White golden fleece. Andrei Bely: eternal return

According to Vladislav Khodasevich, the father of Andrei Bely (Boris Bugaev), professor of mathematics Nikolai Bugaev, said: "I hope that Borya will come out with his face in his mother, and his mind in me." The professor was ugly, but smart. Mother is a beauty, an icon of style, but a fool and a hysteric. The son turned out to be handsome and strange.

“Huge wide-open eyes, raging fires on a pale, haggard face. An unreasonably high forehead, with an island of hair standing on end /… / sometimes Bely seems like a magnificent clown. But, when he is near, anxiety and languor, a feeling of some kind of spontaneous ill-being takes possession of everyone.(Ilya Erenburg).

“There is bestiality in Andrey Bely, only covered with a dull glow of madness. His eyes, /.../ as if outlined in charcoal, are unnaturally and insanely shifted to the bridge of the nose. The lower eyelids are squinted and the upper eyelids are wide open. On a narrow and high forehead, long hair stands on end in three tufts ... "(Maximilian Voloshin).

There are many such reviews. The appearance and habits of Andrei Bely were no less impressive than his texts. And even more.

Behind the Golden Fleece

Andrey Bely wittily called “Berdyaev's views” “a station through which trains, approaching from various tracks, beat all day; /…/ this is Nietzsche, then Baader, then Schelling, then Steiner; and this, of course, is Solovyov, crossed with Nietzsche.. With great reason, however, what has been said can be attributed to him.

The most interesting thing in Blok's life is an emotional drive. Not a day without feeling. Here the task of the biographer is to correctly identify these notes and guess the melody. The new thing that I learned from the totality of what Blok wrote about Blok is the fact that Alexander Alexandrovich was very smart. We value poets and poetry for something else, and besides, Blok did not seek to look like an intellectual.

He easily fell for interesting and fashionable ideas in the season of the turn of the century. He liked everything that was (seemed) non-trivial. He called himself "Child of Schopenhauer", subtracting from the philosopher the idea of the artist as an intermediary between two worlds. He was enchanted by Blavatsky with her theosophy, he was intrigued by the Upanishads and Buddhism. Well, Kant, and Rickert, who became the basis for his theory of symbolism.

Nietzsche, the godfather of the Silver Age, Bely fell in love with as his own: "Nietzsche - you are our dear, gypsy song in philosophy!"

The birth of tragedy (and anything!) from the spirit of music (in music the deceptive outer cover of visible phenomena is removed and the secrets of the essence of the world are revealed), the artist as a superman and the eternal return... “Eternity whispered to her pampered: “Everything returns ... Everything returns ... One ... one ... in all dimensions. You will go to the west, and you will come to the east... The whole essence is visible. Reality in dreams. /…/ So Eternity joked with her prankster, hugged her friend with black outlines, laid her pale, worldless face on his heart.. (“Symphony. 2nd, dramatic”, 1902).

Vladimir Solovyov was a "living god" for him, explaining that “everything we see is / Only a reflection, only shadows / From the invisible with our eyes”.

In October 1903, Bely, together with Ellis and Sergei Solovyov (nephew of the philosopher and second cousin of Alexander Blok), organized the Brotherhood of the Argonauts. "Argonauts" were looking for The Golden Fleece, that is, they tried to penetrate the mystical secrets of being. They saw "red dawns of brand new days" and believed that the path to the (eschatological) transformation of the world lay through mystery love. They represented the symbolism as "combining the heights of art with mysticism" as theurgy, which leads to the broadest level of knowledge - wisdom.

The "Argonauts" perceived life as a text, and the text as life. And they were waiting for the earthly appearance of Sophia Wisdom, sung by Solovyov, she is the Eternal Femininity, the Soul of the World, etc. like Sophia and the Beautiful Lady, they revered Lyubov Dmitrievna Mendeleeva, then the bride of Blok, and called themselves "Blokites." “The symbol of the “wife” has become a dawn for us (the connection of heaven with earth), intertwining with the teachings of the Gnostics about specific wisdom with the name of a new muse that merges mysticism with life” White said.

Triangle with Bryusov

It so happened that Andrei Bely constantly got into love stories - scandalous, ridiculous, funny. But it was precisely these stories that were sublimated into literature by both Bely himself and his rivals.

One of these stories is Bely's romance with Nina Petrovskaya from the "Argonauts" circle. Their mutual attraction arose, one might say, on spiritual soil. At least White seemed to be counting on mystery love that does not involve physical proximity. And he explained this in the poem "Tradition" (1903), which (it should be emphasized) he dedicated to Petrovskaya's husband:

He was a prophet.
She is a sibyl in the temple.
Their love is like a flower
burned like roses in sunset incense.

Under the arches of his eyebrows
eyes shone
fiery saints.
Curls of curls flowed -
wine cascades foam gold…

(That's how he is about himself!)

Petrovskaya then had an affair with Balmont, but she bowed before Bely as before a teacher, as before a new Christ. But then they slept, and the calculations for mystery love gone to dust. White later called this connection fall and assured that Petrovskaya almost raped him: “... instead of dreams about mystery, brotherhood, sisterhood, it turned out to be just a novel / ... / I tried so hard to explain to Nina Ivanovna that Christ is between us; she agreed; and - then, suddenly, - "such." My impulses towards mystery, towards "theurgy" were defeated. "Such" ended six months later: Bely fell in love with Blok's wife and left Petrovskaya. She, in retaliation, agreed with Bryusov.

It seems that Bely should have been glad that the older comrade diverted the attention of the hysterical and eccentric woman (she even shot at him). Of course, he was happy, but also jealous. Somehow I suddenly became disillusioned with the decadents ( “I have completely lost faith in the conviction of the majority of the so-called decadents, i.e. I am sure of their complete unscrupulousness /…/ I hate and despise Valery Bryusov now that his cards have been revealed to me”).

Bryusov, in turn, dedicates to Bely a mocking rehash of his “Tradition”: while the prophet is swimming somewhere, the sibyl vulgarly cheats on him with the priest ... And in another poem she even threatens the singer of the sun and light ( "... On you, O golden-haired, / The magic bow is pointed") and promises the reign of twilight. White replies menacingly: “My armor is on fire / My spear is lightning. The sun is a shield. / Do not approach: in furious anger / The storm will incinerate you ".

The result of this “mental duel” (A. Bely) summed up Bryusov, in fact, admitting his defeat: “Which one of us won, I don’t know! / It must be you, son of light, you!"

A real duel of two nightingales almost took place: Bely did not like how Bryusov spoke about Merezhkovsky, and Bryusov did not like how Bely reacted to this, and he challenged him to a duel. But it worked out.

In the novel The Fiery Angel (1908), Bryusov portrayed (with heavy irony) this love triangle: Renata - Nina Petrovskaya; Count Heinrich - Andrei Bely, whom she takes for a fiery angel; Ruprecht - Bryusov himself, in love with Renata. In a duel with Heinrich, Ruprecht is defeated, but after the death of Renata, the rivals begin to be friends. So it was in life: they diverged, and then became friends. Only Renata - Nina Petrovskaya was alive (she would commit suicide in 1928 in Paris).

Triangle with Block

Worship of the Beautiful Lady from the correspondence became full-time when Bely met Blok and began to appear in Chess. Maria Beketova, Blok's aunt, testified: “They /A. Bely, S. Solovyov / positively haunted Lyubov Dmitrievna, making mystical conclusions and generalizations about her gestures, movements, hairstyles. As soon as she put on a bright ribbon, sometimes just waved her hand, the “Blokists” were already exchanging glances with a significant air and pronouncing their conclusions aloud..

It is known that Blok did not want or could not (which in this case is the same thing) sleep with the Beautiful Lady (Radiant Girlfriend, Virgin of the Rainbow Gates, Soul of the World). He accepted Solovyov's ideas earnestly and sincerely ( “The transfer of carnal, animal-human relations to the superhuman realm is the greatest abomination and the cause of extreme death”). Maybe he shouldn't have married L.D. at all.

Andrey Bely, who also seemed to be an ardent Solovyovite, did not give a damn about ideas. He called L.D. also "Hierophantides of spiritual mystery", but fell in love with her in a simple way. And he fell in love with her. And even if their love games were limited to only petting (“we didn’t have time to be alone, as there was no longer any barrier between us, and we helplessly and greedily could not tear ourselves away from long and unquenching kisses”, - L.D. later recalled), this does not change things. For petting serves exactly the same "dragon of lust".

It seems that Bely generally perceived ideas superficially. But the surface was seething, screaming, bright. And a lot of people liked it.

L.D. it was very hard “One is not a husband. White - temptation"). Under pressure from Bely, she was already leaning towards a divorce, but changed her mind. Tantrums, meetings, showdowns, suicide threats began. Bely sometimes challenged Blok to a duel, then swore his love to him and asked: "Tell Luba that we can, we can, we can be sister and brother".

Finally restored by L.D. against Bely his story "The Bush", published in the "Golden Fleece" (1906). There they acted: a bush-sorcerer - Blok (he once said: “... I will turn into a golden autumn bush, dressed in a rain net in a forest clearing ...”), blue-eyed beauty, gardener's daughter - L.D. The author himself appeared in the form of Ivanushka the Fool, to whom the bush-sorcerer was stuffed as friends and to whom the gardener's daughter was given: “Indescribably suddenly her face burned, breathed with transparent longing; as if a hurricane of passion smelled on him, and her blue coals-eyes burned - they widened brightly, blue / ... / Compassionately, the gardener's daughter bent down and, breathing greedily, embraced her white, valiant body with her lily hands ".

L.D. offended: “... it is impossible to describe any woman in a story of such content in such a photographic way; this is a general and first remark; the second is mine personally: your mockery of Sasha ... "Sasha, I must say, reacted to the "Bus" calmly. Well, Bely later claimed that he didn’t mean anything like that.

After all the experiences, he left Russia and in Paris wrote a poem, pitiful, in the rhythm of Lermontov's "The Beggar", with the reproachful title "Conscience" (1907). To Blocks was very ashamed.

I walked my own way;
In a snowstorm I froze with an ice lump ...
And here in a snowdrift of ice
They found me under the house.
I gave them everything that I brought:
souls of shattered doubt,
Thought crystals, tear diamonds
And the heat of love, and chants,
And the morning of a life day.
But it became a hindrance to their leisure.
They are so kind to me
They were driven out of the house into a blizzard. /…/

Well, the most impressive literary result of this love story was Blok's play "Puppet Show" (1906), ironic and sad. In it were "mystics of both sexes in frock coats and fashionable dresses", Pierrot, his bride Columbine, who was led away by Harlequin ringing with bells. The bride turned out to be cardboard, the blood - cranberry juice, all the passions - fake (it is believed that this is how Blok parted with symbolism).

Bely perceived "Balaganchik" as a mockery of the most holy ( "theurg - wrote" booth ", and we are ridiculed"). However, he himself will say goodbye to his hobby even harder: “The most poisonous caterpillar turned out to be the Beautiful Lady (later decomposed into a prostitute and an imaginary size)”.

Howl, storm element

In 1912, Andrei Bely and his first wife Asya Turgeneva go to study with Rudolf Steiner: they build the anthroposophical Goetheanum temple in Dornach, listen to and take notes from the teacher's lectures. One of the results of this experience was the novel "Kotik Letaev" (1918), "almost the only experience in world literature of the artistic reflection of anthroposophical ideas"(Evgeny Zamyatin).

Steiner became famous not only for his discoveries in education. He was an eccentric philosopher, a great mystic. It was he who invented and presented the world with anthroposophy, an exotic theory that mixed reincarnation, karma, astrology, numerology and many other things that are directly related both to the sacred hermetic sciences and to the newfangled trends of Western intellectuals into one bubbling cocktail. The mixture is explosive at first glance, but nevertheless worthy people, including our compatriots Andrei Bely, Wassily Kandinsky and Andrei Tarkovsky, at different times in their lives called themselves active adherents of it.

In line with the ideas of Steiner, who considered the revolution a powerful theurgical means of changing the world, Bely welcomes the February Revolution inconsistently, but figuratively: “At first, the source beats dirty; and the inertness of the earth rises first in a jet, but the jet is cleared, revolutionary purification is the organization of chaos into the flexibility of the movement of newborn forms.. Revolution for him "World Mystery", Councils of deputies - the beginning of the conciliar joy.

He closely converges with the ideologist of "Scythianism" Ivanov-Razumnik - the "Scythians" (Blok, Yesenin, Klyuev) also welcome the revolution as a messianic popular movement and a lesson to the West.

After the October Revolution, Bely wrote the revolutionary poem "Christ is Risen" (1918), in which he asserts that crucified Russia will rise like Christ with glory. Contemporaries compare this poem with Blok's The Twelve, but the comparison is too flattering. Although something amusing in the poem can be found:

It was seen as two vampires
With a grimace of red lips,
Drag along the roads of the world
Bandaged corpse.

True, neither revolutionary verses nor statements help Bely: the Bolsheviks clearly do not like him. Leon Trotsky breaks him to smithereens, putting him in reproach "word magic", individualism, mysticism, symbolism, etc. And even a pseudonym, which (Trotsky assures) “testifies to his opposition to the revolution. For the most militant epoch of the revolution passed in the struggle of the red against the white..

Nevertheless, Bely seethes and boils: he lectures at the Proletkult, founds the Free Philosophical Association (Wolfila), publishes the journal Notes of a Dreamer, and writes a lot...

Andrei Bely passed away on January 8, 1934, having managed to finish the study "Gogol's Mastery" and the first part of the memoirs "Between Two Revolutions" - these books will be published after his death. In an obituary in Izvestia, signed by B. Pilnyak, B. Pasternak and G. Savinkov, he was called a genius and teacher of Joyce. True, in a few days this will be disavowed by an article in Literaturnaya Gazeta.

Perhaps his greatest achievement is his work on poetry (highly valued by Vladimir Nabokov). Of the poems left - "gray-haired hunchback", which “voiced in a low bass, launched a pineapple into the sky ...”("On the mountains", 1903). Dedicated to Zinaida Gippius "Despair" (1908): "Enough: do not wait, do not hope - / Disperse, my poor people!". In pandan to him - a poem "Motherland" (August 1917):

Cry, storm element,
In pillars of thunderous fire!
Russia, Russia, Russia, -
Go crazy burning me!

Bely's most significant novel is Petersburg (1913). But in general, his prose is too heaped up. Words are not provided with energy. There is no music on which he put so much. The memoir trilogy, of course, is grandiose in scope, but it's hard to read - an inflated tongue twister, saturated with old and late grievances, logical inconsistencies, awkward ideological curtsies, interferes.

Much more interesting is the literature that Bely unwittingly inspired. And "Fiery Angel", and "Balaganchik". And a brilliant poem by Mandelstam, written on Bely's death:

... They put on a tiara on you - a fool's cap,
Turquoise teacher, tormentor, ruler, fool!
Like a snowball in Moscow, the gogolka started a mess:
Incomprehensible, incomprehensible, indistinct, confused, easy ...
Gatherer of space, passing exams chick,
Writer, goldfinch, student, student, bell...

An icy connection is born between you and the country -
So lie down, young and lie down, endlessly straightening up.
Let not the young, the future ones ask you,
What is it like for you there in emptiness, in purity, an orphan ...

Well, Andrei Bely wanted to create life, and he succeeded, perhaps, best of all.

BELY Andrey (pseudo-Boris Nikolaevich Bugaev) (1880-1934), Russian writer. One of the leading figures of symbolism. Early poetry is characterized by mystical motifs, grotesque perception of reality ("symphonies"), formal experimentation (collection "Gold in Azure", 1904). In the collection "Ashes" (1909) the tragedy of rural Russia. In the novel "Petersburg" (1913-14, revised edition in 1922), a symbolized and satirical image of Russian statehood. Memoirs, autobiographical prose. Studies, including the poetics of N. V. Gogol.
BELY Andrei (real name and surname Bugaev Boris Nikolaevich), Russian poet, prose writer, critic, memoirist.

Born in the family of a prominent mathematician and Leibnizian philosopher Nikolai Vasilievich Bugaev, dean of the Faculty of Physics and Mathematics of Moscow University. Mother, Alexandra Dmitrievna, nee Egorova, is one of the first Moscow beauties. He grew up in a highly cultured atmosphere of "professorial" Moscow. The complex relationship between the parents had a severe impact on the child's emerging psyche, subsequently predetermining a number of Bely's oddities and conflicts with those around him (see the memoirs At the Turn of Two Centuries). At the age of 15, he met the family of V. S. Solovyov’s brother, M. S. Solovyov, his wife, the artist O. M. Solovyova, and his son, the future poet S. M. Solovyov. Their house became a second family for Bely, here he was sympathetically met with his first literary experiments, introduced to the latest art (the work of M. Maeterlinck, G. Ibsen, O. Wilde, G. Hauptmann, Pre-Raphaelite painting, music by E. Grieg, R. Wagner) and philosophy (A. Schopenhauer, F. Nietzsche, Vl. Solovyov).
In 1899 he graduated from L. I. Polivanov's private gymnasium, the best in Moscow, and in 1903 from the natural department of the Faculty of Physics and Mathematics of Moscow University. In 1904 he entered the Faculty of History and Philology, but in 1905 he stopped attending classes, and in 1906 he filed a request for expulsion in connection with a trip abroad.
In 1901 he submits to print his "Symphony (2nd, dramatic)" (1902). At the same time, M.S. Solovyov came up with the pseudonym "Andrei Bely" for him. The literary genre of "symphony", created by the writer [during his lifetime also published "Northern Symphony (1st, heroic)", 1904; "Return", 1905; The Blizzard Cup, 1908] immediately demonstrated a number of essential features of his creative method: an inclination towards the synthesis of words and music (a system of leitmotifs, the rhythmization of prose, the transfer of structural laws of musical form into verbal compositions), a combination of plans for eternity and modernity, eschatological moods. In 1901-03, he first entered the environment of the Moscow Symbolists, grouped around the publishing houses Scorpion (V. Ya. Bryusov, K. D. Balmont, Yu. K. Baltrushaitis), Grif (S. Krechetov and his wife N. I. Petrovskaya, the heroine of the love triangle between her, Bely and Bryusov, which is reflected in the latter's novel "The Fiery Angel"), then gets acquainted with the organizers of the St. Petersburg religious and philosophical meetings and the publishers of the journal "New Way" D. S. Merezhkovsky and Z. N. Gippius . From January 1903, he began a correspondence with A. A. Blok (personal acquaintance since 1904), with whom he was connected by years of dramatic "friendship-enmity". In the autumn of 1903, he became one of the organizers and ideological inspirers of the life-creating circle of "Argonauts" (Ellis, S. M. Solovyov, A. S. Petrovsky, M. I. Sizov, V. V. Vladimirov, A. P. Pechkovsky, E. K. Medtner and others), who professed the ideas of symbolism as religious creativity (“theurgy”), the equality of “texts of life” and “texts of art”, love-mystery as a path to the eschatological transformation of the world. "Argonautic" motifs developed in Bely's articles of this period, published in World of Art, New Way, Scales, Golden Fleece, and also in the collection of poems Gold in Azure (1904). The collapse of the "Argonautic" myth in Bely's mind (1904-06) occurred under the influence of a number of factors: the shift of philosophical guidelines from the eschatology of Nietzsche and Solovyov to neo-Kantianism and the problems of the epistemological justification of symbolism, the tragic ups and downs of Bely's unrequited love for L. D. Blok (reflected in the collection "Urn", 1909), a split and fierce magazine controversy in the symbolist camp. The events of the revolution of 1905-07 were perceived by Bely at first in line with anarchist maximalism, but it was during this period that social motives, “Nekrasov’s” rhythms and intonations actively penetrate into his poetry (collection of poems “Ashes”, 1909). 1909-10 - the beginning of a turning point in Bely's worldview, the search for new positive "ways of life." Summing up the results of his previous creative activity, Bely collects and publishes three volumes of critical and theoretical articles (Symbolism, 1910; Green Meadow, 1910; Arabesques, 1911). Attempts to find a "new soil", a synthesis of West and East, are palpable in the novel Silver Dove (1910). The beginning of the revival ("second dawn") was the rapprochement and civil marriage with the artist A. A. Turgeneva, who shared with him the years of wandering (1910-12, Sicily - Tunisia - Egypt - Palestine), described in two volumes of "Travel Notes" (1911 -22). Together with her, Bely also experienced a new period of enthusiastic apprenticeship with the creator of anthroposophy, Rudolf Steiner (since 1912). The highest creative achievement of this period is the novel Petersburg (1913; abridged edition - 1922), which concentrated the historiosophical problems associated with summing up the path of Russia between West and East, and had a huge influence on the greatest novelists of the 20th century. (M. Proust, J. Joyce and others). In 1914-16 he lives in Dornach (Switzerland), participating in the construction of the anthroposophical temple "Goetheanum". In August 1916 he returned to Russia. In 1914-15 he wrote the novel Kotik Letaev, the first in a planned series of autobiographical novels (continued with the novel The Baptized Chinese, 1927). He perceived the beginning of the First World War as a universal disaster, the Russian Revolution of 1917 as a possible way out of a global catastrophe. The cultural and philosophical ideas of that time were embodied in the essay cycle "On the Pass" ("I. Crisis of Life", 1918; "II. Crisis of Thought", 1918; "III. Crisis of Culture", 1918), the essay "Revolution and Culture" (1917 ), the poem "Christ is risen" (1918), the collection of poems "Star" (1922). In 1921-23 he lives in Berlin, where he experiences a painful separation from R. Steiner, a break with A. A. Turgeneva, and finds himself on the verge of a mental breakdown, although he continues his active literary activity. Upon returning to his homeland, he makes many hopeless attempts to find a living contact with Soviet culture, creates a novel dilogy "Moscow" ("Moscow eccentric", "Moscow under attack", both 1926), the novel "Masks" (1932), acts as a memoirist - " Memories of Blok "(1922-23); trilogy "At the Turn of Two Centuries" (1930), "The Beginning of the Century" (1933), "Between Two Revolutions" (1934), writes theoretical and literary studies "Rhythm as Dialectics and The Bronze Horseman" (1929) and "Gogol's Mastery" (1934). However, the “rejection” of Bely by Soviet culture, which lasted during his lifetime, continued in his posthumous fate, which was reflected in the long underestimation of his work, overcome only in recent decades.

http://www.litra.ru/biography/get/biid/00736781222181452459/

What literary associations does the poem "From the Car Window" evoke in you?

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Attention! The slide preview is for informational purposes only and may not represent the full extent of the presentation. If you are interested in this work, please download the full version.

Target: To give an idea of the personality and work of the poet, to show the features of his poetics.

Equipment:

Presentation.
Texts of A. Bely's verses.

Methods: questioning and drawing up a diagram, a teacher's lecture with elements of poetry analysis.

Lesson plan.

1. Survey on the topic “Symbolism”.

2. Teacher's lecture

one). Bugaev family.

2). Influence of the Solovyovs. Watch a video about "Symphony".

3). Argonauts.

4). Poetry. Watch the video on the poem "Remembrance".

5) Analysis of the poem "Dedication".

. Listening to a sound file with the poem "Ase".

7). Anthroposophy studies.

eight). Vasiliev. Kuchino.

3. Consolidation of the studied. Solving the crossword puzzle “Symbolism”.

During the classes

1. Survey on the topic “Symbolism”. ( slide 2).

In previous lessons, we got acquainted with the work of symbolist poets.

one). Name the features of the new direction in the literature of the early 20th century symbolism.

(Symbolism is a literary and artistic direction, which considered the goal of art to be an intuitive comprehension of world unity through symbols)

2). What groups were the symbolists divided into? Name the representatives of each group?

(In the last decade of the 19th century, the “senior symbolists” Dmitry Sergeevich Merezhkovsky, Valery Yakovlevich Bryusov, Nikolai Maksimovich Minsky (Vilenkin), Konstantin Dmitrievich Balmont, Fyodor Kuzmich Sologub (Teternikov), Zinaida Nikolaevna Gippius, Mirra Lokhvitskaya (Maria Alexandrovna Lokhvitskaya) and others. D. Merezhkovsky and V. Bryusov became the ideologists and masters of the senior symbolists.The "senior symbolists" are often called impressionists and decadents.

In the first decade of the 20th century, the “young symbolists” F. Sologub, Andrey Bely Alexander Blok, Sergei Solovyov, Ellis (Lev Lvovich Kobylinskiy), Vyacheslav Ivanovich Ivanov appeared. The forerunner and master of the Young Symbolists was V. Solovyov, the theorist A. Bely),

3). How did the representatives of each group understand the symbolism?

(The older symbolists understood symbolism as a literary school. The Moscow wing, grouped around Bryusov, limited the tasks of the new trend to the actual literary framework. The St. Petersburg wing, led by Merezhkovsky, considered religious and philosophical searches important. For the Young Symbolists, this direction was a holistic worldview, a way of creative restructuring of life) .

2. Teacher's lecture with elements of poetry analysis.

one). Bugaev family. Today we will get acquainted with the life and work of the theorist of young symbolism, the work of the poet and writer Andrei Bely (1880-1932). ( slide 3). His real name is Boris Nikolaevich Bugaev. He grew up in the family of a professor at Moscow University, dean of the Faculty of Physics and Mathematics Nikolai Vasilyevich Bugaev. ( slide 4). They rented an apartment in the house of an honorary citizen, Privatdozent of Moscow University Rakhmanov on the Arbat, where Pushkin's museum-apartment is now located. All professorial Moscow has been here. Nikolai Vasilyevich was interested in both philosophy and psychology, history and politics, was fond of chess, was a fierce debater, composed playful poems and even wrote the libretto for the opera Buddha. Even Leo Tolstoy visited Bugaev. The professorial world of childhood largely determined the fate of Boris. He studied at the famous private gymnasium of Lev Ivanovich Polivanov, and then entered the natural department of the Faculty of Physics and Mathematics of Moscow University. The beginning of the father is intellectual, the beginning of the mother is lyrical. Mother and father were an unusual couple. “... I was torn between them with feelings. It is difficult to find two people as opposite as parents ... the power of thought and hurricanes of conflicting feelings ... a weak-willed husband of science in everyday life ... and a mother overflowing the whole world with herself, laughter, crying, music, pranks and whims ... I was the chains that bound them ... "( A. Bely, At the Turn of Two Centuries). Alexandra Dmitrievna, nee Egorova, was an emotional, impetuous, artistic nature, she played the piano. No wonder then Boris will write works of art with an unusual rhythmic structure, which he will call “symphonies”. Bori's passion for poetry and emotionality come from her mother. And the perception of beauty too. ( slide 5). From the balcony of the dining room, facing Denezhny Lane, young Borya Bugaev fascinatedly watched the dawns and sunsets over the domes of the old Novodevichy Convent, saw in them symbols and signs of the coming transformation of the world, the coming Kingdom of the Spirit.

2). Influence of the Solovyovs In 1994, the family of Mikhail Sergeevich Solovyov, the son of the famous historian Sergei Mikhailovich Solovyov, settled down in the house ( slide 6) and the brother of the philosopher Vladimir Solovyov, and their son, Sergei Solovyov, became a symbolist poet and Borya's best friend. “Since 1987, the Solovyovs have become my second homeland,” writes Bely. It was at the Solovyovs that a pseudonym was invented for him in honor of the highly revered in Russia Apostle Andrew the First-Called and Bely - means “pure, ideal”, the color of the apocalypse. It was the Solovyovs who appreciated the talent of Boris Bugaev and helped to publish in 1902 the first book “Symphony (2nd dramatic)” (Slide 7) , which he dedicated to his first Muse Claudia Mikhailovna Morozova (Slide 8).

In 1899-1900 the philosophy and poetry of Vl. Solovyov and the philosophical and poetic work of F. Nietzsche became a banner for Bely in search of a new worldview, in vague forebodings of a new era, a mystical transformation of everything that exists. In a similar, “transformative” sense, Bely also perceives A. A. Fet, F. M. Dostoevsky, the late Ibsen, and the music of E. Grieg. This philosophical and aesthetic basis determines Bely’s own creative search in the individual genre of “symphonies” - lyrical rhythmic narrative prose with a shaky plot and through themes, focused on the laws of musical composition and allowing to convey “spiritual consonance of the surrounding world in all its aspects, parts and manifestations” .

(Slide 9). View video broadcasts on the channel “Culture” “The wife clothed in the sun. Andrei Bely. Biblical plot” from 9.13 min. to watch 7.19 min.) about “Dramatic Symphony 2” dedicated to M.K. Morozova.

http://video.yandex.ru/users/mor-vikt2008/view/2171/user-tag/%D0%B6%D0%B5%D0%BD%D0%B0_%
D0%BE%D0%B1%D0%BB%D0%B5%D1%87%D0%B5%D0%BD%D0%BD%D0%B0%D1%8F%
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In 1900, the “Northern Symphony (1st, heroic)” was written, depicting a conventional fantasy world associated with the Western European Middle Ages. In 1901-1902 Bely writes the "third symphony" "Return", in which the "false", "meaningless" earthly is opposed to the "eternal", "cosmic". In 1902 he began work on the "fourth symphony".

3). Argonauts. In 1901-1902 Bely met B.Ya. Bryusov (from whom he receives lessons in literary skill), D. S. Merezhkovsky and 3.N. Gippius, K. D. Balmont, writers close to the publishing house and the almanac "Vulture". Bely's attitude to the symbolist environment is ambivalent: being an adherent of the "new" art, he does not accept the "decadent" attitude from the "theurgic", Solovyov's positions. Religious and mystical searches bring Bely closer to Merezhkovsky and Z. Gippius, he publishes articles in their religious and philosophical journal Novy Put. She also publishes articles of a programmatic nature in the journal “World of Art” (“Forms of Art”, “Symbolism as a World View”), defending in them the idea of “true” symbolism, which carries the beginnings of the coming universal, theurgic creativity, embracing the fullness of the transfigured being. Similar ideas were shared by a group of like-minded people rallied around Bely (mainly students of Moscow University), who (in the autumn of 1903) formed a circle of “Argonauts”: Ellis, A. S. Petrovsky, V. V. Vladimirov, S. Solovyov, M. I. Sizov and etc. Members of the circle are united by the desire for a “life-creating” mythization of being, human relations, and artistic activity. One of the objects of worship of the "argonauts" is Blok's youthful lyrics: Bely contributed to the creation of a circle of "blokists" in Moscow even before the publication of Blok's first poetic cycles.

Bely called the beginning of 1900 "Years of Dawn". Bely’s Museum-Apartment presents “The Line of Life” (Slide 10) - an original chart diagram of the writer's spiritual biography, depicting periods of creative ups and downs with a detailed indication of what teachings and ideas, as well as what people influenced him in different years. She was painted by him in 1927.

4). Poetry. In 1904, the first collection of poems was published. “Gold in blue” (Slide 11) the object of Bely's worship is the sun: “The heart is lit by the sun. Sun to eternal swiftness. The sun is an eternal window into the golden dazzle. This poem is dedicated to Konstantin Balmont, the author of the book “Let's Be Like the Sun”, which inspired Bely to create the cycle that opens the collection. Bely transforms the myth of the Golden Fleece into a symbolic allegory about the life goals of his generation at the turn of the century. The program of the “argonauts” is expressed in the poems of the cycle. In the collection, the future appears in the guise, masks of antiquity (“Ancient in the flaming hour, which enveloped us in world ...”), former happiness, images of the former culture. In the culminating part “Purple in Thorns” in the center is the image of the crucifixion. In Christ, White sees the rebirth of the world. Around the Sun are images of people dear to the poet - his father and the Solovyovs, and even he himself sees himself crucified on a cross. In this collection, his denial of life is heard (“Life is gloomy and sad, like a coffin”), the word is embittered and contemptuous.

But already in the next collection, next to the image of the prophet, the image of a madman appears:

“I stood like a fool in my fiery crown,
In a gold tunic, fastened with amethyst, -
One, one, like a pillar, in remote deserts, -
And he was waiting for crowds of people on their knees.

The spiritual growth of the poet takes place surprisingly quickly.

In 1904, Blok came to Moscow, and Solovyov introduced them. Both are delighted with each other. 1905 - the beginning of a new period, which passed under the sign of at first idyllic, then dramatically hysterical, and at the end of Bely's hopelessly tragic love for Alexander Blok's wife . ( slide 12). In the spring of 1906 there was a break, and Bely left for Munich, and then for Paris. There is also a creative break, with Blok the poet, who replaces the Beautiful Lady with the image of the Stranger and the “Showroom”, which disgusts both Bely and Solovyov.

The personal tragedy is aggravated by the public one - the revolution of 1905 in Russia. He sees Russia not in the light of Solovyov's dawns, but through the prism of Nekrasov's lyrics. The collection is dedicated to Nekrasov "Ash"(1908) - pinnacle of Bely's creativity. The bright dawns of the Young Symbolists have also been burned, and the suffering Russian land is shrouded in ashes. Here it is no longer “gold in azure”, but “the lead of clouds, ominous taverns, the expanses of hungry provinces”:

“Fateful country, icy,
Cursed by an iron fate
Mother Russia, oh evil motherland,
Who played a joke on you like that?”

Self-burning of the lyrical I to ashes occurs in the compilation "Urn"( 1909). The heroine of many poems in the collection of L.D. Blok, who rejected the poet.

(Slide 13). Watching the video “Andrei Bely. Memory"

Dedicated to L.D. Blok. Readers: Boris Vetrov, Music: Anselme Pau, Video: olgiya

5). Analysis of the poem "Dedication" (1915)

I asked you for bread - they gave me a molten stone,
And, burnt, in a moment, the palm smokes stinkingly ...
So the fire cracked, and the flame dances under the sky.
They tell me: "Purple". They put it on at the stake.
Dancing purple stuck, peeling both skin and meat:
In an instant, a black, grinning mouth burst open to the ears.
Then you exclaimed: “He laughs enlightenedly ...”
And the thick-leaved laurel covered the terrible skull.

What symbolism do you see in the poem?

(the symbolic image of the prophet, as in ancient literature, by Pushkin and Lermontov; images of fire, bread, laurel; contrasting colors - red and black; alliterations r-r-r, asoances a-y)

6). Spiritual revival of Bely. From 1909, Bely's worldview marked a transition from pessimism and "self-immolation" to the search for the "way of life", the "second dawn". These moods were reflected in the poems of 1909-1911 - book "Queen and Knights" (1919).(Slide 14).

In 1909-1910, Bely’s spiritual revival was facilitated by the rapprochement with the novice artist Anna Alekseevna Turgeneva (Asya), who becomes his actual wife [the civil marriage was registered in Bern (Switzerland) on March 23, 1914]. Listening to the sound file “White. Ace". Shevchenko reads. (Slide 15).

Simultaneously with the termination of "Balance" (1909), Bely, Medtner and Ellis organized the publishing house "Musaget" - a center of symbolism of a religious-philosophical, cultural orientation; Bely attracts Vyach. to the nearest participation in Musagete. Ivanov and Blok (with whom he became close again in 1910). Bely's books are published in Musagete “Symbolism” (1910) and “Arabesques” (1911) (Slide 16) - the result of his work as a critic and theorist of the literary school in the 1900s.

From December 1910 to April 1911, Bely and his wife made a trip abroad (Sicily - Tunisia - Egypt - Palestine), discovering a new cultural world in which they are looking for living spiritual values, opposing them to decrepit “Europeanism”. The eastern journey marks one of the brightest and most creatively productive periods in Bely's life. His literary result is two volumes of “Travel Notes”

By order of the Musaget publishing house in 1914, Bely wrote a novel Petersburg.“Petersburg” is one of the highest achievements of Russian symbolism; its action unfolds against the background of the events of the revolution of 1905-1907 and absorbs the problems of the historical fate of Russia, sums up the symbolic results of the “western” period of its development. In Bely's novel, the "Petersburg" theme of Russian literature, embodied in the work of Pushkin, Gogol, Dostoevsky, finds its development. Combining high pathos with comedy-travesty motifs, lyrical-confessional intonations with satirical grotesque, revealing the characters' psychology in an unusual aspect, Bely creates a fundamentally new type of prose narrative. Petersburg acts as a symbol of the city of contradictions between East and West, this contradiction will lead the country to tragedy.

7). Anthroposophy studies. In April-May 1912, Bely and his wife lived in Brussels; in May 1912, in Cologne, they met with R. Steiner, the creator of the anthroposophical religious and mystical doctrine, and became his adherents. In anthroposophy, Bely sees the systemic embodiment of spiritual ideals, the achievement of the desired harmony between mystical and scientific knowledge. From March 1914 to August 1916, Bely was mainly in Dornach, near Basel (or in neighboring Arlesheim), where, under the leadership of Steiner, he participated in the construction of an anthroposophical center - the “temple-theater” of the Goetheanum . (Slide 17). Anthroposophy (and the related problem of man's inner self-knowledge) encourages Bely's in-depth attention to the autobiographical theme. From October 1915 to October 1916 he wrote the novel "Kotik Letaev", in which his own infantile experiences, the first perceptions of the world, are resurrected and comprehended. The novel was supposed to start a series of autobiographical works (subsequently continued by the novel "Baptized Chinese" 1921).

eight). Vasiliev. Kuchino. In 1916, Bely was called up for military service, he came to St. Petersburg and received a deferment. Bely approaches Claudia Nikolaevna Vasilyeva. Here he meets the February and then the October Revolution. Like Blok, he perceives her romantically.

In 1921-1922. he breaks up with Anna Alekseevna Turgeneva, with whom he was close for 14 years. In 1921, his best friend Blok died. In the same year, his mother Alexandra Dmitrievna Bugaeva passed away.

For freedom-loving thoughts, the father deprived his son of his inheritance, so the mother’s apartment after her death passed to strangers. For three years, Bely wandered around friends, other people's apartments, until in 1925 they found him a dacha at the Kuchino station, in the Livandovskys' house, and then the Shipovs' dacha. (Slide 18). This house has survived to this day. In 1994, a memorial plaque was installed on the house, and in 2005 a museum exposition was opened, a branch of the local history museum in Zheleznodorozhny.

In the 6-volume collected works we found 15 poems written in Kuchino. From this it follows that the six-year period of life here had a beneficial effect on his work, given the silence, wonderful nature and other conditions.

What was Kuchino near Moscow for Andrei Bely can be understood by listing only the most significant of what he wrote here .: resumed work on the novel "Moscow" In it, in a phantasmagoric form, he described his life in a house on the Arbat and the grotesque and dryish image of his father. (Slide 19) later reworked it into a drama; wrote a travelogue book "Wind from the Caucasus"; memories of Rudolf Steiner; (Slide 20) the second volume of the novel "Moscow"; began work on the first volume of a grandiose memoir trilogy "At the turn of two centuries", which has become a kind of encyclopedia of Russian life in the early 20th century; not to mention the literary articles, the correspondence that he conducted throughout his life with a huge number of brothers in the pen and various addressees. (Slide 21)

In the end, due to domestic troubles, Boris Nikolaevich and Klavdiya Nikolaevna would leave Kuchino in April 1931 and live first with Ivanov-Razumnik in St. Petersburg, then in Moscow on Plyushchikha. In the summer they go to Koktebel to see the writer Voloshin. Bely's last book will be a monograph on the rhythm of verse and poetics "Gogol's Mastery". Bely died due to psychological reasons. In 1934. In the obituary, the writers put his name next to the classics of Russian and world literature, for which the party authorities condemned the obituary.

Currently in the center "Memorial apartment of Andrey Bely" and in the central library of the city of Zheleznodorozhny (Slides 22,23) a lot of work is being done to study the life and popularize the work of the poet, writer, philosopher and literary critic Andrei Bely.

3. Consolidation of what has been learned. Crossword “Symbolism” (Slide 24).

References.

Andrei Bely. Alexander Blok. Moscow.\ Comp. M.L. Spivak, E.V. Nasedkina, A.E. Rudnik, M.B. Shaposhnikov. - M .: JSC "Moscow textbooks and cartolithography", 2005.
Egorova N.V., Zolotareva I.V. Lesson development sweat of Russian literature. 20th century. 11th grade. 1st half of the year. - 3rd ed., Rev. and additional – M.: VAKO, 2004.
Recordings from an excursion to the Shipovs' dacha in Kuchino.
kvartira-belogo.guru.ru

"Golden Fleece" Andrey Bely

(Dedicated to E.K. Medtner)

Golden, the ether will be enlightened
and burn with delight.
And sits over the sea
elusive solar shield.

And on the sea from the sun
golden tongues tremble.
Everywhere a reflection of gold
among bursts of anguish.

The breasts of the cliffs rose
in the midst of the trembling solar fabric.
The sun has set. Sobs
the cry of albatrosses is full:

“Children of the sun, again the cold of dispassion!
It rolled -
golden, ancient happiness -
The Golden Fleece!"

There is no radiance of the chervonets.
The lights of the day are fading.
But everywhere instead of the sun
dazzling purple fire.

The slope of the sky is enveloped in fire ...
And now the Argonauts fly into our horn
trumpet...
Pay attention, pay attention...
Enough suffering!
Put on your armor
from solar fabric!

Calling for himself
old argonaut,
calls out
pipe
golden:
"Behind the sun, behind the sun, loving freedom,
let's go on air
blue!.."

The old Argonaut calls for a solar feast,
trumpeting
to the golden world.

The whole sky is in rubies.
The ball of the sun rested.
All the sky in rubies
above us.
On the mountain peaks
our Argo,
our Argo,
ready to fly with golden wings
scored.

The earth is flying...
Wine
world
blazing
by fire
again:
then a fireball
shine
emerges
fleece
golden,
sparkling.

And, radiantly embraced,
day light,
that the torch is again lit,
rushing,
overtakes
our Argo is winged.

Overtakes again
his golden
fleece…

Analysis of Andrei Bely's poem "The Golden Fleece"

In 1903-1905. a group of symbolists formed around Andrei Bely, christened the circle of "Argonauts" by the poet and philosopher Ellis. This name arose thanks to Bely's poem "The Golden Fleece", created by Bely in 1903. It is a two part cycle. The Golden Fleece was first published in the World of Art magazine in 1904 as part of the article "Symbolism as a World View" and became a program work for a circle of adherents of the genre. In this poem, with the help of symbols, a whole philosophy was expressed, which the poet adhered to during this period.

To deal with encrypted ideas, consider the plot of the work. In the first part, the reader finds himself in the midst of a majestic seascape. The poet describes in detail the approach of sunset. Somewhere in the distance, mighty rocks rise, the surface of which the poet metaphorically calls the chest. The cries of albatrosses are heard, transmitted using direct speech.

The greatest attention is paid to the sun. In each of the five quatrains that make up this part of the work, there is at least one mention of the solar element, and the image of the sun is always associated with gold. The author compares the reflections of sunlight with the glitter of chervonets (coins of the Russian Empire, called chervonets, were minted from high-grade gold). The poet calls the rays penetrating the air with the epithet "solar fabric", and the glare on the water surface - "golden tongues". The sun itself is called the "golden fleece", a magical artifact that, according to ancient Greek mythology, bestows prosperity on its keeper.

The night is coming. Just as the last glow of the setting sun is about to fade, the sky in the west suddenly lights up red. The entire second part of the poem is devoted to the rapid movement of lyrical heroes - the Argonauts towards the sun, behind the "rune". It is important to note that the ship of travelers is also associated with the image of the sun - the author shows this with the help of epithets that characterize its appearance: "golden wings", "golden trumpet".

What is hidden behind these images? It is known that Andrei Bely shared the concept of the famous thinker V. S. Solovyov about the approaching end of the world. The poet, following the philosopher, imagined that Western civilization was dying out, but there would be a revival, which would begin thanks to the peoples of the East. We see the embodiment of this idea in images: a fire on the western "slope of the sky" - the collapse of European culture, the journey of the Argonauts - the search for a new meaning in the East. The Golden Fleece is a symbol of a happy future, it shows the way for the heroes.

In addition to a new complex of symbols, this poem gave Russian literature new methods of versification. For example, the arrangement of words in a column was used for the first time, adopted by many famous poets. In addition, Andrei Bely was one of the first to write the words of a new line with a lowercase letter, which is often found in the lyrics not only of symbolists, but also of representatives of other literary movements.

In 1922, in a letter to B. A. Pilnyak, whom the then critics considered a follower and imitator of Andrei Bely, he writes: White cannot be imitated without accepting it as a whole, with all its attributes, as a kind of peculiar world, as a planet on which its own - peculiar - plant, animal and spiritual worlds.

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Subject:

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"Golden Fleece of A. Bely".

The work was done by:

Prokofieva Olesya
Senchenkova Nastya
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Head: O.V. Shkunov.

2015

About the poet.

Bely's creativity in criticism.

About the poet.

Andrei Bely (pseudonym of Boris Nikolaevich Bugaev) (1880-1934) - Russian writer, poet, prose writer, critic, memoirist. One of the leading figures of symbolism.

Andryusha Bely was born into the family of a prominent mathematician and Leibnizian philosopher Nikolai Vasilievich Bugaev, dean of the Faculty of Physics and Mathematics of Moscow University. Mother, Alexandra Dmitrievna, nee Egorova, is one of the first Moscow beauties. Andrei grew up in a highly cultured atmosphere of "professorial" Moscow. The complex relationship between the parents had a heavy impact on the child's emerging psyche, predetermining in the future a number of oddities and conflicts between Bely and those around him.

Andrei Bely graduated in 1899 from the best private gymnasium in Moscow, L. I. Polivanov, and in 1903 from the natural department of the Faculty of Physics and Mathematics of Moscow University. In 1904 he entered the Faculty of History and Philology, but in 1905 he stopped attending classes, and in 1906 he filed a request for expulsion in connection with a trip abroad.

In 1901-03, Andrei Bely enters the environment, first of the Moscow symbolists, grouped around the publishing houses "Scorpion" (V. Ya. Bryusov, K. D. Balmont, Yu. K. Baltrushaitis), "Vulture" (S. Krechetov and his wife N I. Petrovskaya, the heroine of the love triangle between her, Bely and Bryusov, which is reflected in the latter's novel "The Fiery Angel"), then gets acquainted with the organizers of the St. Petersburg religious and philosophical meetings and the publishers of the magazine "New Way" D. S. Merezhkovsky and Z. N Gippius.

From January 1903, he began a correspondence with A. A. Blok (personal acquaintance since 1904), with whom he was connected by years of dramatic "friendship-enmity". In the autumn of 1903, he became one of the organizers and ideological inspirers of the life-creating circle of "Argonauts" (Ellis, S. M. Solovyov, A. S. Petrovsky, M. I. Sizov, V. V. Vladimirov, A. P. Pechkovsky, E. K. Medtner and others), who professed the ideas of symbolism as religious creativity (“theurgy”), the equality of “texts of life” and “texts of art”, love-mystery as a path to the eschatological transformation of the world. "Argonautic" motifs developed in Bely's articles of this period, published in World of Art, New Way, Scales, Golden Fleece, and also in the collection of poems Gold in Azure (1904). The collapse of the "Argonautic" myth in Bely's mind (1904-06) occurred under the influence of a number of factors: the shift of philosophical guidelines from the eschatology of Nietzsche and Solovyov to neo-Kantianism and the problems of the epistemological justification of symbolism, the tragic ups and downs of Bely's unrequited love for L. D. Blok (reflected in the collection "Urn", 1909), a split and fierce magazine controversy in the symbolist camp.

The events of the revolution of 1905-07 were perceived by Andrei Bely at first in line with anarchist maximalism, but it was during this period that social motives, “Nekrasov’s” rhythms and intonations actively penetrate into his poetry (collection of poems “Ashes”, 1909).

1909-10 - the beginning of a turning point in Bely's worldview, the search for new positive "ways of life." Summing up the results of his previous creative activity, Andrei collects and publishes three volumes of critical and theoretical articles ("Symbolism", 1910; "Green Meadow", 1910; "Arabesques", 1911). Attempts to find a "new soil", a synthesis of West and East, are palpable in the novel Silver Dove (1910). The beginning of the revival ("second dawn") was the rapprochement and civil marriage with the artist A. A. Turgeneva, who shared with him the years of wandering (1910-12, Sicily - Tunisia - Egypt - Palestine), described in two volumes of "Travel Notes" (1911 -22). Together with her, Bely also experienced a new period of enthusiastic apprenticeship with the creator of anthroposophy, Rudolf Steiner (since 1912). The highest creative achievement of this period was the novel Petersburg (1913; abridged edition - 1922), which concentrated the historiosophical problems associated with summing up Russia's path between West and East, and had a huge influence on the greatest novelists of the 20th century. (Marcel Proust, J. Joyce and others).

In 1914-16, Andrei Bely lived in Dornach (Switzerland), participating in the construction of the anthroposophical temple "Goetheanum". In August 1916 he returned to Russia. In 1914-15 he wrote the novel Kotik Letaev, the first in a planned series of autobiographical novels (continued with the novel The Baptized Chinese, 1927). He perceived the beginning of the First World War as a universal disaster, the Russian Revolution of 1917 as a possible way out of the global catastrophe. The cultural-philosophical ideas of that time were embodied in the essay cycle “On the Pass” (“I. The Crisis of Life”, 1918; “II. The Crisis of Thought”, 1918; “III.

Crisis of Culture", 1918), essay "Revolution and Culture" (1917), poem "Christ is Risen" (1918), collection of poems "Star" (1922).

In 1921-23, Andrei Bely lives in Berlin, where he experiences a painful separation from R. Steiner, a break with A. A. Turgeneva, and finds himself on the verge of a mental breakdown, although he continues his active literary activity. Upon returning to his homeland, he makes many hopeless attempts to find

living contact with Soviet culture, creates a novel dilogy "Moscow" ("Moscow eccentric", "Moscow under attack", both 1926), the novel "Masks" (1932), acts as a memoirist - "Memories of Blok" (1922-23) ; trilogy "At the Turn of Two Centuries" (1930), "The Beginning of the Century" (1933), "Between Two Revolutions" (1934), writes theoretical and literary studies "Rhythm as Dialectics and The Bronze Horseman" (1929) and "Gogol's Mastery" (1934). However, the “rejection” of Bely by Soviet culture, which lasted during his lifetime, continued in his posthumous fate, which was reflected in the long underestimation of his work, overcome only in recent decades.

Analysis of poems: "Dedication", "To Friends", "From the Car Window".

"Dedication".

1. This poem was written by A. Bely in 1915.

2. Features of poetics: The poem "Dedication" is stylized as antiquity and evokes memories of the tragic fate of the Pushkin and Lermontov prophets.

3. Lyrical hero: The lyrical hero does not just suffer, he burns in the flames of a fire. And only then will his "terrible skull" be crowned with laurels.

4. Peculiarities of rhyme, rhythm and meter: The poem is written in blank verse - verse is metrically organized, but without rhyme.

5. Symbolic images: Note the symbolic images of fire, bread, laurel; disturbing colors: purple combined with black; bright instrumentation of the poem: assonances (a wide “a” is replaced by a drawn out, narrow “y”) and alliteration (rolling, powerful sound “p”).

"From the car window".

1. Creative history: Andrey Bely's poem "From the Car Window" was written by him in 1908. It was included in the Ashes collection, which is a kind of book of grief for the beloved homeland.

2. Theme and idea: The main theme of the work is the theme of the homeland. The theme of chaos is also traced - a cross-cutting theme of the collection - it is especially accentuated in this work.

The idea of self-immolation and death: but death itself is only a veil that closes the horizons of the far, in order to find them in the near. This is shown in the boundless, "empty", "terrible", hungry spaces of Russia, in which a people tormented by disease, hunger and drunkenness is doomed to dispersion:

“The villages fly over the villages, The whole flies over the villages ... There are wretched flocks of huts, There are wretched flocks of people ...”

3. The lyrical hero of this poem refers to his homeland with a feeling of love-hate, love-pity, he empathizes with the real situation in Russia.

4. Peculiarities of rhyme, meter and rhythm: The dynamics of the external relative movement is deliberately emphasized (“they fly by - behind the villages of the village”), it is rhythmic in relation to the fast movement of the train, but it is precisely both semantics and rhythm that create monotony as the main impression of a holistic and unified Russia. The size is anapest. Rhyme is circular.

5. This poem is reminiscent of Nekrasov's images: taverns, churchyards, "wretched flocks of huts." The combination of the hopeless loneliness of the lyrical hero and the severe dumbness of the motherland emphasize the expressiveness of the tragic situation:

Mother Russia! You my songs

O mute, stern mother!

Here and in the wilderness give me and obscure

Unlucky life to tear.

6. This work carries a deep meaning, it sometimes reveals to us the sad side of life, makes us think about a lot ...

I advise everyone to read it in order to really understand and feel the spirit that ruled the White at that time.

"Friends".

1. Creative history: The poem "To Friends" is the most fatal and prophetic poem in the work of Andrei Bely. The lines of this poem became prophetic, for Andrei Bely died from the consequences of a sunstroke, which he received in 1933 while on vacation in Koktebel in the Crimea:

“I believed in golden brilliance, but died from solar arrows”

2. Theme and idea: In A. Bely's poem "To Friends" the theme of death can be traced.

3. Lyrical hero: deaf despair squeezes the soul. He asks not to forget about him, to love him. But in the final lines of this poem, the faith of the lyrical hero in our Immortality is felt:

"I may not have died, perhaps I'll wake up - I'll be back!"

4. The main features of the poetic language at the level of phonetics, vocabulary, morphology or syntax: The poem "To Friends" is the most beautiful, richest of all poems by A. Bely. The lines and stanzas of which humiliate themselves, shimmer with assonances, alliterations, rich "instrumentation" of letters, syllables and words.

5. This poem encourages us to think about our lives, to think about immortality. The poem with the innocent title "To Friends" takes on a philosophical meaning.

Bely's creativity in criticism.

Throughout his creative, writing path, from the first steps to

In recent days, Andrei Bely heard and read directly opposite reviews about himself: some called him a genius, others - mediocrity, some saw revelations in his works, others considered them nonsense. And this is at the same time, about the same works. And he himself believed in his gift and in his work, and painfully doubted both ...

D. P. Svyatopolk-Mirsky wrote about Bely: “Telling about the life of Blok, I mentioned several times the name of another remarkable writer - Andrei Bely. Blok was the greatest, but Andrei Bely is certainly the most original and most influential of all the Symbolists. Unlike Blok, who was most attracted by the past with its great romantics, Bely was entirely turned to the future and, of the Symbolists, he was closest to the Futurists. Even today he is far ahead of all the Symbolists in the strength of his influence; he is perhaps the only symbolist who participates in literary development as an active force. In particular, his prose had a great influence, which revolutionized the style of Russian writers. Bely is a more complex figure than Blok, and indeed all other symbolists; in this sense he rivals the most complex and embarrassing figures in Russian literature, Gogol and Vladimir Solovyov, who had no small influence on Bely himself.

Georgy Adamovich: “With Bely, everything was always half to the wind, and like the wind, everything swept through his mind without taking root. In essence, Andrei Bely had only his susceptibility as a genius. He responded to everything, grasped any thought on the fly, abandoned it before he had time to think it through, moved on to something new, left this too - he was all torn apart by mutually hostile aspirations and attractions. But behind impressionability there was almost nothing.

Feedback from Sergei Yesenin: “We owe a lot to Andrei Bely, his amazing length of words from firmament to

universe. It is, as it were, fashioned out of space.<...>

In "Kotik Letaev" - the most brilliant work of our

time - he scooped up in a word the very thing that we thought about only in the shadows of thoughts, in reality he pulled out the tail of a dove he dreamed of in a dream and clearly outlined the possibilities hidden from us to separate the soul from the body, as from scales.

Sergei Yesenin's review of Andrei Bely's novel is called "Father's Word".

VF Khodasevich: On January 8, Andrey Bely (Boris Nikolaevich Bugaev) died of arteriosclerosis. It would be naive in a brief note to try to give at least some even approximate description of his activities. He was a man marked not by talent, not by talent, but by undoubted genius. Many circumstances, personal and socio-literary, prevented him from fully deploying his forces. Eternally restless, eternally agitated to the very depths of his soul, he did not accomplish all that a man gifted by nature as generously as Andrei Bely could have done. Everything he did was wonderful, but the stamp of haste, incompleteness, sometimes a breakdown, lay on almost everything. Perhaps it was precisely the spiritual forces, as if beating over the edge of his physical composition, that were the reason for this. With all that, Bely's literary legacy is enormous.

And a week later, on January 16, 1934, an article by the critic A. A. Bolotnikov "Andrey Bely" appeared in Literaturnaya Gazeta, "correcting" and refuting the obituary: "It would be a reactionary statement to include Bely in the classics of world literature, since such a statement does not correspond to the true state of affairs ... "

Vl. Muravyov: “Andrei Bely is a great stylist, but at the same time, first of all, he sets as his task the word as accurately as possible to convey the feeling, the movement of thought and keenly feels their inexpressibility (“how the heart can express itself”),

therefore, he searches, searches for an exact verbal correspondence, developing, clarifying, attaching a definition to a definition, word to word, and despite the inexpressibility of feeling in a word, he achieves an amazing convergence of them.

Bibliography:

1. Russian poetry of the 19th - early 20th centuries. - M., 1990.

2. Great Soviet Encyclopedia - M., 1970.

3. Bryusov V., Far and near - M., 1988.

4. Dolgopolov L. K., Andrei Bely and his novel "Petersburg" - L., 1986.

5. Berdyaev N.A. Russian Idea Vopr. philosophy. - M., 1990.

6. K.N. Bugaeva "Memories of A. Bely".

7. Symbolism as a worldview. - M., 1994.

8. Poems and poems. (Library of the poet. Large series). - M.; L., 1966.