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Acmeism as a literary movement Lukyanova S.E.

Acmeism arose as a reaction to symbolism. Acmeism is a modernist movement (from the Greek akme - edge, pinnacle, highest degree, pronounced quality), which declared a concrete sensory perception of the external world, returning the word to its original, non-symbolic meaning.

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

A. Akhmatova (Gorenko) B. Pasternak I. Anensky G. Ivanov N. Gumilyov O. Mandelstam

At the beginning of their creative career, young poets, future Acmeists, were close to symbolism and attended “Ivanovo Wednesdays” - literary meetings in Vyach’s St. Petersburg apartment. Ivanov, called the “tower”. In the “tower” classes were held for young poets, where they learned poetry. In October 1911, students of this “poetry academy” founded a new literary association, “The Workshop of Poets.” The workshop was a school of professional excellence, and its leaders were the young poets N. Gumilyov and S. Gorodetsky. In January 1913, they published declarations of the acmeist group in the Apollo magazine. S. Gorodetsky N. Gumilyov

“Some trends in modern Russian poetry” “The struggle between Acmeism and symbolism... is, first of all, a struggle for this world, sounding, colorful, having forms, weight and time...” “the world is irrevocably accepted by Acmeism, in all its beauty and ugliness”

The new movement was given another interpretation - Adamism, implying a “courageously firm and clear outlook on life.” This view is clarified in S. Gorodetsky’s poem “Adam”

Adam Forgive me, captivating moisture And primordial fog! In the transparent wind there is more good for the countries created for life. The world is spacious and multi-voiced And more colorful than rainbows, And now it is entrusted to Adam, the Inventor of names. To name, to recognize, to tear off the covers of both idle secrets and decrepit darkness - This is the first feat. A new feat - to sing praises to the Living Earth.

Acmeists are interested in the real, not the other world, the beauty of life in its concrete sensory manifestations. The vagueness and hints of symbolism were contrasted with a major perception of reality, the reliability of the image, and the clarity of the composition.

O. E. Mandelstam He believes in weight, he honors space, He dearly loves materials. He did not reproach substances for their slowness and constancy. Stanzas of the obedient quadriga - He loves, having violently dispersed, to stop. And in this he is right, That in eternity he is submissive to the moment.

N.S. Gumilev The hero of N. Gumilev is a traveler, a conquistador, a man of strong will. Gumilyov's poetry contains romantic motifs, geographical and historical exoticism. Exotic detail sometimes plays a purely picturesque role

Today, I see, your look is especially sad, And your arms are especially thin, hugging your knees. Listen: far, far away, on Lake Chad Exquisite, a giraffe wanders. He is given graceful slenderness and bliss, and his skin is decorated with a magical pattern, which only the moon dares to equal, crushing and swaying on the moisture of wide lakes. In the distance it is like the colored sails of a ship, And its flight is smooth, like the joyful flight of a bird. I know that the earth sees many wonderful things, When at sunset he hides in a marble grotto. I know funny tales of mysterious countries About a black maiden, about the passion of a young leader, But you have been breathing in the heavy fog for too long, You don’t want to believe in anything but rain. And how can I tell you about the tropical garden, about slender palm trees, about the smell of incredible herbs... -Are you crying? Listen... far away, on Lake Chad Exquisite, a giraffe wanders. Giraffe

Anna Akhmatova A. Akhmatova is alien to exoticism. The meaning of her life is love. Feelings are reflected in the objective world, in everyday details, in a psychologically significant gesture. The outside world, everyday details became the subject of poetry

The pillow is already hot on both sides. So the second candle goes out and the cry of the crows becomes more and more audible. I didn’t sleep last night, It’s too late to think about sleep... How unbearably white is the Curtain on the white window. Hello!

The Acmeist movement existed for about two years (1913-1914). The creative searches of poets went beyond the scope of Acmeism. The humanistic meaning of this movement was significant - to revive a person’s thirst for life, to restore the feeling of its beauty.

http://gold-library.com/akmeisti/ N.V. Egorova. Lesson developments in Russian literature. 11th grade.

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

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Acmeism (from the Greek akme - the highest degree of something, blossoming, maturity, peak, edge) is one of the modernist movements in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism.

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The Acmeists, or - as they were also called - "Hyperboreans" (after the name of the printed mouthpiece of Acmeism, the magazine and publishing house "Hyperboreas"), immediately acted as a single group. They gave their union the significant name “Workshop of Poets.” The Acmeists published 10 issues of their magazine “Hyperborea” (editor M.L. Lozinsky), as well as several almanacs of the “Workshop of Poets”.

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Basic principles of Acmeism: liberation of poetry from symbolist appeals to the ideal, returning it to clarity; rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; the desire to give a word a certain, precise meaning; objectivity and clarity of images, precision of details; appeal to a person, to the “authenticity” of his feelings; poeticization of the world of primordial emotions, primitive biological natural principles;

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Acmeism included six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. G. Ivanov claimed the role of the “seventh Acmeist,” but such a point of view was protested by A. Akhmatova: “There were six Acmeists, and there never was a seventh.” At the meetings of the “Workshop”, specific issues were resolved; it was a school for mastering poetic skills, a professional association.

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Anna Akhmatova Anna Akhmatova (pseudonym of Gorenko Anna Andreevna; 1889-1966), according to her confession, wrote her first poem at the age of 11, and first appeared in print in 1907. Her first collection of poetry, Evening, was published in 1912. Anna Akhmatova belonged to the group of Acmeists, but her poetry, dramatically intense, psychologically profound, extremely laconic, alien to self-valued aesthetics, in essence did not coincide with the programmatic guidelines of Acmeism. The connection between Akhmatova’s poetry and the traditions of Russian classical lyric poetry, primarily Pushkin’s, is obvious. Of the modern poets, I. Annensky and A. Blok were closest to her.

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Anna Akhmatova's creative activity lasted almost six decades. During this time, her poetry experienced a certain evolution, while maintaining fairly stable aesthetic principles that were formed in the first decade of her creative career. But for all that, the late Akhmatova undoubtedly had a desire to go beyond the range of themes and ideas that are present in the early lyrics, which was especially clearly expressed in the poetic cycle “Wind of War” (1941-1945), in “Poem without a Hero” (1940-1945). 1962). Speaking about her poems, Anna Akhmatova stated: “For me, they contain a connection with time, with the new life of my people. When I wrote them, I lived by the rhythms that sounded in the heroic history of my country. I am happy that I lived during these years and saw events that had no equal.”

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Nikolai Gumilev Gumilyov Nikolai Stepanovich (1886-1921), Russian poet. In the 1910s one of the leading representatives of Acmeism. The poems are characterized by an apology for a “strong man” - a warrior and a poet, decorativeness, and sophistication of poetic language (collections “Romantic Flowers”, 1908, “Bonfire”, 1918, “Pillar of Fire”, 1921). Translations. Shot as a participant in a counter-revolutionary conspiracy; in 1991, the case against Gumilyov was dropped for lack of evidence of a crime.

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Having declared a new direction - Acmeism - the heir of symbolism, which had completed “its path of development,” Gumilev called on poets to return to the “thingness” of the world around them (article “The Legacy of Symbolism and Acmeism,” 1913). Gumilyov’s first acmeistic work is considered to be the poem “The Prodigal Son,” included in his collection “Alien Sky” (1912). Critics noted his virtuoso mastery of form: according to Bryusov, the meaning of Gumilyov’s poems “is much more in how he speaks than in what he says.” The next collection “Quiver” (1916), the dramatic fairy tale “Child of Allah” and the dramatic poem “Gondla” (both 1917) testify to the strengthening of the narrative principle in Gumilyov’s work.

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Osip Mandelstam Osip Emilievich Mandelstam (1891-1938) first appeared in print in 1908. Mandelstam was among the founders of Acmeism, but occupied a special place in Acmeism. Most of the poems of the pre-revolutionary period were included in the collection “Stone” (first edition - 1913, second, expanded - 1916). Early Mandelstam (before 1912) gravitated toward the themes and images of the Symbolists. Acmeistic tendencies were most clearly manifested in his poems about world culture and architecture of the past (“Hagia Sophia”, “Notre-Dame”, “Admiralty” and others). Mandelstam proved himself to be a master of recreating the historical flavor of the era (“Petersburg stanzas”, “Dombey and Son”, “Decembrist” and others). During the First World War, the poet wrote anti-war poems (“The Menagerie”, 1916).

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The poems written during the years of the revolution and civil war reflected the difficulty of the poet’s artistic comprehension of the new reality. Despite ideological hesitations, Mandelstam looked for ways to creatively participate in a new life. His poems of the 20s testify to this. New features of Mandelstam’s poetry are revealed in his lyrics of the 30s: a tendency towards broad generalizations, towards images that embody the forces of the “black soil” (the cycle “Poems 1930-1937”). Articles on poetry occupy a significant place in Mandelstam's work. The most complete presentation of the poet’s aesthetic views was placed in the treatise “Conversation about Dante”.

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Sergei Gorodetsky Sergei Mitrofanovich Gorodetsky (1884-1967). Father is an active state councilor and writer, author of works on archeology and folklore. He studied at the Faculty of History and Philology of St. Petersburg University, where he became friends with A. Blok in 1903 and began writing poetry under the strong influence of his poetics; He also did painting. For involvement in the revolutionary movement in 1907, he spent some time in the Kresty prison. His interest in folklore, in particular children's folklore, which he inherited from his father, played a decisive role in the poet acquiring his own poetic voice.

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Gorodetsky’s literary fate was decided one evening in January 1906, when he read Vyach on the “tower”. Ivanov, in the presence of V. Bryusov, wrote poems that were later included in his first book, “Yar” (1907; published at the end of 1906). “Yar” enjoyed exceptional success among readers and evoked enthusiastic responses from critics, who were captivated by the youthful power of stylized “pagan” songs. The bright debut complicated Gorodetsky’s further literary development: he either tried to consolidate the image of a savage poet, an ingenuous pantheist, intoxicated by youth and the sensual joys of life, or he made attempts to expand the range of his creativity and break the stereotypes of readers’ ideas. In the collection “Perun” (1907), the violent elements of Yarila are opposed by modern man, “city children, stunted flowers.” But none of the subsequent collections reached the level or success of “Yari”: “Wild Will” (1908), “Rus” (1910), “Willow” (1914) went almost unnoticed.

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Mikhail Zenkevich Mikhail Alexandrovich Zenkevich (1891-1973). He studied at the Saratov gymnasium and was taken under police supervision for his connections with the Bolsheviks. In St. Petersburg in 1915 he graduated from the Faculty of Law and attended lectures on philosophy in Berlin. He began publishing in a Saratov magazine as an author of political poetry. In 1908, his “pretentious but imaginative” poems appeared in the capital’s magazines “Spring” and “Education”, and then in “Apollo”, after which N. Gumilyov attracted him to the newly created “Workshop of Poets”.

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One of the first books published under the brand of this circle was “Wild Porphyry” (1912) by M. Zenkevich. The words of Baratynsky chosen as the title from the poem “The Last Death” clarified the pathos of the “primitive” poems of M. Zenkevich, with their prophecies of an impending cosmic catastrophe, a return to the original chaos, when the earth will take revenge on the person who insulted it. The natural philosophical and natural science themes of the collection brought him closer to another poet of the “left flank of Acmeism” - V. Narbut. Fellow craftsmen welcomed the “Adamism” of the “free hunter” and his commitment to the “earth”; Bryusov reservedly noted the “scientific nature”; Vyacheslav Ivanov, who understood the meaning of “geological and paleontological pictures” more deeply than others, wrote: “Zenkevich was captivated by matter and was horrified by it.” The fascination with material nature and frank physiological descriptions, deliberate anti-aestheticism, led to the fact that the subsequent works of M. Zenkevich could not always be passed by censorship, and the author himself sometimes refused to read them publicly. Over time, I also switched more and more to translation work.

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Nikolai Gumilev GUMILEV Nikolai Stepanovich (1886, Kronstadt - 1921, ca. Petrograd) - poet. Son of a naval doctor. Moving with his father, he studied at gymnasiums in St. Petersburg and Tiflis. He became interested in Marxism and even promoted it. In 1903 he settled in Tsarskoe Selo. Gumilyov, under the influence of symbolism, moved away from socialist ideas and became disgusted with politics. Having written poetry since the age of 12, Gumilyov, realizing himself as a poet, saw the meaning of life only in poetry. In 1905, the first collection of Gumilyov’s poems, “The Conquistador’s Path,” was published. Gumilyov studied poorly, but in 1906 he graduated from high school and went to Paris: he studied at the Sorbonne, studied painting and literature, and published Russian. magazine "Sirius". In 1908 he entered the Faculty of Law at St. Petersburg University, and then transferred to the Faculty of History and Philology. In 1910 he married A. Akhmatova.

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From his early youth, Nikolai Gumilyov attached exceptional importance to the composition of a work and its plot completeness. The poet called himself a “master of fairy tales,” combining in his poems dazzlingly bright, rapidly changing pictures with extraordinary melody and musicality of narration. From his early youth, Nikolai Gumilyov attached exceptional importance to the composition of a work and its plot completeness. The poet called himself a “master of fairy tales,” combining in his poems dazzlingly bright, rapidly changing pictures with extraordinary melody and musicality of narration. A certain fabulousness in the poem “Giraffe” appears from the first lines: The reader is transported to the most exotic continent - Africa. The human imagination simply cannot comprehend the possibility of such beauty existing on Earth. The poet invites the reader to look at the world differently, to understand that “the earth sees many wonderful things,” and a person, if desired, is able to see the same thing. The poet invites us to clear ourselves of the “heavy fog” that we have been breathing in for so long, and to realize that the world is huge and that there are still paradises left on Earth. Addressing a mysterious woman, about whom we can only judge from the position of the author, the lyrical hero conducts a dialogue with the reader, one of the listeners of his exotic fairy tale. A woman, immersed in her worries, sad, does not want to believe in anything - why not the reader? Reading this or that poem, we willy-nilly express our opinion about the work, criticize it to one degree or another, do not always agree with the poet’s opinion, and sometimes do not understand it at all. Nikolai Gumilyov gives the reader the opportunity to observe the dialogue between the poet and the reader (listener of his poems) from the outside. A ring frame is typical for any fairy tale. As a rule, where the action begins is where it ends. However, in this case, it seems that the poet can talk about this exotic continent again and again, paint lush, bright pictures of a sunny country, revealing more and more new, previously unseen features in its inhabitants. The ring frame demonstrates the poet’s desire to talk about “heaven on Earth” again and again in order to make the reader look at the world differently. In his fabulous poem, the poet compares two spaces, distant on the scale of human consciousness and very close on the scale of the Earth. The poet says almost nothing about the space that is “here”, and this is not necessary. There is only a “heavy fog” here, which we inhale every minute. In the world where we live, there is only sadness and tears left. This leads us to believe that heaven on Earth is impossible. Nikolai Gumilyov is trying to prove the opposite: “...far, far away, on Lake Chad // An exquisite giraffe wanders.”

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SONG OF THE LAST MEETING My chest grew so helplessly cold, But my steps were light. I put the Glove from my left hand on my right hand. It seemed like there were a lot of steps, but I knew there were only three! Among the maples, an autumn whisper asked: “Die with me! I am deceived by my dull, changeable, evil fate.” I answered: “Dear, dear - And me too. I will die with you!” This is the song of the last meeting. I looked at the dark house. Only in the bedroom the candles were burning with an indifferent yellow fire. SONG OF THE LAST MEETING My chest grew so helplessly cold, But my steps were light. I put the Glove from my left hand on my right hand. It seemed like there were a lot of steps, but I knew there were only three! Among the maples, an autumn whisper asked: “Die with me! I am deceived by my dull, changeable, evil fate.” I answered: “Dear, dear - And me too. I will die with you!” This is the song of the last meeting. I looked at the dark house. Only in the bedroom the candles were burning with an indifferent yellow fire. “This couplet contains the whole woman,” M. Tsvetaeva spoke about Akhmatova’s Song of the Last Meeting

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The presentation on the topic “Acmeism and Acmeists” (grade 10) can be downloaded absolutely free on our website. Project subject: MHC. Colorful slides and illustrations will help you engage your classmates or audience. To view the content, use the player, or if you want to download the report, click on the corresponding text under the player. The presentation contains 19 slide(s).

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Acmeism (from the Greek acme - “the highest degree of something, flourishing, peak, edge”) is a movement of Russian modernism, formed in the 1910s and in its poetic attitudes based on its teacher - Russian symbolism. The Acmeists contrasted the transcendental two-worldliness of the Symbolists with the world of ordinary human feelings, devoid of mystical content. According to the definition of V.M. Zhirmunsky, Acmeists - “overcame symbolism.” The name that the Acmeists chose for themselves was supposed to indicate their desire for the heights of poetic mastery.

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The Acmeists, who replaced the Symbolists, did not have a detailed philosophical and aesthetic program. But if in the poetry of symbolism the determining factor was transience, the immediacy of existence, a certain mystery covered with an aura of mysticism, then a realistic view of things was set as the cornerstone in the poetry of Acmeism. The vague instability and vagueness of symbols was replaced by precise verbal images. The word, according to Acmeists, should have acquired its original meaning. The highest point in the hierarchy of values ​​for them was culture, identical to universal human memory. That is why Acmeists often turn to mythological subjects and images. If the Symbolists focused their work on music, then the Acmeists focused on the spatial arts: architecture, sculpture, painting. The attraction to the three-dimensional world was expressed in the Acmeists' passion for objectivity: a colorful, sometimes exotic detail could be used for purely pictorial purposes. That is, the “overcoming” of symbolism occurred not so much in the sphere of general ideas, but in the field of poetic stylistics. In this sense, Acmeism was as conceptual as symbolism, and in this respect they are undoubtedly in continuity.

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It is necessary to note the generic connection of Acmeism with the literary group “The Workshop of Poets”. The “Workshop of Poets” was founded in October 1911 in St. Petersburg in opposition to the Symbolists, and the protest of the group members was directed against the magical, metaphysical nature of the language of Symbolist poetry. The group was headed by N. Gumilev and S. Gorodetsky. The group also included A. Akhmatova, G. Adamovich, K. Vaginov, M. Zenkevich, G. Ivanov, V. Lozinsky, O. Mandelstam, V. Narbut, I. Odoevtseva, O. Otsup, V. Rozhdestvensky. "Tsekh" published the magazine "Hyperborea". The name of the circle, modeled on the medieval names of craft associations, indicated the attitude of the participants to poetry as a purely professional field of activity. “The Workshop” was a school of formal mastery, indifferent to the peculiarities of the worldview of the participants. At first, they did not identify themselves with any of the movements in literature, and did not strive for a common aesthetic platform.

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The main ideas of Acmeism were set out in the programmatic articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Currents in Modern Russian Poetry”, published in the magazine “Apollo” (1913, No. 1), published under the editorship of S. Makovsky. The first of them said: “Symbolism is being replaced by a new direction, no matter what it is called, whether Acmeism (from the word akme - the highest degree of something, a blooming time) or Adamism (a courageously firm and clear view of life), in any case, requiring a greater balance of power and a more accurate knowledge of the relationship between subject and object than was the case in symbolism. However, in order for this movement to establish itself in its entirety and become a worthy successor to the previous one, it is necessary that it accept its inheritance and answer all the questions it poses. The glory of the ancestors obliges, and symbolism was a worthy father.”

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S. Gorodetsky believed that “symbolism... having filled the world with “correspondences”, turned it into a phantom, important only insofar as it... shines through with other worlds, and belittled its high intrinsic value. Among the Acmeists, the rose again became good in itself, with its petals, scent and color, and not with its conceivable likenesses with mystical love or anything else.” In 1913, Mandelstam’s article “The Morning of Acmeism” was also written, which was published only six years later. The delay in publication was not accidental: Mandelstam’s acmeistic views significantly diverged from the declarations of Gumilyov and Gorodetsky and did not make it onto the pages of Apollo.

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

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A coffee pot, a sugar bowl, saucers, Five cups with a narrow rim are huddled together on a blue tray, And their silent story is clear: First, with a thin brush, A skillful master of the hand, To make the background seem more golden, Draws curls with carmine. And he blushed his plump cheeks, lightly pointed his eyelashes at Cupid, who wounded the frightened shepherd boy with an arrow. And now the cups are washed with a hot black stream. An important and gray-haired dignitary plays checkers over coffee, or a lady, smiling thinly, coyly treats his friends. Meanwhile, the smart lap dog on its hind legs serves her...

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Nikolay Gumilyov

GUMILEV Nikolai Stepanovich (1886, Kronstadt - 1921, ca. Petrograd) - poet. Son of a naval doctor. Moving with his father, he studied at gymnasiums in St. Petersburg and Tiflis. He became interested in Marxism and even promoted it. In 1903 he settled in Tsarskoe Selo. Gumilyov, under the influence of symbolism, moved away from socialist ideas and became disgusted with politics. Having written poetry since the age of 12, Gumilyov, realizing himself as a poet, saw the meaning of life only in poetry. In 1905, the first collection of Gumilyov’s poems, “The Conquistador’s Path,” was published. Gumilyov studied poorly, but in 1906 he graduated from high school and went to Paris: he studied at the Sorbonne, studied painting and literature, and published Russian. magazine "Sirius". In 1908 he entered the Faculty of Law at St. Petersburg University, and then transferred to the Faculty of History and Philology. In 1910 he married A. Akhmatova.

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In 1911 he organized the “Workshop of Poets”, which became the beginning of the literary group of Acmeists (S. Gorodetsky, M. Kuzmin, etc.), who moved away from the “nebulae” of the Symbolists to the exact objective meaning of the word. In 1913 he traveled around Africa and brought rare exhibits for the Museum of Anthropology and Ethnography. In 1914 he volunteered for the front and was awarded two Crosses of St. George. In 1917 - 1918 he was at the headquarters of the Russian expeditionary force in Paris. In 1918 he returned to Russia and lived in Petrograd. He taught and participated in the work of the World Literature publishing house. He published several collections of poetry. Gumilyov's poems are exquisite, decorative, sensually tangible and romantic; they contrasted the image of a “strong personality” with dull reality. In 1921 he was arrested by the Cheka on a fabricated case and executed.

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In the poetry of N. Gumilyov, Acmeism is realized in the desire to discover new worlds, exotic images and subjects. The path of the poet in Gumilyov’s lyrics is the path of a warrior, a conquistador, a discoverer. The muse that inspires the poet is the Muse of Distant Journeys. The renewal of poetic imagery, respect for the “phenomenon as such” was carried out in Gumilyov’s work through travel to unknown, but very real lands. Travels in N. Gumilyov's poems carried impressions of the poet's specific expeditions to Africa and, at the same time, echoed symbolic wanderings in “other worlds.” Gumilev contrasted the transcendental worlds of the Symbolists with the continents they first discovered for Russian poetry.

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GIRAFFE Today, I see, your look is especially sad And your arms are especially thin, hugging your knees. Listen: far, far away, on Lake Chad Exquisite, a giraffe wanders. He is given graceful slenderness and bliss, and his skin is decorated with a magical pattern, which only the moon dares to equal, crushing and swaying on the moisture of wide lakes. In the distance it is like the colored sails of a ship, And its flight is smooth, like the joyful flight of a bird. I know that the earth sees many wonderful things, When at sunset he hides in a marble grotto. I know funny tales of mysterious countries About a black maiden, about the passion of a young leader, But you have been breathing in the heavy fog for too long, You don’t want to believe in anything other than rain. And how I will tell you about the tropical garden, About the slender palm trees, about the smell of incredible herbs. Are you crying? Listen... far away, on Lake Chad Exquisite, a giraffe wanders.

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From his early youth, Nikolai Gumilyov attached exceptional importance to the composition of a work and its plot completeness. The poet called himself a “master of fairy tales,” combining in his poems dazzlingly bright, rapidly changing pictures with extraordinary melody and musicality of narration. A certain fabulousness in the poem “Giraffe” appears from the first lines: The reader is transported to the most exotic continent - Africa. The human imagination simply cannot comprehend the possibility of such beauty existing on Earth. The poet invites the reader to look at the world differently, to understand that “the earth sees many wonderful things,” and a person, if desired, is able to see the same thing. The poet invites us to clear ourselves of the “heavy fog” that we have been breathing in for so long, and to realize that the world is huge and that there are still paradises left on Earth. Addressing a mysterious woman, about whom we can only judge from the position of the author, the lyrical hero conducts a dialogue with the reader, one of the listeners of his exotic fairy tale. A woman, immersed in her worries, sad, does not want to believe in anything - why not the reader? Reading this or that poem, we willy-nilly express our opinion about the work, criticize it to one degree or another, do not always agree with the poet’s opinion, and sometimes do not understand it at all. Nikolai Gumilyov gives the reader the opportunity to observe the dialogue between the poet and the reader (listener of his poems) from the outside. A ring frame is typical for any fairy tale. As a rule, where the action begins is where it ends. However, in this case, it seems that the poet can talk about this exotic continent again and again, paint lush, bright pictures of a sunny country, revealing more and more new, previously unseen features in its inhabitants. The ring frame demonstrates the poet’s desire to talk about “heaven on Earth” again and again in order to make the reader look at the world differently. In his fabulous poem, the poet compares two spaces, distant on the scale of human consciousness and very close on the scale of the Earth. The poet says almost nothing about the space that is “here”, and this is not necessary. There is only a “heavy fog” here, which we inhale every minute. In the world where we live, there is only sadness and tears left. This leads us to believe that heaven on Earth is impossible. Nikolai Gumilyov is trying to prove the opposite: “...far, far away, on Lake Chad // An exquisite giraffe wanders.”

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

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SONG OF THE LAST MEETING My chest grew so helplessly cold, But my steps were light. I put the Glove from my left hand on my right hand. It seemed like there were a lot of steps, but I knew there were only three! Among the maples, an autumn whisper asked: “Die with me! I am deceived by my dull, changeable, evil fate.” I answered: “Dear, dear - And me too. I will die with you!” This is the song of the last meeting. I looked at the dark house. Only in the bedroom the candles were burning with an indifferent yellow fire. “This couplet contains the whole woman,” M. Tsvetaeva spoke about Akhmatova’s Song of the Last Meeting

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Osip Mandelstam

The local world of O. Mandelstam was marked by a feeling of mortal fragility before a faceless eternity. Mandelstam's Acmeism is “the complicity of beings in a conspiracy against emptiness and non-existence.” The overcoming of emptiness and non-existence takes place in culture, in the eternal creations of art: the arrow of the Gothic bell tower reproaches the sky for being empty. Among the Acmeists, Mandelstam was distinguished by an unusually keenly developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”; all mentioned objects acquired biblical overtones. At the same time, Mandelstam was disgusted by the abuse of sacred vocabulary, the “inflation of sacred words” among the Symbolists.

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IMPRESSIONISM The artist depicted for us the deep swoon of lilacs and the sonorous steps of colors laid on the canvas like scabs. He understood the thickness of the oil - His baked summer was warmed up with a purple brain, Expanded into stuffiness. And the shadow, the shadow is becoming more purple, The whistle or the whip, like a match, goes out, - You say: the cooks in the kitchen are preparing fat pigeons. A swing is visible, veils are missing, and in this sunny collapse a bumblebee is already in charge.

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The Adamism of S. Gorodetsky, M. Zenkevich, V. Narbut, who formed the naturalistic wing of the movement, differed significantly from the Acmeism of Gumilyov, Akhmatova and Mandelstam. The Adamistic worldview was most fully expressed in the work of S. Gorodetsky. Gorodetsky's novel Adam described the life of a hero and heroine - “two smart animals” - in an earthly paradise. Gorodetsky tried to restore in poetry the pagan, semi-animal worldview of our ancestors: many of his poems took the form of spells, lamentations, and contained bursts of emotional imagery drawn from the distant past of everyday life. Gorodetsky’s naive Adamism and his attempts to return man to the shaggy embrace of nature could not but evoke irony among sophisticated modernists who had studied the soul of his contemporary well. Blok, in the preface to the poem Retribution, noted that the slogan of Gorodetsky and the Adamists “was a man, but some kind of different man, without humanity at all, some kind of primordial Adam.”

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Birch I fell in love with you on an amber day, When, born of a luminous azure, laziness oozed from every grateful branch. The body was white, white as the hops of the boiling waves of the lake. Laughing, the cheerful Lel drew rays of black hair. And Yarila himself magnificently crowned Their network with pointed foliage, And, smiling, scattered the color green in the azure sky.