Presentation on the topic of acmeism in literature. Presentation on literature on the topic "Acmeism"

Acmeism

• ACMEISM(from the Greek akme - the highest degree, peak, flowering, flowering time) - a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia.

• The liberation of poetry from symbolist appeals to the ideal, the return to it of clarity, materiality, "joyful admiration of being";
• The desire to give the word a certain exact meaning, to base works on specific imagery, the requirement for “beautiful clarity”;
• Appeal to a person, to the "authenticity of his feelings";
• Poetization of the world of primordial emotions, primitive biological nature, prehistoric life of the Earth and man.

• The term acmeism was proposed in 1912 by N. Gumilyov and S. Gorodetsky: in their opinion, symbolism in crisis is being replaced by a direction that generalizes the experience of predecessors and leads the poet to new heights of creative achievements.

• The formation of acmeism is closely connected with the activities of the "Workshop of Poets", the central figure of which was the organizer of acmeism N. Gumilyov. Contemporaries gave the term other interpretations: Piast saw its origins in the pseudonym A. Akhmatova, which sounds like “akmatus” in Latin, some pointed to its connection with the Greek “acme” - “point”.

• As a literary trend, acmeism did not last long - about two years (1913-1914), but one cannot ignore its ancestral ties with the "Poets' Workshop", as well as the decisive influence on the fate of Russian poetry of the twentieth century. Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut.

• At the meetings of the "Tsekh", in contrast to the meetings of the Symbolists, specific issues were resolved: the "Tsekh" was a school for mastering poetic skills, a professional association. The creative fates of poets who sympathized with acmeism developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the community, G. Adamovich and G. Ivanov continued and developed many principles of acmeism in emigration, acmeism did not have any effect on V. Khlebnikov noticeable influence.

• The platform of the acmeists was the Apollo magazine, edited by S. Makovsky, in which the declarations of Gumilyov and Gorodetsky were published. The program of acmeism in "Apollo" included two main provisions: firstly, concreteness, materiality, versatility, and secondly, the improvement of poetic skills. The rationale for the new literary trend was given in the articles of N. Gumilyov The legacy of symbolism and acmeism(1913), S. Gorodetsky Some currents in modern Russian poetry(1913), O. Mandelstam Morning of acmeism(1913, not published in Apollo).

• One of the main tasks of acmeism - to straighten out the tilt towards the otherworldly, characteristic of symbolism, to establish a "living balance" between the metaphysical and the earthly. The acmeists did not renounce metaphysics:

• “always remember the unknowable, but do not offend your thought about it with more or less probable conjectures” - such is the principle of acmeism.

• The main difference between acmeism Gumilyov proposed to consider the recognition of the "intrinsic value of each phenomenon" - it is necessary to make the phenomena of the material world more tangible, even rough, freeing them from the power of foggy visions.

• Poorly substantiated as a literary trend, acmeism united exceptionally gifted poets - N. Gumilyov, A. Akhmatova, O. Mandelstam, the formation of creative individuals of which took place in the atmosphere of the "Poet's Workshop", disputes about "beautiful clarity". The history of acmeism can be viewed as a kind of dialogue between its three prominent representatives. Subsequently, acmeistic poetics was complexly and ambiguously refracted in their work.

• O. Mandelstam

• N. Gumilyov

• A. Akhmatova

• 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.

• Baby elephant
• My love for you now is a baby elephant
• Born in Berlin or Paris
• And stomping with cotton feet
• In the rooms of the owner of the menagerie.
• Don't offer him French rolls
• Do not offer him cabbage heads -
• He can only eat a slice of tangerine,
• A piece of sugar or candy.
• Do not cry, oh tender, that in a cramped cage
• He will become the laughingstock of the mob,
• To blow cigar smoke into his nose
• Bailiffs to the laughter of the midinetes.
• Don't think, my dear, that the day will come
• When, enraged, he breaks the chains
• And he will run through the streets, and he will,
• Like a bus, crush people screaming.
• No, let you dream about it in the morning
• In brocade and copper, in ostrich feathers,
• Like the one, Magnificent, that once
• Carried Hannibal to the quivering Rome.

• A. Akhmatova's acmeism had a different character, devoid of attraction to 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 this couplet - the whole woman,” spoke of Akhmatova The song of the last meeting M. Tsvetaeva.

• x x x
• I've lost my mind, oh strange boy
• Wednesday at three o'clock!
• Pricked ring finger
• A ringing wasp for me.
• I accidentally pressed her
• And she seemed to die
• But the end of the poisoned sting
• Was sharper than the spindle.
• Will I cry about you, strange,
• Will your face smile at me?
• Look! On the ring finger
• So beautifully smooth ring.
• March 18-19, 1913,
• Tsarskoye Selo

• 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." 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.

• American bar
• No more girls in the bar
• The footman is impolite and sullen;
• And in a strong cigar it seems
• The American has a caustic mind.
• The rack shines with red varnish,
• And teasing soda-whiskey fort:
• Who is unfamiliar with the buffet sign
• And the labels are not too hard?
• Golden pile of bananas
• Just in case, filed
• And a wax saleswoman
• As calm as the moon.

• At first, we will feel a little sad,
• We'll ask for curasso coffee.
• Turns around in half a turn
• Fortune is our wheel!
• Then, speaking softly,
• I'm on a swivel chair
• I fit in a hat and straws
• Interfering with the ice, I listen to the rumble ...
• The master's eye is yellower than a chervonets
• Dreamers will not be offended ...
• We are unhappy with the light of the sun,
• The flow of measured orbits!
• No later than June 1913

• Acmeism strongly influenced the development of Russian poetry in exile, on the “Parisian note”: G. Ivanov, G. Adamovich, N. Otsup, I. Odoevtseva emigrated to France from Gumilyov’s students. The best poets of the Russian emigration G. Ivanov and G. Adamovich developed acmeistic principles: restraint, muffled intonation, expressive asceticism, subtle irony. In Soviet Russia, the manner of acmeists (mainly N. Gumilyov) was imitated by Nik. Tikhonov, I. Selvinsky, M. Svetlov, E. Bagritsky.
• Acmeism also had a significant impact on the author's song.

• Acmeism united dissimilar creative individualities, manifested itself in various ways in the “spiritual objectivity” of A. Akhmatova, the “distant wanderings” of M. Gumilyov, and the poetry of O. Mandelstam’s reminiscences.
• The role of acmeism is in an effort to maintain a balance between symbolism, on the one hand, and realism, on the other.
• In the work of acmeists, there are numerous points of contact with symbolists and realists (especially with the Russian psychological novel of the 19th century), but in general, representatives of acmeism found themselves in the “middle of contrast”, not slipping into metaphysics, but not “mooring to the ground”.

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

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Acmeism Performed by: Biketov E. Kropachev O.

The concept of acmeism Acmeism is a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia. Acmeists proclaimed materiality, objectivity of themes and images, the accuracy of the word.

As a literary trend, acmeism did not last long - about two years (1913-1914). The formation of acmeism is closely connected with the activities of the "Workshop of Poets". Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At different times, the following people took part in the work of the "Workshop of Poets": G. Adamovich, N. Bruni, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, S. Radlov, V. Khlebnikov. At the meetings of the "Workshop", in contrast to the meetings of the Symbolists, specific issues were resolved: "Workshop" was a school for mastering poetic skills, a professional association. The creative fates of poets who sympathized with acmeism developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the community, G. Adamovich and G. Ivanov continued and developed many principles of acmeism in emigration, acmeism did not have any effect on V. Khlebnikov noticeable influence.

The formation of acmeism is closely connected with the activities of the "Workshop of poets", the central figure of which was the organizer of acmeism N. Gumilyov. The term acmeism was proposed in 1912 by N. Gumilyov and S. Gorodetsky: in their opinion, symbolism in crisis is being replaced by a direction that generalizes the experience of predecessors and leads the poet to new heights of creative achievements. The name for the literary movement, according to A. Bely, was chosen in the heat of controversy, N. Gumilyov picked up accidentally thrown words and christened a group of poets close to him acmeists. The gifted and ambitious organizer of acmeism dreamed of creating a "direction of directions" - a literary movement that reflects the appearance of all contemporary Russian poetry.

A. Akhmatova's acmeism had a different character, devoid of attraction to 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.

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.

Questions of religion and philosophy, which acmeism shied away from in theory (A. Blok blamed the acmeists for their absence), received a tense sound in the work of N. Gumilyov, A. Akhmatova, O. Mandelstam. The acmeistic period of these poets did not last long, after which their poetry went far into the realm of the spirit, intuitive revelations, and mystery. However, the titanic questions of the spirit, which were in the center of attention of symbolism, were not specially pointed out by the acmeists. The main accomplishment of acmeism as a literary trend is the change in scale, the humanization of the literature of the turn of the century that deviated towards the gigantomania. The proportionality of a person to the world, subtle psychology, colloquial intonation, the search for a full-fledged word were proposed by the acmeists in response to the transcendent nature of the symbolists. The stylistic wanderings of the symbolists and futurists were replaced by exactingness to a single word, “chains of difficult forms”, religious and philosophical searches were replaced by a balance of metaphysics and the “local”. The acmeists preferred the poet’s difficult service to the world to the idea of ​​“art for the sake of art” (the human and creative path of A. Akhmatova became the highest expression of such service).

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Nikolai Gumilyov GUMILEV Nikolay 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 the law faculty of St. Petersburg, un-ta, and then moved to the historical and philological faculty. In 1910 he married A. Akhmatova.

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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. 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, previously unseen features in its inhabitants. The ring frame demonstrates the poet's desire to talk about "heaven on Earth" again and again in order to make the reader look at the world differently. In his 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."

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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. 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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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).

Presentation slides

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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 of activity. 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 the law faculty of St. Petersburg, un-ta, and then moved to the historical and philological faculty. 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 tales of 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 are crying? 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, previously unseen features in its inhabitants. The ring frame demonstrates the poet's desire to talk about "heaven on Earth" again and again in order to make the reader look at the world differently. In his 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."

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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.

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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.

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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."

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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.