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Presentation on the topic: Acmeism - literary direction Russia
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Dictionary: acmeism is a modernist trend (the highest degree, peak, flowering time) - which arose in the early twentieth century in Russia, declaring a concrete-sensual perception of the outside world, returning the word to its original, and not symbolic meaning. N. Gumilyov: “I proclaim the intrinsic value of the phenomena of life…” Romance and heroics are the basis of the poet's worldview. A. Akhmatova: “Is an ordinary detail significant?” The depth of psychologism is achieved with the help of a detail that becomes a sign of a heightened feeling. J. Mandelstam: "Clear rhythms with courageous pressure approached the spoken language and sincere intonation."
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Purpose: concrete-sensory perception of the external world, rejection of the nebula of symbolism. The current is aimed at reviving a person's thirst for life, returning a sense of its beauty. Exotic themes, love, nature, emotional experiences of a person. Attention to the word. Description detail. The desire to give the word an extremely precise, clear meaning. The main artistic means: metaphors, an oxymoron for a bright, major image of reality and giving a more capacious meaning to a detail. Features of acmeism
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The birth of a new poetry ... The term "acmeism" was proposed in 1912 by N. Gumilyov and S. M. Gorodetsky, who regards the struggle between symbolism and acmeism as a struggle "for this world, sounding, colorful, having shape, weight and time, for our planet Earth." In 1911, the association "Workshop of Poets" was founded, headed by Nikolai Gumilyov and Sergey Gorodetsky. In the autumn of 1912, a decision was made to create a new poetic trend - acmeism.
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Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. Akhmatova Anna Andreevna (1889-1966) Mandelstam Osip Emilievich (1891-1938) Gumilyov Nikolay Stepanovich (1886-1921) Gorodetsky Sergey Mitrofanovich (1884-1967)
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The legacy of the acmeists N. S. Gumilyov - "The legacy of symbolism and acmeism" (1913) S. M. Gorodetsky - "Some currents in modern Russian poetry" (1913) O. E. Mandelstam - article "Morning of acmeism" (1913) An important feature The poetry of acmeists are solid moral guidelines, installation on traditional human values: faith, honor, conscience, duty, kindness, love. Check yourself! - Who is in the photos?
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Music by Gorodetsky Sergei Mitrofanovich Gorodetsky was born on January 5, 1884 in St. Petersburg. In 1902 he entered the Faculty of History and Philology of St. Petersburg University. He enthusiastically studied Slavic languages, art history, Russian literature, and drew. He began writing poetry from childhood. The first book "Yar" (end of 1906) reflected the poet's interest in folk art, to the reproduction of ancient Slavic mythology in close contemporary literature forms and brought him fame. This theme is continued by the second collection of poems "Perun" (1907), which was no longer received so enthusiastically. How I loved you, my dear, My Russia, mother of freedom, When, languishing under the whip, Your great people were silent. In what blind and wild faith I waited for your Sunday! And now the doors of all prisons have fallen, I see your triumph. You are as majestic on a holiday, As before in slave poverty, When both your honor and glory were Crucified on the cross. Russia
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In the verses of the acmeists one could hear ... (Continuation of the poem) About the eternal peace of the entire universe, About will, brotherhood and love You sang selflessly To the peoples dying in blood. As the sun rises from the east, So the news comes from you, That there is an end to the cruel war, There is a living truth in people. And a day more beautiful than paradise is near, When enemies, when friends, Like chains, tearing fronts, Exclaim: "Your truth!" How I love you, Russia, When above the world your people Raised fire tablets, Tablets of eternal freedoms. One of the merits of S. Gorodetsky is the introduction of children's folklore into Russian literature. In the 1910s and 1920s, he wrote many books for children, collected children's drawings, and hatched plans to create his own children's newspaper. In 1945, Gorodetsky suffered a heavy loss - the death of a true friend and colleague of his entire creative life, his wife Anna Alekseevna Gorodetskaya (Nymph), to whom he dedicated the poem "Afterword" (1947). In 1956, after a long break, Gorodetsky's name reappeared in the central press, and a book of selected works was published. Gorodetsky died in June 1967 at the age of 84.
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The music of Osip Mandelstam… “For the acmeists, the conscious meaning of the word… The same beautiful form as music for the symbolists… Love the existing things and your being more than yourself, this is the highest commandment of acmeism… The Middle Ages is dear to us because it never mixed different plans and to the otherworldly was treated with great restraint.” Osip Mandelstam
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Music by Osip Mandelstam Born on January 3, 1891. in Warsaw in the family of a master tanner, a small merchant. A year later, the family settled in Pavlovsk, then in 1897 moved to live in St. Petersburg. Here ends one of the best Petersburg educational institutions- Tenishevsky commercial school, which gave him solid knowledge in humanities This is where his passion for poetry began. In 1907, Mandelstam left for Paris, listened to lectures at the Sorbonne, met N. Gumilyov... Leningrad I returned to my city, familiar to tears, To veins, to children's swollen glands. You're back here, so swallow the fish oil of the Leningrad river lanterns, Get to know the December day, Where the yolk is mixed with the ominous tar. Petersburg! I don't want to die yet! You have my phone numbers. Leningrad! I still have addresses By which I will find the voices of the dead. I live on a black staircase, and a bell torn with meat hits my temple, And all night long I wait for dear guests, Moving the door chains with shackles. 1930
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Interest in literature, history, philosophy leads him to the University of Heidelberg. Mandelstam's literary debut took place in 1910, when five of his poems were published in the Apollon magazine. During these years, he was fond of the ideas and work of symbolist poets. In the autumn of 1933 he writes the poem "We live without smelling the country under us ...", for which he was arrested in May 1934. Only Bukharin's defense softened the sentence - they sent him to Cherdyn-on-Kama, where he stayed for two weeks, fell ill, and ended up in the hospital. He was sent to Voronezh, where he worked in newspapers and magazines, on the radio. The stage was sent to Far East. In the transit camp on the Second River (now within the boundaries of Vladivostok) on December 27, 1938, O. Mandelstam died in the hospital barracks in the camp. The poet's wife, Nadezhda Mandelstam, and some of the poet's trusted friends preserved his poems, which in the 1960s had the opportunity to be published. There is no need to talk about anything, Nothing should be taught, And the dark animal soul is sad and good: It does not want to teach anything, Does not know how to speak at all And swims like a young dolphin Through the gray abysses of the world.
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Music by Anna Akhmatova… Anna Andreevna Akhmatova was born in the south of Russia, in Odessa, on June 11, 1889, in the Gorenko family. Two years later, the Gorenko couple moved to Tsarskoe Selo, where Anya studied at the Mariinsky Gymnasium. She was fluent in French, read Dante in the original. Anya Gorenko met her future husband, poet Nikolai Gumilyov, when she was still a fourteen-year-old girl. Later, a correspondence arose between them, and in 1909 Anna accepted official offer Gumilyov to become his wife. On April 25, 1910, they got married in the Nicholas Church in the village of Nikolskaya Sloboda near Kyiv. After the wedding, the young went on a honeymoon trip, having been in Paris all spring. Akhmatova's active literary activity began in the 1910s. At this time, the aspiring poetess met Blok, Balmont, Mayakovsky. She published her first poem under the pseudonym Anna Akhmatova at the age of twenty, and in 1912 the first collection of poems "Evening" was published.
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Alien prisoner! I don't need someone else's, I'm tired of counting my own. So why is it such a joy to see these cherry lips? Let him blaspheme and dishonor me, I hear his stifled groan in his words. No, he will never make me Think that he is passionately in love with another. And I will never believe that it is possible After heavenly and secret love Again laugh and cry anxiously And curse my kisses. 1917 Music by Anna Akhmatova... In March, Anna Andreevna accompanied Nikolai Gumilyov abroad, where he served in the Russian Expeditionary Force. And already in the next 1918, when he returned from London, there was a break between the spouses. In the autumn of the same year, Akhmatova married V. K. Shileiko, a scientist and translator of cuneiform texts. The poetess did not accept the October Revolution. For, as she wrote, "everything is plundered, sold ..."
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Music by Anna Akhmatova... December 1922 was marked by a new turn in Akhmatova's personal life. She moved in with art historian Nikolai Punin, who later became her third husband. The 1920s were marked by a new poetic rise of Akhmatova: the publication of the poetry collections Anno Domini and Plantain, which cemented her fame as an outstanding Russian poetess. Akhmatova's new poems were no longer published. Her poetic voice fell silent until 1940. Hard times have come for Anna Andreevna. In the early 1930s, her son Lev Gumilyov was repressed, having survived three arrests and spent 14 years in the camps. All these years, Anna Andreevna patiently fussed about the release of her son, as well as for her friend, the poet Osip Mandelstam, who was arrested at the same time. But if Lev Gumilyov was nevertheless subsequently rehabilitated, then Mandelstam died in 1938 in a transit camp on the way to Kolyma. Later, Akhmatova dedicated her great and bitter poem "Requiem" to the fate of thousands and thousands of prisoners and their unfortunate families. ……………………………… And the heart only asks for a quick death, Cursing the slowness of fate. Increasingly, the western wind brings Your reproaches and Your prayers. But do I dare to return to you? Under the pale sky of my homeland I only know how to sing and remember, And you don’t even dare to remember me. So the days go by, multiplying sorrows. How can I pray to the Lord for you? You guessed it: my love is such that even you couldn't kill it.
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Music by Anna Akhmatova... In the 1960s, Akhmatova finally received worldwide recognition. Her poems have appeared in translations into Italian, English and French, her poetry collections began to appear abroad. In 1962, Akhmatova was awarded the Etna-Taormina International Poetry Prize in connection with the 50th anniversary of her poetic activity. She did not complain about age, and old age took for granted. In the fall of 1965, Anna Andreevna suffered a fourth heart attack, and on March 5, 1966, she died in a cardiology sanatorium near Moscow. Akhmatova was buried at the Komarovsky cemetery near Leningrad. Until the end of her life, Anna Andreevna Akhmatova remained a Poet. And you, my friends of the last call! To mourn you, my life is spared. Above your memory, do not be ashamed of a weeping willow, But shout your names to the whole world! Yes, there are names! After all, it doesn't matter - you are with us! .. All on your knees, everyone! Crimson light poured out! And Leningraders again go through the smoke in rows - The living with the dead: for the glory of the dead there are none.
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Music by Nikolai Gumilev One of the leading acmeist poets was Nikolai Stepanovich Gumilev. In reality, his work was much wider and more varied, and his life was unusually interesting, although it ended tragically. Nikolai Stepanovich Gumilyov was born on April 3, 1886 in Kronstadt, where his father worked as a military doctor. Soon his father retired, and the family moved to Tsarskoye Selo. The October Revolution caught Gumilyov abroad, where he was sent in May 1917. In May 1918 he returned to revolutionary Petrograd. PHONE Unexpected and bold Female voice in the phone - How many sweet harmonies In this voice without a body! Happiness, your benevolent step Doesn't always pass by: Louder than the seraphim's lute You're on the phone too!
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Music by Nikolai Gumilyov She I know a woman: silence, Bitter fatigue from words, Lives in the mysterious flicker of Her dilated pupils. Her soul is greedily open Only to the copper music of the verse, Before life, valley and joyful, Arrogant and deaf. Inaudible and unhurried, Her step is so strangely smooth, You can’t call her beautiful, But all my happiness is in her. When I crave self-will And bold and proud - I go to her To learn wise sweet pain In her languor and delirium. She is bright in the hours of languor And holds lightning in her hand, And her dreams are clear, like shadows On the fiery sand of paradise. He was captured by the then tense literary atmosphere. Gumilyov admitted Soviet power despite the fact that he was in heavy personal conditions existence and that the country was in a state of ruin. But the life of N.S. Gumilev tragically ended in August 1921. For many years it was officially stated that the poet was shot for participating in a counter-revolutionary conspiracy.
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Music by Nikolai Gumilyov * * * You spoke empty words, And the girl blossomed, Here she combs her golden curls, In festive fun. Now, to all church requirements, Pray for yours. You became her sun, became her sky, You became her gentle rain. Eyes darken, smelling thunderstorms. Her sigh is uneven and frequent. She still brings roses, But you want, and life will give. Gumilyov's poetry in different periods of his creative life is very different. Sometimes he categorically denies the Symbolists, and sometimes he is so close to their work that it is difficult to guess that all these wonderful poems belong to one poet. The poet lived a very bright, but short life.
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The basic principles of acmeism: - the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give the word a specific, precise meaning; - objectivity and clarity of images, sharpness of details; - an appeal to a person, to the "authenticity" of his feelings; - poetization of the world of primordial emotions, primitive biological nature; - a call to the past literary epochs, the broadest aesthetic associations, "longing for world culture".
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Homework 1. Thu. pp. 137-159 2. Answer in writing according to the options: - life path A. Akhmatova; - J. Mandelstam's life path; - Teffi's life path. "Literature Grade 11" textbook, M., "Enlightenment" 2011 Article "The variety of artistic individualities of the poetry of the Silver Age" L.A. Smirnova, M., Enlightenment, 2010 Co-author - Anna Vasilyeva, student of GBOU secondary school No. 71 http://ruspoeti.ru/aut/gorodetskij/4824/ http://mandelshtam.velchel.ru/ http://mandelshtam. velchel.ru/index.php?cn 5. http://www.stihi-us.ru/1/Ahmatova/4.htm https://www.google.ru/webhp?sourceid=chrome-instant
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Definition ACMEISM is a modernist trend that declared a concrete-sensual perception of the outside world, a return to the word of its original, non-symbolic meaning. The name "acmeism" comes from the Greek. “acme” - point, peak
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History The actual acmeist association was small and existed for about two years (1913-1914). But blood ties connected him with the “Shop of Poets”, which arose almost two years before the acmeist manifestos and resumed after the revolution. The members of the “Shop” were mainly novice poets: A. Akhmatova, N. Burliuk, Vas. Gippius, M. Zenkevich, Georgy Ivanov, E. Kuzmina-Karavaeva, M. Lozinsky, O. Mandelstam, Vl. Narbut, P. Radimov. Meetings of the "Workshop" were attended by N. Klyuev and V. Khlebnikov. "Tsekh" began to publish collections of poems and a small monthly magazine "Hyperborey".
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In 1912, at one of the meetings of the “Workshop”, the issue of acmeism as a new poetic school was resolved. The name of this trend emphasized the aspiration of its adherents to new heights of art. The main organ of the acmeists was the Apollon magazine (ed. S. Makovsky), which published poems by members of the “Workshop”, manifesto articles by N. Gumilyov and S. Gorodetsky. The new trend in poetry opposed itself to symbolism, which, according to Gumilyov, “has completed its circle of development and is now falling” or, as Gorodetsky argued more categorically, is experiencing a “catastrophe”. However, in essence, the “new trend” was not at all antagonistic in relation to symbolism. The claims of the acmeists turned out to be clearly untenable.
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“We will fight for strong and vital art beyond the limits of the painful decay of the spirit,” the editors proclaimed in the first issue of the Apollo magazine (1913), in which N. Gumilyov wrote in the article “The Legacy of Symbolism and Acmeism”: “Symbolism is being replaced by a new direction, no matter how it is called, is it acmeism (from the word ???? (“acme”) - the highest degree of something, color, blooming time), or adamism (a courageously firm and clear outlook on life), - in in any case, requiring a greater balance of power and a more precise knowledge of the relationship between subject and object than was the case in symbolism. However, in order for this current to assert itself in its entirety and be a worthy successor to the previous one, it is necessary that it accept its legacy and answer all the questions posed by it. The glory of the ancestors obliges, and symbolism was a worthy father”
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In an effort to dispel the atmosphere of the irrational, to free poetry from the "mystical fog" of symbolism, the acmeists accepted the whole world - visible, sounding, audible. But this “unconditionally” accepted world turned out to be devoid of positive content.
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Every direction is in love with one or another creators and epochs. Dear graves bind people the most. In circles close to acmeism, the names of Shakespeare, Rabelais, Villon and Theophile Gautier are most often pronounced. Each of these names is the cornerstone for the building of acmeism, the high tension of one or another element. Shakespeare showed us the inner world of man; Rabelais - the body and its joys, wise physiology; Villon told us about a life that does not doubt itself in the least, although it knows everything - and God, and vice, and death, and immortality; Théophile Gautier for this life found in art worthy clothes of impeccable forms. To combine these four moments in oneself is the dream that united people who so boldly called themselves acmeists.
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Aesthetics of acmeism: - the world must be perceived in its visible concreteness, its realities should be valued, and not taken off the ground; - the source of poetic values is on earth, and not in the unreal world; - it is necessary to revive love for one's body, the biological principle in a person, to appreciate a person, nature; - 4 beginnings should be merged in poetry 1) Shakespeare's traditions in depicting the inner world of a person; 2) traditions of Rabelais in the chanting of the body; 3) the traditions of Villon in singing the joys of life; 4) Gauthier's tradition of celebrating the power of art.
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The basic principles of acmeism: - the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give the word a specific, precise meaning; - objectivity and clarity of images, sharpness of details; - an appeal to a person, to the "authenticity" of his feelings; - poetization of the world of primordial emotions, primitive biological nature; - a call to the past literary epochs, the broadest aesthetic associations, "longing for world culture".
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Distinctive features of acmeism: - hedonism (enjoyment of life), adamism (animal essence), clarism (simplicity and clarity of language); - lyrical plot and depiction of the psychology of experience; - colloquial elements of the language, dialogues, narratives. Acmeists are interested in the real, and not the other world, the beauty of life in its concrete - sensual manifestations. Nebula and hints of symbolism were opposed by a major perception of reality, the authenticity of the image, and the clarity of the composition. In some ways, the poetry of acmeism is the revival of the “golden age”, the time of Pushkin and Baratynsky.
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Acmeist poets Akhmatova Anna Gumilyov Nikolay Gorodetsky Sergey Zenkevich Mikhail Ivanov Georgy Krivich Valentin Lozinsky Mikhail Mandelstam Osip Narbut Vladimir Shileiko Vladimir G. Ivanov
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A presentation on the topic "Acmeism and Acmeists" (Grade 10) can be downloaded absolutely free of charge on our website. Subject of the project: MHK. Colorful slides and illustrations will help you keep your classmates or audience interested. To view the content, use the player, or if you want to download the report, click on the appropriate 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, pinnacle, point”) is a trend of Russian modernism that was formed in the 1910s and in its poetic attitudes is based on its teacher - Russian symbolism. The acmeists opposed the transcendental two-worldness of the Symbolists with the world of ordinary human feelings, devoid of mystical content. By definition, V.M. Zhirmunsky, acmeists - "overcoming symbolism". The name that the acmeists chose for themselves was supposed to indicate the desire for the heights of poetic skill.
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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 the transience, the momentaryness of being, a kind of mystery covered with a halo of mysticism, then a realistic view of things was put as the cornerstone in the poetry of acmeism. The hazy unsteadiness and fuzziness of symbols were replaced by precise verbal images. The word, according to the acmeists, should have acquired its original meaning. The highest point in the hierarchy of values for them was culture, identical to universal human memory. Therefore, acmeists often turn to mythological plots and images. If the Symbolists in their work focused on music, then the Acmeists - on 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 a purely pictorial purpose. That is, the “overcoming” of symbolism took place not so much in the sphere of general ideas, but in the field of poetic style. In this sense, acmeism was just as conceptual as symbolism, and in this respect they are undoubtedly in a succession.
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It is necessary to note the generic connection of acmeism with the literary group "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 members of the group was directed against the magical, metaphysical nature of the language of Symbolist poetry. The group was headed by N. Gumilyov 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 journal "Hyperborey". The name of the circle, formed on the model of the medieval names of craft associations, indicated the attitude of the participants to poetry as a purely professional field activities. The "workshop" was a school of formal craftsmanship, indifferent to the peculiarities of the worldview of the participants. At first, they did not identify themselves with any of the currents in literature, and did not strive for a common aesthetic platform.
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The main ideas of acmeism were outlined in the program articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Trends in Modern Russian Poetry”, published in the journal 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 how it is called, whether acmeism (from the word akme - the highest degree of something, a flowering time) or adamism (a courageously firm and clear outlook on life), in any case, requiring a greater balance of power and a more precise knowledge of the relationship between subject and object than was the case in symbolism. However, in order for this trend to assert itself in its entirety and be a worthy successor to the previous one, it must accept its legacy and answer all the questions it posed. 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 other worlds, and belittled its high inherent value. Among the Acmeists, the rose again became good in itself, with its petals, smell and color, and not with its conceivable similarities with mystical love or anything else. In 1913, Mandelstam's article "Morning of Acmeism" was also written, which was published only six years later. The delay in publication was not accidental: Mandelstam's acmeist views differed significantly from the declarations of Gumilyov and Gorodetsky and did not make it to the pages of Apollo.
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The basic principles of acmeism: - the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give the word a specific, precise meaning; - objectivity and clarity of images, sharpness of details; - an appeal to a person, to the "authenticity" of his feelings; - poetization of the world of primordial emotions, primitive biological nature; - a call to the past literary epochs, the broadest aesthetic associations, "longing for world culture".
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A coffee pot, a sugar bowl, saucers, Five cups with a narrow border On a blue tray are pressed, And their mute story is intelligible: First - with a thin brush A skillful master of the hand, To make the background seem golden, He drew curls with carmine. And his plump cheeks blushed, Eyelashes pointed lightly to Cupid, who wounded the frightened shepherd boy with an arrow. And now the cups are already washed with a hot black jet. An important and gray-haired dignitary plays checkers over coffee, Il lady, smiling subtly, Pretentiously regales her friends. Meanwhile, as a smart lapdog On its hind legs serves her ...
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Nikolay Gumilyov
GUMILEV Nikolai Stepanovich (1886, Kronstadt - 1921, around Petrograd) - poet. The son of a naval doctor. Moving with his father, he studied at the gymnasiums of St. Petersburg and Tiflis. He became interested in Marxism and even promoted it. In 1903 he settled in Tsarskoye Selo. Gumilyov, under the influence of symbolism, moved away from socialist ideas and was filled with disgust for politics. Writing poetry from the age of 12, Gumilyov, realizing himself a poet, saw the meaning of life only in poetry. In 1905, Gumilev's first collection of poems, The Path of the Conquistador, was published. Gumilyov studied poorly, but in 1906 he graduated from the gymnasium and left for Paris: he studied at the Sorbonne, studied painting and literature, published Russian. magazine "Sirius". In 1908 he entered legal department Petersburg, un-ta, and then moved 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 a literary group of acmeists (S. Gorodetsky, M. Kuzmin, and others), who left the "nebulae" of the Symbolists for 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 St. George's Crosses. In 1917 - 1918 he was at the headquarters of the Russian expeditionary corps in Paris. In 1918 he returned to Russia and lived in Petrograd. He taught, participated in the work of the publishing house "World Literature". He published several collections of poems. Gumilyov's poems are refined, decorative, sensually palpable and romantic; they contrasted the image of a "strong personality" with dull reality. In 1921, the Cheka was arrested on a fabricated case and shot.
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In the poetry of N. Gumilyov, acmeism is realized in a craving for the discovery of new worlds, exotic images and plots. 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 Far Wanderings. Renewal of poetic imagery, respect for the "phenomenon as such" was carried out in Gumilev's work through travels to unknown, but quite real lands. Travels in N. Gumilyov's poems carried the impressions of the poet's specific expeditions to Africa and, at the same time, echoed symbolic wanderings in "other worlds". Gumilyov contrasted the transcendental worlds of the Symbolists with the continents he had first discovered for Russian poetry.
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GIRAFFE Today, I see your eyes are especially sad And your arms are especially thin, hugging your knees. Listen: far, far away, on Lake Chad Exquisite, a giraffe roams. Graceful slenderness and bliss is given to him, And his skin is adorned with a magical pattern, With which only the moon dares to equal, Shattering and swaying on the moisture of wide lakes. In the distance it is like the colored sails of a ship, And its flight is smooth, like a joyful bird's flight. I know that the earth sees many wonderful things, When at sunset he hides in a marble grotto. I know funny fairy tales mysterious countries About the black maiden, about the passion of the young leader, But you inhaled the heavy fog for too long, You don't want to believe in anything but rain. And how can I tell you about a tropical garden, About slender palm trees, about the smell of unimaginable herbs. You cry? Listen ... far away, on Lake Chad the Exquisite, a giraffe roams.
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Nikolai Gumilyov from early youth attached exceptional importance to the composition of the work, its plot completeness. The poet called himself a "master of a fairy tale", combining in his poems dazzlingly bright, rapidly changing pictures with an extraordinary melody and musicality of the narration. A certain fabulousness in the poem "Giraffe" is manifested from the first lines: The reader is transported to the most exotic continent - Africa. The human imagination simply does not fit the possibility of the existence of such beauties 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 cleanse ourselves of the "heavy fog" that we have been inhaling for so long, and to realize that the world is huge and that there are still paradises on Earth. Turning to a mysterious woman, whom we can only judge from the position of the author, the lyrical hero is in dialogue with the reader, one of the listeners of his exotic tale. A woman immersed in her worries, sad, does not want to believe in anything - why not a reader? Reading this or that poem, we willy-nilly express our opinion about the work, criticize it in one way 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. Ring framing is typical for any fairy tale. As a rule, where the action began, there it ends. However, in this case one gets the impression that the poet can talk about this exotic continent again and again, draw magnificent, vivid pictures of a sunny country, revealing more and more new, never seen before 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 fairy-tale poem, the poet compares two spaces, distant on the scale of human consciousness and very close on the scale of the Earth. About the space that is "here", the poet says almost nothing, and this is not necessary. There is only a "heavy fog" that we inhale every minute. In the world we live in, only sadness and tears remain. This leads us to believe that heaven on Earth is impossible. Nikolai Gumilyov tries to prove the opposite: "... far, far away, on Lake Chad // An exquisite giraffe roams."
Slide 14
The acmeism of A. Akhmatova (A. Gorenko) had a different character, devoid of inclination towards exotic plots and colorful imagery. The originality of the creative manner of Akhmatova as a poet of the acmeist direction is the imprint of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays a whole spiritual structure. In delicately drawn details, Akhmatova, as Mandelstam remarked, 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 happened to us later." The material density of the world, the psychological symbolism, the associativity of Annensky's poetry were largely inherited by Akhmatova.
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THE SONG OF THE LAST MEETING So helplessly my chest grew cold, But my steps were light. I put on the Glove from my left hand on my right hand. It seemed that there were many steps, And I knew that there were only three of them! Between the maples an autumn whisper Asked: "Die with me! I will be deceived by my dull, changeable, evil fate." I answered: "Darling, dear - And so am I. I'll die with you!" This is the song of the last meeting. I looked at the dark house. Only in the bedroom candles burned with an indifferent yellow fire. “In this couplet - 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 sense of mortal fragility before 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 with the fact that it is empty. Among the acmeists, Mandelstam was distinguished by an unusually sharply developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”, all the mentioned objects acquired biblical overtones. At the same time, Mandelstam was disgusted by the abuse of sacred vocabulary, the "inflation of sacred words" among the Symbolists.
Slide 17
IMPRESSIONISM The artist has depicted us A deep swoon of lilacs And sonorous steps of colors On the canvas, like scabs, laid. He understood the density of oils - His dried-up summer is warmed up by the lilac brain, Expanded into stuffiness. And the shadow, the shadow is all purple, Whistle or whip, like a match, goes out - You will say: cooks in the kitchen Prepare fat pigeons. The swing is guessed, The veils are unpainted, And in this sunny collapse The bumblebee is already hosting.
Slide 18
From the acmeism of Gumilyov, Akhmatova and Mandelstam, the adamism of S. Gorodetsky, M. Zenkevich, V. Narbut, who constituted the naturalistic wing of the movement, differed significantly. The Adamic worldview was most fully expressed in the work of S. Gorodetsky. Gorodetsky's novel Adam described the life of a hero and a 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 incantations, lamentations, contained bursts of emotional imagery extracted from the distant past of the scene of everyday life. The naive adamism of Gorodetsky, his attempts to return man to the shaggy embrace of nature, could not but evoke irony in the modernists, who were sophisticated and well studied the soul of a contemporary. Blok in the preface to the poem Retribution noted that the slogan of Gorodetsky and the Adamists "was a man, but some other man, completely without humanity, some kind of primordial Adam."
Slide 19
Birch I fell in love with you on an amber day, When, radiant azure Born, laziness oozed From each grateful branch. The body was white, white as hops Ebullient lake waves. Laughing, merry Lel pulled Rays of black hair. And Yarila himself magnificently crowned Their network with pointed foliage, And, smiling, scattered In the azure of the sky, the color green.
Class: 11
Lesson Objectives:
educational
- to introduce the history of the emergence of Russian acmeism;
- note the thematic richness of the lyrics of acmeist poets;
Educational
- develop the skills of analyzing a poetic work;
Educational
- to instill a sense of beauty;
- educate an emotional and sensual attitude to works of art.
1. Organizing time. slide 1
2. Statement of the problem Slide 2
3. Explanation of new material
3.1 "For acmeists, the conscious meaning of the word: The same beautiful form as music for the symbolists: Love existing things and your being more than yourself - this is the highest commandment of acmeism: The Middle Ages are dear to us because it never mixed different plans and related to the other world with great restraint." O. Mandelstam. "Morning of acmeism" slide 3
"The symbolism is being replaced by a new direction, no matter how it is called, requiring a greater balance of power and a more accurate knowledge of the relationship between the subject and the object, something was in symbolism ... In circles close to acmeism, the names of Shakespeare, Rabelais are most often pronounced ", Villon and Gauthier. Each of these names is the cornerstone for the building of acmeism. Shakespeare showed us the inner world of man. Rabelais - his body and joy, wise physiology. Villon told us about life, not at all doubting itself, although knowing everything: and god, and vice, and death and immortality; Gautier for this life found in art worthy clothes of impeccable forms.To combine these four points in oneself is the dream that unites people who called themselves acmeists. I. Gumilyov "The legacy of symbolism and acmeism" 1913 slide 4
Teacher's word:
silver Age Russian poetry is associated with the most complex spiritual quest of mankind at the turn of the 19th and 20th centuries, at the same time, in the poetry of modernism there is a premonition of an impending catastrophe. This period was called the Russian Renaissance. The art of the Silver Age became a philosophy, a universal view of the world. Never before has the word been so closely associated with music and painting.
Acmeism grew out of symbolism. In 1909, young poets who attended symbolist meetings with the St. Petersburg poet V. Ivanov created the "Poetic Academy", where they studied the theory of versification. In 1911, students of the academy founded a new association "Poets' Workshop", the name of which indicated the attitude of the participants to poetry as a purely professional activity. N. Gumilyov and S. Gorodetsky became the leaders of the "workshop". In the autumn of 1912, at a meeting of the "workshop", it was decided to create a new poetic trend - acmeism (from the Greek "acme" - the highest degree of something). The title emphasized the desire for the heights of art. Acmeists include N. Gumilyov, A. Akhmatova, S. Goroditsky, O. Mandelsham, M. Zenkevich, V. Narbut. slide 5
Acmeism, according to Gumilyov, is an attempt to rediscover the value of human life, abandoning the desire of the symbolists to know the unknowable.
Acmeism affirms the earthly world in its visible concreteness, sonority, and colorfulness.
"Longing for world culture" called acmeism Mandelstam.
Asserting the inherent value of the objective, visible world, the acmeists developed subtle ways of conveying the inner world of the lyrical hero. Feelings are not revealed directly, it is conveyed by a psychologically significant gesture, by listing things.
It was N. Gumilyov, the founder of acmeism, who rebelled against symbolist mysticism, vagueness, and nebula.
Let us turn to O. Mandelstam's manifesto "Morning of Acmeism". What meaning did the acmeists attach to the word?
Conclusion: The poet demanded concreteness, materiality from poetry.
3.2 Expressive reading of a poem by a trained student.
3.3 Mandelstam's poem "Slower than the snow beehive" slide 6
Issues for discussion
- Name the color adjectives in this poem. (Transparent, turquoise, icy, blue-eyed)
- Do they have a dual meaning, symbolize something (no)
- With the help of what images does the poem show the clash of the eternal and the momentary?
- Confirm with examples (eternity frost - flutter of dragonflies)
3.4. Expressive reading of the poem "On pale blue enamel:" Slide 7
Issues for discussion
- Does the principle of acmeists appear in this poem - clarity, concreteness, clarity? Prove with examples.
- Can a poet be called an "instant photographer"? Prove with examples.
3.5 Demonstration of reproductions by I. Grabar "February Blue" and E. Dag "Blue Dancers". Slide 8
Issues for discussion
- On which of them do Mandelstam's lines from this poem "fall"? Why?
- Paintings of the Tahitian period by P. Gauguin. slide 9,10
Teacher's word: Look how the colors are mixed (juicy, without halftones). Unusual nature for a person living in the middle lane. Gauguin, leaving civilization, went to Tahiti, he was attracted by unknown, exotic countries. It was typical for the turn of the century - people tired of civilization strove for the "primitive land". The same exoticism attracted the Russian poet N. Gumilyov. Africa attracted him. Already in his first collections ("The Way of the Conquistadors", 1905, "Romantic Flowers", 1908; "Pearls", 1910), the features of Gumilyov's poetic world are visible: an emphasized alienation from the vulgar modernity, an attraction to romantic exoticism, bright decorative colors. slide 11
In his artistic in his imagination, the poet moved freely in space and time: the ancient world, the era of chivalry, "the time of the great geographical discoveries, China, India, Africa.
3.6 Expressive reading of N. Gumilyov's poem "Giraffe" by a trained student.
The poem "Giraffe" 1907 Slide 12
The poet searches for the beauties of distant Africa in detail in many colors. This is the story of a man who really observed unusual, for those accustomed to Russian landscapes, pictures. But remembering the "exquisite giraffe" the hero transforms an already beautiful reality.
3.6.1 Primary fixation of the material
Write out comparisons, colorful epithets. (Exquisite giraffe, graceful slenderness, magical pattern, like the colored sails of a ship; the run is smooth, like a joyful bird flight, mysterious countries, black maidens, heavy fog, unthinkable grasses)
Which lines directly echo Gauguin's paintings?
Find the features of acmeist handwriting. (Exact depiction. The underlying subtext is internal, not external, as with the symbolists).
With a fairy tale description, the lyrical hero wants to distract his beloved from sad thoughts in Russia soaked in fogs and rains, but the cheerful tales of mysterious countries only exacerbate the loneliness and alienation of the heroes.
The last lines sound almost hopeless.
You cry? Listen: far away, on Lake Chad, an exquisite giraffe roams.
3.7 Poem "Lake Chad". Expressive reading of a poem by a trained student. slide 13
3.7.1 Mini study
Research plan. Group work.
- What images come to mind when reading this poem?
- What artistic media are used to create them? (comparisons, epithets, metaphors)
- Select "exotic" comparisons.
3.7.2 Protection of a mini-project
3.8 Continuation of the lecture about N. Gumilyov
The poet's work attracts with novelty and courage, sharpness of feelings, excitement of thoughts; personality - courage and fortitude.
Gumilyov believed that the right to be called a poet belongs to someone who, not only in poetry, but also in life, tries to be better, going ahead of the rest. To be a poet, according to his concepts, only one is worthy who, more clearly aware of human weaknesses, selfishness, fear of death, by personal example, in the main and in trifles, overcomes the "old Adam" by willpower. And, by nature, a timid, shy, sickly person, Gumilyov became a lion hunter, a lancer who voluntarily went to fight, deserving two St. George's crosses for courage. He did the same thing with his own life with poetry. A dreamy, sad lyricist, he sought to return poetry to its former meaning: he chose complex forms, "stormy" words, and took on difficult epic themes. Gumilyov's motto was "always the line of greatest resistance." This worldview made him lonely in his contemporary literary circle, although he was surrounded by admirers and imitators. Shortly before his death, Gumilyov said: “today I watched how they were laying the stove, and I envied - guess who? - bricks. They are laid so tightly, so closely, and they still cover up every crack. Brick to brick, to each other, all together, one for all, all for one. The hardest thing in life is loneliness. And I'm so lonely: "
3.9 Reproduction of a recording of a poem by A. Akhmatova.
3.9.1 Examination of reproductions, tracing common features in the work of artists and poetess.
Reproductions of paintings: V. Borisov - Musatov "Autumn motive", "Awakening", "Pond", landscapes by K. Korovin; K. Somov "Lady in Blue", V. Polenov "Grandmother's Garden", "Overgrown Pond". slide 16
Expressive reading of a poem by A.A. Akhmatova by a trained student.
3.9.2 The poem "I learned to live simply, wisely:".
Issues for discussion
- Which of the pictures is the most consonant with the lines of this poem?
The poem "I don't know if you're alive or dead" Reading by a prepared student.
Issues for discussion
- Does this poem by Akhmatova evoke a mood similar to that of any of these paintings?
- What unites them besides the external form, the system of images?
- Why do we attract such paintings, and not the canvases of Gauguin, for example?
Continuation of the lecture.
The course of acmeism united bright personalities. Today we have touched only three names. Their early lyrics had the features of the direction they chose, but the rules and restrictions are impossible for real poets, so today we compared the subtlest feelings of poetic lines with a picturesque manner. Acmeism is focused on spatial arts: architecture, sculpture, painting. So Benoit's painting "The Walk of the King" (1906) depicts a procession along the paths of the Versailles park past the pool. Living, moving people seem less mobile here than the bronze putti of the fountain, who stretch out their hands to those walking, as if inviting them to stop and take part in their game. Slide 18
The clarity, simplicity, concreteness of poetic images in the work of Gumilyov, Akhmatova and Mandelstam received various and very individual manifestations. And today, figures of literature and art are turning to their work.
Summing up the lesson.
Completion of the lesson: a video with a song to the words of N. Gumilyov performed by A. Domogarov.
List of used literature:
- Garicheva E. An overview lesson on the poetry of the Silver Age. "Literature at school", 2002, No. 3
- Studying the poetry of the "Silver Age" at school, Samara, 1993
- Silver age of Russian poetry, M., "Enlightenment", 1993
- Poetry of the Silver Age at school. M., 2007