Divine Comedy d'Alighieri. dante alighieri divine comedy hell
On instructions from above, he printed the text of the poem on a piece of paper, and on the back - an analysis. I quote it below, considering the topic is very relevant.
Valery Bryusov "Vesnyanka"
Vesnyanka is a spring lyrical ritual song among the Eastern Slavs.
Bryusov wrote a poem in lyrical genre. The author shows his attitude to winter. The only thing he is waiting for in winter is the arrival of spring. In dreams and dreams, she has already arrived, and in life, Bryusov is looking forward to her arrival. He does not like winter in this poem. "Only in the north do we appreciate all the delight of spring." After all, it is in the north during severe, endless frosts that a person wishes with all his heart that the cold would end and the darkness recede. And now, finally, this moment comes. The author compares the landscape of winter and spring. Before us are absolutely opposite objects: colorless, boring, snow that has already bothered everyone and a bright, fresh young shoot. Bryusov uses the sign of the arrival of spring to again to show that spring has come. This sign is the first snowdrop. Against the background of white snow, the snowdrop stands out not with the same white petals, but with its blue core. The author sees in this an eye that looks out from under the snow with its pale blue eyes. All nature, and with it the old deadwood, comes to life.
For us, spring is the beginning of something new, "we live in spring like children." Our spirit, bound by cold and blizzards, comes to life.
The last stanza of this poem is a summing up of all the results. All people are tired of winter and therefore everyone goes against winter. And when spring finally conquers winter, we are all happy. An important role in the poem is played by the comparison "like a prisoner, leaving the prison." Of course, we are not prisoners in the literal sense of the word, but we were in captivity, in slavery by winter. By this, the author shows how happy everyone is that winter is over.
Valery Bryusov is a symbolist poet. This means that he shows his ideas through images. This is what characterizes the title of the poem "Vesnyanka". Vesnyanka is a ritual song, spring is lured to it and winter is expelled by deceit. This is not an anthem that sounds at the parade, because you can’t directly show the winter that we are tired of it, so as not to jinx it.
Girshman M.M..
creative path V. Bryusov began at a difficult time for Russian poetry, and in his development he was closely connected with the development of Russian symbolism.
“The decadents are united not by style, but by the similarity and affinity of their worldview,” V. Bryusov wrote in 1907, looking back and comprehending the past. “That worldview that was dear to all the “decadents” has already been sufficiently clarified: this is extreme individualism.” However, for the decadent Bryusov, already from the first poetic experiences of character, not a fence off from the world, but, on the contrary, a stormy movement towards it.
Even in his reflections on decadence, Bryusov shows such energy and a vigorous thirst for activity that this very word, speaking of decline and decay, seems somehow decidedly out of place in his mouth. It is enough to listen to the tone of combat orders that he gives to the young poet: do not live in the present! don't feel sorry for anyone! worship art! And in this tone and in the echo of the battle following the given commands (“I will fall silently as a defeated fighter ...”), among other things, one can hear how life is at war with the proclaimed covenants.
“Everything on earth is transient, except for the creations of art,” Bryusov proclaimed in the preface to the first edition of his first collection of poetry, which bears an emphatically defiant title - “Masterpieces”. But the magical power of art receives from him a “this-worldly” interpretation in the cult of poetic mastery. One of the original versions of Sonnet to Form says:
So divinity is merged with the form,
So the appearance is clothed with a dream,
Thus the eternal spirit is seized by the power of the body.
Recognize it! Created an ideal
Keep it for life's work
And leave the gods their pedestal.
V. Bryusov himself and his contemporaries close to him subsequently repeatedly explained that “patching blades on an enamel wall”, and even “a naked moon under an azure moon”, and many other extravagant images of his early poets have a real, even everyday justification. But all the more important is the purposeful transformation of this life, when, for example, the quite ordinary white window sill of the poet's room becomes "gray". This is how a special and original “world of charms” arises in Bryusov’s poems, which is connected with reality and at the same time repels from it.
This relationship between dream and reality appears with the utmost clarity in the poems about nature in the second collection of the poet "Me eum esse":
I created in secret dreams
The world of ideal nature, -
What is this dust in front of him:
Steppes, and rocks, and waters!..
Let the unchanging ocean threaten
Let the ice ridges proudly sleep:
The day of the end for the universe will come,
And only the dream world is eternal...
Already in the early lyrics of Bryusov, the leading role of the intellectual principle was revealed. Subsequently, it not only became stronger, but also received quite peculiar forms of poetic expression. Bryusov's intellectualism does not at all mean the dominance in his lyrics of a single rationalistic concept of being. Attempts to find the "one truth", as well as the "one God", lead him to the skeptical:
Do you believe that you have become
over Jordan...
But everything will be just a shadow
just deceit.
And if so, then it is quite natural to try, so to speak, to quantitatively cover this “everything”, without finally surrendering to anything with the soul, for there are many truths:
My spirit was not exhausted in the mist of contradictions,
The mind has not weakened in fatal clutches.
I love all dreams, all speeches are dear to me,
And to all the gods I dedicate a verse.
This is, so to speak, a spatial image of the lyrical "I", combining all the contradictions. Translated into a temporal perspective, this image turns out to be a chain of continuous changes, a continuous change of accepted and rejected appearances:
Pretty, pretty! I'm leaving you! take both dreams and words!
I hurry to a new paradise, I run away, the dream is always alive!
I created and gave, and I raised the hammer to forge again first.
I am happy and strong, free and young, I create to throw again.
And such a "relentless striving from fate to a different fate" becomes the main lyrical leitmotif of Bryusov's poetry.
Dreams and "feelings of the world", to which the poet addresses, can be, in his opinion, the subject of rational knowledge, and then extremely expressive figurative expression. This is how the favorite idea in Bryusov's intellectual lyrics is formed - passion. For its proclamation, a loud, exalting word is needed. And next to the ideal of the master becomes an orator - the herald of "general truths", elevated to the dignity of passion. Intellectualism, oratory, skill - these are the three "pillars" of the emerging poetic system of Bryusov.
His lyrical experiences, with their invariably inherent rationalism, tension and complete distinctness, tend to be cast into minted and frozen “instants”, in the sculptural depiction of which the dominant image of Bryusov’s thought-passion always shines through. Its usual signs are generalization and quantitative gigantism:
I've exhausted you to the core
earthly glory,
That night you experienced everything
happiness of audacity ...
In this regard, pictorial and expressive concretization recedes into the background: only the most general words are used - the names of landscape signs or the designations of feelings, thoughts, actions. Much more important is the lexical coloration that affirms greatness: Slavicisms, solemn paraphrases, oratory pathos of an oratorical monologue in the first person or address, the power of rhythmic beats rhythmically following each other, sound pressure.
V. Bryusov's experiments in the field landscape lyrics unproductive: in them, in general terms, at best, book illustrations or allegorical pictures are created. The city is quite another matter. - This is a "receptacle of antitheses" with its huge, but at the same time clear and visible boundaries, "frozen bulks", "immovable buildings" and filling all this immobility with life, "where every moment is fatal."
Bryusov is rightly called one of the founders of Russian lyrical urbanism. But before us is not the city's singer, but rather its accuser. Analytical poetry gives him the opportunity to show, for example, in the poem "Closed", the deadly vulgarity of a measured and calculated bourgeois-urban life, the ephemeral nature of momentary exits into imaginary freedom, inextricably linked with vulgarity, "where there is a gambling house, and where there is a brothel!" And finally, the most important conclusion of this artistic analysis- the inevitability of upcoming disasters:
But no! avoid painful
falls,
The ruin of all good things than we are now
proud!
There will come again delirium and blood and
battles,
The world will again be divided into enemies
two hordes.
The struggle, like an ardent whirlwind, will rush
across the universe
And in rage will sweep away like grass,
cities,
And the waves will howl over the deserted
Seine,
And the walls of the Tower will disappear without a trace.
The feeling of a “resurrection day” permeates the entire collection “Wreath”, and it sounds all the stronger because the horror of everyday vulgarity or exhausting labor is also expressed in individual verses of the collection (see, for example, “The Mason”). So naturally appear in the work of Bryusov, civil verses so important for Russian poetry, confirming that
The poet is always with people when a thunderstorm roars,
And the song with the storm is forever sisters.
Bryusov sees in the revolution the “general content” of life, so necessary and desired by him, consecrated by the age-old historical tradition:
This song is familiar to the soul,
I have listened to it for centuries.
This song is like thunder
Above the plain, in the clouds.
Harmodius sang it on his day,
Repeated the stern Brutus,
In every called people
The same sounds will come to life.
However, the problem also lies in making this common content one's own, which is possible only with organic closeness to that historical force that is called upon to transform the world. Without it, for the poet, the coming storm is both close, and at the same time extraneous with its historically creative ideas, so that the most visible and tangible “burning” beginning opens up to the eye, reflected in the well-known poems “The Coming Huns”, “Close”, etc.
The oratorical, strong-willed melody gives these verses some kind of purely effective content, so that destruction here begins to resemble the poet’s usual readiness for the next revival. Another thing is that with all the energy of the lyrical experience, it sometimes seems to be raised to some kind of artificial cothury, a somewhat deliberate excitation is felt in it. It is in the immensity of calls for destruction, and in the same immeasurable rhetoric of “happy” pictures:
Freedom, brotherhood, equality, all that
What do we yearn for, almost without faith,
To which none of us will fall, -
Those will taste boldly, completely, beyond measure.
Revealed the secrets of the holy spring
They will be drunk in a sleepless thirst for knowledge,
And the beauty of the realized face
Satisfies their ultimate desires.
However, the pronounced desire to get closer to truly revolutionary ideals, to sing the fateful minutes of the world helps Bryusov eventually overcome this aesthetic "chill". “Every time he heard a call for revolution,” A.V. Lunacharsky, - his heart trembled, as if from contact with his native element.
The overthrow of the autocracy in February 1917 was hailed by V. Bryusov as a wonderful and unexpectedly quick fulfillment of an old dream. He writes to M. Gorky: “We all waited and believed, but believed that what we expected would come true “someday”, in years, and suddenly, almost on the same day, the dream became a simple truth. I foresee, of course, various dangers, but all the same, what is there is too good, almost scary. The familiar formula "thought - passion" is now acquiring in Bryusov's work the form of the trinity "thought - passion - revolution", which is perceived by the poet as an organic link in a single chain of world-historical events.
October Revolution surpassed the most ardent dreams of the poet, although in many ways she diverged from them. And yet, Bryusov had every right to address those of his brethren who are now afraid of the death of all the centuries-old foundations, with the caustic but fair words of his invective:
What flickered in a distant dream,
Embodied in the smoke and in the rumble...
Why are you squinting with the wrong eye
Frightened roe deer in the forest!
Well, do not rush into the whirlwind of events -
To revel in the storm, menacingly strange?
And what do you look at the past with longing,
Like some promised land?
Or you, science fiction writers, or you,
aesthetes,
The dream was sweet how far?
And only in books yes in tune with
poet
Do you love originality?
“The coup of 1917 was a profound revolution for me personally,” writes V. Bryusov, “at least I myself see myself completely different before and after this edge.”
Bryusov is especially close to those creative ideas that "the most solemn hour of the earth" carried with it. After all, even on the eve of it, Bryusov praised the intense work that always stood next to his poetic dream:
The only happiness is work,
In the fields, at the machine, at the table, -
Work to a hot sweat
Work without extra bills, -
Hours of hard work!
In one of best poems Bryusov - "The Third Autumn" - such a glorification of the new life becomes all the more convincing and artistically reliable because it grows out of a description of very difficult post-revolutionary everyday life:
Howling wind of the third autumn,
Sweep the expanses of Russia,
Rough through the empty cages,
Get the poor on the way;
Catch trains on slopes
Where in the carriages people crowd
Cursing, writhing, moaning.
Trembling on sacks of grits.
But already in these painful pictures, not only despondency sounds, and it is no coincidence that all the stanzas are covered by the through image of the “wind”, and this is one of the most common symbols in the poetry of those years for expressing the revolutionary spirit of the era. And the syntactic structure of the oratorical monologue with appeals and imperatives repeated in each stanza, and the rhythmic energy of the dolnik - all this recreates such a lyrical experience, in which the main thing is volitional pressure and the energy of vital movement.
Keywords: Valery Bryusov, Russian symbolism, criticism of Valery Bryusov's work, criticism of Valery Bryusov's poetry, analysis of Valery Bryusov's poems, download criticism, download analysis, free download, Russian literature of the 20th century
2. Valery Bryusov
Georgy Adamovich about Valery Bryusov
Today we will talk about Valery Yakovlevich Bryusov, a poet who was born in Moscow in 1873 and died in Moscow in 1924. One of the main critics, perhaps the most important critic of the Russian diaspora, Georgy Adamovich, wrote in the 1950s: “All Russian poetry over the past quarter of a century owes so much to Bryusov, and so often it is now forgotten.”
The literary fate of Bryusov
Indeed, the fate of Valery Yakovlevich Bryusov, given the posthumous fate, was not very happy. He was one of the most popular Russian symbolists - perhaps only Balmont was more popular than he was - in the early 1900s. He was a recognized poetic master. The most diverse poets studied with him, the most diverse poets imitated him, from Nikolai Gumilyov to the imagist Vadim Shershenevich. He was a trendsetter in poetic fashion. Maybe just simplifying a little, we can say that in Moscow it was the main figure, if we talk about modernists, if we talk about decadents.
His books received rave reviews. He was imitated. However, quite soon after his death, and even during his lifetime, Bryusov began to feel that his popularity was declining. And, if the other two Symbolists, whom we talk about in the course of our lectures - Blok and Annensky - are still read, their lines are known by heart, they touch the soul, if I allow myself to put it so unscientifically, then Bryusov is almost forgotten.
He himself, according to the memoirs of his younger friend Vladislav Khodasevich, said that he wanted at least two lines dedicated to him in any history of literature, no matter how detailed or, conversely, indeterminate. And these two lines are really devoted to him in any history of literature. However, it is probably not necessary to talk about it as a living phenomenon. And the words of Adamovich, with which I began, are true. Indeed, Bryusov is almost forgotten, and what contribution he made to Russian poetry is also almost forgotten. So let's try to restore justice at least a little and talk about this certainly wonderful poet and, frankly, a great literary figure.
Nevertheless, some justice will be preserved and continued in our lecture. Although Bryusov has been writing for many years, today we will only talk about the initial period of his work. However, quite a long initial period. We will talk about the first ten years of his creative activity- from 1893 to 1903, when, in fact, he did the main thing that he did as a poet and as a literary figure, when he wrote his best poems when he organized the symbolists into a single movement. And then, although it would be interesting and curious to talk about it too, but we will not talk further. Indeed, what was further interesting, perhaps for the history of literature, but for today's reader, even those interested in the poetry of the Silver Age, is not so interesting.
The beginning of Bryusov's work
Bryusov was the son of a Moscow merchant, and like almost all the poets of his time and later, even modernists, and we will talk about this quite a lot more, he began by imitating such a main poet of the era, quite already, and it seems rightly, forgotten, Semyon Yakovlevich Nadson, a tuberculosis youth who wrote civic poetry.
And indeed, the most diverse poets - from Merezhkovsky to Gumilyov of the same - began by imitating Nadson.
In 1892, in the September issue of the Vestnik Evropy magazine, an article by Zinaida Vengerova appeared under the title "Symbolist Poets in France". This was a review article. Vengerova was a very good translator and she was a good, as they say now, cultural agent. She wrote an article that dealt with the poets - the main French symbolists - Mallarm, Rimbaud, Verlaine and Maeterlinck, and cited in her translations and in French some examples of their poetry.
And for Bryusov, this was a major event. He himself later said in his diary: "It was a whole revelation for me." An article in Vestnik Evropy was published in 1992, and a year later, on March 4, 1893, Bryusov makes another entry in his diary, where he says that his guiding star in the fog will henceforth be decadence. We have already talked about what decadence, decadence is. And he himself said about himself that he was born to be the leader of decadence in Russia. And although this is a recording of a very, very young man, and it is colored with narcissism characteristic of youth, despite this, it really contains the program that Bryusov later embodied. He was supposed to create a school in Russia, he was supposed to lead it, which, in his own words, happened.
And he very early understood one more thing, which we also talked about in the very first lecture, he said that no new school in Russia is impossible if the most important problems are not solved - the problems of language, what language should be spoken, in what language should the attitude of the new era be conveyed.
And in his diary he writes (in the same year 1893): “What if I decide to write a treatise on spectral analysis in Homeric language? I would not have enough words and expressions. No, symbolism is needed. And so Bryusov chooses symbolism as the main direction, chooses French poets as the main landmark on his path and starts his own activity.
At the same time, one thing should be noted immediately, which can be looked at in two ways. This may seem to us, on the one hand, unpleasant in a poet and, in any case, unusual in a poet. On the other hand, this, in fact, provided Bryusov with the leading place in Russian symbolism that he occupied, namely, he was an extremely rational person. There is some paradox in this: he, who wrote symbolist texts, who relied on irrationality, on magical poetry, while he was an extremely rational person. He acted very skillfully. All the time I have words from the modern lexicon on my tongue today. This is no coincidence. Indeed, in our business time Bryusov would have found himself just fine too. You can use the word "manager". He was a brilliant, wonderful manager.
And the first collection that he released, which he prepared, was called "Russian Symbolists". There will be several more of them later, and the first one came out in February 1894. And, in fact, there were two participants in this collection. It was Bryusov himself, and he was attracted by him, attracted by his skill, and Bryusov was famous for this in general - he knew how to attract different people, and so, attracted by his hot speeches, his gymnasium friend Lang, who signed with the pseudonym Miropolsky. They publish this collection "Russian Symbolists" - a collection that caused a stir in the literary environment, a collection after which for some time Bryusov, the most rational person, will be accompanied by accusations of insanity: take him to the yellow house, idiot. They started talking about it right away. a collection that violated the usual ideas about the properties of objects and phenomena, and which indeed very often used the method that we will talk about quite a lot more when we talk about modernist poetics - the method of discarded keys.
Bryusov liked to shock the reader by skipping logical links between the chains of his lines. The reader who wanted to, he could complete these links. Today we will see how this can be done using the example of analyzing one poem by Bryusov. But many - those who did not want to or did not know how to do this, were completely shocked.
Even more interesting, perhaps, to note that Bryusov remarkably imitated Russian symbolism in this collection, which, in fact, almost did not exist yet. What I mean? In this collection, besides him and Lang-Miropolsky, poems by several more people were published, which did not actually exist. These were fictitious figures. Bryusov himself wrote poems for them.
Bryusov's virtual poets
At the same time, it is remarkable that Bryusov did not just try to create a mass movement, or the impression of a mass movement, that one poet, another third, fourth, fifth. The most interesting thing is that he tried to endow each of the poets he invented with his own poetics. Moreover, in each of these poets, one can guess who Bryusov was guided by. One was the Russian Mallarmé, the other was the Russian Rimbaud, the third was the Russian Verlaine. That is, Bryusov tried to create the feeling that we also have symbolism in Russia. And it worked, because the poets who began to write poetry, having read this collection of "Russian Symbolists", received models that they could imitate. It was a tradition they could work with.
In 1894, at the end of the summer, Bryusov makes the second issue of "Russian Symbolists", in which ten authors already publish five poems. In fact, again eight authors were created by Bryusov himself. He wrote poetry for them. In 1894, he published this collection and at the same time he was engaged in vigorous activity to familiarize the Russian reader with the latest Western poetry. In 1894, the main book by Paul Verlaine, perhaps the best, most interesting among the Symbolists, Romances without Words, is published, which is also translated by Bryusov.
And in 1895, he simultaneously published his own book of poems, which is called "Masterpieces" (in French), and this, of course, was some shocking, and he released the third issue of "Russian Symbolists". And this is probably the most important, the most famous collection, where Bryusov shocks the reader in a way that no one dared to shock him before.
The most interesting for us will be the spread of this collection "Russian Symbolists". On one, on the left half in the middle of the page, only one line was printed. This was a line that is probably remembered even by those who today do not remember anything from Bryusov, but many people remember this line, however, having already forgotten that the author of this line is Bryusov. It's the line "O cover your pale legs.", which immediately provoked a howl of criticism, a bunch of imitations. Bryusov himself, playing a little, explained that we are talking about the feet of Christ. On another occasion he gave some other explanation. But, of course, the most important thing for Bryusov was here to tease the geese, to tease the reader.
In fact, he was one of the first ... Here we will talk about the futurists, who teased readers, shocked the reader, and in general, you can look at the avant-garde at a phenomenon in which provocation was the main thing - the main thing was, on the one hand, to interest, on the other hand on the other hand, cause a shock reaction. So the young Bryusov, of course, was an avant-garde artist. The line was really outrageous, and it played its role. Indeed, everyone remembered this line and everyone still remembers it.
Poem "Creativity"
The second poem, perhaps even more important, on another spread of this collection "Russian Symbolists", 3rd edition, was the poem "Creativity", about which I am just now planning to talk in more or less detail.
Well, it is clear that the title of this poem "Creativity" already indicates that this poem is programmatic. It is dated March 1, 1895. Let me try to read this poem, and we will try to look at it, we will try to see what, in fact, was the essence of Bryusov's symbolism.
"Creation"
The shadow of uncreated creatures sways in a dream, Like the blades of patching On an enamel wall.
Violet hands On the enamel wall Sleepily draw sounds In the sonorous silence.
And transparent stalls, In the sonorous silence, Grow like sparkles, Under the azure moon.
A naked moon rises Under the azure moon... Sounds hover half asleep, Sounds caress me.
The secrets of created creatures caress me with caress, And the patchwork shadow trembles On the enamel wall.
Analysis of the poem "Creativity"
There was a lot of shouting when this poem came out. Especially everyone took up arms against the lines "The moon rises naked Under the azure moon." And Bryusov was accused of being crazy, and that he probably wrote this poem drunk, and therefore everything is double in his eyes.
Now we will try to see that this poem is built extremely rationally. Even, I would say, too rational for a symbolist text. And just that key, that short formula, which we will select for the work of each poet, is precisely for me, for example, super-rational symbolism. Let's try to see how rationally, how super-rationally this text is arranged.
I think it is convenient to begin our analysis with a simple observation. Namely, the first and last stanzas of this poem correlate quite distinctly. The first stanza: "The shadow of uncreated creatures sways in a dream, Like the blades of patching On an enamel wall." The last stanza: "The secrets of created creatures caress me with caress, And the shadow of patching trembles On the enamel wall." We see an almost complete repetition with a very important difference. In the first case we have "uncreated creatures", and in the last stanza we have "created creatures".
Well, the name "Creativity" suggests how we should read this poem. Namely, this poem is what is sometimes called the cumbersome word autometa-description, that is, the poet describes the process of creation. Strictly speaking, the poem is a description of the birth of that poem, with which the reader will get acquainted. Here it is - the discarded key. And it seems to me that having received this discarded key, we will now easily understand the seemingly strange and illogical images of this poem.
Let's start now with the first stanza. "The shadow of uncreated creatures sways in a dream, Like the blades of patching On an enamel wall." I think the first thing to do is comment. Bryusov took a word that sounds exotic on purpose. Not very, even in his time, people knew what "patching" was. Latania is a genus of broad-leaved palm. And patchwork leaves really look like windmill blades, for example. And now we can imagine the picture. For analysis this poem this will help us.
The poet is sitting. Maybe he is sitting in some kind of half-asleep: "Swaying in a dream." And suppose in front of him a plant - patching in a pot. Khodasevich, whom we have already spoken about, just recalls that Bryusov had these patches on the windows. Outside the window is the moon. It's already night. And it remains to understand what an enamel wall is. Enamel walls were near the stoves. It turns out a very intelligible description: the poet is sitting, he sees how they sway, maybe from a light breeze, patching, the shadow of these patching falls on the enamel wall. Here, in fact, what we see in the first stanza.
What is Bryusov doing in the second stanza? I think we can easily understand this now. "Violet hands On the enamel wall Sleepily draw sounds In the sonorous silence." As a matter of fact, Bryusov has already begun from the real world - patching - to create his own fantasy - "patching blades on an enamel wall." And so he continues, he deepens this fantasy. It seems very easy to understand that these reflections of patching on the enamel wall - they resemble hands, they purple, because these are shadows, and this image of such scary magical, mystical purple hands appears. And then Bryusov makes it very simple, at least for us who are accustomed to reading modernist poetry, for contemporaries this is not so, they were not used to this, he makes a very simple move. Which? Sounds that draw. Pretty simple oxymoron. Sounds cannot be drawn. Here he draws them, and then it appears, the same game continues - "in a sonorous silence." Silence cannot sound, but Bryusov does.
Next is the stanza: “And the transparent stalls, In the sonorous silence, Grow like sparkles, Under the azure moon.” One clarification needs to be made here. In general, this will be important for our entire course, and in general it will be important for reading any text. We often read through the eyes of today's man. In general, correct reading assumes that we forget everything modern meanings words and for the meaning of each word we climb into the dictionary of that time, because the word “kiosk”, which is familiar to us as a kiosk in which, for example, newspapers are sold - a newsstand, at that time did not have this meaning, or it was peripheral , and the main meaning of the word kiosk was "gazebo".
Thus, transparent arbors grow. This, of course, is the creation of Bryusov's fantasy. But the most important thing here, it seems, is to pay attention to the expansion of space. Here he is in this room. Here he sees first the shadows that the plants create. Then they seem like enamel hands to him, but now this space ... it captures, it conquers real space, and already all over the room, or in the entire visible spectrum, these same kiosks are growing.
And then, in fact, these lines, which caused such bewilderment and shock among contemporaries, which, it seems, will also be understandable to us. “The naked moon rises Under the azure moon ...” - what is it about? It is clear what is at stake. It's just about the shadow. Here is a real month that rises. The shadow of this month falls on the same enamel oven, and we see two moons: a real month, a real month, and an illusory month or moon, which is reflected in the oven.
And then come the triumphant lines: "Sounds hover half-asleep, Sounds caress me." What's happening? If at the beginning of a poem the poet lyrical hero sits in a room, and the life that flows in the room is not subject to him, then further he starts from this real life, from this real world to create his own world, an imaginary world, a symbolist world, let's say, where, in this world, everything absolutely subordinate to him, where he absolutely controls everything, and, accordingly, the sounds become submissive to him. And the poem ends with this triumphant statement: “The secrets of created creatures caress me with affection, And the shadow of patching trembles On the enamel wall.”
As you can see, this poem is not just thought out. It is super-thought out, super-rational. I repeat once again. Bryusov, and this, perhaps, is partly the reason for his low popularity today, his symbolism was in many respects the main one. So he came up with, he decided that he would be a leader - he began to become a leader, he began to publish these collections, he began to publish these books. He put it on symbolist poetics - and he began to write such poems, although, as it seems, judging even by this poem, he was born for a completely different purpose. He was born, perhaps, for super-rational poems. No wonder the acmeists will then try to make him their ally.
But it worked. Then these poems were perceived as an absolute revelation by that small part of the public who liked Bryusov and who accepted the Symbolists, and were met with howling, whistling, hooting by the general public, which, I repeat once again, the early and late avant-garde artists did quite deliberately. They very clearly calculated that the circulation was still sold. They did not take any steps, absolutely outrageous, but they balanced on this edge all the time. As a matter of fact, the task of the symbolists, including Bryusov, was not only to select the faithful, but also to cut off the audience that was not suitable for them for their activities. There should have always been this background.
Parody V.S. Solovyov on the work of the Symbolists
And even the smartest and most subtle people of the era were shocked by these poems, they were shocked by this collection. And one of those who was indignant was the person about whom we will definitely talk to you again when we talk about Blok and Bely, in any case we will definitely mention his name, this is Vladimir Solovyov, who wrote a very caustic parody, There were three of them, one for the Symbolists, one for Bryusov proper, and one of which can be read here.
Chandeliers are burning in heaven, And below is darkness. Did you go to him or not? Tell yourself! But do not tease the hyena of suspicion, Mice of anguish! Otherwise, look how the leopards of vengeance Sharpen their fangs! And do not call the owl of wisdom You this night! Donkeys of patience and elephants of thought Fled away. Your fate gave birth to a crocodile You are here yourself. Let chandeliers burn in the sky, Darkness in the grave.
I must say, Bryusov was terribly offended by this parody. And such a reaction, although he himself partly provoked it, he did not expect such a reaction, and even for some time he thought of disbanding the symbolists in order to stop writing symbolist texts. But still, he got over himself. In 1896, he wrote another book of poems, which dominates, in which the main thing is a different symbolism - not the symbolism, irrational, which he tries to create in the collection "Russian Symbolists", but the symbolism of the so-called Parnassian type, that is, the French Symbolists and the pre-symbolists are very important poets for him: Leconte de Lisle is cold and closer, probably more organic for Bryusov himself.
Collective collection "Book of Thoughts"
And finally, in 1899, that is, at the turn of the century, a very, very important event for Bryusov takes place. He manages to unite figures that are not illusory, not fantastic, but he manages to unite really, perhaps, the main Moscow decadent poets, poets who gravitate towards the symbolism of this time.
He publishes The Book of Thoughts - a collective collection in which he himself participates, in which such a friend-enemy of his many years and the main rival on the poetic Olympus and, perhaps, more popular than him, Konstantin Balmont, participates.
In which the remarkably gifted poet Ivan Konevskoy participates, who, unfortunately, drowned as a young man. And, you know, he became such a very important figure, which happens in almost every movement: here is the one who showed great promise, who probably would have become the main one. It is not clear whether Konevskaya would have become the main poet or not, but he played such a role, having already died, they all referred to him: such a wonderful philological young man, gifted. And the poet Modest Durnov.
Bryusov as a literary critic
And then Bryusov, realizing that the conquest of literary platforms and the conquest of the literary scene is not only poetry, but also criticism, he begins to seriously engage in literary criticism. He begins to write a lot about poetry collections that are coming out. Almost all serious collections are reviewed by him. And so, from 1894, he begins and in 1924 he ends, that is, this is such a long, long period of his work.
And I must say that Bryusov was a wonderful literary critic - surprisingly smart, surprisingly subtle. He had a quality that critics rarely have. Perhaps because of his somewhat coldness, he knew how to be objective. For example, the futurists who mocked him tried in every possible way to humiliate him and even in one of their manifestos they called him not Valery Bryusov, but Vasily Bryusov, which was very insulting for him, because he valued his beautiful name Valery Bryusov, and Vasily - it was also an allusion to his merchant past. So, in his critical articles, he writes very highly about them - about those who he liked. For example, he writes highly of Khlebnikov and Mayakovsky and praises their poetry.
And besides, he had another important property, as a critic, he was not an impressionist critic. Again, this probably comes from the rational structure of his personality, he was remarkably able not only to say “this is bad”, “but this is good”, “and this is not very good”, but he was remarkably good at painting, he was able to explain why this is good, why is that bad. And I must say that later all those modernist critics, from among modernist poets who came to replace Bryusov, say, Gumilyov, about whom we will still talk, and we will definitely talk about Bryusov in connection with Gumilyov - it is impossible to get around, so here Gumilyov studied with Bryusov as a critic. Adamovich, with whom we started, studied with Bryusov as a critic. Maybe that's why he just managed to more or less objectively recall Bryusov's contribution to poetry. Sometimes at the level of the structure of the phrase, at the level of the structure of the review, you can see if you put the book of selected reviews of Bryusov and the book of Gumilev, and the book of Adamovich side by side, you can see how they both learn Bryusov's lessons. And it was Bryusov's assessment of a particular book of poetry that meant very, very much to any poet. Bryusov's archive has been preserved in the archives of the RSL, the Russian State Library. And there, one of the most interesting set of materials is the books that were sent to Bryusov, in which everyone, without exception, is asked to write a review, respond, read, write a letter and explain whether it is worth doing poetry or not.
Let's say, the same Akhmatova, who put a lot of effort, frankly, into establishing the anti-Bryusov cult. She did not like Bryusov very much in her later years. So there is a letter from the beginning Akhmatova to Bryusov, where she writes no more no less than “do I need to study poetry?”. Bryusov the critic possessed such authority.
Publishing house "Scorpion"
And in 1900, together with a rich man, his friend Sergei Polyakov, he created the main symbolist publishing house "Scorpion", which is located in Moscow and which prints two streams of books. On the one hand, it publishes Russian symbolists, and many important books by Bryusov himself, and Balmont, and other symbolists were published precisely in this publishing house. On the other hand, Scorpio had, even today, a very good series of foreign books. Again, of course, these were modernist books. These were the books of the Polish prose writer Przebyshevsky, it was Verlaine, it was Rimbaud, it was Mallarme. These were other authors, this was Maeterlinck. They were very different authors. Bryusov very cleverly led the policy of the publishing house. He ordered translations from excellent translators, by the way, Vengerova was one of these translators, and he translated himself. And thus, Bryusov solved two problems. He inscribed himself and the Symbolists in the Western background. On the other hand, he simply introduced the reader to the latest Western literature. And commercially, by the way, Scorpio was a pretty successful publisher.
On March 27, 1903, Bryusov gives a lecture, and then it comes out as an article. It becomes one of the main texts of early symbolism. He gives a lecture called "Keys of the Mystery", where he explains what symbolism is in his understanding. And it is very important, it will be important for our further conversations too, Bryusov says that symbolism is, first of all, aesthetic art. Symbolism should not pretend to religiously transform the world. According to Bryusov, this is not the task of symbolism. Later we will see that the Young Symbolists did exactly the opposite. They believed that the whole world should be religiously transformed with the help of language. But Bryusov did not think so, and most importantly - these are aesthetic discoveries, aesthetic holdings, aesthetic searches in those areas that poetry has not yet gone into.
Indeed, in Bryusov, the diversity of his themes is striking. He did not want to leave a single topic bypassed. This applies to a wide variety of areas. Even in erotic poetry, where, it would seem, this is not worth doing or it may be difficult to do this, and most importantly, no one has ever done this, rationally approached this, erotica and poetry are completely, it would seem, incompatible things, so here Bryusov sat down very easily and different types love described in his poems. Khodasevich said that all this was invented, none of this happened, but it was just filling a niche. This topic was not touched upon, and so Bryusov filled it in.
Book of poems Urbi et orbi
And finally, the last two important events in the biography of Bryusov, in the biography of Russian symbolism and in the biography of all Russian literature, which need to be said, this is, firstly, in 1903 Bryusov publishes his best main book of poems, which is called "Urbi et orbi", that is, Latin name, "To the City and the World", in which he collects his main, best poems, where the main, dominant theme is modern city. At the same time, the modern city is shown against the backdrop of history.
Two leading themes. history from antiquity. The book, in fact, is called therefore “Urbi et orbi”, and then, as in our modern life reflections from this story are displayed. It's wonderfully done. And, besides, it is to this book that Bryusov writes a preface, which becomes the program text of Russian symbolism. We'll talk a lot more about this. Bryusov says that the book of poems is a very special genre. This will then have an impact on absolutely all poets after Bryusov. This will be important for Blok, it will be important for Annensky, for Mandelstam, for Akhmatova - it will be important for everyone.
But Bryusov was the first to say this: “A book of poems should not be an accidental collection of heterogeneous poems,” he writes, “namely, a book - a closed whole, united by a single thought, like a novel, like a treatise, a book of poems reveals its content sequentially from the first page to the last,” and so on and so forth.
What did this mean for Bryusov? For Bryusov, this meant that the book turns out to be such a model of the world, in the center of which is a poet, a poet-demiurge, but not a religious one - an aesthetic demiurge, a poet who transforms reality. If we venture to use such a not very lofty metaphor, the poet turns out to be such a kind of meat grinder that recycles real world into something new, a completely different world is created.
Magazine "Scales"
And the last event that we must mention, I promised that it would be from 1893 to 1903, but still we must definitely mention one event of 1904 - Bryusov creates the main symbolist magazine. So he created a symbolist publishing house. Now he creates the main, by far the best symbolist magazine, which is called "Scales".
And this name, as always with the symbolists, plays with different shades. Perhaps the most important of them are two. Firstly, these are mystical scales - the constellation of scales, of course, it was implied. Heavenly Scales. And, on the other hand, Bryusov considered himself, and deservedly, considered himself entitled to act as an appraiser of all modernist and non-modernist literature that was at that time.
The magazine "Vesy" published reviews. Sometimes deadly, sometimes, on the contrary, laudatory. And for the latest theatrical productions, for books, for exhibitions. It was, in general, the main magazine, maybe not only about poetry, but also about modernist art.
Symbolist leader
What happened to Bryusov next? Then he continued to write poetry, he continued his activities. He was a very prominent figure in the literary firmament. And novice poets continued to fight for his attention. This is wonderfully shown in the portrait of the main modernist artist - in the portrait of Vrubel, for whom Bryusov posed: he is the leader, he stands in such a pose with crossed arms, as Peter I stands "on the shore of desert waves", creating Petersburg, here Bryusov is also standing, looks, and we can imagine the troops swaying at his feet. Indeed, Bryusov recruited many people into Russian symbolism.
But the verses, but his rational verses faded and faded more and more. And, I repeat, today, perhaps, we can remember two or three, it's good if four lines of this poet. But still, let's not forget about the very large and very important role Bryusov, both as the first Russian symbolist poet and as the organizer of literary life, and as the leader of that school, that great, perhaps the last great school of poetry in Russian art, in Russian culture, which we call symbolism.
Literature
- Gindin S.I. Valery Bryusov // Russian literature at the turn of the century. (1890s - early 1920s). Book. 1. M., 2001.
- Grechishkin S., Lavrov A. Biographical sources of Bryusov's novel "The Fiery Angel" // Novo-Basmannaya 19. M., 1990.
- Gasparov M. L. Bryusov the poet and Bryusov the poet // Gasparov M. L. Selected articles. M., 1995.
- Lekmanov O.A. Keys to the Silver Age. M.: Rosebud Publishing, 2017. C. 34–46.
At the beginning of the twentieth century, a large-scale and original phenomenon of “symbolism” appeared in Russian literature, which came to Russia from France. Valery Bryusov, a Russian poet, welcomed this innovation, became a member of the fashion trend and the creator of many works in the "symbolism" genre.
In 1897, Bryusov married Joanna Runt, who became not only the poet's lifelong companion, but also a friend, closest assistant, and muse.
As is known, love lyrics Russian poets is boundless in its expression of emotions and excitement. The creators of the artistic word put an incredible number of shades of this all-consuming feeling into the description of love.
In October 1900, Valery Bryusov wrote the poem "I love one thing." When reading this work, the reader imagines a picture in which the author wanders the streets of his native city, dreams, reflects, and, like a true creator of the word, expresses the whole gamut of his feelings in the lines of verse.
Building plot the most uncomplicated: over the course of four stanzas of the verse, the hero walks aimlessly through the streets and mentally describes his feelings. The streets of the city are filled with a noisy crowd, but the author emphasizes that he is walking alone, in a good mood, and now he has hours of idleness, he can afford to hang around, just dream.
What follows is a description of a heady spring evening. As you know, lovers intensify their feelings, the whole world seems amazing and harmonious. And so, every year the poet admires spring, its ever-new beauty, and crimson evening, and dusk.
During the evening, the author decided to join the people passing by. He looks into the faces of those coming towards him and tries to figure out what they think about, what worries them. And he speaks of himself like this: sometimes full of sadness, sometimes devout, sometimes in love. A whole palette of feelings visits him in a short period of time.
In the last quatrain, the author explains to us why it is on the streets that these emotions flare up in him: he is used to dreaming and thinking under the roar of carriages, and within the walls of the house there is a more conducive environment in order to "catch the face of the Lord". Against the background of the contrasts of the modern city, the poet recreated the attractive world of a happy man in love.
Lyrical hero Bryusova is lonely, but not in the understanding of love loneliness, but at the given moment in time of the described event. In love, this wonderful bright feeling, he sees the meaning of his existence. Love is a gift that comes from above, it is the most sublime, bright, sincere feeling that turns everything in a person’s soul.
The love lyrics of the poem combined the poetry of love with the poetry of the surrounding world, conveying the sublime spirituality of the author's feelings.
The clearly defined, strict composition of the verse is built in two-syllable iambic poetic size, and the consonance of the ends of the verses - cross rhyme.
In addition to displaying a creative impulse and sensory perception, the author tried to replace each phenomenon and object with beautiful, unusual metaphors and epithets: noisy streets, holy idleness, hours of pictures, new amazement, meet the blue, drunken evening, crimson fire, live in the twilight, look into secrets, full of sadness, free roar, narrow walls, catch the face.
Describing the upliftment, the author speaks of the triumph of the harmony of love against the backdrop of a vibrant urban landscape. Bryusov's lyrics are diverse and multifaceted. Correspondence of rhetoric and meaning gives the right to call his works as creativity "pictorial word".
The poet Bryusov is convinced that every person comes into our world with main goal- learn to love. Not all of us are able to meet true love, but if this happened, then you can’t wish a better fate for yourself. In the poem "I love one thing" the author described wonderful world joy and harmony, the doors to which love opens for us.
- "To the Young Poet", analysis of Bryusov's poem
- "Sonnet to Form", analysis of Bryusov's poem
- "The Coming Huns", analysis of Bryusov's poem
Valery Bryusov - an outstanding Russian poet Silver Age. But the nature of his activity was not limited to versification. He established himself as a talented prose writer, journalist and literary critic. Along with this, Bryusov was very successful in literary translations. And his organizational skills found their application in editorial work.
The poet's family
A brief biography of Valery Yakovlevich Bryusov is impossible without a story about the poet's family. This is necessary in order to find an explanation for the presence of many talents concentrated in one person. And the family of Valery Bryusov was the foundation on which his versatile personality was formed.
So, Valery Yakovlevich Bryusov, was born in 1873, on December 1 (13), in the family of a wealthy merchant, which was famous for outstanding people. The poet's maternal grandfather, Alexander Yakovlevich Bakulin, was a merchant and poet-fabulist from a very wealthy merchant family in the city of Yelets. Along with countless fables, grandfather's archive contained novels, short stories, poems, lyrical poems written by him without hope for a reader.
Selflessly devoted to literature and dreaming of devoting himself entirely to it, Alexander Yakovlevich was forced to engage in merchant affairs all his life in order to be able to adequately support his family. Many years later, the famous grandson will sign some of his works with the name of his grandfather.
On the father's side, Valery Bryusov had an equally remarkable grandfather. Kuzma Andreevich was a serf of the then famous landowner Bruce. Hence the surname. In 1859, my grandfather bought a free estate from the landowner, left Kostroma and moved to Moscow. In the capital, Kuzma Andreevich became a successful merchant and bought a house on Tsvetnoy Boulevard, in which his later famous grandson, Valery Yakovlevich Bryusov, was born and lived for a long time.
Valery Yakovlevich's father, Yakov Kuzmich Bryusov, also a merchant and poet, published in small editions. It was the father who sent the first poem of his son, which was printed, to the editor of one of the magazines. The poem was called "Letter to the Editor", Valery was then 11 years old.
Bryusov's sister, Nadezhda Yakovlevna (1881-1951), like many in the family, was a creative and musically gifted person. She became a professor at the Moscow Conservatory. She has several scientific papers on musical pedagogy and folk music. And the younger brother of Valery Bryusov, (1885-1966), was an archaeologist and doctor historical sciences, who wrote works on the history of the Neolithic and Bronze Age.
The childhood of the poet
Continuing the description short biography Bryusov Valery Yakovlevich, it is necessary to note the childhood of the poet. As a child, Valery Bryusov was left to himself, as his parents did not pay much attention to the upbringing of their offspring. However, children were strictly forbidden to read religious literature because their parents were staunch atheists and materialists. Subsequently, Bryusov recalled that his parents introduced him to the principles of materialism and the ideas of Darwin before they taught him to count. Any other literature in the family was allowed, so the young Bryusov absorbed everything: from the works of Jules Verne to tabloid novels.
All their children, including Valery, were given an excellent education by their parents. In 1885, at the age of eleven, he began studying at the private classical gymnasium of F.I. Kreiman, and immediately in the second grade. At first, young Bryusov had a very difficult time: he endured ridicule from classmates and had difficulty getting used to restrictions and order. However, very soon he won the favor of his comrades with his intelligence and talent as a storyteller. Valery could retell whole books with interest and enthusiasm, gathering many listeners around him. But for freethinking and atheistic views in 1889, the schoolboy Bryusov was expelled.
Then he is studying at another private gymnasium. This educational institution owned by a certain L. I. Polivanov, a great teacher, whose mentorship had an invaluable influence on the worldview of the young Bryusov. In 1893, he successfully completed his studies at the gymnasium and entered the Faculty of History and Philology at Moscow University, from which he graduated in 1899.
First literary experience
Already at the age of thirteen, Valery was sure that he would become a famous poet. Studying at the Kreyman gymnasium, young Bryusov writes pretty good poetry and publishes a handwritten magazine. At the same time, his first experience in writing prose happened. True, the early stories were a bit angular.
As a teenager, Bryusov was passionately fascinated by the poetry of Nekrasov and Nadson. Later, with the same passion, he reads the works of Mallarmé, Verlaine and Baudelaire, who opened the world of French symbolism to the young poet.
Under the pseudonym Valery Maslov in 1894-1895. Bryusov publishes three collections "Russian Symbolists", where he publishes his poems under various pseudonyms. Along with poems, Bryusov included in the collections the works of his friend A. A. Miropolsky and the opium lover, mystic poet A. M. Dobrolyubov. The collections were ridiculed by critics, but this did not deter Bryusov from writing poetry in the spirit of symbolism, but rather the opposite.
Youth of a genius
Continuing the description of a brief biography of Valery Yakovlevich Bryusov, it is necessary to note the release of the first collection of poems by the young poet (Bryusov was 22 at that time). He called his collection "Masterpieces", which again caused chuckles and attacks from critics, according to whom the title was contrary to the content.
Youthful audacity, narcissism and arrogance were characteristic of the poet Bryusov of that time. “My youth is the youth of a genius. I lived and acted in such a way that only great deeds can justify my behavior, ”the young poet wrote in his personal diary, confident in his exclusivity.
Detachment from the world and the desire to hide from the dull everyday existence can be traced in the poems of the first collection, and in Bryusov's lyrics in general. However, it would be unfair not to note the constant search for new poetic forms, attempts to create unusual rhymes and vivid images.
Decadence: a classic of symbolism
The life and work of Valery Bryusov did not always go smoothly. The scandalous atmosphere around the release of the collection "Masterpieces" and the shocking nature of some poems drew attention to a new trend in poetry. And Bryusov became known in poetic circles as a propagandist and organizer of symbolism in Russia.
The decadent period in Bryusov's work ends with the release of the second collection of poems "This is me" in 1897. Here the young poet still appears as a cold dreamer, estranged from an insignificant, hated world.
But gradually a rethinking of his work comes to him. Bryusov saw heroism and loftiness, mystery and tragedy everywhere. His poems acquire a certain clarity when, at the end of the 19th century, significant changes take place in literature and symbolism is seen as a self-sufficient trend.
The release of the following collections ("Third Guard" - 1900, "To the City and the World" - 1903, "Wreath" - 1906) revealed the direction of Bryusov's poetry towards the French "Parnassus", the distinctive features of which were historical and mythological storylines, the hardness of genre forms, the plasticity of versification, a penchant for the exotic. Much in Bryusov's poetry was also from French symbolism with a mass of poetic shades, moods and uncertainties.
The collection "Mirror of Shadows", published in 1912, was distinguished by a noticeable simplification of forms. But the nature of the poet prevailed, and Bryusov's later work is again directed towards the complication of style, urbanism, scientific and historicism, as well as the poet's confidence in the existence of many truths in poetic art.
Extrapoetic activity
When describing a brief biography of Bryusov Valery Yakovlevich, it is necessary to touch on some important points. After graduating from the university in 1899, Valery Yakovlevich worked in the Russian Archive magazine. In the same year, he headed the Scorpio publishing house, whose task was to unite representatives of the new art. And in 1904, Bryusov became the editor of the journal Scales, which became the flagship of Russian symbolism.
At this time, Valery Yakovlevich wrote many critical, theoretical, scientific articles on various topics. After the abolition of the journal "Vesy" in 1909, he headed the department of literary criticism in the journal "Russian Thought".
Then there was the revolution of 1905. Bryusov took it as an inevitability. At this time, he wrote a number of historical novels and translated. After October coup he is actively collaborating with Soviet power and even joins the Bolshevik Party in 1920.
In 1917, Valery Bryusov headed the press registration committee, headed scientific libraries or T. department of the People's Commissariat for Education. He holds high positions in the State Academic Council and lectures at Moscow State University.
In 1921, Bryusov organized the Higher Literary and Art Institute and became its first rector. At the same time, he teaches at the Institute of the Word and the Communist Academy.
Valery Yakovlevich Bryusov died in his Moscow apartment in 1924, on October 9, from lobar pneumonia. He was buried in Moscow at the Novodevichy Cemetery.
V. Ya. Bryusov wrote the poem "Creativity" in 1885. The writer himself was delighted with this work. You can read a brief analysis of "Creativity" according to the plan. It can be used when studying a work in a literature lesson in grades 9–11.
Full text of the poem "Creativity" by Bryusov
Shadow of Uncreated Creatures
Swaying in a dream
Like blades of patching
On the enamel wall.
purple hands
On the enamel wall
Sleepily draw sounds
In resounding silence.
And transparent stalls
In the resounding silence
Grow like glitter
Under the azure moon.
The naked moon rises
Under the azure moon...
The sound hovers half asleep,
Sounds caress me.
Secrets of the created creatures
caress me with affection,
And the shadow of patching trembles
On the enamel wall.
Analysis of the poem "Creativity" by Bryusov
Option 1
The poems of Valery Yakovlevich Bryusov are largely filled with symbolism and imagery. They are not always clear to the reader from the first time, they need to delve into, re-read several times in order to fully understand and absorb their multifaceted meanings. He addressed the topic of creativity when he wrote the poem “”. For an unprepared reader, his work "Creativity" may seem like the delirium of an insane person.
"Creativity" was written in March 1985. It was included in the first collection of poems "Masterpieces". In this poem, the poet reflects the very process of creating something new, creative process, not entirely clear to the layman. It is this incomprehensibility, figurativeness that evokes a feeling of madness on the reader.
In the poem there is neither a clear lyrical hero, nor logically related phenomena. Everything represented - images, symbols, process. To some extent, creativity is opposed to logic, it is ephemeral, illogical, broken. The creative path is shrouded in mystery, darkness, blurry non-existent creatures and shadows. This secret is revealed only when the process is completed, when the creator achieves what he wants and reveals his work to the world.
Emphasizes the unusual and even some mysticism and composition of the poem: each last line in the quatrain is repeated in the second line of the next. This creates a certain cyclical, closed nature of creation. The images in the work are created with the help of a peculiar vocabulary - “purple hands on the enamel wall”, “patching blades”, “vociferous silence”.
Bryusov uses such techniques, uncharacteristic for literature, as color painting and sound painting. Violet and azure shades permeate the entire text, and the enamel wall creates a sense of white, although it is not its color that is meant at all, but its texture. Alliteration creates the musicality of the work, despite the absence of any dynamics. Together, the poet represents a strange, fantastic world of the creative process, filled with color, sound and, oddly enough, sonorous silence.
The work is written in four-foot trochee, the foot is two-syllable with stress on the 1st syllable, the rhyme is crossed, with alternation of male and female. As literary devices, epithets (“purple hands”, “on the enamel wall”), metaphors (“ringing silence”, “naked moon”), personifications (“kiosks grow”, “sounds fawn”, “shade flutters” are used as literary devices. ).
Creativity is illusory and infinite, it cannot be fully comprehended. The illusory image will melt, crumble in a bright light under the gaze of a critic, not allowing itself to be seen by an outside eye, for such is its fragile nature.
Option 2
Valery Bryusov was an outstanding person. He was a representative of symbolism and developed this trend according to the postulates of Rimbaud, Verlaine, Malarmet. Bryusov could devote a whole poem to pale legs. But usually strong and also outstanding people became the heroes of the poet's works. Bryusov was influenced by philosophy, and this is noticeable.
In the poem "Creativity", however, there is no specific hero. The narration is conducted on behalf of a certain observer, detached from what is happening. He looks and describes. And he does it with bizarre language, strange images, which, however, form a clear and distinct picture.
"Creativity" is hard to describe, just as hard to describe the creative process. The poem affects the sight more than the ear. “The shadow of uncreated creatures sways in a dream” - how can this be translated into familiar language? And yet, the image is quite understandable. It can be called a quirk of the imagination of someone who is passionate about the creative process.
This man draws sounds with purple hands on the enamel wall. Here you cannot identify the image with the creation of a picture with your fingers, because few people create pictures on the walls. Rather, the hero simply runs his hands along the wall. Why are they purple? Because the action takes place at night. Look at your hands at night. What color are they?
And the silence is resounding. Action takes place in it. Why does silence sound? Because the imagination, memory works. The absence of sounds from outside is compensated by the presence of sounds inside. Consciousness reproduces its sound pictures, and they can also be called the shadow of uncreated creatures. This is what silence sounds like.
Transparent stalls miraculously grow from under the hands, the azure moon. How is this possible? Here, apparently, the process of pure creativity, divine creativity, is described by a misunderstanding of the nature of man. He just runs his hands along the wall, and a whole world is created. Maybe he's just dreaming. A dream where a person creates new reality. The language of the poem does not refute this interpretation.
And what was the shadow of uncreated creatures became the secrets of created creatures. Creativity has been accomplished, and it is sweet to the creator. The incomprehensible process of creativity can still be expressed in words, which Bryusov proved in his work.
Option 3
A brief analysis of the verse "Creativity" by V. Ya. Bryusov
Option 1
V. Ya. Bryusov wrote his poem on March 1, 1895. This poem was included in his first collection of lyrics.
Reading the poem “Creativity”, you involuntarily think: “Who could write these lines? A madman whose place is only in psychiatric hospital". So did many contemporaries of the author of these lines. Indeed, everything in the poem is unusual, does not fit into the framework of consciousness. “Purple hands” that “draw sounds”, “naked moon”, “sounds are cuddling”… Nonsense, absurd!
But if you look at the paintings of Marc Chagall, the cubic faces of Picasso, we will see that the art of that time itself was absurd, but not without meaning. All this is explained by the fact that the era of the turn of the century required new forms in art.
It must also be remembered that one hundred Bryusov is the “father of Russian symbolism”. It is he who owns the words that "symbolism is the poetry of allusions."
In the poem "Creativity" Bryusov describes the state in which the creator is in the moment of inspiration. The author speaks of two worlds: the real and the other world, where there is already everything that he will create. And if at the beginning of the poem it is said about the shadow of “uncreated creatures”, then at the end it is about already embodied creations (“secrets of created creatures”), but nevertheless full of secrets. Creativity continues, it is impossible to comprehend it, it is fragile, airy.
Bryusov combines visual and sound images in the poem: “transparent kiosks”, “sonorous silence”, “under the azure moon”. The composition of the poem is very interesting, it is saturated with sound repetitions. The last line of the first stanza is repeated as the second line of the next stanza, and the last stanza takes us back to the first.
Option 2
Being a supporter of symbolism in literature, V.Ya. Bryusov in the poem "Creativity" presented a peculiar vision of the creative process. The embodiment of the idea occurs with the help of blurry images that are not entirely clear to the reader at first glance. They are devoid of dynamics (“a shadow trembles”, “a shadow sways”, “hands draw sleepily”).
The author, as if from the outside, observes the uniformity in the execution of the plan. The path of creation is long. The beginning of the poem represents the poet's thoughts in anticipation of the birth of a new, long-awaited work as a result of long thoughts and dreams.
By creating unusual forms (“the moon is naked”, “sounds are caressing”, “purple hands”), the creator makes it clear that he is a poet of his time - a time when symbols rule. The use of a peculiar vocabulary (moon, night, silence, mystery) occurred at the moment of the poet's inspiration, which does not leave him throughout the entire work. Only in the last stanza, feeling the denouement, does he talk with satisfaction about the secrets of "created creatures." This path is shrouded in mystery. This is due to the fact that the creative process is individual. Everyone who has a talent also has the right to freedom of expression, conceals a mystery in his soul. The secret is revealed only when the poet achieves what he wants.
The composition of the poem is unusual. The last line in each of the five quatrains takes the place of the second line of the following stanza. Such repetition puts emphasis on phrases that the author distinguishes from the rest. Everything that at the beginning was a shadow, ghostly, by the end of the poem approaches the moment of truth, thoughts take shape, become reality.
The images in the poem are not expressive. In their image there is no clarity of boundaries, semantic load. This leads to the idea that the process that results in a creative masterpiece also looks ridiculous at the beginning of the journey. At first, only outlines of future works (“patching blades”, “transparent stalls”) are visible, which should subsequently result in “creation”.
Among the artistic media special place occupies an alliteration saturated with sounds (p), (s), (h). They convey an unusual atmosphere, bewitching musicality.
Reading the text, there is no doubt that the poet describes the state at the moment of the rise of strength, emotions, at the moment of inspiration. The means used, which have expressiveness, include personifications (“kiosks grow”, “sounds fawn”, “shadow trembles”), epithets (sonorous silence, naked moon). They emphasize the confusion of consciousness at the beginning of the creation of the work.
The direction followed by V.Ya. Bryusov, gives the reader the opportunity to think, offers freedom to the imagination.
Option 3
Valery Bryusov's poem "Creativity" was written on March 1, 1985. This work can be attributed to the early period of the poet's work.
At first glance, "Creativity" is a rather complex and incomprehensible work. Reading his lines, it is not clear what exactly the author wanted to say, to whom it was addressed. The turns and expressions used in the poem (“purple hands”, “enamel walls”, “naked moon”) make you wonder if the author was conscious when he wrote his work? Many contemporaries of Bryusov did not understand the meaning of this creative work. But now we can analyze and perhaps understand why the author created such a strange poem.
If you turn to history and look at what art was like at the turn of the century, it becomes clear that Bryusov's poem "Creativity" is not so strange. If we recall the creations of Chagall and Picasso, then art at the turn of the century will not seem so absurd and meaningless. At that time, something new, unknown, and therefore not understood was necessary.
Do not forget the fact that Bryusov was the founder of Russian symbolism. He once said that symbolism is the poetry of allusions.
With his poem "Creativity" Valery Bryusov tried to convey to us the state of the author at the time of work on the future work. Reading a poem, we seem to go from the beginning (“the shadow of uncreated creatures”) to the final stage (“the secrets of created creatures”) of work on a work of art. But the journey doesn't end there. Valery Bryusov believes that art cannot be fully comprehended, it has no boundaries and limits.
The poem "Creativity" - analysis according to the plan
Option 1
A work called "Creativity" was written by Bryusov on March 1, 1895. This creation was included in the very first collection of his lyrical works.
Only after reading the first lines of the poem, one can ask a completely logical question, which, no doubt, will arise for everyone, but who could write them? Maybe this is just a madman who has no place in the ordinary normal world, who has a place in a psychiatric hospital?
It was this idea that visited the heads of most of the author's contemporaries, who lived at the same time as he did. There is nothing surprising in this, since everything, literally everything that was written in a poem, is hardly possible to calmly fit into the framework of ordinary human consciousness. What can you think, at least after reading such epithets as “purple hands”, “naked month” and many others. What is absurdity or nonsense?
However, not everything is so simple, because if you look at the works of art by Marc Chagall, at the faces of Picasso made in cubism, you can find that feature art of that time is a kind of absurdity, which, however, is not without meaning. This situation can be easily explained by the fact that art, which was then at the turn of the century, needed new forms. Bryusov is the father of national symbolism. It was he who considered symbolism the poetry of allusions.
In his work, Bryusov described exactly the state in which the poet is, creating his masterpiece. Bryusov shows two worlds, the first of which is quite real, and the second is the world in which everything that he will soon create is located. And if at the beginning of the poem it will be told about the “uncreated creatures”, then at the end it talks about those creations that have already come to life, however, despite this, they have unspoken secrets.
The poet managed in his work to very accurately combine sound as well as visual images, such as, for example, “transparent kiosks”, “azure moon” or “vociferous silence”. The compositional construction of the poem, which is replete with all sorts of sound repetitions, can be called very interesting.
In this verse, the last line of the first stanza acts as the second line of the next stanza, and the last stanza again takes the reader back to the first.
Option 2
This poem was written March 1, 1895. The work, almost from beginning to end, is permeated with quivering expectation. From the first to the last stanza, the author reveals to us the secrets of the creation process artwork. The poem consists of three parts. The first stanza is an introduction, in which the creator captures something invisible to mere mortals. A flood of inspiration takes him, and from the second to the fourth stanza we delve into one of the most wonderful deeds in the world - the creation of something sublime. The artist, inspired by the impulse of the heart, is able to see the sound:
Sleepily draw sounds
In the resounding silence
But, oddly enough, we do not see the creator himself, he serves as a guide. Everything is created by nature, the surrounding world. The task of the creator is to convey this mood, the state of the world. But his role is one of the most important. Only thanks to his hands everything around acquires a different color, is born anew in a new guise:
And transparent stalls
In resounding silence
Grow like glitter
Under the azure moon.
The last stanza shows us that only to the artist himself his creation is fully revealed, only he is able to understand all the secrets of his works. Everyone around can only admire what they have done with trepidation, often not even having the ability to penetrate at least superficially.
Secrets of the created creatures
caress me with affection,
And the shadow of patching trembles
On the enamel wall.
In the first stanza, as keywords, we can designate “uncreated creatures”, “in a dream”, “patching blades”, “on an enamel wall”. In the second one, these images are embodied: “hands”, “drowsyly drawing sounds”. In the third: "And transparent stalls", "Grow like sparkles." In the fourth, the whole stanza without the third line can be taken as a basis.
In Bryusov's "Creativity" we see how the lyrical hero narrates from the first to the third stanza, speaking in the third person. This can be explained by the fact that the artist in the process of creation cannot objectively describe or evaluate his actions. He created this small world with echoes of the soul of the creator himself.
The position of the author here is divided into two parts, each of which is original, separate. The observer admires the artist, but does not fully understand him. The artist initially experiences a slight dissatisfaction with the world around him, which he remakes in his work. Then he experiences delight and pride in his creation.
According to the poetic size - this is a trochee. The rhyme is mostly exact, cross masculine and feminine. Many repetitions help to focus on the idea of the poem, which is that the creative process itself is amazing, delights and delights not so much the reader, listener, but the author himself, the creator.