apoliticality was characterized, complete indifference to the topical problems of modernity.

A distinctive feature of the acmeist circle of poets was their« organizational cohesion». Essentially, the aqmeists were not so much organized with a common theoretical platform as a group of talented and very different poets that personal friendship united. The symbolists did not have anything like that: Bolsov's attempts to reunite collections were in vain. The same was observed at futurists - despite the abundance of collective manifestos that they released. Ambheists, or - as they were also called -« hyperboreans» ( by the name of the Printed Roather of Aqmeism, magazine and publishing house« Hyperbori.»), immediately performed a single group. They gave to his union a significant name« Shop poets». And the beginning of the new flow (that in the future it became hardly not« mandatory condition» the emergence of new poetic groups in Russia) put the scandal.

The main ideas of akmeismwere set forth in N. Gumileev program articles« Heritage symbolism and acmeism» and S. Gorodetsky« Some currents in modern Russian poetry», published in the journal« Apollo"(1913, No. 1),i published under the editors of S. Makovsky. The first of them said:« The symbolism is replaced with a new direction, no matter how it is called, the akmeism is whether (from the word AKME is the highest degree of something, the blooming time) or adamism (courageously solid and clear look at life), in any case, requiring greater equilibrium of forces and More accurate knowledge of the relationship between the subject and the object, which was in symbolism. However, that this course approve itself in its entirety and was a worthy successor of the previously preceding, it is necessary that it takes his inheritance and responded to all the questions. The glory of the ancestors obliges, and the symbolism was a worthy father».

S. Gorodetsky believed that« symbolism ... After filling out the world, "correspondences", turned it into a phantom, important only inspired, because he ... shifts in other worlds, and silenced his high self-relief. Aqmeyists rose again became good in itself, its petals, smell and color, and not with their imaginary similarities with mystical love or something else».

In 1913, the article Mandelstam was written.« Morning Akmeism», seeing the light only six years later. The postponement in the publication was not random: the ameistic views of Mandelstam significantly dispersed with the declarations of Gumilyov and Gorodetsky and did not fall on the pages« Apolloon».

The name "Akmeism" originated from Greek. "AKME" - edge, top.

Theoretical basis is the article N. Gumileva "Heritage of Symbolism and Axism". Ambheists: N. Gumilyov, A. Akhmatova, S. Gorodetsky, M. Kuzmin.

Akmeism is a modernist course, declared the specific sensory perception of the outside world, returning the word of its initial, not symbolic meaning.

Actually an acmeistic association was small and existed for about two years (1913-1914).

At the beginning of his creative path, young poets, future amers were close to symbolism, visited Ivanovsky environments - literary meetings at the St. Petersburg apartment of Vyach. Ivanova, called "Tower". In the "tower" there were classes with young poets, where they studied poems. In October 1911, the listeners of this "Poetic Academy" founded a new literary association "the shop of poets". "The shop" was a school of professional skills, and the leaders became young poets N. Gumilyov and S. Gorodetsky. In January 1913, they published the declaration of an acmeistic group in the journal Apollo.

A new literary flow that melted large Russian poets existed not long. Creative search for Gumileva, Akhmatova, Mandelstam went beyond the scope of aqmeism. But the humanistic meaning of this flow was significant - to revive the thirst for life, to return the feeling of her beauty. A. Akhmatova, O. Mandelshtam, M. Zenkevich, V. Narbut, and others entered it.

Aqmeists are interested in real, and not the other world, the beauty of life in its specifically - sensual manifestations. The nebulae and hints of symbolism were opposed to the major perception of reality, the accuracy of the image, the clarity of the composition. In something, the poetry of aqmeism is the revival of the "Golden Age", the time of Pushkin and Baratyansky.

The highest point in the hierarchy of values \u200b\u200bfor them was a culture, identical universal memory. Therefore, it is so frequent in the ameists of appeal to mythological scenes and images. If the symbolists in their work focused on music, then aqmeists - on spatial arts: architecture, sculpture, painting. The three-dimensional world has been expressed in the hobby of the aquesiness subject: colorful, sometimes the exotic part could be used with a purely picturesque purpose.

Aesthetics aqmeism:

The world should be perceived in its visible concreteness, appreciate it realities, and not to break away from the ground;

It is necessary to revive the love of her body, the biological beginning in man, to appreciate the person, nature;

The source of poetic values \u200b\u200bis on Earth, and not in the surreal world;

In poetry should be merged together 4 began:

1) the traditions of Shakespeare in the image of the inner world of man;

2) Traditions of Rabel in body champions;

3) the traditions of Viyon in the angry of the joy of life;

4) Traditions of the Gauthier in the challenges of the force of art.

Basic principles of aqmeism:

The liberation of poetry from symbolist appeals to the ideal, the return of clarity to it;

Rejection of mystical nebula, the adoption of the earthly world in its manifold, visible concreteness, soundness, colorfulness;

The desire to give the word defined, accurate value;

Subject and clarity of images, deposit of parts;

Appeal to man, to "authenticity" of his feelings;

Poetization of the world of primordial emotions, primitive-biological natural principle;

Rolling with the last literary epochs, the widest aesthetic associations, "longing in world culture".

Distinctive features of aqmeism:

Hedonism (enjoying life), adamism (animal entity), clarism (simplicity and clarity of the language);

Lyrical plot and image of the psychology of experience;

Conversational elements of language, dialogues, narration.

In January 1913 Apollo appeared in the magazine "Apollo" of the declaration of the organizers of the Ambheistic Group N. Gumilyov and S. Gorodetsky. Ahmatov, O. Madelshtam, M. Zenkevich, also entered her.

In the article "Heritage of Symbolism and Akmeism", Gumilyov criticized mysticism symbolism, his passion "area of \u200b\u200ban unknown". In contrast to the predecessors, the leader of the ameists proclaimed the "intrinsicness of each phenomenon", otherwise the meaning of "all phenomena-brothers". And the new flow gave two interpretation names: acmeism and adamism - "courageously solid and clear look at life."

Gumilev, however, in the same article approved the need for Ambameists "Guess what will be the next hour for us, for our case, for the whole world." Consequently, he did not refuse unknown. How did not refuse the art in his "global meaning to reflect human nature" about whom later wrote in another work. The continuity between symbolist and acmeist programs was explicit

Innokentiy Annesti became the immediate concession of aqmeist. "The source of the poetry of Gumilyov," said Ahmatov, "not in verses of French Parnassians, as it is considered, but in Annensky. I lead my "beginning" of the poems of Annensky. " He owned an amazing, attracting acmeyists to the gift of artistically transform impressions of imperfect life.

Ambamests bombarded from symbolists. They denied the mystical aspirations of symbolists. Ambamests proclaimed the high intrigue of the earthly, local world, its paints and forms, the name was "to love the earth", as little as possible to talk about eternity. They wanted to pick up the earthly world in all its multipleness and strength, in all the carnal, weighty certainty. Among the aqmeists - Gumilev, Akhmatova, Mandelstam, Kuzmin, Gorodetsky.

Moscow State University named after M.V. Lomonosov

Faculty of journalism

Performed:

Teacher:

Moscow, 2007.

Introduction

At the turn of the XIX and XX centuries in Russian literature, an interesting phenomenon arises, then called the "Poet of Silver Century". It was the time of new ideas and new directions. If the XIX century is still in most part under the sign of the desire for realism, the new surge of poetic creativity at the turn of the centuries was already on another way. This period was with the desire of contemporaries to update the country, refreshing literature and with a variety of modernist currents, as a result, which appeared at this time. They were very diverse both in shape and content: symbolism, acmeism, futurism, imagine ...

Thanks to such different directions and trends in Russian poetry, new names have appeared, many of which had the opportunity to remain forever. The great poets of that era, starting in the depths of the modernist flow, very quickly grow out of it, hitting the talent and the versatility of creativity. It happened with the block, Yesenin, Mayakovsky, Gumilev, Akhmatova, Tsvetaeva, Voloshin and many others.

Conditionally the beginning of the "silver century" it is considered to be 1892, when the ideologist and the oldest participant of the symbolist movement Dmitry Merezhkovsky read the report "On the reasons for decline and the new currents of modern Russian literature." So for the first time, the symbolists declared themselves.

The beginning of the 1900s was a flourishing symbolism, but by 1910 the crisis of this literary direction began. The attempt of symbols to sculp the literary movement and master the artistic consciousness of the era failed. Again, the question of the relationship of art is sharply raised, about the importance and place of art in the development of Russian national history and culture.

A certain new direction was to appear, otherwise the question of the ratio of poetry and reality. This is exactly how the aquesis became.

Axism as a literary direction

Appearance of akmeism

In 1911, in the midst of the poets, they strive to create a new direction in the literature, there is a circle of "Poets", at the head of which Nikolai Gumilyov and Sergey Gorodetsky are becoming. Members of the "shop" were mainly novice poets: A. Akhmatova, N. Burluk, you. Hippius, M. Zenkevich, Georgy Ivanov, E. Kuzmina Karavaeva, M. Lozinsky, O. Mandelstam, Vl. Narbut, P. Radimov. At different times, E. Kuzmina Karavaeva, N. Kuzminovo, V. Komarovsky, V. Christmas, S. Neldihan were close to the "shop of poets" and aqmeism. Georgy Ivanov and Georgy Adamovich were the most vivid of the "younger" acmeists. A total of four Almanacs "Platifying Poets" (1921 - 1923, the first called "Dragon", the latter was already published in Berlin an emigrated part of the "poets shop").

On the creation of the literary direction called "Akmeism" was officially announced on February 11, 1912 at a meeting of the "Academy of Verse", and in No. 1 of Apollo magazine for 1913, articles of Gumilyev "Heritage of Symbolism and Akmeism" and Gorodetsky "Some currents in Modern Russian poetry, "who were considered manifests of a new school.

Philosophical basis of aesthetics

In his famous article "Heritage of symbolism and akmeism", N. Gumilyov wrote: "A new direction is replaced by a new direction, no matter how it is called, Akmeism is (from the word ACMH (Akme) the highest degree of something, color, blooming time ), or adamism (courageously solid and clear look at life), in any case, requiring greater equilibrium of the forces and more accurate knowledge of the relationship between the subject and the object, which was in symbolism. "

In the chosen name of this direction, the desire of the aqmeists themselves comprehend the vertices of literary skills. The symbolism was very closely connected with the aqmesis that his ideologues constantly emphasized, in their ideas pushing out of symbolism.

In the article "Heritage of Symbolism and Akmeism" Gumilev, recognizing that "symbolism was a worthy father," said he "finished his development range and now falls." After analyzing both domestic and French and German symbolism, he concluded: "We do not agree to bring to him (symbol) to sacrifice other ways to exposure and looking for their complete consistency," "Akmeist is more difficult to be than a symbolist how harder to build a cathedral than a symbolist tower. And one of the principles of the new direction is always to follow the largest resistance line. "

Arguing about the relationship of the world and human consciousness, Gumilev demanded "always remember the unrecognizable", but at the same time "not to insult his thought about it more or less likely guesses." Negatively related to the aspiration of symbolism to know the secret meaning of Being (he remained secret and for acmeism), Gumilyov declared the "non-community" knowledge of the "unrecognizable", "Childish wise, to the pain of a sweet feeling of his own ignorance", the intrinsicness of the "wise and clear" poet of reality. Thus, the aqmeists in the field of theory remained on the basis of philosophical idealism. The program of anxistic adoption of the world was also expressed in the article Sergey Gorodetsky "Some currents in modern Russian poetry": "After any" disadvantages ", the world is irrevocably accepted by acmeism, in the entire totality of beauty and disgrace."

Sorry, captivating moisture

And the brilliance of the fog!

In the transparent wind more good

For created countries.

Spacious world and multilaterally,

And multicolored rainbow he,

And here Adam is charged,

Inventor names.

Call, find out, disrupting covers

And idle secrets and dilapidated Molly.

Here is the first feat. Feat new

Live land fell praise.

Genre composite and stylistic features

The main focus of acmeists was focused on poetry. Of course, they had a prose, but it was poems that lay this direction. As a rule, it was small in terms of work, sometimes in the genre of Sonet, Elegy.

The most important criterion was attention to the word, to the beauty of the sounding verse. There was a certain overall orientation to others than the symbols, the traditions of Russian and world art. Speaking about it, V.M. Zhirmunsky in 1916 wrote: "Attention to the artistic structure of words emphasizes not so much the value of the observance of lyrical lines, their musical effect, how many picturesque, graphical clarity of images; The poetry of hints and sentiments is replaced by the art of precisely extinted and suspended words ... It is possible to bring the rabbit of young poetry no longer with the musical lyrics of romantics, but with a clear and conscious art of French classicism and with the French XVIII century, emotionally poor, always dissolutely, but graphic rich variety and sophistication of visual impressions, lines, paints and forms. "

It's rather difficult to talk about the total theme and stylistic features, since each outstanding poet, whose, as a rule, early, verses can be attributed to the aqmeism, were their characteristic features.

In the poetry N. Gumilev, the aqmeism is implemented in a pull to the opening of new worlds, exotic images and plots. The path of the poet in Lyric Gumileva is the path of warrior, Konquistador, the discoverer. Muza, inspirational poems - Musa of distant wanderings. Upgrading poetic imagery, respect for "phenomenon as such" was carried out in the work of Gumilyov through traveling to unknown, but quite real lands. Traveling in verses N. Gumileev was impressive of the specific expeditions of the poet in Africa and, at the same time, rejected with symbolic wanders in the "worlds of others". The transient worlds of symbolists Gumilev contrasted the continents for Russian poetry.

Another character was acknowledged by A. Akhmatova, deprived of exotic plots and motley imagery. The originality of the creative manner of Akhmatova as a poet of an acmeistic direction is improved spiritualized substrate. Through the striking accuracy of the real world, Akhmatova displays a whole soulful system. In the elegantly outlined details of Akhmatov, according to Mandelstam's remark, gave "all the tremendous complexity and psychological wealth of the Russian novel of the 19th century

The local world of O. Mandelstam was marked by the feeling of death fragility in front of a faceless eternity. Akmeism Mandelstam - "Companies in a conspiracy against emptiness and non-existence." Overcoming emptiness and non-existence is performed in culture, in the eternal creatures of art: Arrow of the Gothic bell tower assumes the sky because it is empty. Among the Ambameists, Mandelstam allocated an unusually acutely developed sense of historicism. The thing is inscribed in his poetry in a cultural context, to the world warmed by the "secret teleological warmth": the person was surrounded by no impersonal objects, but "utensils", all mentioned items acquired the biblical subtext. At the same time, Mandelstam was published by the abuse of sacred vocabulary, "inflation of sacred words" from symbolists.

From Akmeism Gumileva, Akhmatova and Mandelstam significantly differed by Adamism S. Gorodetsky, M. Zenkevich, V. Narbet, which made a naturalistic wing of movement. The nanity of Adamistov with Tryathoi Gumilev - Akhmatova - Mandelstam was repeatedly noted in criticism. In 1913, Narbut offered Zenkevich to establish an independent group or go "from Gumileva" to the Cubal fellow. Of all, adamistical globalism was expressed in the work of S. Gorodetsky. Roman Gorodetsky Adam described the life of the hero and heroine - "Two smart animals" - in the earthly paradise. Gorodetsky tried to restore the pagan in poetry, the semi-bodily globility of our Gods: many of his poems had the shape of spells, exemptions, contained bursts of emotional imagery, extracted from the distant past scene of life. Naive Adamism Gorodetsky, his attempts to return a person in the rude arms of nature could not but cause irony from the sophisticated and well-studied modernist modernist modernist. The block in the preface to the poem of Retribution noted that the slogan of Gorodetsky and Adamistov "was a man, but some other person, at all, without humanity, some priest adam."

And yet, you can try to analyze the main features of the aqmeism on the example of individual works. Such an example can be a poem of theophily in Gautier "Art" translated by Gumilev. Theophile Gauthier was generally a sign figure in the formation of Russian akmeism. "Apparently, in the aesthetic program Gautier, - writes I.A. Pankeev, - Gumilev, the most impressed the declarations close to him: "Life is the main quality in art; for him you can forgive everyone"; "... smaller meditations, celebrations, synthetic judgments; only the thing is needed, the thing and once more thing". "

So we turn to the poem.

Creating the more beautiful Than taking material Impassable - Verse, marble il metal. Oh bright girlfriend, Strengthening Skulling kitty. Away easy techniques Shoe for all legs Family And beggar and gods. Sculptor, not mni submissive And sluggish clay com Dreaming about a friend. With Paros Il Carrara Fuck a debris Like a tsarist Housing beauty. Beautiful dungeon! Through bronze Syracuse Looking Opened appearance muses. Hand of gentle brother Outlines And Apollo will come out.

Artist! Watercolor You will not be sorry! Melt your enamel. Create Siren Green With a grin on the lips Inclined Monsters on herbs. In three-tousing Siagani. Madonna and Christ Latin Cross. All dust. - one, likuya, Art will not die. He will survive the people. And on a simple medal, Open medium stones Unknown kings. And the gods themselves are damn But the verse does not end sing, Haughty, Solver, than copper. Check, bend, fight, - And unsubstantial dream dreams Arrives In immortal features.

In general, we have a classic verse in front of us: rhyme, rhythm and poetic size are observed everywhere. Proposals are usually simple, without complex multistage revolutions. The vocabulary of the neutral advantage, outdated words, high vocabulary practically did not use in the aqmeism. However, the colloquial vocabulary is also absent. There are also examples of "wordness", neologisms, original phraseologism. The verse is clear and understandable, but at the same time extraordinarily beautiful.

If you look at parts of speech, nouns and verbs prevail. There are practically no personal pronouns, since Akmeism is more facing the outside world, and not to the internal experiences of a person.

Various expressive tools are present, but do not play a decisive role. Comparison prevails from all paths.

Thus, the aqmeists created their verses not at the expense of multistage structures and complex images - their images are clear, and the proposals are quite simple. But they are distinguished by the desire for beauty, the elevation of this very simplicity. And it was the amers who could force ordinary words to play completely in a new way.

Conclusion

Despite numerous manifestos, acmeism still remains weakly expressed as a holistic direction. The main merit is that he was able to unite many talented poets. Over time, they all starting from the founder of Nikolai Gumileev's school, "rearranged" acmeism, created their own special, unique style. However, this is a literary direction one way or another helped their talent to develop. And already on this, you can take the honorable place in the history of Russian literature of the beginning of the 20th century.

Nevertheless, it is possible to allocate the main features of the poetry of aqmeism. First, attention to the beauty of the surrounding world, to the smallest details, to distant and unknown places. At the same time, acmeism does not seek to know the irrational. He remembers him, but prefers to leave untouched. As for the directly stylistic features, it is the desire for simple proposals, neutral vocabulary, the absence of complex revolutions and the heap of the metaphor. However, at the same time, the poetry of aqmeism remains unusually bright, sonorous and beautiful.

Bibliography

1. Axism // Literary manifestos from symbolism to this day. Sost Jimbinov. - M.: Consent, 2000.

2. Axism, or Adamism // Literary Encyclopedia: at 11 t. - [M.], 1929-1939. T.1

3. Gumilev N. Legacy of symbolism and akmeism // Gumilev N. Favorites. - M.: Veva, 2001. - 512 p. - p.367-370.

4. Zhirmunsky V.M. Overcoming symbolism.: Article [Electronic resource]. - Access mode: http: // gumilev. RU / MAIN. phtml? Aid \u003d 5000895.

5. Pankeev I.A. In the midst of the wandering of the earth (lit. -bogr. Chronicle) // Gumilev N., Favorites. - M.: Enlightenment, 1991.

6. Scriabin T. Akmeism // Encyclopedia "Circular Movement": Encyclopedia [Electronic resource]. - Access mode: http: // www. Krugosvet. RU / ARTICLES / 102/1010275A1. Htm.

Cyt. Akmeism // Literary manifestos from symbolism to this day. Cost. S. Jimbinov. - M.: Consent, 2000.

Zhirmunsky V.M. Overcoming symbolism.: Article [Electronic resource]. - Access mode: http://gumilev.ru/main.phtml?aid\u003d5000895

Pankeev I. A. In the middle of the wandering of the earth (lit.-bioogr. Chronicle) // Gumilev N., Favorites. - M.: Enlightenment, 1991. - P. 11.