By Ronald E. Peterson
The period of Russian Symbolism (1892-1917) has been known as the Silver Age of Russian tradition, or even the second one Golden Age. Symbolist authors are one of the maximum Russian authors of this century, and their actions helped to foster some of the most major advances in cultural lifestyles (in poetry, prose, song, theater, and portray) that has ever been noticeable there. This e-book is designed to function an advent to Symbolism in Russia, as a stream, an inventive technique, and an international view. the first emphasis is at the heritage of the flow itself. recognition is dedicated to what the Symbolists wrote, stated, and notion, and on how they interacted. during this context, the most actors are the authors of poetry, prose, drama, and feedback, yet area is usually dedicated to the real connections among literary figures and artists, philosophers, and the intelligentsia often. This extensive, distinctive and balanced account of this era will function a typical reference paintings an motivate additional learn between students and scholars of literature.
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Extra resources for A History of Russian Symbolism
This book was also quite successful and went through six editions by 1917. In the more than one hundred poems it contains, Balmont concentrates on shadows, sadness, flowers in swamps, a dying swan, restless dreams, the blessed peace of death, and love. He contrasts the sunny south to the cold, gloomy, prison-like north; and he explains why he threw himself out the window in 1890: he was trying to be free and forget the sadness of his married life, but he lived because death told him to live out his life and serve another destiny.
In his preface, he takes a moderate stance, trying to encompass all types of poetry in his credo — "the ultimate goal of art is to express the totality of the artist's soul" — and yet he still favored the "new art" because of its greater freedom in all areas. 29 The poems in this collection, written from 1897 through 1900, include a section called "Favorites of the Centuries," which centers on figures from ancient Rome, Greece, Egypt, the Bible, and early history, plus the Middle Ages and Russian history.
Pertsov, noted that same year that a division within Symbolism was already identifiable, especially between Symbolists in Petersburg and Moscow. Bryusov also admitted that there was no unity in the movement. In spite of the absence of a single school, however, Bryusov felt that the appearance of Symbolism in Russia was not accidental, that it had to happen, and that it had to be considered as valid. The somewhat scattered, individual efforts seemed like a shallow reflection of a restless mood to many, who often criticized without making any attempt to understand the philosophical and theoretical notions behind the writings.