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All dramatic genres. See what “Drama (genus of literature)” is in other dictionaries

On turn of the 19th century and XX centuries in Russian literature there arises most interesting phenomenon, then called “poetry” silver age" The “Golden Age” of Russian poetry, associated with the appearance in the sky of such “stars of the first magnitude” as Pushkin and Lermontov, was undoubtedly due to general trend to the development of Russian national literature, Russian literary language and the development of realism.

A new surge in the poetic spirit of Russia is associated with the desire of contemporaries to renew the country, renew literature, and with the various modernist movements that, as a consequence, appeared at this time. They were very diverse both in form and in content: from solid symbolism, dating back several generations and several decades, to still nascent imagism, from acmeism promoting a “courageously firm and clear view of life” (N. Gumilyov) to shocking the public , cheeky, sometimes simply hooligan futurism.

Thanks to such different directions and new names appeared for movements in Russian poetry, many of which happened to remain in it forever. The great poets of that era, starting in the depths of the modernist movement, very quickly grew out of it, amazing with their talent and versatility of creativity. This happened with Blok, Yesenin, Mayakovsky, Gumilev, Akhmatova, Tsvetaeva, Voloshin and many others.

Conventionally, the beginning of the “Silver Age” is considered to be 1892, when the ideologist and oldest member Symbolist movement Dmitry Merezhkovsky read a report “On the causes of the decline and new trends in modern Russian literature.” This is how the symbolists, and therefore the modernists, made their presence known for the first time.

However, in the 1910s, symbolism as artistic movement is experiencing a crisis. The attempt of the Symbolists to proclaim a literary movement and seize the artistic consciousness of the era failed. In the preface to the poem “Retribution” Blok wrote: “...1900 is a crisis of symbolism, about which a lot was written and talked about both in the symbolist camp and in the opposite camp. This year, trends that have taken a hostile position both to symbolism and to each other have clearly made themselves felt: acmeism, egofuturism and the first beginnings of futurism.”. The question of the relationship of art to reality, the meaning and place of art in the development of Russian culture has been sharply raised again. national history and culture.

In 1910, in the “Society of Zealots” artistic word” keynote speeches were read by A. Blok - “About current state Russian symbolism” and Vyach. Ivanov - “Testaments of Symbolism”. Among the Symbolists, clearly incompatible views on the essence and goals emerged contemporary art; the internal ideological inconsistency of symbolism (which never had a single ideological and aesthetic platform) was clearly revealed. In the discussion about symbolism, V. Bryusov defended independence from political and religious ideas. For “young symbolists” poetic creativity became a religious and social event. Blok at this time was experiencing a deep crisis of worldview.

Vyach's attempt. Ivanov’s attempt to substantiate symbolism as an existing holistic worldview in his report “Testaments of Symbolism” was unsuccessful. By 1912, the bloc broke with Vyach. Ivanov, considering symbolism a no longer existing school. It was impossible to remain within the boundaries of former beliefs; it turned out to be impossible to substantiate new art on the old philosophical and aesthetic soil.

Among poets who sought to return poetry to real life From the mystical mists of symbolism, the circle “Poets Workshop” (1911) arises, headed by N. Gumilyov and S. Gorodetsky. The members of the “Workshop” were mainly aspiring poets: A. Akhmatova, N. Burliuk, Vas. Gippius, M. Zenkevich, Georgy Ivanov, E. Kuzmina-Karavaeva, M. Lozinsky, O. Mandelstam, Vl. Narbut, P. Radimov. Meetings of the “Workshop” were attended by N. Klyuev and V. Khlebnikov. “Tseh” began publishing collections of poems and a small monthly magazine “Hyperborey”.

In 1912, at one of the meetings of the Workshop, the issue of Acmeism as a new poetic school was resolved. The name of this movement emphasized the aspiration of its adherents to new heights of art. The main organ of the Acmeists was the magazine “Apollo” (edited by S. Makovsky), which published poems by the participants of the “Workshop”, articles-manifestos by N. Gumilyov and S. Gorodetsky. The new movement in poetry opposed itself to symbolism, which, according to Gumilyov, “has completed its circle of development and is now falling” or, as Gorodetsky asserted more categorically, he is experiencing a “catastrophe.”

However, in essence, the “new movement” was not at all antagonistic towards symbolism. The claims of the Acmeists turned out to be clearly unfounded.

Gorky, in his article “Destruction of the Personality,” wrote about “newest” literature, which sharply breaks with the social and humanistic tendencies of “old” literature, for which “broad concepts and coherent worldviews are typical”: “The form is ever thinner and sharper, the word is ever colder and poorer content, fading sincere feeling, no pathos; thought, losing its wings, sadly falls into the dust of everyday life, fragments, becomes joyless, heavy and sick.”. These words of Gorky can serve as a brilliant characteristic not only of the work of a number of symbolists, but also of Acmeism, which, even more than their predecessors, was isolated in a narrow aesthetic sphere.

Acmeism united poets with different ideological and artistic attitudes and literary destinies. In this regard, Acmeism was perhaps even more heterogeneous than symbolism. The common thing that united the Acmeists was the search for a way out of the crisis of symbolism. However, to create a holistic worldview and aesthetic system The Acmeists could not, and did not set themselves such a task. Moreover, starting from symbolism, they emphasized the deep internal connections of Acmeism with symbolism. “We will fight for the strong and life art beyond the painful disintegration of the spirit", - proclaimed the editors in the first issue of the magazine “Apollo” (1913), in which N. Gumilyov wrote in the article “The Legacy of Symbolism and Acmeism”: “In place of symbolism something new is coming direction, no matter what it is called, is it Acmeism (from the word acmh (“acme”) – highest degree something, color, blooming time), or Adamism (a courageously firm and clear view of life) - in any case, requiring a greater balance of forces and a more accurate knowledge of the relationship between subject and object than was the case in symbolism. However, in order for this current to assert itself in its entirety and appear worthy successor previous, it is necessary that it accepts his inheritance and answers all the questions he poses. The glory of the ancestors obliges, and symbolism was a worthy father.” Speaking about the relationship between the world and human consciousness, Gumilyov demanded “always remember the unknowable”, but only “not to insult your thoughts about him with more or less probable guesses - this is the principle of Acmeism.” This does not mean that he rejects for himself the right to depict the soul in those moments when it trembles, approaching something else; but then she should only shudder. Of course, the knowledge of God, the beautiful lady theology, will remain on her throne, but the Acmeists do not want to reduce it to the level of literature, nor to raise literature to its diamond cold. As for angels, demons, elemental and other spirits, they are part of the artist’s material and should no longer outweigh the other images he has taken with earthly weight. Having a negative attitude towards the desire of symbolism to know secret meaning existence (he remained secret for Acmeism), Gumilyov declared the “unchastity” of knowledge of the “unknowable”, the “childishly wise, painfully sweet feeling of one’s own ignorance”, the intrinsic value of the “wise and clear” reality surrounding the poet. Thus, the Acmeists in the field of theory remained on the basis of philosophical idealism. The program of acmeistic acceptance of the world is expressed in the article by S. Gorodetsky “Some trends in modern Russian poetry” (“Apollo”. 1913. No. 1): “After all sorts of “rejections,” the world is irrevocably accepted by Acmeism, in all its beauties and ugliness.” .

Sorry, captivating moisture

And primordial fog!

There is more good in the transparent wind

For countries created for life.

The world is spacious and loud,

And he is more colorful than rainbows,

And so Adam was entrusted with it,

Inventor of names.

Name, find out, tear off the covers

And idle secrets and ancient darkness.

Here is the first feat. New feat -

Sing praises to the living earth.

Trying to dispel the atmosphere of the irrational, to free poetry from the “mystical fog” of symbolism, the Acmeists accepted the whole world - visible, sounding, audible. But this “unconditionally” accepted world turned out to be devoid of positive content.

Every movement is in love with certain creators and eras. Dear Graves connect people the most. In circles close to Acmeism, the names most often mentioned are Shakespeare, Rabelais, Villon and Théophile Gautier. Each of these names is the cornerstone for the building of Acmeism, high voltage one element or another. Shakespeare showed us the inner world of man; Rabelais – the body and its joys, wise physiology; Villon told us about a life that does not doubt itself at all, although it knows everything - God, vice, death, and immortality; Théophile Gautier found in art worthy clothes of impeccable shapes for this life. To combine these four moments in oneself is the dream that united the people who so boldly called themselves Acmeists.

This movement, which originated in the era of reaction, expressed the state of “social fatigue” inherent in a certain part of the Russian intelligentsia, the desire to hide from the storms of “flowing time” into an aestheticized antiquity, the “material world of stylized” modernity, a vicious circle of intimate experiences. In the works of Acmeists - poets and writers - the theme of the past is extremely characteristically developed, or more precisely, the relationship between the past, present and future of Russia. They are not interested in the turning points of history and spiritual cataclysms, in which symbolists looked for analogies and harbingers of modernity (comprehended, of course, from a certain perspective), but in conflict-free eras, which were stylized as an idyll of harmonious human society. The past was stylized in the same way as the present. Retrospectivism and stylization tendencies were characteristic of the artists of the “World of Art” in those years (K. Somov, A. Benois, L. Baket, S. Sudeikin and others). The philosophical and aesthetic views of the artists of this group are close to the Acmeist writers.

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

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

The term “acmeism” was proposed by N. Gumilyov and S. M. Gorodetsky: in their opinion, symbolism, which is experiencing a crisis, is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements.

The name for the literary movement, according to A. Bely, was chosen in the heat of controversy and was not entirely justified: Vyacheslav Ivanov jokingly spoke about “Acmeism” and “Adamism”, Nikolai Gumilyov picked up randomly thrown words and dubbed a group of poets close to him Acmeists .

Acmeism was based on a preference for describing real, earthly life, but it was perceived asocially and ahistorically. The little things in life were described, objective world. The gifted and ambitious organizer of Acmeism dreamed of creating a “direction of directions” - literary movement, reflecting the appearance of all contemporary Russian poetry.

Acmeism in the works of writers

Literature

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

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See what “Acmeism” is in other dictionaries:

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

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

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

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

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

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

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

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

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

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

Books

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

Acmeism (from Greek Akme- the highest degree of something, blossoming, maturity, peak, edge) - one of the modernist movements in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism. Acmeists united in the group "Workshop of Poets" in 1912-1913. published the magazine "Hyperborea". The main ideas of Acmeism were set out in the programmatic articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Currents in Modern Russian Poetry”, published in 1913 in No. 1 of the magazine “Apollo” (the literary organ of the group during its heyday) , published under the editorship of S. Makovsky.

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

For the Acmeists, the impressionistic tendency to perceive reality as a sign of the unknowable, as a distorted likeness of higher entities, turned out to be unacceptable. Acmeists valued such elements artistic form, as stylistic balance, picturesque clarity of images, precisely measured composition, precision of details. Their poems aestheticized the fragile edges of things, establishing an atmosphere of admiring everyday, familiar little things.

Basic principles of Acmeism:

  • liberation of poetry from symbolist appeals to the ideal, returning it to clarity;
  • rejection of mystical nebula, acceptance 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;
  • roll call with the past literary eras, the broadest aesthetic associations, “longing for world culture”

Acmeists have developed subtle ways of conveying inner world lyrical hero. Often the state of feelings was not revealed directly, it was transmitted psychologically significant gesture, listing things. This manner of materializing experiences was characteristic, in particular, of many poems by A. A. Akhmatova.

O. E. Mandelstam noted that Acmeism is not only literary, but also social phenomenon in Russian history. With him, moral strength was revived in Russian poetry. Depicting the world with its joys, vices, injustice, the Acmeists pointedly refused to resolve social problems and affirmed the principle of “art for art’s sake.”

After 1917, N. S. Gumilyov revived the “Workshop of Poets,” but as an organized movement, Acmeism ceased to exist in 1923, although there was another attempt to restore this literary movement in 1931.

The fates of the Acmeist poets turned out differently. The leader of the Acmeists, N.S. Gumilyov, was shot. O. E. Mandelstam died in one of the Stalin's camps from extreme exhaustion. A. A. Akhmatova suffered severe hardships: her first husband was shot, her son was arrested twice and sentenced to hard labor in a camp. But Akhmatova found the courage to create a great poetic testimony to the tragic era - “Requiem”.

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

“The Workshop of Poets” – the founders of Acmeism

Acmeism is one of modernist trends Russian poetry, which was formed at the beginning of the twentieth century as the art of completely precise and balanced words, opposed to symbolism. The Acmeism program was officially announced on December 19, 1912 in St. Petersburg.

Acmeism overcame symbolist aspirations, imbued with extreme mysticism and individualism. The symbolism, understatement, mystery and vagueness of images, which caused correspondences and analogies, of symbolism were replaced by clear and clear, unambiguous and refined poetic verbal images.

Guided by a real view of things, Acmeism proclaimed the materiality, specificity, accuracy and clarity of the text; it stood out significantly among literary movements for a number of its features: a separate approach to each object and phenomenon, their artistic transformation, the involvement of art in the ennoblement of human nature, the clarity of the poetic text ( “lyrics of impeccable words”), aestheticism, expressiveness, unambiguity, certainty of images, depiction of the material world, earthly beauties, poeticization of feelings primitive man etc.

Origin of the term "Acmeism"

The term “Acmeism” was introduced by N. S. Gumilyov and S. M. Gorodetsky in 1912 as a new literary movement as opposed to symbolism.

The name of the movement behind the words of Andrei Bely appeared during the discussion between V.V. Ivanov and N.S. Gumelev, when N.S. Gumelev picked up the words “Acmeism” and “Adamism” spoken by V.V. Ivanov and called them the union of those close to him poets. Hence the other name used for Acmeism – “Adamism”.

Due to the spontaneous choice of the group's name, the concept of Acmeism was not entirely justified, which led to critics' doubts about the legitimacy of the term. Accurate definition acmeism could not be given as participants in the movement, including the poet O.E. Mandelstam, linguist and literary critic V. M. Zhirmunsky, and researchers of Russian literature: R. D. Timenchik, Omri Ronen, N. A. Bogomolov, John Malmstad and others. Therefore, the number of adherents of Acmeism varies depending on what is included in the content of this concept. Six poets are usually attributed to the movement.

Their contemporaries found another meaning for the term. For example, V. A. Piast found its beginnings in the pseudonym of Anna Akhmatova, which in Latin sounds “akmatus”, similar to the meaning of the Greek “akme” - “edge, tip, edge”.

The formation of Acmeism took place under the influence of the creativity of the “Workshop of Poets”, an opposition group of the “Academy of Verse”, the main representatives of which were the creators of Acmeism Nikolai Gumilyov, Sergei Gorodetsky and Anna Akhmatova.

The concept of “Acmeism” is poorly substantiated in the manifestos of the commonwealth. Even the main members of the group did not always adhere to the main provisions of the Acmeist manifestos in practice. But, despite the vagueness of the term and the lack of its specifics, “Acmeism” embraces the general ideas of poets who proclaim materiality, the objectivity of images, and the clarity of words.
Acmeism in literature

Acmeism is a literary school consisting of six gifted and different poets, who were primarily united not by a common theoretical program, but by personal friendship, which contributed to their organizational cohesion. In addition to its creators N. S. Gumilyov and S. M. Gorodetsky, the community included: O. E. Mandelstam, A. Akhmatova, V. I. Narbut and M. A. Zenkevich. V.G. Ivanov also tried to join the group, which was disputed by Anna Akhmatova, according to whom “there were six Acmeists, and there was never a seventh.” Acmeism is reflected in theoretical works and works of art writers: the first two manifestos of the Acmeists - articles by N. S. Gumilyov “The Heritage of Symbolism and Acmeism” and S. M. Gorodetsky “Some Currents in Modern Russian Poetry”, were published in the first issue of the magazine “Apollo” in 1913, from which it was adopted consider Acmeism as an established literary movement, the third manifesto - O. E. Mandelstam’s article “The Morning of Acmeism” (1919), written in 1913, was published only 6 years later due to the divergence of the poet’s views with the views of N. S. Gumilev and S. M. Gorodetsky.

The poems of the Acmeists were published after the first manifestos in the third issue of Apollo in 1913. In addition, during 1913-1918. a literary magazine of Acmeist poets, “Hyperboreas,” was published (hence another name for the Acmeists—“Hyperboreans”).

N. S. Gumilev in his manifestos names the predecessors of Acmeism, whose work served as its basis: William Shakespeare, Francois Villon, Francois Rabelais and Théophile Gautier. Among Russian names, such cornerstones were I. F. Annensky, V. Ya. Bryusov, M. A. Kuzmin.

The principles indicated in the manifestos sharply contradicted the poetic work of the association’s participants, which attracted the attention of skeptics. Russian symbolist poets A. A. Blok, V. Ya. Bryusov, V. I. Ivanov considered the Acmeists their followers, the futurists perceived them as opponents, and the supporters of Marxist ideology who replaced them, starting with L. D. Trotsky, called the Acmeists an anti-Soviet movement desperate bourgeois literature. The composition of the school of Acmeism was extremely mixed, and the views of the group of Acmeists represented by V. I. Narbut, M. A. Zenkevich, and partly S. M. Gorodetsky himself, significantly differed from the poetic aestheticism of the poets of pure “Acmeism”. This discrepancy between poetic views within one movement prompted literary scholars to think long and hard. It is not surprising that neither V.I. Narbut and M.A. Zenkevich were participants in the second and third professional associations “Workshop of Poets”.

Poets had tried to leave the movement before, when in 1913 V. I. Narbut suggested M. A. Zenkevich to leave the Acmeist community and create a separate creative group of two people or join the Cubo-Futurists, whose sharp concepts were much closer to him than the refined aesthetics of Mandelstam. A number of literary researchers have come to the conclusion that the founder of the association, S. M. Gumilyov, deliberately tried to combine inorganic creative ideologies in one movement for the harmonious polyphony of a new unlimited direction. But more likely is the opinion that both sides of Acmeism - poetic-Acmeist (N. S. Gumilyov, A. Akhmatova, O. E. Mandelstam) and materialistic-Adamist (V. I. Narbut, M. A. Zenkevich, S. M. Gorodetsky) - united the principle of deviation from symbolism. Acmeism as a literary school fully defended its concepts: opposing itself to symbolism, it simultaneously fought against the frantic word-creation of the parallel movement of futurism.

Decline of Acmeism


In February 1914, when there was a disagreement between N.S. Gumilyov and S.M. Gorodetsky, the first school for mastering poetic skills, “The Workshop of Poets,” collapsed, and Acmeism fell. As a result of these events, the direction was subjected to harsh criticism, and B. A. Sadovskaya even declared “the end of Acmeism.” However, the poets of this group are still for a long time were called Acmeists in publications, and they themselves did not stop identifying themselves with this trend. Four students and comrades of N. S. Gumilyov, who are often called junior Acmeists, inherited and secretly continued the traditions of Acmeism: G. V. Ivanov, G. V. Adamovich, N. A. Otsup, I. V. Odoevtseva. In the works of contemporaries one often encounters young writers, like-minded people of Gumilyov, who are characterized by the ideology of the “Workshop of Poets.”

Acmeism as a literary movement existed for about two years, publishing 10 issues of the magazine “Hyperborea” and several books, leaving an invaluable legacy of the eternal words of outstanding poets who had a significant influence on Russian poetic creativity of the twentieth century.

The word acmeism comes from the Greek word acme, which means: top, peak, highest point, flourishing, strength, edge.

Greek - the highest flowering) - a direction in Russian poetry beginning. XX century, who advocated the poeticization of feelings, the accuracy of the meaning of words (A. Akhmatova, N. Gumilyov, O. Mandelstam, etc.).

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ACMEISM

from Greek akme - the highest degree of something, blooming power), a movement in Russian poetry of the 1910s. Acmeism arose from the literary school “The Workshop of Poets” (1911–14), which was headed by N. S. Gumilyov and S. M. Gorodetsky, the secretary was A. A. Akhmatova, this school included G. V. Adamovich, V. V. Gippius, M. A. Zenkevich, G. V. Ivanov, O. E. Mandelstam, V. I. Narbut and others. Acmeism as a new literary movement was proclaimed in 1913 in the articles - literary manifestos of N. S. Gumilyov (“The Legacy of Symbolism and Acmeism”) and S. M. Gorodetsky (“Some Trends in Modern Russian Poetry”), publ. in the Apollo magazine, close to the “Workshop of Poets”. Later, the principles of this movement were formulated by O. E. Mandelstam (primarily in the article “The Morning of Acmeism,” 1919). The poets who declared themselves as participants in the new movement were N. S. Gumilyov, S. M. Gorodetsky, A. A. Akhmatova, O. E. Mandelstam, M. A. Zenkevich, V. I. Narbut. Literary declarations and creativity of Acmeists are characterized by repulsion from the previous literary direction– symbolism, from the polysemy of words and allegories inherent in symbolism. Accuracy, objectivity of the word, installation on it direct meaning, rejection of mysticism and adherence to the values ​​of earthly existence - distinctive features Acmeism. In the poetry of the Acmeists, differences prevail over general features, therefore, the unity of Acmeism was largely conditional character. The “core” of this movement was N. S. Gumilyov, A. A. Akhmatova, O. E. Mandelstam. Their poetry is united by the high role of quotation and the attitude towards dialogue with the world poetic tradition.



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