Who are acmeists. Russian acmeism as a literary trend - the main features and representatives. What was acmeism based on

"To the earthly source of poetic values"

Lydia Ginzburg

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

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 "Ivanovo 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 in the "workshop" to poetry as a purely professional field activities. "Workshop" was a school of 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 man), 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 whole line poetic 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 his 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”, opposed 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.

The 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 in 1921 of Gumilyov put an end to further development 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 " Silver Age". Volume two: Acmeists. Leningrad: Leningrad University Press, 1991

Acmeism (from Greek akme- the highest degree of something, flourishing, maturity, peak, tip) - one of the modernist trends in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism. Acmeists united in the group "Workshop of Poets", in 1912-1913. published the journal "Hyperborea". 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 1913 in No. 1 of the Apollo magazine (the literary organ of the group during its heyday) , edited by S. Makovsky.

Acmeism did not put forward a detailed philosophical and aesthetic concept. Poets shared the views of the Symbolists on the nature of art, absolutizing the role of the artist. But they called for a cleansing of poetry from the use of vague allusions and symbols, proclaiming a return to the material world and accepting it as it is.

For acmeists, the impressionist tendency to perceive reality as a sign of the unknowable, as a distorted likeness of higher entities, turned out to be unacceptable. Acmeists valued such elements of the artistic form as stylistic balance, pictorial clarity of images, precisely measured composition, and sharpness of details. In their poems, the fragile facets of things were aestheticized, an atmosphere of admiration for everyday, familiar trifles was affirmed.

Basic principles of acmeism:

• the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it;
• rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness;
• the desire to give the word a specific, precise meaning;
• objectivity and clarity of images, sharpness of details;
• an appeal to a person, to the "authenticity" of his feelings;
• poetization of the world of primordial emotions, the primitive biological natural principle;
• echo with past literary epochs, the broadest aesthetic associations, "longing for world culture"

Acmeists have developed subtle ways of conveying inner world lyrical hero. Often the state of feelings was not revealed directly, it was conveyed by a psychologically significant gesture, by listing things. A similar manner of reification of experiences was typical, in particular, for many poems by A. A. Akhmatova.

O. E. Mandelstam noted that acmeism is not only a literary, but also a social phenomenon in Russian history. Together with him, moral strength was revived in Russian poetry. Depicting the world with its joys, vices, injustice, acmeists defiantly refused to decide social problems and affirmed the principle of "art for art's sake".

After 1917, N. S. Gumilyov revived the "Workshop of Poets", but as an organized trend, acmeism ceased to exist in 1923, although there was another attempt to restore this literary movement in 1931.

The fate of the acmeist poets developed differently. The leader of the Acmeists N. S. Gumilyov was shot. O. E. Mandelstam died in one of Stalin's camps from extreme exhaustion. A. A. Akhmatova suffered severe hardships: her first husband was shot, her son was arrested twice and sentenced to hard labor in the camp. But Akhmatova found the courage to create a great poetic testimony of the tragic era - "Requiem".

Only S. M. Gorodetsky lived a fairly prosperous life: abandoning the principles of acmeism, he learned to create “according to the new rules”, obeying the ideological demands of the authorities. In the 1930s created a number of opera librettos (“Breakthrough”, “Alexander Nevsky”, “Thoughts about Opanas”, etc.). During the war years, he was engaged in translations of Uzbek and Tajik poets. AT last years life Gorodetsky taught at the Literary Institute. M. Gorky. He passed away in June 1967.

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

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

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 transience, momentary being, a kind of mystery covered with a halo of mysticism, then as a cornerstone in poetry acmeism put a realistic view of things. The hazy unsteadiness and fuzziness of symbols were replaced by precise verbal images. Word, according to acmeists had to acquire its original meaning.

The highest point in the hierarchy of values ​​for them was culture, identical to universal human memory. That's why it's so common acmeists appeals to mythological subjects and images. If the Symbolists in their work were guided by music, then acmeists- on spatial arts: architecture, sculpture, painting. The attraction to the three-dimensional world was expressed in the passion acmeists 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 as conceptual as symbolism, and in this respect they are undoubtedly in a succession.

hallmark acmeist circle of poets was their "organizational cohesion." Essentially, 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 acmeism, 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 commonwealth, calling themselves " acmeists”, i.e. the top. At the same time, the "Workshop of Poets" as an organizational structure was preserved - acmeists remained in it as an internal poetic association.

Main Ideas acmeism were outlined in program articles N. Gumilyova"The legacy of symbolism and acmeism” and S. Gorodetsky “Some trends in modern Russian poetry”, published in the journal Apollo (1913, No. 1), edited by S. Makovsky. The first of them said: “The symbolism is being replaced by a new direction, no matter how it is called, acmeism whether (from the word akme - the highest degree of something, blooming time) or adamism (a courageously firm and clear view of life), in any case, requiring a greater balance of power and more accurate knowledge of the relationship between subject and object than was in symbolism . However, in order for this trend to assert itself in its entirety and be a worthy successor to the previous one, it must accept its legacy and answer all the questions it posed. The glory of the ancestors obliges, and symbolism was a worthy father.

S. Gorodetsky believed that “symbolism… having filled the world with ‘correspondences’, turned it into a phantom, important only insofar as it… shines through other worlds, and belittled its high inherent value. At acmeists the rose has again become good in itself, with its petals, smell and color, and not with its conceivable likenesses with mystical love or anything else.

In 1913, Mandelstam's article " Morningacmeism”, which was released only six years later. The delay in publication was not accidental: acmeistic Mandelstam's 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 Excellent Clarity,” which anticipated the appearance of declarations acmeism. By the time the article was written, Kuzmin was already a mature person, he had experience of cooperation in symbolist periodicals. Otherworldly and vague 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 acmeists: “beautiful clarity” turned out to be in demand by the majority of participants in the “Workshop of Poets”.

Another "forerunner" acmeism can be considered Ying. 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. But the simplicity and clarity of his poetry was well learned 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 acmeism as an established literary movement.

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

Acmeism As a literary trend, it united exceptionally gifted poets - Gumilyov, Akhmatova, Mandelstam, the formation of creative individuals of which took place in the atmosphere of the "Workshop of Poets". Story acmeism can be considered as a kind of dialogue between these three prominent representatives of it. However, from "pure" acmeism The adamism of Gorodetsky, Zenkevich and Narbut, who made up the naturalistic wing of the current, was significantly different from the above-mentioned poets. The difference between the Adamists and the Gumilyov-Akhmatova-Mandelstam triad has been repeatedly noted in criticism.

as a literary movement 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 direction. 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 “for acmeists there is a gap between practice and theory”, and “their practice was purely symbolist”. This is where he saw the crisis. acmeism. However, Bryusov's statements about acmeism always been sharp; He first stated that "... acmeism- fiction, whim, metropolitan fad "and foreshadowed:" ... most likely, in a year or two there will be no acmeism. 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 no, 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 acmeist line. Poets united under his wing, identifying themselves with the school acmeism: S. Neldichen, 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 tragic death N. Gumilyov.

The creative fate 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 commonwealth; G. Ivanov and G. Adamovich continued and developed many principles acmeism in exile; on V. Khlebnikov acmeism did not have any noticeable effect. AT Soviet time poetic manner acmeists(mainly N. Gumilyov) were imitated by N. Tikhonov, E. Bagritsky, I. Selvinsky, M. Svetlov.

In comparison with other poetic trends of the Russian Silver Age acmeism in many respects it is seen as a marginal phenomenon. It has no analogues in other European literatures (which cannot be said, for example, about symbolism and futurism); all 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 is acmeism 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 survived mainly because it is associated with the work of these outstanding poets who had significant influence 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;
- an 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."

Greek - the highest flourishing) - a direction in Russian poetry at the beginning. XX century, who advocated the poeticization of feelings, the accuracy of the meaning of words (A. Akhmatova, N. Gumilyov, O. Mandelstam, etc.).

Great Definition

Incomplete definition ↓

ACMEISM

from the Greek akme - the highest degree of something, blooming power), a trend in Russian poetry of the 1910s. Acmeism arose from the literary school "Workshop of Poets" (1911–14), which was headed by N. S. Gumilyov and S. M. Gorodetsky, A. A. Akhmatova was the secretary, this school included G. V. Adamovich, V. V. Gippius, M. A. Zenkevich, G. V. Ivanov, O. E. Mandelstam, V. I. Narbut and others. Acmeism as a new literary trend was proclaimed in 1913 in the articles - literary manifestos of N. S. Gumilyov (“The Heritage of Symbolism and Acmeism”) and S. M. Gorodetsky (“Some Trends in Modern Russian Poetry”), publ. in the Apollo magazine close to the Poets Workshop. Later, the principles of this trend were formulated by O. E. Mandelstam (primarily in the article "Morning of Acmeism", 1919). N. S. Gumilyov, S. M. Gorodetsky, A. A. Akhmatova, O. E. Mandelstam, M. A. Zenkevich, V. I. Narbut became poets who declared themselves as participants in a new trend. The literary declarations and creativity of the acmeists are characterized by a repulsion from the previous literary trend - symbolism, from the polysemy of words and allegory inherent in symbolism. Accuracy, objectivity of the word, focus on its direct meaning, rejection of mysticism and adherence to the values ​​of earthly existence are the hallmarks of acmeism. In the poetry of acmeists, differences prevail over common features, therefore the unity of acmeism was largely conditional. The "core" of this trend was N. S. Gumilyov, A. A. Akhmatova, O. E. Mandelstam. Their poetry brings together high role citation, setting for a dialogue with the world poetic tradition.

Acmeism is one of the modernist trends in Russian poetry.

It had to flourish.

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 outraged by the harsh criticism of one of them, Nikolai Gumilyov, and created their own association with a somewhat artisanal name "Poets' Workshop".

But already in the very name slips the 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 Sergey Gorodetsky, published in these journals a kind of software manifests new poetic movement.

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;
• man with his authentic, pristine, one might even say biological emotions, and not fictitious, sleek and varnished feelings and experiences - that's a worthy hero of real poetry;
• acmeists should not reject the past literary epochs, but to take from them aesthetically valuable principles, to have an inextricable link 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" consisted not only of poets who were 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

• - 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.
• - an unusual and talented personality, 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.
• - pride, glory, pain and tragedy of Russian poetry. The poetic soul of this courageous woman gave birth to piercing words about the great mystery of love, putting her poems among the beautiful creations of immortal Russian literature.
• - a poetically gifted young man, subtly feeling 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.