The beginning of the 1900s was the heyday of symbolism, but by the 1910s the crisis of this literary trend began. The attempt of the Symbolists to proclaim a literary movement and master the artistic consciousness of the era failed. The question of the relationship of art to reality, of the significance and place of art in the development of Russian national history and culture, is again sharply raised.

Some new direction should have appeared, raising the question of the relationship between poetry and reality in a different way. This is exactly what acmeism has become.

In 1911, among the poets who were striving to create a new direction in literature, a circle “Poets' Workshop” appeared, headed by Nikolai Gumilyov and Sergey Gorodetsky. The members of the "Workshop" were mostly novice poets: A. Akhmatova, N. Burliuk, Vas. Gippius, M. Zenkevich, Georgy Ivanov, E. Kuzmina-Karavaeva, M. Lozinsky, O. Mandelstam, Vl. Narbut, P. Radimov. At various times, E. Kuzmina-Karavaeva, N. Nedobrovo, V. Komarovsky, V. Rozhdestvensky, S. Neldikhen were close to the "Workshop of Poets" and acmeism. The most striking of the "junior" acmeists were Georgy Ivanov and Georgy Adamovich. In total, four almanacs "The Workshop of Poets" were published (1921 - 1923, the first under the title "Dragon", the last was published already in Berlin by the emigrated part of the "Workshop of Poets").

The creation of a literary trend called “acmeism” was officially announced on February 11, 1912 at a meeting of the “Academy of Verse”, and articles by Gumilyov “The Heritage of Symbolism and Acmeism” and Gorodetsky “Some Trends in contemporary Russian poetry", which were considered manifestos of the new school.

In his famous article “The Legacy of Symbolism and Acmeism,” N. Gumilyov wrote: “A new direction is replacing symbolism, no matter how it is called, in any case, requiring a greater balance of power and more accurate knowledge of the relationship between subject and object than it was in symbolism. The chosen name of this direction confirmed the desire of the acmeists themselves to comprehend the heights of literary skill. Symbolism was very closely connected with acmeism, which its ideologists constantly emphasized, starting from symbolism in their ideas.

In the article "The Legacy of Symbolism and Acmeism", Gumilyov, acknowledging that "symbolism was a worthy father", stated that he "has completed his circle of development and is now falling." After analyzing both domestic and French and German symbolism, he concluded: “We do not agree to sacrifice other methods of influence to him (the symbol) and are looking for their complete consistency”, “It is more difficult to be an Acmeist than a symbolist, as it is more difficult to build a cathedral than tower. And one of the principles of the new direction is to always follow the line of greatest resistance.”

Speaking about the relationship between the world and human consciousness, Gumilyov demanded "always remember the unknowable", but at the same time "not offend your thoughts about it with more or less probable guesses." Negatively regarding the aspiration of symbolism to know secret meaning being (it remained secret for acmeism as well), Gumilyov declared the “unchasteness” of the knowledge of the “unknowable”, “childishly wise, painfully sweet feeling of one’s own ignorance”, the intrinsic value of the “wise and clear” reality surrounding the poet. Thus, acmeists in the field of theory remained on the basis of philosophical idealism.

The main attention of the acmeists was focused on poetry. Of course, they also had prose, but it was poetry that formed this direction. As a rule, these were works of small volume, sometimes in the genre of a sonnet, an elegy. The most important criterion was attention to the word, to the beauty of the sounding verse. It is quite difficult to talk about the general theme and stylistic features, since each outstanding poet, whose, as a rule, early poems can be attributed to acmeism, had his own characteristic features.

But everywhere rhyme, rhythm and meter are observed. The sentences are usually simple, without complex multi-stage turns. Vocabulary is mostly neutral, obsolete words were practically not used in acmeism, high vocabulary. However, colloquial vocabulary is also missing. There are no examples of "word-creation", neologisms, original phraseological units. The verse is clear and understandable, but at the same time unusually beautiful. If you look at parts of speech, nouns and verbs predominate. There are practically no personal pronouns, since acmeism is more directed to the outside world, and not to the inner experiences of a person. Various expressive means are present, but do not play a decisive role. Of all the tropes, comparison prevails. Thus, the acmeists created their poems not at the expense of multi-stage constructions and complex images - their images are clear, and the sentences are quite simple. But they are distinguished by the desire for beauty, the sublimity of this very simplicity. And it was the acmeists who were able to make ordinary words play in a completely new way.

Despite numerous manifestos, acmeism still remained weakly expressed as a holistic direction. His main merit is that he was able to unite many talented poets. Over time, all of them, starting with the founder of the school, Nikolai Gumilyov, "outgrew" acmeism, created their own special, unique style. However, this literary direction somehow helped their talent to develop. And for this alone, acmeism can be given an honorable place in the history of Russian literature at the beginning of the 20th century.

Nevertheless, the main features of the poetry of acmeism can be distinguished. Firstly, attention to the beauty of the surrounding world, to the smallest details, to distant and unknown places. At the same time, acmeism does not seek to know the irrational. He remembers it, but prefers to leave it untouched. As for the stylistic features directly, this is the desire for simple sentences, neutral vocabulary, the absence of complex turns and piling up of metaphors. However, at the same time, the poetry of acmeism remains unusually bright, sonorous and beautiful.

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

Overcoming the predilection of the symbolists for the "super-real", polysemy and fluidity of images, complicated metaphor, acmeists strove for sensual plastic-material clarity of the image and accuracy, the chasing of the poetic word. Their "earthly" poetry is prone to intimacy, aestheticism and poeticization of the feelings of primitive man. Acmeism was characterized by extreme apoliticality, complete indifference to the topical problems of our time.

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 certain 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.

A distinctive feature of the acmeist circle of poets was their "organizational cohesion". In essence, the acmeists were not so much an organized movement with a common theoretical platform, but a group of talented and very different poets who were united by personal friendship. The Symbolists had nothing of the kind: Bryusov's attempts to reunite his brethren were in vain. The same was observed among the futurists - despite the abundance of collective manifestos that they issued. Acmeists, or - as they were also called - "Hyperboreans" (after the name of the printed mouthpiece of acmeism, the magazine and publishing house "Hyperborey"), immediately acted as a single group. They gave their union the significant name of the “Workshop of Poets”. And the beginning of a new trend (which later became almost an "obligatory condition" for the emergence of new poetic groups in Russia) was laid by a scandal.

In the autumn of 1911, in the poetic salon of Vyacheslav Ivanov, the famous "Tower", where the poetic society gathered and poetry was read and discussed, a "revolt" broke out. Several talented young poets defiantly left the next meeting of the "Academy of Verse", outraged by the derogatory criticism of the "masters" of Symbolism. Nadezhda Mandelstam describes this incident as follows: “Gumilyov's Prodigal Son was read at the Academy of Verse, where Vyacheslav Ivanov reigned, surrounded by respectful students. He subjected the Prodigal Son to a real rout. The performance was so rude and harsh that Gumilyov's friends left the Academy and organized the Poets Workshop - in opposition to it.

And a year later, in the autumn of 1912, the six main members of the "Tsekh" decided not only formally, but also ideologically to separate from the Symbolists. They organized a new community, calling themselves "Acmeists", that is, the top. At the same time, the "Workshop of Poets" as an organizational structure was preserved - the acmeists remained in it on the rights of an internal poetic association.

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 Apollo magazine (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 is necessary that it accept its legacy and answer all the questions posed by it. The glory of the ancestors obliges, and symbolism was a worthy father.

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 intrinsic 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.

However, as T. Scriabina notes, “for the first time, the idea of ​​a new direction was expressed on the pages of Apollo much earlier: in 1910, M. Kuzmin published an article in the journal “On Beautiful Clarity,” which anticipated the appearance of declarations of acmeism. By the time the article was written, Kuzmin was already a mature person, he had experience of cooperation in symbolist periodicals. Otherworldly and foggy revelations of the Symbolists, "incomprehensible and dark in art" Kuzmin opposed "beautiful clarity", "clarism" (from the Greek clarus - clarity). The artist, according to Kuzmin, must bring clarity to the world, not obscure, but clarify the meaning of things, seek harmony with those around him. The philosophical and religious searches of the Symbolists did not fascinate Kuzmin: the artist's job is to focus on the aesthetic side of creativity, artistic skill. “Dark in the last depth of the symbol” gives way to clear structures and admiration of “pretty little things.” Kuzmin's ideas could not help but influence the acmeists: "beautiful clarity" turned out to be in demand by the majority of participants in the "Workshop of Poets".

Another "harbinger" of acmeism can be considered John. Annensky, who, formally being a symbolist, actually paid tribute to him only in the early period of his work. Later, Annensky took a different path: the ideas of late symbolism had practically no effect on his poetry. On the other hand, the simplicity and clarity of his poems were well received by the acmeists.

Three years after the publication of Kuzmin's article in Apollo, the manifestos of Gumilyov and Gorodetsky appeared - from that moment it is customary to count the existence of acmeism as a literary movement that has taken shape.

Acmeism has six of the most active participants in the current: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. G. Ivanov claimed the role of the "seventh acmeist", but this point of view was protested by A. Akhmatova, who stated that "there were six acmeists, and there never was a seventh." O. Mandelstam was in solidarity with her, who, however, considered that six was too much: “There are only six Acmeists, and among them there was one extra ...” Mandelstam explained that Gorodetsky was “attracted” by Gumilyov, not daring to oppose the then powerful symbolists with only "yellow-mouthed". “Gorodetsky was [by that time] a famous poet…”. At various times, G. Adamovich, N. Bruni, Nas. Gippius, Vl. Gippius, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, V. Khlebnikov and others. school of mastering poetic skills, professional association.

Acmeism as a literary trend united exceptionally gifted poets - Gumilyov, Akhmatova, Mandelstam, whose creative individualities were formed in the atmosphere of the "Poets' Workshop". The history of acmeism can be viewed as a kind of dialogue between these three prominent representatives of it. At the same time, the Adamism of Gorodetsky, Zenkevich and Narbut, who made up the naturalistic wing of the current, differed significantly from the “pure” acmeism of the above-mentioned poets. The difference between the Adamists and the triad of Gumilyov - Akhmatova - Mandelstam has been repeatedly noted in criticism.

As a literary trend, acmeism did not last long - about two years. In February 1914, it split. The "shop of poets" was closed. Acmeists managed to publish ten issues of their journal "Hyperborea" (editor M. Lozinsky), as well as several almanacs.

“Symbolism was fading away” - Gumilyov was not mistaken in this, but he failed to form a current as powerful as Russian symbolism. Acmeism failed to gain a foothold in the role of the leading poetic trend. The reason for its rapid extinction is called, among other things, "the ideological unsuitability of the direction to the conditions of a drastically changed reality." V. Bryusov noted that "acmeists are characterized by a gap between practice and theory", and "their practice was purely symbolist." It was in this that he saw the crisis of acmeism. However, Bryusov's statements about acmeism were always harsh; at first he declared that “... acmeism is an invention, a whim, a capital fad” and foreshadowed: “... most likely, in a year or two there will be no acmeism left. His very name will disappear,” and in 1922, in one of his articles, he generally denies him the right to be called a direction, a school, believing that there is nothing serious and original in acmeism and that it is “outside the mainstream of literature.”

However, attempts to resume the activities of the association were subsequently made more than once. The second "Workshop of poets, founded in the summer of 1916, was headed by G. Ivanov together with G. Adamovich. But he didn't last long either. In 1920, the third "Workshop of Poets" appeared, which was Gumilyov's last attempt to organizationally preserve the acmeist line. Under his wing, poets united who consider themselves to be members of the school of acmeism: S. Neldihen, N. Otsup, N. Chukovsky, I. Odoevtseva, N. Berberova, Vs. Rozhdestvensky, N. Oleinikov, L. Lipavsky, K. Vatinov, V. Pozner and others. The third "Workshop of Poets" existed in Petrograd for about three years (in parallel with the "Sounding Shell" studio) - until the tragic death of N. Gumilyov.

The creative fates of poets, one way or another connected with acmeism, developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the community; G. Ivanov and G. Adamovich continued and developed many principles of acmeism in exile; Acmeism did not have any noticeable influence on V. Khlebnikov. In Soviet times, the poetic manner of the acmeists (mainly N. Gumilyov) was imitated by N. Tikhonov, E. Bagritsky, I. Selvinsky, M. Svetlov.

In comparison with other poetic directions of Russian Silver Age Acmeism in many ways is seen as a marginal phenomenon. It has no analogues in other European literatures (which cannot be said, for example, about symbolism and futurism); the more surprising are the words of Blok, Gumilyov's literary opponent, who declared that acmeism was just an "imported foreign thing." After all, it was acmeism that turned out to be extremely fruitful for Russian literature. Akhmatova and Mandelstam managed to leave behind "eternal words." Gumilyov appears in his poems as one of the brightest personalities of the cruel time of revolutions and world wars. And today, almost a century later, interest in acmeism has survived mainly because the work of these outstanding poets who had a significant impact on the fate of Russian poetry of the XX century.

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;

Appeal to a person, to the "authenticity" of his feelings;

Poetization of the world of primordial emotions, the primitive biological natural principle;

A call to past literary eras, the broadest aesthetic associations, "longing for world culture."

"To the earthly source of poetic values"

Lydia Ginzburg

In 1906, Valery Bryusov declared that "the circle of development of that literary school, which is known as the 'new poetry', can be considered complete."

From symbolism, a new literary trend emerged - acmeism - which opposed itself to the first, at the time of its crisis. He reflected the new aesthetic trends in the art of the Silver Age, although he did not completely break with symbolism. At the beginning of his creative way young poets, future acmeists, were close to symbolism, attended "Ivanov environments" - literary meetings in the St. Petersburg apartment of Vyacheslav Ivanov, called the "tower". In the "tower" of Ivanov, classes were held with young poets, where they studied versification.

The emergence of a new trend dates back to the early 1910s. It received three non-identical names: “acmeism” (from the Greek “acme” - flowering, peak, highest degree of something, point), “adamism” (on behalf of the first man Adam, courageous, clear, direct view of the world) and "clarism" (beautiful clarity). Each of them reflected a special facet of the aspirations of the poets of this circle.

So, acmeism is a modernist trend that declared a concrete-sensory perception of the outside world, a return to the word of its original, non-symbolic meaning.

The formation of the platform of participants in the new movement takes place first in the Society of Zealots of the Artistic Word (Poetry Academy), and then in the Workshop of Poets, created in 1911, where the artistic opposition was headed by Nikolai Gumilyov and Sergey Gorodetsky.

The Poets' Workshop is a community of poets united by the feeling that symbolism has already passed its highest peak. This name referred to the time of medieval craft associations and showed the attitude of the participants of the "workshop" to poetry as a purely professional field of activity. "Workshop" was a school professional excellence. The backbone of the "Workshop" was formed by young poets who had only recently begun to be published. Among them were those whose names in the following decades made the glory of Russian literature.

The most prominent representatives of the new trend included Nikolai Gumilyov, Anna Akhmatova, Osip Mandelstam, Sergei Gorodetsky, Nikolai Klyuev.

They gathered at the apartment of one of the members of the "Tseh". Sitting in a circle, one by one they read their new poems, which they then discussed in detail. The duty to conduct the meeting was charged to one of the syndics - the leaders of the "Workshop".

The syndic had the right, with the help of a special call, to interrupt the speech of the next speaker if it was too general.

Among the participants of the "Workshop" "home philology" was revered. They carefully studied world poetry. It is no coincidence that in their own works one often hears other people's lines, many hidden quotes.

Among their literary teachers, acmeists singled out Francois Villon (with his sense of life), Francois Rabelais (with his inherent “wise physiology”), William Shakespeare (with his gift for penetrating into the inner world of a person), Theophile Gauthier (advocate of “impeccable forms”). We should add here the poets Baratynsky, Tyutchev and Russian classical prose. Among the immediate predecessors of acmeism are Innokenty Annensky, Mikhail Kuzmin, and Valery Bryusov.

In the second half of 1912, the six most active members of the "Workshop" - Gumilyov, Gorodetsky, Akhmatova, Mandelstam, Narbut and Zenkevich - held a number of poetry evenings, where they announced their claims to lead Russian literature in a new direction.

Vladimir Narbut and Mikhail Zenkevich in their poems not only defended “everything concrete, real and vital” (as Narbut wrote in one of the notes), but also shocked the reader with an abundance of naturalistic, sometimes very unappetizing details:

And the slug is wise, bent into a spiral,
Eyelidless eyes of vipers are sharp,
And in a silver closed circle,
How many secrets the spider weaves!

M. Zenkevich. "Man" 1909–1911

Like the futurists, Zenkevich and Narbut loved to shock the reader. Therefore, they were often called "left acmeists". On the contrary, on the "right" in the list of acmeists were the names of Anna Akhmatova and Osip Mandelstam - two poets who were sometimes recorded as "neoclassicists", meaning their adherence to a strict and clear (like Russian classics) construction of poems. And, finally, the "center" in this group was occupied by two poets of the older generation - syndics of the "Workshop of Poets" Sergei Gorodetsky and Nikolai Gumilyov (the first was close to Narbut and Zenkevich, the second to Mandelstam and Akhmatova).

These six poets were not absolute like-minded people, but, as it were, embodied the idea of ​​balance between the two extreme poles of contemporary poetry - symbolism and naturalism.

The program of acmeism was proclaimed in such manifestos as Gumilyov's "The Heritage of Symbolism and Acmeism" (1913), Gorodetsky's "Some Currents in Modern Russian Poetry", and Mandelstam's "Morning of Acmeism". In these articles, the goal of poetry was declared to be the achievement of balance. “Art is a state of equilibrium above all,” wrote Gorodetsky. However, between what and what did the acmeists try to maintain a “living balance” in the first place? Between "earthly" and "heavenly", between everyday life and being.

Worn rug under the icon
It's dark in a cool room,

wrote Anna Akhmatova in 1912.

This does not mean “a return to the material world, an object”, but the desire to balance” within one line the familiar, everyday (“Worn rug”) and high, Divine (“Worn rug under the icon”).

Acmeists are interested in the real, and not the other world, the beauty of life in its concrete sensual manifestations. Nebula and hints of symbolism were opposed by a major perception of reality, the authenticity of the image, and the clarity of the composition. In some ways, the poetry of acmeism is the revival of the "golden age", the time of Pushkin and Baratynsky.

S. Gorodetsky in his declaration “Some Trends in Modern Russian Poetry” spoke out against the “blurring” of symbolism, its installation on the unknowability of the world: “The struggle between acmeism and symbolism ... is, first of all, the struggle for this world, sounding, colorful, having forms, weight and time ... "," the world is irrevocably accepted by acmeism, in the totality of beauties and ugliness.

Acmeists opposed the image of the poet-prophet to the image of the poet-craftsman, diligently and without unnecessary pathos connecting the “earthly” with the “heavenly-spiritual”.

And I thought: I'm not going to flirt
We are not prophets, not even forerunners ...

O. Mandelstam. Lutheran, 1912

The organs of the new trend were the journals Apollon (1909–1917), created by the writer, poet and historian Sergei Makovsky, and Hyperborea, founded in 1912 and headed by Mikhail Lozinsky.

The philosophical basis of the new aesthetic phenomenon was pragmatism (philosophy of action) and the ideas of the phenomenological school (which defended the "experience of objectivity", "questioning things", "acceptance of the world").

Perhaps the main distinguishing feature of the "Workshop" was the taste for the image of earthly, everyday life. Symbolists sometimes sacrificed the outer world for the sake of the inner, inner world. The "Tsekhoviki" resolutely opted for a careful and loving description of the real "steppes, rocks and waters".

The artistic principles of acmeism were entrenched in his poetic practice:

1. Active acceptance of the multi-colored and vibrant earthly life;
2.​ Rehabilitation of a simple objective world that has "Forms, weight and time";
3. Denial of transcendence and mysticism;
4. Primitive-animal, courageous-firm view of the world;
5. Installation on the picturesque image;
6. Transmission of the psychological states of a person with attention to the bodily principle;
7.​ The expression "longing for world culture";
8. Attention to the specific meaning of the word;
9. Perfection of forms.

The fate of literary acmeism is tragic. He had to assert himself in a tense and unequal struggle. He was subjected to persecution and defamation more than once. Its most prominent creators were destroyed (Narbut, Mandelstam). First World War, the October events of 1917, the execution of Gumilyov in 1921 put an end to the further development of acmeism as a literary movement. However, the humanistic meaning of this trend was significant - to revive a person's thirst for life, to return a sense of its beauty.

Literature

Oleg Lekmanov. Acmeism // Encyclopedia for children "Avanta +". Volume 9. Russian literature. Part two. XX century. M., 1999

N.Yu. Gryakalova. Acmeism. Peace, creativity, culture. // Russian poets of the Silver Age. Volume two: Acmeists. Leningrad: Leningrad University Press, 1991

Acmeism is one of the modernist trends in Russian poetry.

It fell on the heyday of the Silver Age.

The poets N. Gumilyov and S. Gorodetsky are considered to be the ideological inspirers of Russian acmeism.

Aesthetic maturity of poetry

Throughout its existence, poetry has undergone many different currents and trends. In the first decade of the 20th century, in opposition to symbolism, a new modernist trend, acmeism, was formed in Russian poetry. Translated from Greek, this term means the highest degree, peak, maturity, flourishing.

Creative people, and especially poets, are most often far from such concepts as modesty. Almost everyone considers themselves a genius, or at least a great talent. In this way, a group of young poets, connected not only by creativity, but also by personal friendship, were indignant at the harsh criticism of one of them, Nikolai Gumilyov, and created their own association with the somewhat artisanal name "Poets' Workshop".

But already in the title itself, there is a desire to look not just as lovers of the lyrical poetic genre, but to be artisans, professionals. Acmeists published the magazines "Hyperborea" and "Apollo". Not only poems were published there, but there were also polemics with poets of other trends in the genre of prose.

acmeist poets photo

The ideological inspirers of acmeism, Nikolai Gumilyov and Sergei Gorodetsky, published in these journals a kind of program manifesto of a new poetic trend.

Basic concepts of acmeism

• Poetry must be expressed in a clear and understandable style;
• the reality and vitality of feelings and actions are much more important than emasculated, idealized, far-fetched and sensual concepts;
  
• frozen symbols should not prevail over the human worldview;
• the mystical creed must be completely abandoned;
• earthly life is full of diversity and brilliance, which must be brought into poetry;
• the poetic word must sound precisely and definitely - each object, phenomenon or act must be voiced clearly and understandably;
• a man with his genuine, primordial, one might even say biological emotions, and not fictional, sleek and varnished feelings and experiences - that's a worthy hero of real poetry;
• Acmeists should not reject past literary epochs, but take from them aesthetically valuable principles, have an inseparable connection with world culture.

The Acmeists considered the Word to be the basis of the foundation in their poetry. The backbone of the first composition of the “Workshop of Poets” was made up not only of poets close in their ideology, but also people connected with each other by bonds of friendship. Subsequently, the names of these poets were included in the Golden Fund of Russian Literature.

Acmeist poets

• Sergey Gorodetsky - was born in the 90s of the 19th century. He received an excellent education in a truly intelligent family, where morality, culture and education were considered the main values. By the time of the creation of acmeism, he was a famous poet.
• Nikolai Gumilyov is an unusual and talented person, a romantic with a very courageous appearance and a subtle soul. From a young age, he tried to establish himself as a person and find his place in this difficult life. Very often, this desire grew from position to pose, which may have led to an early and tragic departure from life.
• Anna Akhmatova - pride, glory, pain and tragedy of Russian poetry. The poetic soul of this courageous woman gave birth to poignant words about the great mystery of love, placing her poems among the beautiful creations of immortal Russian literature.
• Osip Mandelstam is a poetically gifted young man with a fine sense of art. Poems, in his own words, overwhelmed him and sounded like music in him. Friendship with Nikolai Gumilyov and Anna Akhmatova considered the most important success of his life.
• Mikhail Zenkevich, a poet and translator, the only one of the founders of acmeism, lived until the 80s of the 20th century, successfully avoiding repression and persecution.
• Vladimir Narbut, a young poet, belonged to the circle of visitors to the Vsevolod Ivanov Tower, warmly embraced the idea of ​​acmeism.

Outcome

As a literary movement, acmeism existed for a little over two years. For all the controversial concepts of this trend, its value is not only that it was an exclusively Russian trend, but that the work of remarkable Russian poets is associated with acmeism, without whose work it is impossible to imagine Russian poetry of the 20th century.

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The meaning of the word acmeism

acmeism in the crossword dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

acmeism

acmeism, pl. no, m. (from the Greek akme - top) (lit.). One of the trends in Russian poetry in the tenth years of the 20th century, which opposed itself to symbolism.

Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.

acmeism

A, m. In Russian literature of the 20th century: a trend that proclaimed liberation from symbolism.

adj. acmeist, -th, -th.

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

acmeism

m. The modernist trend in Russian literature of the early 20th century, whose representatives, opposing themselves to the symbolists, strove for a subject-specific, detailed depiction of the world, to return the word to its original, non-symbolic meaning.

Encyclopedic Dictionary, 1998

acmeism

ACMEISM (from the Greek akme - the highest degree of something, blooming power) is a trend in Russian poetry of the 1910s. (S. M. Gorodetsky, M. A. Kuzmin, early N. S. Gumilyov, A. A. Akhmatova, O. E. Mandelstam); proclaimed the liberation of poetry from symbolist impulses to the "ideal", from the ambiguity and fluidity of images, complicated metaphor, a return to the material world, the object (or element of "nature"), the exact meaning of the word. The "earthly" poetry of acmeism is characterized by individual modernist motifs, a tendency to aestheticism, intimacy, or to the poeticization of the feelings of primitive man.

Acmeism

(French acmēisme, from Greek akmē ≈ the highest degree of something, blooming power), a trend in Russian poetry of the early 20th century, which developed in the conditions of the crisis of bourgeois culture and expressed a decadent mood (see Decadence).

A. arose as a reaction to symbolism. Representatives of poetry, united in the Poets’ Guild group and writing in the journal Apollon (1909–17), objected to the departure of poetry into “other worlds,” into the “unknowable,” and against polysemantic and fluid poetic images. Declaring the preference for real, earthly life and the return of poetry to the elements of "nature", however, the acmeists perceived life as extra-social and extra-historical. The person was excluded from the sphere of social practice. Acmeists opposed social conflicts aesthetic admiration of the little things of life, things (M. Kuzmin), the objective world, images of past culture and history (O. Mandelstam, the collection "Stone", 1913), the poeticization of the biological principles of being (M. Zenkevich, V. Narbut). The apology for a "strong personality" and "primitive" feelings, inherent in the early poetry of N. Gumilyov, left him within the framework of an anti-democratic, individualistic consciousness.

In the post-revolutionary years, the "Workshop of Poets" as literary school ceased to exist. Creativity is the most famous poets, attributed to A., ≈ A. Akhmatova, O. Mandelstam, N. Gumilyov, partly M. Kuzmin ≈ already by the mid-1910s. went beyond the framework of acmeist declarations and acquired individual destinies.

══Lit.: Blok A., "Without a deity, without inspiration." Sobr. soch., vol. 6, M.≈L., 1962; [Acmeist manifestos], "Apollo", 1913, No. 1; Kuzmin M., About beautiful clarity, ibid., 1910, ╧1; Mikhailovsky B., Russian literature of the 20th century, M., 1939; Volkov A., Essays on Russian literature of the late 19th and early 20th centuries, M., 1955; Orlov V., At the turn of two eras, "Questions of Literature", 1966, ╧ 10; Zhirmunsky V., On the work of Anna Akhmatova, "New World", 1969, ╧ 6; History of Russian poetry, vol. 2, L., 1969.

I. S. Pravdina.

Wikipedia

Acmeism

Acmeism ("Adamism") 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. Acmeism is a cult of concreteness, "materiality" of the image, it is "the art of precisely measured and balanced words." On December 19, 1912, the program of acmeism was publicly announced for the first time. This event took place in the cabaret "Stray Dog" in St. Petersburg.

The formation of acmeism is closely connected with the activities of the "Workshop of Poets", the opposition "Academy of Verse", central figures which were the founders of acmeism Nikolay Gumilyov, Anna Akhmatova and Sergey Gorodetsky.

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

The term "acmeism" was proposed in 1912 by Nikolai Gumilyov and Sergei Gorodetsky: in their opinion, the crisis of symbolism 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 Andrei Bely, was chosen in the heat of controversy and was not entirely justified: Vyacheslav Ivanov jokingly spoke about "Acmeism" and "Adamism", Nikolai Gumilyov picked up accidentally thrown words and dubbed acmeists a group of poets close to him.

Features of acmeism:

1. Self-worth of a separate thing and every life phenomenon;
2. The purpose of art is to ennoble human nature;
3. Striving for the artistic transformation of imperfect life phenomena;
4. Clarity and accuracy of the poetic word, intimacy, aestheticism;
5. Idealization of the feelings of primitive man;
6. Distinctness, certainty of images;
7. Image of the objective world, earthly beauty.

Examples of the use of the word acmeism in literature.

Of course, these formulations do not reflect the whole acmeism, but the starting point of its development.

Gumilyov announced acmeism organically worthy and legitimate heir to the best that symbolism gave, but having its own spiritual and aesthetic foundations - fidelity to the pictorially visible world, its plastic objectivity, increased attention to poetic technique, strict taste, blooming festivity of life.

Kuzmin - Karavaev spoke at the Society of Zealots of the Artistic Word, announcing the separation acmeism 01 symbolism.

Ever since the war, I fell in love with a wonderful poet, who died so terribly in the dungeons of the Petrograd Big House, the head of the Russian acmeism Nikolai Stepanovich Gumilyov.

It's funny that I actually got a few indignant letters from clean-fisted amateurs afterwards. acmeism- with an expression of indignation over the replacement of a star with a planet.

It was a time when the literary life of the capital experienced a craze for modernism of all shades: from agonizing symbolism to acmeism and futurism, which debuted on the literary arena.

With such a broad understanding acmeism Mandelstam could consider himself an acmeist until the end of his life.

Modernism, including here futurism, acmeism, Imagism and other schools of the beginning of the century - the concept is faceted.

Consequently, it was Gumilyov's aesthetics that should have been projected onto all representations acmeism about the aesthetic nature of literature.