Zinaida Hippius symbolism. Course work: images of the sky and land in the poetry of Zinaida Hippius. Muri House, Relationship with A.A. Block

In January 1889, the young, but already famous St. Petersburg poet Dmitry Merezhkovsky with brought the Caucasus, from the city of Tiflis, a young wife - she was not also 20 years old. "Slender, narrow, with a figured, which later called decadent, with sharp and gentle, as if a consuming face, in the halo of lush gold hair, falling back with a tusty sideway, with bright-skewed eyes, in which there was something inviting and mocking. She led Himself, like a bald girl ... ", were the first impressions of art bohemian about the one who was called no otherwise, like the" Petersburg Safa "- a bold, stinging, trapping many of the laws of the philistine morality ... Content of the poetess," Lauma with Lornnet ", whose life credo was expressed by the raging lines:" I love the unattainable, which, perhaps, no ... silence endless ... and dusk ... and love. "

The transformation of the provincial young lady to the hostess of brilliant literary salons, in one of the most intellectual women of Russia, it happened rapidly. And the explanation of this should be sought, apparently, in those properties of nature, with which nature endowed with Zinaida Hippius. First of all, it is an analytical, "male" warehouse of the mind. Even the poems she wrote from the face of a man. Everything that was "Women's World" seemed to her uninteresting, boring, banal. The ill-wishers shuffled about her "antibodies". Thinner observers familiar with Hippius closer, argued that this is the result of a stubborn work on themselves, she with her stern asceticism, with her stern asceticism, renounced femininity as from unnecessary weakness. "

Even in marriage with Meriazhkovsky, as the famous memoirman of Russian abroad, Irina Odoyevtsheva, "they seemed to change roles - Hippius was a male beginning, and Merezhkovsky - feminine. She was a logic, he is intuition." Actually, Zinaida Hippius and did not hide it. "I happened to be ahead of some idea of \u200b\u200bDmitry," she wrote in his memoirs about Meriazhkovsky. "I expressed it before. In most cases, he immediately picked up, and he has already done a terry ... The difference of our natur was, however. , not of this kind, with what they destroy each other, but, on the contrary, they find the harmony among them. "

The relationship of spouses until the end of their days remained unusually sustainable, albeit specific. However, the numerous love novels of Zinaida Hippius were particularly specific - painful and often more speculative than real. The idea of \u200b\u200bwhat its attitude to love gives this poetic illustration: "You feel sorry for me" Human "me ... But you are" in God's "I regret. Whom I love - I love for God."

Chet Merezhkovsky stood at the origins of the Russian symbolism, which opened the "silver century" of Russian culture. Symbolism brought new ideas, a new hero - an individualist, inclined to reflection, then to the mouth, then to mysticism. The symbolism of Zinaida Hippius was, however, its own color is religious. "The soul in nature is religious," she wrote. - Unbearable the feeling of abandonment in the world, if there is no God. " But the religion, perceived through the church, not only the Orthodox, any, hypiot and her spouse did not suit. Like its favorite writer - Fedor Dostoevsky, she sought her way to God. So the idea of \u200b\u200b"new" Christianity, the "new" church was born, when a person and God exist on equal. In addition, "the real Church of Christ must be a single, universal," said Spouse Merezhkovskiy. However, they expressed their uncoolency in the actions and words, sometimes shocking society. For example, the "Triple" Union, in which Merezhkovsky lived for many years with Dmitry philosophical - publicist, criticism, who play a prominent role in the famous artistic association "The World of Art". This union, or the family, demonstrated a fundamentally new, spiritual unity ... But the society was perceived as audacity, as a continuation of the shocking poetry of Zinaida Hippius: "I can't finish God, if I love God ... We are not slaves - but we are God's Children, children are free as he. "

Music in poetry symbolists was very important as metaphoristic and equally rhythmic principle. The symbolists even had the so-called "musical group" in which Balmont was included, Vyach. Ivanov and Baltrushattys. At the same time, their like-minded people on the symbolism of the buses, the white and block organized another group - "low-chicken". It is clear that it is their irony, delight. They all put the music very high in their work, especially Balmont. Leonid Sabaneyev wrote in his memories: "Balmont well felt the music - which is far from especially among the poets. It also felt Scriabinsk music. I think he gave it a famous, undoubted relationship with his own poetry."

The symbolist poets, arguing about their literary current and developing his theory, expressed, as far as I know, in such a way that the music in a merger with life and religion gives the desired result - harmonious poems that can perform the role of a certain Messiah.

The purpose of this work is to consider the images of the sky and land in poetry Z.N. Hippius.

examine the creative path of Z. Hippius:

examine the image form;

identify the main theme of poems.

1. Creative way of Zinaida Hippius

Zinaida Nikolaevna Hippius stood at the origins of Russian symbolism and became one of his leaders. Together with Meriazhkovsky and Minsk, hypiius belonged to the religious wing of this direction: they tied up an art update with foreigner tasks. Possessing a sharp critical mind, Hippius in youth did not receive systematic education due to frequent family movements. "Books - and endless own, almost always secret scriptures - only this one me, mainly occupied," she recalled about adolescence and adolescence in autobiography. In 1888, he met Merryovsky in Borjom, soon he was married for him and moved to St. Petersburg. The poetic debut took place in 1888 in the journal "Northern Vestnik". Hippius considered the most vivid "external" events "of his life," the device of the first religious and philosophical assembly (1901-1902), then the publication of the magazine "New Way" (1902-1904), the internal experience of the 1905 events "and Joint with Merezhkovsky and D.V. Philosopher stay in Paris in 1906-1908. At the beginning of the century, the Meriazkovsky salon (the third permanent participant was philosophers) in the House of Muri on Flytein Prospekt in St. Petersburg, attracted adherents of "uncoolency" and mystically tuned young writers; It was through Meriazhkovsky who entered the circle of symbols and began to be printed in their magazine "New Path" a young block; There were also the first articles of Andrei White. Hippius considered the most important literary and social activities, regularly performed as a critic and publicist (more often under the pseudonym Anton extreme), cooperating at the beginning of the advantage in the symbolistic, and later in the overasty organs.

Creativity Hippius has become particularly diverse after 1908, when two collections of her stories ("black in white", 1908 and "Lunar ants", 1912), the book of critical articles "Literary Diary" (1908), Roman Dilogy ("Distov Doll "1911 and" Roman-Tsarevich "1912), plays. Poems, Hippius published not often and, according to her recognition, "he wrote rarely and little - only when he could not write" (autobiography). For more than thirty years of its literary activity in Russia, three small volumes of the collection were released: "Meeting of poems.1889-1903" (M., 1904), "Meeting of poems. Book of the second (1903-1909)" (M., 1910) And, after October, "the last poems. 1914-1918." (GH., 1918). There was no "apprenticeship" period at Hippius: the early poetic experiments "Under Nadsson" did not appear in the press, and its first published verses have already differ in not only new to Russian poetry motives, but also mature skill, stylistic and rhythmic refinement with external modesty and absence Effects.

Thematic complex of early poems 3. Hippius includes all the most important motives for the "senior" symbolists: care from boredom everyday life in the world of fantasy and irrational premonitions ("I am a slave of my mysterious, extraordinary dreams"), the cult of loneliness, the consciousness of own chosenness, aesthetization decline ("I love me despair my immeasurable"), etc. But at the same time sounded his own note: the desire to overcome the decadence on the paths of faith, and sometimes the disappointment in it, the fear of "empty desert" heaven. Brucers noted the "exclusive" Hippius "ability to write aphoristically, to climb his thought into brief, expressive, easily memorable formulas." It was much worse than her poetic journalism: attempts to religious sermons in verses ended in failure. The top of her skill was the small poems of the 1910s, thematically anticipate the tragic phantasmagoria of the Western prose XX century. ("Tolerate that everything is in the car? In a toothed wheel?").

Welcoming the February Revolution as a pledge of a democratic reorganization of Russian life, Hippius took a sharply irreconcilable position in relation to the Bolsheviks after October. In the "recent verses" she again turned to the genre of poetic - and now narrow-political - journalism, declaring their understanding of the October Revolution as the death of democracy in Russia. Emigrating in 1920 together with Merezhkovsky and philosophical, until the death remained in a fierce opposition to the USSR, rejecting attempts to other emigrants more loyally referring to Soviet power; During the Great Patriotic War, this led to the gradual insulation hypause in the emigrant circles. In Paris, he continued journalistic activities, published memoirs. There came out in 1938. Her last book of poems is "radiance."

2. Figure Poetry Z. Gippius

Zinaida Nikolaevna itself did not hide that his "holy of saints", his innermost walking on flour and confusing maze, she does not want to endure to see the review:

"And the mystery of the Terrible, the last and faithful -

I still won't say you ... "

In this voluntary mystery, the "lunariness" of her life (with simultaneous publicity, thirst to be in the center of literary and public events) has its own personal drama hypiot.

It is difficult to disagree with George Adamovich, who considered that friends and familiar zinaida hypiot "should have been, everyone in their own way, to give her books something like a psychological comment. Her" case ", her" dossier "in the history of literature will remain without it incomplete ". Attention is drawn to the fact that almost in all works about Zinaide Hippius is necessarily transferred by the mystery of her family relationships with Dmitry Merezhkovsky often, as it were, through the keyhole in a married bedroom. Although no doubt careless, the painful spookiness of her verses deserve a special conversation and research. For this is not only a personal decadent feature of Hippius, but also an equally characteristic sign of the era, which is disgusted with fruitful healthy life. In the circumstances of this disease, all revolutions were born at the beginning of the century, all the coming tragedies of Russia.

In 1893, Zinaida Hippius writes the poem "Song", which became not only famous after some time, but in many ways the identified poetess actually first place in new poetry. As Avril Piman notes, the author of the study on the history of Russian symbolism, hypius "stand out among his own peers, since it was indeed the first to find the" unspeakable word "capable of transferring new feelings and penetrate into tired hearts." So what about the "unspeakable word" in a kind of manifest "song" Zinaida Hippius?

Alas, in the sadness insane, I'm dying,

I'm dying.

I strive to

what I don't know

I do not know...

But crying without tears

about the wrong vow

About the wrong voyage ...

I need something that is not in the world,

What is not in the world.

The first poectors drew the attention of Innocent Annensky, who indicated that in her poetry it was reflected "some unconditional momentary, some kind of persistent, almost burning need to rhythmically transfer the" full feeling of a minute ", and in this - their strength and charm" .

If you distract from the theory of literature, then the history of the Russian intelligentsia remains, which now shows the time, in many respects it turned out to be irresponsible and short-sighted for the fate of the people and the country. As a character of the era, Zinaida Hippius most brightly expressed this complex historical collision.

Here we read the diary record Hippius: "In October, a thousand eight hundred and ninety-year-old, in the village of Orline, when I was busy writing a conversation about the Gospel, namely, the flesh and blood in this book, I came to me unexpectedly Dmitry Sergeevich Meriarykovsky and said:" No , you need a new church. " "New Church", so to speak, a personal home monastery with his charter, namely, with a prayer in the homemade ritual. "I began to work on prayers, taking them from church rank and introducing our", - Write hypiotus. With such "Holy simplicity" and started pulling on a brick from the foundation. From here there are already two steps to a new game in "Drying".

On the lunar sky, the branches are black ...

Downstairs a little heard the stream rustle.

And I swing in the air grid,

Earth and the sky is far away.

Below - suffering, at the top - fun.

And pain, and joy - me are hard.

As children, tucci thin, curry ...

As beasts, people of ponts and evil.

I feel sorry for people, I'm ashamed of children,

Here - they will not believe, there - they will not understand.

At the bottom of me bitterly, at the top - it's a shame ...

And here I am in the grid - neither there, nor here.

Live, people! Play, kids!

On everything, swinging, I "No" ...

One thing is scared: swinging in the grid,

How to meet warm, earthly dawn?

And dawn couples, alive and rare,

Below is born, gets up, gets up ...

Ul to the Sun stay in the grid?

I know the sun - I will burn me.

History greeting the first revolution, Merezhkovsky, philosophers and hypiius are trying to collect a rally in October 1906 with a call to the clergy "Allow the army of the oath of the king", declare the synod "devoid of canonical rights", stop in the temples of prayer for the king and the reigning house. Further, the creators of the "new religious consciousness" and the "New Church" began to promote a strange way out of the public crisis - it was necessary, they thought they were considered to deprive the monarchy of religious sanctions, religiously "smeared" (their devilish doors!) Askannik-autocrat, such a manner eliminating the latest support Autocracy in the people.

We - over the vigorous stage,

Children of the gloom ...

Here we are not talking about the fact that Merezhkovsky is obey in the tragedy of Russia. This is generally about the generation of seductors and the premises of spiritual. After all, they themselves were the first to be crushed from horror when the first wreckings of the collapsed state flew on their head, with such unscrupious artistry they also actively!

In his best book "Lights", written in exile, Zinaida Hippius will say, as if looking around for past wandering:

Snake the moon in water, -

But lies, gold, road ...

Damage, overheet everywhere.

And the measure is only God.

In the late, post-revolutionary verses Zinaida Hippiiius is increasingly the topic, thoughts, feelings of the poet do not fit into the "feeling of this minute." Here we, of course, are dealing with the experience of a lot of time (we use the term bakhtin). And if in what ever from anyone from Zinaida Hippiius had no secrets and non-reservations, as shown by "radiance", so it is in her love for Russia. Here she was expressed right and sometimes very hard, so there were no interpretation. Having passed along with his homeland Calf of her revolution, wars, splits and sink, Hippius and at home, in his native land, and in emigration, where he spent more than twenty years, until the death felt the fate of Russia as her own.

Time, the epoch made Hippius by the poet of tragic worldview. In the brilliant Pleiad representatives of the silver century, Zinaida Hippiius occupies that part of the starry sky, where the cold mysterious light of her very strange fate and lyrics flickers, the attractiveness of which invariably increases in such insistent times as the current one. It seems to select only the key to their solve, and you will come closer to understanding the endless Russian tragedy. But whether the poetess left this key, that's the question. She only hinted: "... there is some kind of word, // in which the whole essence."

"From the literary life, a circle culture, the philosophical and aesthetic consciousness of the era of the beginning of the century an integral" literary image "of Z. Gippius, whose influence on the literary process was hardly recognized by all writers of symbolistic orientation:" Decadent Madonna ", bold" Satance "," Witch ", around which rumors, gossip, legends and which actively multiplies them (Bravada, with which he reads his" blasphemous "poems on literary evenings; the famous Lornnetka, which is a mining hypius with causing unceremoniousness, etc.). She attracts people with unusual beauty, cultural sophistication, sharpness of critical alike. "

A very accurate explanation of the popular opinions about Zinaide Hippius was observing V.N. Muromseva, wife I.A. Bunin: "About Hippius said - evil, proud, smart, self-apparent. In addition to the" smart ", everything is wrong, that is, maybe, and evil, yes, not to the extent, not in that style, as it is customary to think. Proud No more than those who know their price. Amputely - no, not at the wrong sense. But, of course, she knows its proportion ... "

Hippius and Merezhkovsky tried to introduce others to their religious searches for others, to form a circle of people seeking spiritual self-development. So, in 1901, they organized religious and philosophical meetings, and in 1903, in continuation of meetings, began to produce a new path magazine. And if before that Zinaida Hippius knew as a poet and prose, the author of the books "New People" (1896), "Mirrors" (1898), then with the advent of the magazine, she gained fame as an art critic, publicist. Its influence on the minds was huge: he was tested not only peers, but also younger personalities appearing in Russian literature at the turn of the XIX-XX centuries - Poets Alexander Blok, Andrei White, writer Marietta Chaginyan ... "How she ruled over people, And how she loved it, "the writer of Russian abroad Nina Berberov exclaimed, remembering Zinaide Hippius already in old age. - Probably, more than all loved the" power over the souls. "

It cannot be said that Zinaida Hippius was entirely immersed in the world, torn away from reality, from social processes. She clearly understood what was happening around. She wrote about the occurrence of the twentieth century later: "Something in Russia broke, something left behind, something nourished or resurrected, sought forward ... Where did it be known to anyone, but then, at the turn of the century, There was a tragedy in the air. " She broke out: The First World War, then the Socialist Revolution ... To war, the attitude of Hippius was extremely negative. "There is no excuse war, and will never be," as if she put it with a poetic string. The relationship was changed to the revolution: bourgeois, in February 1917, Hippius happily welcomed the communist, in October 1917, - with contempt rejected. "" Social coup "is preparing, the darker, idiotic and dirty, which will be in history. And it is necessary to wait for it from the hour for an hour," she recorded these words in the diary day before the revolutionary uprising.

Naturally, already in 1919, the Spouse Merezhkovsky was abroad. They went to the revolution abroad to the revolution: in Italy, France, Germany. In Paris, they had their own apartment. They did not look like many Russian emigrants. But Hippiiius had maliciously in the address of the new Soviet power unrestrained, until the end of days. She preferred freedom without Russia. But, perhaps, in the soul, I asked the same questions that her husband expressed out loud, Dmitry Merezhkovsky: "To what I actually need freedom, if not Russia? What do I do without Russia to do with this freedom?" .

I do not know, where holiness, where the vice,

And I do not judge anyone, I do not measure.

I only tremble before eternal loss:

Whoever does not own God - owns Rock.

You were at the crossroads of three roads -

And you did not face His Three ...

He was surprised by your disbelief

And the miracle could not accomplish.

He moved to neighboring villages ...

Not late, he is close, running, run!

And if you want, - the first in front of him

With thoughtless faith liage the knees, I ...

Not he is alone - all together

By faith, - the miracle of our salvation ...

3. Topics of poems Z. Hippius

In the fall of 1899, Meriazhkovsky has an idea idea (as it seemed) in many ways of exhausted Christianity; To implement the conceived, it was necessary to create a "new church". The desire to hear the living "voice of the Church" and an attempt to attract official clearing representatives to the idea of \u200b\u200btheir "new religious consciousness" pushed Hippius to the design of the organization of religious and philosophical assembly (1901-1903). Hippius belongs to the idea of \u200b\u200bcreating his magazine "New Way" (1903-1904), in which, along with a variety of materials about the revival of life, literature and art through "Religious Creativity", and reports of meetings were printed. Forced (due to lack of funds), the closure of the "new path" and the events of 1905 significantly changed the life of Meriazhkovsky. They are increasingly leaving the living and real "case" into a narrow home circle of the construction of the "New Church".

By 1905, the creation of the famous "Troybrats": D. and 3. Meriazhkovsky - D.V. Philosophers; The joint existence of which lasted 15 years. Often, the main ideas and "sudden guesses", according to the hypios emanating from the triumvirate, were initiated by the poetess itself. In March 1906, Tryumvirat leaves Russia for two years, settling in Paris. From the fall of 1908, Merezhkovsky again takes an active part in the religious and philosophical meetings, transformed into a religious and philosophical society in St. Petersburg (since 1907). However, now the meeting dialogue was not held between representatives of the intelligentsia and the church, but within the intelligentsia itself. Together with the block, Vyach. Ivanov, Rozanov and others, they discuss there current problems of their time.

1900-1917 There were the most fruitful literary and journalistic and practical activities of Hippius in the name of the embodiment of the idea of \u200b\u200bthe Third Testament, the coming God-human theocracy, in the name of the "main". The combination of Christian and pagan holiness to achieve the last universal religion was the cherished dream of Merezhkovsky. The principle of external division with the existing church and the internal union with her was the basis of their "new church".

His way of writer Hippius began as a poet. The two of its first, still imitative, "semi-children's" poems were printed in the "Northern Gazette" (1888), around which the Petersburg symbolists of the "senior" generation were grouped. Hippius's early poems reflected the overall situation of pessimism and melancholy of the 1880s. The younger generation was passionate about Naston's poetry, and Hippius, together with Minsk, Balmont and Merezhkovsky, was no exception. The first romantic imitate stage of creativity Hippius 1889-1892. Coincided with the time of the formation of an early Russian symbolism and became for the hypius period of searches for his own literary person. In the magazines "Northern Vestnik", "European Bulletin", "Russian Thought" and others, it prints stories, novels ("without talisman", "Winners", "Small Waves") and less often - poems. The first noticeable publication in prose was its small story of "Simple Life", which appeared in the "Bulletin of Europe" in 1890 with small bills and under a changed editor name "Zloskvenny". If the poems hypiotus wrote as if intimate and "for themselves" and worked them, according to her, as if prayer, she consciously focused on a common aesthetic taste. This manifested with a bright duality of her personality characteristic of Hippius.

After the appearance of the program work of the Meriazhkovsky "On the reason for the decline and the new currents of modern Russian literature" (1892), the work of Hippius acquires a distinct "symbolic" character. The first collections of the stories Hippius "New People" (1896; 1907) and "Mirrors" (1898) showed symbolistic type people. Related maximalism of "new people", claiming the tasks of searching for "new beauty" and the spiritual transformation of a person, caused irritation and a sharp rejection by liberal and populic criticism.

The influence of Dostoevsky can be traced in many works Hippius, including in the novel "Roman-Tsarevich" (1912), in its plot close "Besam".

The third story book (1902) Hippius caused the greatest resonance in criticism. They talked about her "painful strangeness", "mystical fog", "head mysticism". The main idea of \u200b\u200bthe book is the disclosure of the concept of metaphysics of love against the background of spiritual twilight of people ("Twilight of the Spirit", 1899), who are not yet able to realize it.

The next book of the story of Hippius "Scarlet Sword" (1906) illuminates the author's metaphysics already in the light of non-acrylic themes.

The fifth collection of stories "Black in White" (1908) collected works by Hippius 1903-1906. In a tangent, foggy-impressionistic manner, the topics of genuine and imaginary dignity of the person ("on the ropes") were addressed, the themes of love and sex ("in love", "the eternal" female "," two-one "), not without the influence of Dostoevsky was Written a story "Ivan Ivanovich and Damn."

The last collection of stories "Lunar Ants" (1912) tells about the fundamental philosophical foundations of being and religion ("he - white", "Earth and God", "they are similar"). This collection, according to Hippius, has absorbed the best stories from those she wrote.

In 1911, Hippius publishes Roman-Trilogy: 1st part - "Chertova Doll"; The 2nd part is the "charm of truth" - it was not over; The 3rd part is "Roman-Tsarevich" (a separate publication in 1913). The novel, according to the writer, was supposed to "expose the eternal, deep roots of the reaction in public life", collect "the features of the spiritual death in one person." The novel caused sharp disputes and in general a negative reaction of criticism for "slander" to the revolution and for a weak artistic embodiment.

Hippius declared itself and as playwright - "Holy Blood" (1900; entered the 3rd book of stories); "Poppies color" (1908; together with Merezhkovsky and philosophical) - response to the events of the revolution 1905 - 1907. Drama "Green Ring" (1916), supplied by sun. Meyerhold in the Alexandria Theater (1915) turned out to be the most successful. Hippius devoted her young, "green" people "tomorrow."

The most valuable part of the artistic heritage Hippius is represented by its five poetic collections: "Meeting of poems 1889-1903." (1904); "Meeting of poems. Book the second. 1903-1909" (1910); "Latest poems. 1914-1918" (1918); "Poems. Diary. 1911-1921" (Berlin, 1922); "Lights" (Paris, 1938).

Many poems, stories, articles are devoted to Hippius Theme of Love: "Critica of Love" (1901), "Love" (1904), "Love and Thought" (1925), "On Love" (1925), "Second Love" (1927) , "Love Arithmetic" (1931). Wonderful poem Hippius about love - "Love One" (1896) Rainer-Maria Rilke was translated into German. Largely following the concept of love V.S. Solovyov and separating love from desire, Hippius explained that love "this is the only sign" from there, "the promise of something that, after reaching, it would be quite satisfied in our soul-bodily creature."

Metaphysics of love Hippius is a search for harmony, an attempt to connect "two abyss", heaven and earth, spirit and flesh, temporary and eternal in one whole.

On December 24, 1919, Merezhkovskiy (Hippius, Merezhkovsky, Philosophers and V. Zlobin) at night forever leave St. Petersburg and Russia. After a short stay in Poland in 1920, disappointed as in Pilsudsky's politics in relation to the Bolsheviks (October 12, 1920, a truce was signed between Poland and Russia) and in the role of B.V. Savinkova who came to Warsaw to discuss with the Merezhkovsky new line in the fight against the Bolsheviks, 20 Oct. 1920 Meriazhkovskiy, swaying with a philosopher, forever leaving to France. In Paris, Hippius organizes the literary and philosophical society "Green Lamp" (1927-1939), which collected representatives of different generations of emigrants and playing the prominent role in the intellectual life of the first wave of emigration.

The collections of the "green lamp" were conducted for the elect, they were invited only by prior lists. At the meetings, I.A. were often Bunin with spouse, b.k. Zaitsev, L. Shestov, Fedotov. At the beginning of the Paris apartment of Merezhkovsky is described for non-payment. In 1940, once a close friend of philosophers comes from life, at the end of 1941 - Merezhkovsky, in 1942 - Anna's sister. Hippius is hard to experience these leaving. In recent years, Hippius in addition to Memoirov occasionally writes poems and works on the big poem "The Last Circle" (published 1972). Died in Paris; He was buried in the Russian cemetery in Saint-Geneviev-de Bois under Paris.

How would your faces be broken

Outdoor Neva!

And here from the RVA, from the torch of flour,

Where the bottom goes on the bottom

Shive stretching hands

We are to your Savanam Saints.

To the death of death to touch

Put dry attach,

To die - or wake up

But so do not live! But so do not live!

Conclusion

The silver age of Russian literature is an era that extends between Alexander III reign time and the seventeenth year, that is, about 25 years. Segment of time, equal maturity of the poet.

The participants themselves of this Russian Renaissance were aware that they would live in the course of spiritual revival. In the articles of that period, expressions were often met - "New Treps", "New Literature", "New Art" and even - "New Man".

In fact, the term "new poetry" is very controversial. But in general, yet the poets of the Silver Age of their aesthetics were different in something from their predecessors. First of all, form, spiritual and lexical freedom.

Authoritative literary critations argue that everything ended after 1917, with the beginning of the Civil War. No silver century after that no longer. In the twenties, the inertia of the former relations of poetry continued. Some literary associations operated, such as the House of Art, the House of Literators, the World Literature in Petrograd, but also these echoes of the Silver Age stuck the shot, who broke the life of Gumilyov.

The silver age emigrated - to Berlin, in Constantinople, in Prague, Sofia, Belgrade, Rome, Harbin, Paris. But in the Russian diaspora, despite the complete creative freedom and the abundance of talents, the silver century could not be revived. Apparently, in human culture there is a law on which Renaissance is impossible outside the national soil. And artists of Russia lost such soil. To his honor, emigration took care of the conservation of spiritual values \u200b\u200bthat recently revived Russia. In many ways, this mission performed a memoir genre. In the literature of abroad, these are whole volumes of memories signed by the loud names of Russian writers.

The symbolist poets are somewhat annoyed by scientists with their "decadation", but in general they fited into the atmosphere of those evenings. Basically, the symbolists visited the Society of Memory Solovyov. Interestingly, from all other religious societies "Solovyovsky" was distinguished by what was like extincing. Poets read poetry, argued about the aesthetics of symbolism, and religious images were often discussed as poetic metaphors. N. Arsenyev said about the symbolists at these meetings in their memoirs: "... the main thing, sometimes poured here and a spicy jet of the" symbolic "body, a buoyan-orgiastic, sensually excited (sometimes even sexually pagan) approach to religion and religious experience. Christianity was drawn into a sea of \u200b\u200bbuoy-orgiastic, sensual-gnostic experiences. " He further recalls: "Characterized for this atmosphere were shouts of one of the participants about the" Holy Flesh "or the poem of S. Solovyov (philosopher's nephew) about the Chicken of Dionysus, which literary and irresponsibly mixed with the Bush of the Eucharist, as Dionysis also literary and irresponsible closer to Christ ".

It interferes, merges

Reality and sleep

Loves even below

Sinister occasion -

And I go and fall,

Conquering fate

With unknown ridelia

And thought - about you.

I love unattainable,

What can happen ... no ...

Child my favorite

My only light!

Your breath gentle

I feel in a dream

And snow covered

Easy and sweet me.

I know, close eternal,

I hear the blood ...

Silence endless ...

And dusk ... and love.

Literary heritage Z. Gippius is huge and varied: five collections of poems, six books of stories, a few novels, drama, literary criticism and journalism, diaries. Nevertheless, the most valuable of her heritage, it's still, perhaps, poetry. Like all her work, her poems, first of all, distinguishes their characteristic gentity. They are all large, strong, without private and small things. Live, acute thought, intertwined with complex emotions, breaks out of poems in search of spiritual integrity and gaining a harmonic ideal. Z. Hippius belonged to the class, which for two centuries created Russian culture. She understood that the empire was doomed, and dreamed of a revived homeland, but with the arrival of the revolution, the collapse of culture saw, terrible moral wedding. Her creativity is not only "noise and rage" (Falkner), but also pain for Russia.

Bibliography

1. Bobrova O. Silver Century Heroine. // Navigator of Russian Culture. - 2004.

2. Krasnikov Salzing image: To the 130th anniversary of the poetess Z. Hypius. // Independent newspaper. - №8. - 1999.

3. Orlov V. Poet, who shown himself in advance and boldly. // Bulletin. - №26 (233). - 2003. - December 21.

4. Russian writers. Biographical dictionary. - M., 1989.

5. Russian writers of the 20th century. Bibliographic dictionary. - M.: Enlightenment. 1998.

6. Russian poetry of the silver century. 1890-1917. Anthology. / Ed. M. Gasparova, I. Koretskaya, etc. Moscow: Science, 1993

Russian poetry of the Silver Century. 1890-1917. Anthology. Ed. M. Gasparov, I.Korotkaya et al. Moscow: Science, 1993

Krasnikov Salzing Image: To the 130th anniversary of the poetess Z. Hippiius. // Independent newspaper. - №8. - 1999.

Russian writers. Biographical Dictionary, M., 1989.

Orlov V. Poet, who shown himself in advance and bold. // Bulletin. - №26 (233). - 2003. - December 21.

Bobrova O. Silver Century Heroine. // Navigator of Russian Culture. - 2004.

Russian writers of the 20th century. Bibliographic dictionary. T2. M.: Enlightenment. 1998.

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on the topic: Creativity Z.N. Hippius

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1. Biography Zinaida Nikolaevna Hippius

Hippius Zinaida Nikolaevna (1869-1945), Russian Poet, Prose, literary critic. From 1920 in emigration. Born 8 (20) November 1869 in Bellev Tula lips. In the family of a lawyer who rubbed German.

Nikolai Romanovich Hippius and Anastasia Vasilyevna Stepanova, daughter of the Yekaterinburg Oberpolitzmeister, got married in 1869. It is known that the ancestors of the father emigrated from Mecklenburg to the Russian state in the XVI century, the first of them, Adolfus von Gingst, who changed the surname to the "Hypius von Hippius" (him. Von Hippius), settled in Moscow, opened the first in German Sloboda in 1534 Russia bookstore. Gradually, the genus Hippius became less and less "German", in the veins of the daughters of Nikolai Romanovich Russian blood was three-quarters.

Zinaida was the eldest of four daughters. In 1872, Hippius was born asya (Anna Nikolaevna), which later became a doctor. Since 1919, she lived in emigration, where he published work on historical and religious topics ("Saint Tikhon Zadonsky", 1927). Two other sisters - Tatiana Nikolaevna (1877-1957), an artist who wrote, in particular, the portrait of A. Blok (1906), and the sculptor Natalia Nikolaevna (1880-1963) - remained in Soviet Russia, where they were arrested and link, after liberation From the German concentration camp, they worked in the Novgorod Art Museum of Restoration.

In the summer of 1888, eighteen-year-old Zinaida Hippius met Borjomi with a twenty-one-year-old poet D.S. Merezhkovsky, who had just released her first book of poems and trained in the Caucasus. A few days before the meeting, one of the fans Hippius demonstrated the Merezhkovsky photography of the girl. "What a face!" - As if exclaimed Merezhkovsky (if you believe the memories of V. Zlobin). At the same time, Hippius the name of Merezhkovsky was already familiar. "... I remember the Petersburg magazine, the old, last year ... there, among the Diffirabov Naddon, mentioned another poet and Nadon's friend - Merezhkovsky. Even some of his poem, which I did not like it. But it is unknown why - the name is remembered, "Hippius wrote, meaning the poem" Buddha "(" Bodisatva ") in the first issue of the" Bulletin of Europe "for 1887.

A new acquaintance, as he recalled the hypius, was distinguished from the rest of her admirers seriousness and silence. All biographical sources note the mutual sensation of ideal "intellectual compatibility" immediately between them. In his new acquaintance, Merezhkovsky immediately gained a like-minded man, "he who understood from half-clow, what even he himself was confident to the end," for Hippius (according to Y. Zobnin), the phenomenon of Meriakhovsky had "Onegin" character before all her The novels "ended the sorting record in the diary:" I am in love with him, but I see that he is a fool. "

January 8, 1889 in Tiflis Hippius was notified with Merezhkovsky. The wedding was very simple, without witnesses, colors and a wedding dress, in the presence of relatives and two chapheris. After the wedding of Zinaida Nikolaevna went home, Dmitry Sergeevich - to the hotel. In the morning, the mother woke up the bride cry: "Get up! You still sleep, and my husband came! " Only here Zinaida remembered that yesterday was married. Newlyweds everyday met in the living room for tea, and closer to the evening they left Dilijanse to Moscow, from which they again went to the Caucasus in the Military Guard. At the end of this brief wedding trip, they returned to the capital - first in a small, but cozy apartment on Virusky street, 12, removed and furnished with a young husband, and at the end of 1889 - in the apartment in the apartment house, which was removed for them, offering in as a wedding gift, mother Dmitry Sergeevich. Union with D.S. Meriazhkovsky "made sense and a powerful incentive of all ... Improving the internal activity" began "beginner poetess, soon allowing" breaking on huge intellectual expanses ". It was noted that this marital union played a crucial role in the development and development of the literature "Silver Century".

The statement of Hippius is widely known that the spouses lived together for 52 years, "... without dividing any day." However, the fact that they were "created for each other" should not be understood (as V. Zlobin clarified) "in the romantic sense." Contemporaries argued that their family union was primarily a spiritual union and was never truly married. Despite the fact that "the bodily side of marriage has denied both", both (as Vulf notes) "hobbies, love happened."

In April 1892, at Villa, Professor Maxim Kovalevsky Merezhkovsky met with a student of the St. Petersburg University Dmitry Philosophical. Hippius drew attention to the fact that "the young man was wonderful beautiful," but immediately forgot about it. Ten years later, philosophers became her close friend, to which, until the end of his life, she retained the deepest feelings. "... philosophers has emerged by the situation. He was tormented by conscience, he felt extremely awkwardness before Meriazhkovsky, to whom he experienced the most friendly location and considered his mentor. "

Merezhkovsky (in a letter V.V. Rozanov on October 14, 1899) recognized: "Zinaida Nikolaevna ... not another person, and I am in another body." "We are one creature," Hippiiius constantly explained. V.A. Zlobin outlined the situation by the next metaphor: "If you imagine Merezhkovsky as a kind of high tree with branches, then the roots of this tree - she. And the deeper the roots grow into the ground, the higher the branches extend to the sky. And here are some of them as it may apply to Paradise. But that she is in hell - no one suspects. "

The last record in the diary Hippius made before the death itself was phrase: "I stall a little. How God is wise and fair. " Zinaida Nikolaevna Hippius died in Paris on September 9, 1945. The secretary V. Zlobin remained to the last side testified that in a moment before the death of two tears of glass on her cheeks and the "expression of deep happiness" appeared on her face.

Zinaida Hippius was buried under one tombstone with Merezhkovsky at the Cemetery of St. Geneviev de Boua.

2. Creativity Zinaida Nikolaevna Hippius

The beginning of the literary activities of Zinaida Hippius (1889-1892) It is considered to be the stage of "romantic ammunition": in its early poems and stories of criticism of that time, the influences of Nice, Reskina, Nietzsche saw.

After the appearance of program work D.S. Merezhkovsky "On the reason for the decline and new currents of modern Russian literature" (1892), the work of Hippius acquired a clearly "symbolist" character, moreover, it later began to be counted among the ideologues of the new modernist movement in Russian literature. During these years, the central theme of her creativity becomes a sermon of new ethical values. As she wrote in "Autobiography", "I was engaged in, actually, not decadence, but the problem of individualism and all the questions related to it." The collection of stories of 1896, she polemically entitled "New People", thereby implying the image of the characteristic ideological aspirations of the emerging literary generation, anew rethinking value of "new people" Chernyshevsky.

Her heroes seem unusual, lonely, painful, underlined incomprehensible. They declare new values: "I would not want to live at all," "And the disease is good ... you need to die from something", "Miss May" story, 1895.

In the story "Among the Dead" shows the extraordinary love of the heroine to the deceased artist, whose grave she surrounded care and on which, in the end, freezes, having connected, so in his unearthly feeling with his beloved.

However, at the heroes of the first prosaic collections, the hypios of the "symbolist type" people who were searching for the "new beauty" and human spiritual transformation paths were noticed and clear traces of the influence of Dostoevsky (not lost over the years: in particular, Roman-Tsarevich 1912 Compared with "demons"). In the story of "Mirrors" (the eponymous collection of 1898), the heroes have their prototypes among the characters of the works of Dostoevsky. The main heroine tells how she "everything wanted to do something great, but such ... unparalleled. And then I see that I can't - and I think: let me do something bad, but very, very bad, to the bottom of the bad ... "," Know that it is not bad to offend. "

But her heroes inherited the problematics not only Dostoevsky, but also Merezhkovsky. ("We are for new beauty, violate all laws ..."). In the novel "Zlatootsvet" (1896), the murder on "ideological" is being reached in the name of the complete release of the hero: "She must die ... Everything will die with her - and he, Zvygin, will be free from love, and from hatred, and from all thoughts about her". Reflections on the murder are interspersed with disputes of beauty, freedom of personality, about Oscare Wilde, etc.

Hippius did not copy blindly, and re-conceived Russian classics, placing his heroes into the atmosphere of Dostoevsky's works. This process was of great importance for the history of Russian symbolism as a whole. The main motives of the early poetry hypiot critics of the beginning of the 20th century were considered "curses of boring reality", "the glorification of the world of fantasy", the search for "newest-sized beauty." The conflict characteristic of the symbolist literature between a painful sensation within the human disunity and, at the same time, the desire for loneliness was present in the early work of Hippius marked with characteristic ethical and aesthetic maximalism. Genuine poetry considered Hippius, it comes down to the "Triple Cleanness" of the World, three themes - "On a man, love and death". The poetess dreamed of "reconciliation of love and eternity", but the uniting role assigned death, which only can save love from all transient. This kind of thought on the "Eternal Topics", which determined the tonality of many poems Hippius of 1900, dominated in the two first books of the Gippius stories, the main topics of which were - "approval of the truth of only an intuitive start of life, beauty in all its manifestations and contradictions and lies in the name Some of the high truth. "

The Third Story Book (1902) Hippius caused a significant resonance, the critic in connection with this collection spoke about the "painful strangeness" of the author, the "mystical fog", "head mysticism", the concept of metaphysics of love "against the background of people's spiritual twilight ... not yet capable To realize it. " The formula of "Love and Suffering" on Hippius (according to the "Encyclopedia of Kirill and Methodius") relates to the "meaning of love" V.S. Solovyov and carries the basic idea: to love not for themselves, not for happiness and "assignment", but to gain infinity in "I". Imperatives: "Express and give the whole soul", to go to the end in any experience, including in experimenting with you and people, were considered the main life plants.

A notable event in the literary life of Russia of the beginning of the 20th century was the exit of the first collection of poems from Z. Gippius in 1904. Criticism noted here the "motifs of tragic closetness, deprivation of the world, the volitional self-affirmation of the individual." The like-minded people noted a special manner of "poetic letter, non-infractions, allegory, hint, defaults", the Manera playing "singeling chords of distraction on the piano", "as I. Annensky called it. The latter believed that "no man would never dare to dress up abstraction with such charm," and that in this book, the whole fifteen-year-old story ... lyrical modernism in Russia was best embodied. A significant place in poetry hypiot took the topic of "efforts to create and preserve the soul", with all the "devilish" claims and temptations from them, many were avenue with which the poetess told about their internal conflicts. An outstanding master of verse believed her V.Ya. Bruce and I.F. Annene, admired by the virtuosity of the form, rhythmic wealth and "singement abstraction" lyrics Hippius of the late 1890s - 1900s.

Some researchers believed that Creativity Hippius is distinguished by "characteristic not femininity", in her verses "everything is large, strongly, without private and small things. Live, acute thought, intertwined with complex emotions, breaks out of poems in search of spiritual integrity and gaining harmonic ideal. " Others warned against unequivocal estimates: "When you think about where Hippius is intimate, where the necessary rod, which is the work of creativity, where -" face ", then you feel: this poet may be like anyone else, there is no single person, And there is a lot ... ", - wrote R. Gul.

I.A. Bunin, implying a Hippius stylist who does not recognize open emotionality and often built on the use of oxymoronov, called it poetry "electric poems", V.F. Khodasevich, reviewing the "radiance", wrote about the "peculiar internal boring of the poetic soul with a non-efficient mind."

Collected stories Hippius "Scarlet Sword" (1906) highlighted "the author's metaphysics already in the light of non-Christian themes", while the God-human person in the human person consisted here as a givenness, the sin of self-andman was considered uniform. Collection "Black on White" (1908), which made the prosaic works of 1903-1906, was set aside in the "tangent, foggy-impressionistic manner" and explored the topics of the dignity of the personality ("on the ropes"), love and gender ("in love" "Eternal" female "," two-one "), in the story" Ivan Ivanovich and Damn "the influences of Dostoevsky were again noted. In the 1900s, Hippius declared itself and as a playwright: The play "Holy Blood" (1900) entered the third book of the stories. Created in co-authorship with D. Merezhkovsky and D. Philosophical play "Poppy Color" was published in 1908 and was a response to revolutionary events of 1905-1907. The most successful dramatic work of Hippius is considered the "Green Ring" (1916), the play dedicated to the people of "tomorrow" was supplied by VE. Meyerhold in the Alexandrinsky Theater.

An important place in the work of Z. Gippiius occupied critical articles that were first published in the "New Way", then in the "scales" and "Russian thought" (mainly under the pseudonym Anton extreme). However, its judgments were distinguished (according to the "new encyclopedic dictionary") both "Big Thoughtfulness" and "extremely sharpness and sometimes lack of impartiality." Running with the authors of the magazine "World of Art" S.P. Dyagilev and A.N. Benoit on religious soil, hypiotus wrote: "... live among their beauty scary. There is no place for ... God, faith, death, this is the art" for "here", "the art of positivist."

A.P. Czechs in the evaluation of criticism - the writer "Cooling the heart to the whole living", and those whom the Chekhov will be able to captivate, "go to be treated, shoot and to dry." In her opinion ("Mercure De France"), Maxim Gorky "mediocial socialist and a learned artist." Konstantin Balmont, who published his poems in a democratic "magazine for everyone," criticized as follows: "In this literary" Omnibus "... even G. Balmont, after some poems, decides to be" as everything "" ("New Way", 1903, №2) that did not prevent her from also to put their poems in this magazine.

In the reviews on the collection of A. Bloka "Poems about the beautiful lady" with the epigraph "Without a deity, without inspiration", the hypius liked only some imitation of Vladimir Solovyov. In general, the collection was assessed as a foggy and peculiar "mystico-aesthetic romanticism." According to Criticism, where "without ladies", the poems of the block "are not harmful, unsuccessful", it sesters the "mermaid cold" and so on.

In 1910, the second collection of poems Hippius "Meeting of Pychs. Kn. 2. 1903-1909 ", in many ways, the" mental disorder of a person became the main theme, its main theme, in all the seekers of the highest meaning, the divine justification of low earthly existence ... ". Two novels of the unfinished trilogy, "Chestov Doll" ("Russian Thought", 1911, №1-3) and "Roman-Tsarevich" ("Russian thought", 1912, №9-12), were called on to "ignite the eternal, deep roots Reactions in public life, "collect" features of the spiritual death in one person, "but they met the rejection of critics that marked the tendency and" weak artistic embodiment. " In particular, in the first novel, the cartoon portraits of A. Blok and Vyach were given. Ivanova, and the chief hero was opposed by the "enlightened faces" of the participants of the Triumvirata of Mererykovsky and Philosophian. Another novel was entirely devoted to the issues of sovereign and was, according to R.V. Ivanova-Obzaznik, "tedious and torn continuation by anyone who does not need the" Black Doll "." After their publication "New Encyclopedic Dictionary" wrote: Hippius is original as the author of poems than as the author of the stories and the lead. Always carefully thoughtful, often putting interesting questions that are not deprived of a label of observation, stories and lead Hippius at the same time somewhat contrived, alien to freshness of inspiration, do not show the real knowledge of life.

Heroes Hippius speak interesting words, fall into complex collisions, but do not live in front of the reader, most of them are only the personification of abstract ideas, and some are no more than skillfully worked puppets, leading in motion by the author's hand, and not the power of their internal psychological experiences.

Hate for the October Revolution forced Hippius to break with those from the former friends who took it with the block, Bryusov, White. The history of this gap and the reconstruction of ideological collisions, which led to the October events that made the inevitable confrontation of the former allies in literature, amounted to the essence of the memoir cycle of Hippius "Living Persons" (1925). The revolution (in advance the elements and a cleansing hurricane in it, which he saw the explosion in it, was described by her as a "tight suffocation" of monotonous days, "boredom is amazing" and at the same time, "monstrousness", which caused one desire: "go blind and flop." At the root of what happened Hippius seen some "huge madness" and considered extremely important to preserve the position of "common mind and hard memory."

Collection "Latest poems. 1914-1918 "(1918) Gippiiius led the hell under active poetic creativity, although two more poetic compilations were published abroad:" Poems. Diary 1911-1921 "(Berlin, 1922) and" Shinia "(Paris, 1939). In the works of the 1920s, the eschatological note prevailed ("Russia died irretrievably, the kingdom of the antichrist occurs, the crust of the collapsed culture will be ravaged" - according to the Encyclopedia "Circiers").

As the author's chronicle of the "bodily and spiritual dying of the old world", Hippiius left diaries, perceived by her as a unique literary genre, allowing to capture the "Lifestyle", fix the "disappeared little things", for which the descendants would be able to restore a reliable picture of the tragic event. Hippius artistic creativity in the years of emigration (according to the Encyclopedia "Circlevet") "begins to plump, she is increasingly penetrated by the conviction that the poet is not able to work away from Russia": "Heavy cold" reaches her soul, she is dead, like "Killed Hawk " This metaphor becomes key in the last collection Hippius "Lightness" (1938), where the motives of loneliness prevail and everything is seen by the look of "walking past" (title important for the late Hippius of the poems printed in 1924).

Attempts to reconcile with the world in the face of a close farewell with him are replaced by declarations of non-reconnaissance with violence and evil.

According to the "literary encyclopedia" (1929-1939), the overseas creativity hypiotus "deprived of any kind of artistic and social value, except that it brightly characterizes the` animal face "Emigrantshina". Another assessment of the work of the poetess gives V.S. Fedorov: creativity Hippius with all its internal vapority drama, with a tense-passionate desire to unattainable, has always been not only "change without treason", but also carried the exemption of hope, fiery, indestructible faith-love in the forensic truth of the ultimate harmony of human life and being .

Already living in emigration, his "behind the Star country" hopes with a aphoristic brilliance of the poetess wrote: Alas, they are divided ... (V.S. Fedorov). Z.N. Hippius. Russian literature XX century: writers, poets, playwrights.

3. Social activities Zinaida Nikolaevna Hippius

In 1899-1901, Hippius became close to the circle S.P. Dyagileva, who was grouped around the world of art, where she began to publish their first literary-critical articles. In them, signed by men's pseudonyms (Anton Extreme, Lev Pushchin, Comrade Hermann, Roman Arensky, Anton Kirsha, Nikita Evening, V. Vitovt), Hippius remained a consistent preacher of the aesthetic program of symbolism and philosophical ideas laid down in its foundation. After leaving the "world of art", Zinaida Nikolaevna acted as a criticism in the magazines "New Way" (actual degree of degree), "Scales", "Education", "New Word", "New Life", "Vershins", "Russian thought" , 1910-1914, (as a prose, she was published in the journal before), as well as in a number of newspapers: "Speech", "Word", "Morning of Russia" and so on.

The best critical articles were subsequently selected by it for the book "Literary Diary", (1908). Hippius as a whole negatively assessed the state of Russian artistic culture, tying him with the crisis of the religious foundations of life and the collapse of public ideals of the previous century. The vocation of the artist Hippius saw in the "active and direct impact on life", which was followed to "hike". The critic found his literary and spiritual ideal in the literature and art that developed "to prayer, to the concept of God." It was believed that these concepts were largely directed against writers close to the "knowledge led by M." Knowledge ", and in general," against literature oriented on the traditions of classical realism. "

By the beginning of the 20th century, Hippius and Merezhkovsky had their own, original ideas about freedom, metaphysics of love, as well as unusual non-physical views related primarily with the so-called "Third Testament". The spiritual and religious maximalism of Merezhkovsky, who expressed in the awareness of his "Providence, not only in the fate of Russia, but also in the fate of humanity," reached apogee in the early 1900s. In the article "Life Bread" (1901), Hippius wrote: "Let us be a sense of responsibility in relation to the flesh, to life, and the premonition of freedom - to spirit, to religion. When life and religion really come together, they will become one thing - our sense of duty will inevitably affect the religion, sprinkling with the premonition of freedom, (...) which the Son of Human promised us: "I came to make you free". "

The idea of \u200b\u200bthe update largely exhausted (as it seemed) Christianity arose in the Meriazhkovsky autumn of 1899. To implement the conceived, it was decided to create a "new church", where the "new religious consciousness would be born. The embodiment of this idea was the organization of religious and philosophical assembly (1901-1903), the purpose of which was proclaimed the creation of a public tribune for the "free discussion of the issues of the Church and Culture ... non-Christians, a public device and the improvement of human nature." The organizers of the assembly interpreted the opposition of the Spirit and the flesh: "Spirit - church, flesh - society, spirit - culture, flesh - people, spirit - religion, flesh - earthly life ...".

"New Church."

At first, Hippius was suddenly skeptical to a suddenly manifested her husband's "clericalism", later she recalled, as "evening gatherings" turned into "fruitless disputes", which did not make sense, for most Miriskusenikov were very far from religious issues. "But Dmitry Sergeyevich seemed that almost all understood him and sympathize with him," she added. Gradually, however, the wife not only took the position of her husband, but herself began to generate ideas related to the religious renewal of Russia.

L.Ya. Gurevich testified that Hippius "writes Catechisis a new religion and produces dogmas." In the early 1900s, all literary and journalistic and practical activities of Hippiius were directed to the embodiment of the ideas of the Third Testament and the coming Bogoral Tereocracy. The combination of Christian and pagan holiness to achieve the last universal religion was the cherished dream of Merezhkovsky, which the basis of their "new church" put the principle of combination - external division with the existing church and the inner union with her.

The appearance and development of the "New Religious Consciousness" hypiota justified the need to eliminate the gap (or the abyss) between the spirit and flesh, to sanctify the flesh and thereby enlighten it, to abolish Christian asceticism, a person forcing a person to live in the minds of his sinfulness, bring religion and art.

Disconnection, chopping, "unnecessaryness" for the other is the main "sin" of her contemporary, dying alone and who does not want to move away from him ("Criticism of Love"). Hippius assumed to overcome the search for the "common god", the awareness and adoption of "equivalence, multiplicity" of others, in their "inseparalism."

Distortion Hippius was not only theoretical: on the contrary, it suggested her husband to give shortly before that created by the religious and philosophical meetings "Public" status. "... we are in a close, tiny corner, with random people try to believe in between the artificial-mental agreement between them - why is it? Do you think that we are better to start some real thing in this side, but wider, and so that it was in the conditions of life, so that ... well, officials, money, ladies so that it is clear, and that different people come together who never converged ... "," she repeatedly retell his conversation with Merezhkovsky in the fall of 1901, at the cottage under the meadow. Merezhkovsky "jumped up, hit his hand on the table and shouted: right!" The idea of \u200b\u200bthe assembly received, thus, the last, terminating "bar".

Hippius with great enthusiasm described later his impressions of the assembly, where people met two first not in contact with communities. "Yes, these were truly two different worlds. Getting closer with "new" people, we moved from surprise to surprise. Not even about the inner difference, I'm talking now, but just about the skills, customs, about the very language, - all this was another, exactly the other culture ... There were people in between them peculiar deep, even thin. They perfectly understood the idea of \u200b\u200bmeetings, the meaning of the "meeting", "she wrote. I made a deep impression on it undertaken in those days with the resolution of the synod a trip with her husband to a bright lake, for the controversy with the rowers-splitters: "... what I had to see and hear, so enormous and fine - that I have only sadness - about People, like Nikolai Maximovich (Minsk), decadents ... Rozanova - "writers" traveling abroad and writing about unpaved philosophy and do not know anything about life as children. "

Hippius belonged to the idea of \u200b\u200bcreating a new path magazine (1903-1904), in which, along with a variety of materials about the revival of life, literature and art through "Religious Creativity", and reports of meetings were printed. The magazine existed not long, and his sunset was due to the Marxist "influence": on the one hand - (temporary, as it turned out), the transition of N. Minsk to the Leninsky camp, on the other - the appearance in the editorial office of the recent Marxist S.N. Bulgakov, in the hands of which turned out to be a political part of the magazine. Merezhkovsky and Rozanov quickly walked to the publication, and after the Bulgakov rejected the Hippius article about the block under the pretext of the "insufficient significance of poems theme" of the latter, it became clear that the role of "Merezhkovs" in the magazine was not at no.

In December 1905, the last book of the "New Way" was published, by this time Hippius was already printed, mainly in the Bryus "scales" and "northern colors".

The closure of the "New Way" and the events of 1905 significantly changed the life of Meriazhkovsky: they finally went to the home Circle of "Builders of the New Church", whose participant was now and a close friend of both D.V. Philosophers, with the participation of the latter and the famous "Three Brotherhood" was formed, the joint existence of which lasted 15 years. Often, the "sudden guesses", which came from the triumvirate, were initiated by Hippiius who served, as the remaining members of this union, the generator of new ideas, were also recognized. She was, in essence, the author of the idea about the "Triple Device of the World", which Merezhkovsky developed for decades.

The events of 1905 became largely turning in the life and work of Zinaida Hippius. If, before that time, the current socio-political issues were practically outside the sphere of its interests, then the execution of January 9 came for her and Merezhkovsky shock. After that, the actual public issues, "civil motifs" became in the work of Hippiius, primarily prose-free, dominant. For several years, the spouses became irreconcilable opponents of autocracy, fighters with the conservative state structure of Russia. "Yes, autocracy - from Antichrist," Hippiius wrote in those days.

In February 1906, Merezhkovsky left Russia and headed to Paris, where in voluntary "exile" spent more than two years. Here they released a collection of antimonarchical articles in French, got together with many revolutionary (primarily by Esrami), in particular with I.I. Fondaminsky and B.V. Savinkov. Later hypiotus wrote: in Paris, the poetess began to organize "Saturdays", which began to attend old writers (N. Minsk, who left the Leninist edition, K.D. Balmont et al.). In these Paris years, the spouses worked a lot: Merezhkovsky - over historical prose, hypius - over journalistic articles and verses.

The passion for politics did not affect mystical searches of the latter: the slogan of the creation of the "religious community" remained in force, assuming the connection of all radical movements to solve the task of renewal of Russia. Spouses were not interrupted by ties with Russian newspapers and magazines, continuing to publish articles and books in Russia.

So in 1906, a collection of stories Hippius "Scarlet Sword" came out, and in 1908 (also in St. Petersburg) - written in France by all the participants of the "Three Brotherhood" drama "Poppies", whose heroes were the participants of the new revolutionary movement.

In 1908, the spouses returned to Russia, and in the cold Petersburg at Hippius after three years there was no old diseases here again. Over the next six years, she and Merezhkovsky have repeatedly leaving abroad to be treated. In the last days of one such visit, in 1911, Hippius bought a cheap apartment in Passion (Rue Colonel Bonnet, 11-BIS), this acquisition was subsequently for both decisive, saving significance.

From the fall of 1908, Merezhkovsky took an active part in the religious and philosophical meetings renewed in St. Petersburg, transformed into a religious and philosophical society, but the representatives of the church were now practically not practically, and the intelligentsia itself solved numerous disputes. In 1910, "Meeting of Pychs. Kn. 2. 1903-1909 ", the second volume of the collection of Zinaida Hippius, in many respects consonant first. Its main theme was the "spiritual breakdown of a person, in all the seekers of the highest meaning, the divine justification of a low earthly existence, but not yet found sufficient resonance and accept - neither" the severity of happiness "nor rejecting him." By this time, many poems and some stories Hippius were translated into German and French. Abroad and in Russia they came out in French (in collaboration with D. Merezhkovsky and D. Philosophical) The book "Le Tsar et La Ryvolution" (1909) and an article about Russian poetry in Mercure De France. By the beginning of the 1910s, the last prosaic collection of Hippius "Lunar Ants" (1912), who has entered the stories that she herself believed in their works, as well as two novels of the unfinished trilogy: "Chestov Doll" (first part) and " Roman-Tsarevich "(the third part) who met the rejection of the left press (which saw" slander "to the revolution in them) and in general the cool technique of criticism, which found them frankly tendentious," problematic ".

The beginning of the First World War made a heavy impression on the Meriazhkovskih, they sharply opposed Russia's participation in it. The changed life position of Z. Gippius manifested themselves in an unusual way: it is from the face of three women (using the names of the names and surnames of the servants as the aliases as aliases) - began to write stylized ones under the firm "common" female letters to the soldiers to the front, sometimes putting them in the brushes.

These poems messages ("fly, fly, a present", "on the far kid", etc.), which did not represent artistic value, nevertheless, public resonance.

To the same period refers to the publication Hippius I.D. Syutin, who wrote A.V. Rumanov: "The trouble is scary again. We need to write Merezhkovsky and wrote ... But trouble with the publication of Zinaida. After all, this abandoned money, you have to do anything. "

4. Analysis of the poem "Pain"

Red carbon darkness cher

Shattering flesh liking

Tight, tight walk,

GNU, break and knit.

With a story

Stano and Smurk.

Game Wakeup,

A needle penetrate.

And I am so kind

Fall in love - so awake.

Like affectionate cobra i am

Purchase, woken.

And again sod, somnu,

Screw slowly Vintuch,

I will gnaw while I want.

I'm faithful - not deception.

You are tired - I will rest

Drop and wait.

I am true, love will be right

I will come to you again

I want to play with you

Red Coal Locks ...

poetess writer literary criticism

Zinaida Hippius was happy in marriage with Dmitry Meriazhkovsky, although their joint life was not smooth and simple. There were periods when spouses were starving in the literal sense of the word and laid their wedding rings to buy bread. And this is despite the fact that both Hippius and Merezhkovsky had very wealthy parents who could easily support the young family. But - did not do this, considering that their wayward children chose an inappropriate lifestyle.

However, if with the midnight existence of Zinaida Hippius could still somehow put up, then the separation of Russia became a real blow to her. It happened in early 1906, when, after a failed attempt at the state coup, her spouse insisted at the departure to Paris. It was the most real escape, covered with a faithful pretext to correct health abroad.

However, hypipes, and Merezhkovsky, who actively opposed the royal autocracy, simply could not accept the fact that the 1905 revolution ended with collapse.

As a result, the spouses voluntarily left Russia and two years wandered in France. It was during this period that the poem "Pain" was born, which many literary crituals tried for a very long time to rank a love lyrics to the category.

Indeed, in this work we are talking about deep feelings, however, they affect the relationship of Zinaida Hippius with his spouse, but her attitude to the country, which she considered his homeland all his life.

The poetess admits: "I am so kind, you fall in love - so awake." She really does not think of his life without Russia, although it understands that she will be much calmer and more comfortable for her. At the same time, Zinaida Hippiiius cannot cope with his longing, so promises: "I am true, love will return, I will come to you again." And this phrase sounds not like a barrafficness, but as a promise to overpower yourself and come to some compromise.

On the one hand, the poetess torments strong mental pain due to separation from the homeland, and on the other hand, it does not see places in Russia, where cruel repressions occur at this moment.

However, it is necessary to pay tribute to Zinaide Hippius, in 1908 she still persuades the spouse to return home. And after 9 years, completely changes his opinion on the revolution, calling it the "kingdom of Antichrist."

The fact that the spouses were able to survive in Hungry Petrograd in the winter of 1917-1918, so turning their concept of justice that they decide to leave Russia forever.

Posted on Allbest.ru.

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General properties of poetry zgipiius

Philosophical system of thought.
Abstract vocabulary.
Submission of vocabulary pronounced.
CHAIN
One go, go through the Snezhny Square,
In the MGLU evening, easy-foggy,
And I think the Duma, one, rebellious,
Always insane, always desirable.
Bells are silent, silent cathedral,
And the chain of fence in the MGL is no means.
And by the chain, away, as the shadows of black,
Like ghosts - go close.
Go - beautiful, and ugly,
There are fun, sad go;
Such similar - such different,
Such close, such a given ...
Where are hated - and where is your favorite?
Ways are not everyone prepared?
Like units black, - inseparable,
We in the chain one forever approved.

1888 - comes married to D.S. Melezhkovsky, with whom will live together for 52 years. It was not only not so much a marriage union,

God's creature
For the devil I pray for you
Lord! And he is your creation.
I love the devil for that
What I see in it - my sufferment.
Struggling and tormenting he network
His carefully gossip ...
And I can not regret
Of who, like me, is suffering.
When our flesh is restored
In your court, for raising,
Oh, let him go, Lord,
His madness is for suffering.

In the late 1890s, the problems of the new religious consciousness came to the first place. Some of his first shifters -

At the end of 1900, together with D.F. Filosofov
create their own church and begin in
her worship.
On November 29, 1901, the first religious philosophical assembly took place.
The ideas of the new religion are formed in magazines
"Northern Vestnik", world of art "," New
the path ", where the main position is occupied by Z.Gippius,
D. Mezhkovsky, and then d.Filosofov.

Revolution 1905-1907 influenced the views of Z.Gippiius, D. Mezhkovsky, D. Filosofova.

The leaders of the new teaching become radicals,
get closer to the ester, with their leader
B. Savinkov. The main idea in the years of the revolution:
To update the people, its one needs
Religious self-determination.

After the revolution, Dr. Melezhkovsky (and therefore Z.Gippiius) is headed by the magazine "Russian Thought"

Here are made formed ideas about
creating the church of the Third Testament.
It is understood that
The third covenant is
Continuing revelation
in line of dilapidated and new
Covenants, which, without replacing
and without canceling the previous
Revelation, marks
new stage
in relationships
God and man.

The essence of the teachings about the church of the Third Testament

Love
Human
World triangle
God is unity
Death

The ideas of this teaching are becoming the main themes of poetry z.gippius

Three mindlessness is rich.
Triple bottomlessness is given to poets.
But do not say poets
Only about it?
Only about it?
Triple truth - and triple threshold.
Poets, believe it correct.
Only God thinks about it:
About a human.
Love.
And death.

Theme "Man"

The person in the poetry hypius is the solitary, out of ties with society, but not an individualist (like symbolists). This
The person is special, with the highest truth.
Dedication
Heaven is sad and low,
But I know - my spirit is high.
We are so strange with you,
H hypius and o.florenskaya,
And each of us is alone.
Artist, sister
Merciless my road
She leads me to death.
But I love myself like God, my love will save my soul.
If I'm tired on the way,
Start rapidly
If I rose
And happiness dared to desire, do not leave me without refund
In foggy, difficult days.
Begun, weak brother
Comfort, pity, fool.
We are uniquely close to you
We both go to the east.
Heaven is malicious and low,
But I believe - our spirit is high.
P.Florensky

Theme "Love" - \u200b\u200b"Mystery of two"

Love looks from the outside, the eyes of an outsider, more often - men. Marriage is opposed
irrational love, since in the last one only the spiritual principle. Mystery is only two, not all couples,
So that the uniqueness does not disappear.
TO HER.
Oh why love you
Is it been destined to me?
You dream of me, Ile, maybe
Pass somewhere close, by,
And the step is your smoky I catch,
Monitor the deaf approximate ...
I love your cold riza
But tremble touches.
Loses pale lists
My garden, awesome ...
In my garden you are going, and I longer, like in love.
Yavi is a terrible face!
Let the smoke of the cover be broken!
I want, I'm afraid - and I'm waiting for me ...
Enter me. Somni Ring.

Theme "Death" - with further community in God

White clothes
By winning I DAM
White clothes.
Apocalypse
He tests - a distance
I take a test.
I accept with humility,
His love is his silence.
And than my might of my fragrant themes, continuously,
And waiting is more beautiful
Union coming - inseparable.
Time and deadlines I do not know
In his hand, its creation ...
But to win - I wanted his victory the last suffering.
And I give my soul bold
My sufferment created.
Said the Lord: "White clothes
I am sending - the winning. "

Russian symbolists. The focus of the "senior" symbolists

The main goal is not to create a symbol system, but
Stacking decadency.
Impressionistic transmission of the finest
Shades of moods.
The word as a ninselter of meaning loses the price;
Word - Sign, Musical Notched, Melody
poem.
Zgippiius
D.Mergekovsky
F. Sologub
V. Bryusov
K. Balmont.

The focus of the "younger" symbolists

Support on the philosophy Vl.Solovyov.
Poetry - "Tyline's inequate". Metaphor is not built on
similarity of objects, and on associative connections arising
Only in the process of this mimolement situation.
The poet should not strive to be understood by the reader. Reader
Now is not a listener, but a co-author-creator, the poet helps him in
comprehending the highest reality.
Vyach. Ivanov
"Young bribers"
A.blok.
A. Boyle

Symptoms of "Youngwires"

A lot of place of love in all its manifestations - from sensuality and
Erotica to romantic and almost religious dream of
Beautiful lady, stranger.
Landscapes only to transfer their own
experiences; Often - autumn.
Common image - modern city, living creature with
Satanic character, "Vampire City", materialized horror,
Elimination of silence
and vice.
After the revolution 1905-1907. - Images
People of the New World. Beauty - not harmony
Now, and chaos struggle, folk element.

Cultivation of mystical teachings among representatives of the Silver Century

Spiritism V. Brysov. The poet attracted images of Agripp Nettesheim,
Paracelles, Swedenborg. "PO and Dostoevsky are close to us exactly what
show the possibility of other feelings, as if already detached from the conditions
Earth. Tyutchev and Fet Roads with our feeling of "double being" and
"Double Life." We greedily exploring all the mysterious and strange things that found in
their souls, go down in all her depths, so that at least there "touch the worlds
other. "
I do not see our reality,
I do not know our century,
I hate my homeland
- I love the ideal of man.
And in space ringing lines
Float into the distance and to the past;
These lines from life are far away,
I will not believe these dreams.
But, when the moment is observed,
There will be different creatures.
And for them my revelations
It will sound like native songs.

"Solovyovy" A. Block. "Poems about the beautiful lady" are written under
influence of ll. Solovyov. But the block goes on. Through eternal
Femininity Vl.Solovyova is visible to the girl - foggy
The ghost, which is beneficial - without mystical roots, here - earth roots.
Night blizzard blizzard
Noticed a trail.
Pink, gentle
The morning wakes light.
Got the dawns red
Reasoning snow.
Bright and passionate
Stayed Breg.
Following the ice shine
At noon, I'll pop up.
Music in Snow More
Meeting in reality.

Cultivation of mystical teachings among representatives of the Silver Century (continued)

Anthroposophy A. Bel. For Russian symbolist
This is primarily the doctrine of free thought,
which is revealed in the culture of thought, in her
Rhythms and compositions. Disruption in chaos sensuality
and sclerotism of thinking can be overcome only
"Willow Consciousness", a culture of free
Thoughts. Being a man's free thought
A. White meldled static thought in
Energy Cream Images, creating new
worlds who admired others
Restracted, causing bewilderment and misunderstanding.

Cultivation of mystical teachings among representatives of the Silver Century (continued)

Anthroposophy (excerpt)
You dreamed of me, glowing ... Once, somewhere ...
My sister!
Love you: You - Persikov Colors
Flowering dawn.
Like a hanging whirlwind, says inexlarously -
Stick in Glaspen -
Your words that sweat past
But told me.
In their eyes - solid synerodes
Take me;
Last, verbal years
My uy.
In your eyes shine: water, sushi,
Run in them:
From your eyes, I wig in the soul,
How quiet verse.
And the heart is a distraught bird -
In mute Molly.
Let from the chest - torn the dungeon -
Flies to you.
We - flashed, broken children -
At an unexpected hour:
Mean - he, unrecognized and third:
Do not be afraid of us!

Cultivation of mystical teachings among representatives of the Silver Century (continued)

Salon "Occultism" M.Voloshina. Full
Rejection Dogm philosophy R. HTTENTER
Provided the creative approach of Voloshin. Poems
They are not written about what you know, but that
feel
What are you guess. They say not about
objective truth, and that
worries and know my "I" on one of
intermediate steps "

Causes of the crisis of Russian symbolism

Requirement of mandatory "mystics", "Disclosures
Secrets "," Infrections endless in the final "
led to the loss of authenticity of poetry: everything was brought
To mystical stencils, templates.
Passion for the "musical basis" verse led
to the creation of poetry devoid of all logical
meaning.
Against the ideology of symbolism performed
Ambheists, in defense of the word - futurists.

General conclusions

Russian history won the Renaissance
Gusting intelligentsia. Rejecting the aesthetics "public
benefit ", people building Russian Renaissance underestimated
The severity of the social truth, the banner of the left intelligentsia.

Zinaida Hippius symbolism. Course work: images of the sky and land in the poetry of Zinaida Hippius. Muri House, Relationship with A.A. Block

1. Creative way of Zinaida Hippius

2. Figure Poetry Z. Gippius

3. Topics of poems Z. Hippius

Conclusion

Bibliography

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