Journey for the Golden Fleece by Andrei Bely message. Creative work (research) on literature

Journey for the Golden Fleece

Andrei Bely (1880—1934)

Objective of the lesson: give an idea of ​​personality and literary creativity writer, to show the features of his poetics.

Lesson equipment: portrait of A. Bely, collections of his poems, novel “Petersburg”.

Methodical techniques: teacher's lecture, analytical reading.

Lesson progress

I. Examination homework

Reading and analysis of several poems by Balmont, discussion in class.

II. Teacher's word

Boris Nikolaevich Bugaev grew up in the family of a mathematics professor at Moscow University, and graduated from the natural sciences department of the physics and mathematics department of this university. While still at the gymnasium, he became close to the family of his brother Vladimir Solovyov, and was friends with his idol’s nephew, Sergei Solovyov. Religious philosophy and poetry Vl. Solovyova fascinated young people and determined their first creative experiences. Under the influence of the Solovyov family, Bugaev’s pseudonym, Andrei Bely, arose.

In the fall of 1903, Bely organized a literary circle, which included his friends S. Solovyov, Ellis (Lev Kobylinsky), A. Petrovsky and others. Ellis came up with the name for this circle - “Argonauts”. Like the ancient Greeks, young writers “traveled” for their “golden fleece” - a new word that could actively contribute to the transformation of the world. The subject of constant discussion of “The Argonauts” is the lyrics of Alexander Blok, a distant relative of S. Solovyov. In January 1904, Bely and Blok met personally and developed into many years of fraternal and creative friendship. Gradually, an association of “young symbolists” emerged.

Andrei Bely was a man of rare talent: a lyric poet, a prose writer who created a new type of novel, a researcher of Russian and world culture, a literary theorist, a critic and publicist, and a memoirist. The writer attached particular importance to the musical beginning of life and creativity. Bely began with prose “symphonies”, in which the narrative was structured as a dispute of contrasting “musical” themes - a passionate impulse to spiritual heights was contrasted with the ugliness of reality. In the first collection of poems and lyrical prose, “Gold in Azure” (1904), conquering rocky mountain peaks or flying towards the sun symbolized a breakthrough from everyday life to eternity, to a mystical ideal. The poem “The Sun” was dedicated to Balmont, the author of “Let’s Be Like the Sun”

The heart is lit by the sun.

The sun - to the eternal swiftness.

The sun is an eternal window

Into golden dazzling.

The jubilant attitude was crowded out by the influx of “mystical horrors” that Bely saw in contemporary Russia. From supermundane heights the writer turns to the earthly, Russian, peasant in the 1909 collection “Ashes” with an epigraph from Nekrasov. The image of ashes had a double meaning: the “burnt” bright dawns of the “Young Symbolists” and the suffering Russian land covered in ashes. Here there is no longer gold and azure, symbols of spiritual ecstasy, but “lead clouds, ominous taverns, “expanses of hungry provinces” (“Motherland”, “Despair”, “Merry in Rus'”). In the poem “Motherland” (we read) the rhetorical question sounds tragically:

Doomland, icy,

Cursed by iron fate -

Mother Russia, oh evil homeland,

Who made fun of you like that?

III. Reading and analysis of poems

1. " From the carriage window».

— What literary associations does the poem “From the Car Window” evoke in you?

(The poem “From the Carriage Window” is reminiscent of Nekrasov’s images: taverns, churchyards, “wretched flocks of huts.” The combination of the hopeless loneliness of the lyrical hero and the harsh muteness of the motherland emphasizes the expressiveness of the tragic situation:

Mother Russia! My songs for you,

O dumb, stern mother! —

Here, give me something more remote and more obscure

To weep off your unlucky life.)

- Describe the lyrical hero of the poem.

(The lyrical hero is a tramp, a hanged man, a wretched man. He is possessed by feelings of rejection and loneliness. They are shaded and intensified by the rhythms of a dashing, desperate dance:

What is there to think, what to expect,

Blow, spit - don't care:

Don't give a damn and trample

Have fun, drink and eat.)

-What is the ending of the poem?

(This poem ends (“Fun in Rus'”), named, by the way, with Nekrasov’s eerie sarcasm: “Over my native country / Death has risen.”)

2. The image of death, and one’s own death, and in a poem with the innocent title “ Friends"(1907):

Believed in golden glitter

And he died from solar arrows.

I measured the centuries with the Duma,

But I couldn’t live my life.

Have pity, come;

I will rush towards you with a wreath,

Oh, love me, love me -

Maybe I didn't die, maybe

I'll wake up -

3. " Dedication».

Like Bryusov, Bely also developed an urban theme. In the “City” cycle, echoes of street rallies and demonstrations of 1905 are heard, and the tense atmosphere of the time is palpable.

The “self-burning” of the lyrical “I” to ashes occurs in the collection “Urna” (1909), dedicated to V. Ya. Bryusov. The poet collected the “ashes” of his experiences into an “urn” of form, honed in the traditions of Pushkin, Baratynsky, and Tyutchev. The heroine of many poems in this collection is L. D. Blok, a stern “snow maiden” who rejected the suffering lyrical hero.

— What are the features of the poetics of the poem “Dedication”?

(The image of a burning fire in the poem Dedication’ (1915), stylized as antiquity and evoking memories of tragic fate Pushkin and Lermontov prophets.

Here the poet not only suffers, he burns in the flames of a fire, and only then is his “terrible skull” crowned with laurels.)

- Which symbolic images can you mark?

(Let us note the symbolic images of fire, bread, laurel; disturbing colors: purple in combination with black; the poem’s bright instrumentation: assonance (a wide “a” is replaced by a drawn-out, narrow “u”) and alliteration (a rolling, powerful sound “r”).

IV. Final words from the teacher

Bely the poet has been supplanted in modern consciousness by Bely the prose writer, whose “Petersburg” (1914) became one of the pinnacles of the European novel. The image of St. Petersburg, traditional for Russian literature, was transformed into a symbol by Bely. The image of Russia, an eastern country that has chosen one of the most beautiful European cities as its capital and is torn between East and West, is contradictory; this contradiction embodies the inevitable future tragedy of the country.

Bely shortened the distance between verse and prose—rhythmic, melodious. In all manifestations of his multifaceted gift, he remained a lyricist. He was one of the most original and insightful minds of the twentieth century. “Brilliant, strange,” Blok wrote about him. Andrei Bely valued the creative process itself more than the result, experimenting uncontrollably to renew the art of words.

V. Test on the creativity of A. Bely (see Appendix at the end of the book)

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

Equipment:

• Presentation.
• Texts of poems by A. Bely.

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

Lesson plan.

1. Poll on the topic “Symbolism”.

2. Teacher's lecture

1). The Bugaev family.

2). The influence of the Solovyovs. Watch a video about “Symphonies”.

3). Argonauts.

4). Poetry. Watch a video on the poem “Memory”.

5) Analysis of the poem “Dedication”.

. Listening to a sound file with the poem “Ace”.

7). Anthroposophy classes.

8). Vasilyeva. Kuchino.

3. Consolidation of what has been learned. Solving the crossword puzzle “Symbolism”.

Lesson progress

1. Poll on the topic “Symbolism”. ( Slide 2).

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

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

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

2). What groups did the Symbolists divide into? Name the representatives of each group?

(In the last decade of the 19th century, the “senior symbolists” were 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), etc. The ideologists and masters of the senior symbolists were D. Merezhkovsky and V. Bryusov. The “senior symbolists” are often called impressionists and decadents.

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

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

(The older symbolists understood symbolism as a literary school. The Moscow wing, grouped around Bryusov, limited the tasks of the new movement to the literary framework itself. 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.

1). The 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, privat-docent of Moscow University Rakhmanov on Arbat, where the Pushkin museum-apartment is now located. All professorial Moscow visited here. Nikolai Vasilyevich was interested in philosophy, psychology, history and politics, was fond of chess, was a fierce debater, wrote humorous poems and even wrote the libretto of the opera “Buddha”. Even Leo Tolstoy visited Bugaev. The professorial world of childhood largely determined Bory's future fate. He studied at the famous private gymnasium of Lev Ivanovich Polivanov, and then entered the natural sciences department of the Faculty of Physics and Mathematics of Moscow University. The father's beginning is intellectual, the mother's beginning is lyrical. Mother and father were an unusual couple. “...my feelings were torn between them. It is difficult to find two people as opposite as parents... the power of thought and hurricanes of contradictory feelings... a weak-willed husband of science in everyday life... and a mother who overflows 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, née Egorova, was an emotional, impetuous, artistic person who played the piano. No wonder Boris will write later works of art with an unusual rhythmic structure, which he will call “symphonies”. Bori's passion for poetry and emotionality come from his mother. And the perception of beauty too. ( Slide 5). From the balcony of the dining room, facing Denezhny Lane, young Borya Bugaev was enchanted by the dawns and sunsets over the domes of the old Novodevichy Convent, seeing 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 ( Slide 6) and the brother of the philosopher Vladimir Solovyov, and their son, Sergei Solovyov, became a symbolist poet and Bory’s best friend. “Since 1987, the Solovievs have become my second homeland,” writes Bely. It was from the Solovyovs that he came up with a pseudonym in honor of the highly revered Apostle Andrew the First-Called in Rus', and White means “pure, ideal,” the color of the apocalypse. It was the Solovyovs who appreciated the talent of Bori Bugaev and helped release the first book “Symphony (2nd dramatic)” in 1902 (Slide 7) , which he dedicated to his first Muse, Claudia Mikhailovna Morozova (Slide 8).

In 1899-1900 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 premonitions of a new era, a mystical transformation of all things. 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 quest in the individual genre of “symphonies” - lyrical, rhythmic narrative prose with a fluid plot and cross-cutting themes, focused on the laws of musical composition and allowing one to convey “the spiritual consonance of the surrounding world in all its sides, parts and manifestations.” .

(Slide 9). Watch a video broadcast on the “Culture” channel “The Woman Clothed in the Sun. Andrey Bely. Biblical story” from 9.13 min 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%
20%D0%B2%20%D1%81%D0%BE%D0%BB%D0%BD%D1%86%D0%B5/

In 1900, “Northern Symphony (1st, heroic)” was written, depicting a conventionally fantastic world associated with the Western European Middle Ages. In 1901-1902 Bely wrote 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 V.Ya. Bryusov (from whom he receives lessons in literary craftsmanship), D.S. Merezhkovsky and Z.N. Gippius, K.D. Balmont, writers close to the publishing house and the “Grif” almanac. Bely’s attitude towards the symbolist environment is ambivalent: being a supporter of the “new” art, he does not accept the “decadent” worldview from the “theurgic”, Solovyovian positions. Religious and mystical quests bring Bely closer to Merezhkovsky and Z. Gippius, he publishes articles in their religious and philosophical journal “New Way”. He also publishes articles of a programmatic nature in the magazine “World of Art” (“Forms of Art”, “Symbolism as a World Understanding”), defending in them the idea of ​​“true” symbolism, which carries within itself the beginnings of future universal, theurgic creativity, embracing the fullness of transformed existence. Similar ideas were shared by a group of like-minded people (mainly Moscow University students) who rallied around Bely, forming (in the fall of 1903) the circle of “Argonauts”: Ellis, A. S. Petrovsky, V. V. Vladimirov, S. Solovyov, M. I. Sizov and etc. The members of the circle are united by the desire for a “life-creative” mythization of existence, human relationships, 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.

He called it “Years of Dawn” White start 1900 “Life Line” is presented in Bely’s museum-apartment (Slide 10) - an original diagram-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. It was drawn by him in 1927.

4). Poetry. In 1904, the first collection of poems was published. “Gold in Azure” (Slide 11), The sun becomes the object of Bely’s worship: “The heart is lit by the sun. The sun towards eternal swiftness. The sun is an eternal window into golden dazzling.” 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 poems of the cycle express the program of the “Argonauts”. In the collection, the future appears in the guises, masks of antiquity (“Old times in the blazing hour, which overwhelmed us with the world...”), former happiness, images of the former culture. In the climactic part of “The Purple in the Thorns” there is an image of the crucifixion in the center. 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 sees himself crucified on the cross. This collection contains his denial of life (“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 as a fool in my fiery crown,
In a gold chiton, fastened with amethyst, -
Alone, alone, like a pillar, in remote deserts, -
And he waited for the kneeling crowds.”

The poet’s spiritual growth occurs so amazingly quickly.

In 1904, Blok came to Moscow, and Solovyov introduced them. Both are delighted with each other. 1905 - the beginning of a new period, marked by first the idyllic, then the dramatic-hysterical, and finally the hopelessly tragic love of Bely for the wife of Alexander Blok . ( Slide 12). In the spring of 1906 there was a break, and Bely left for Munich and then to Paris. A creative break also occurs - with Blok the poet, who replaces the Beautiful Lady with the image of the Stranger and the “Balaganchik”, which disgusts both Bely and Solovyov.

The personal tragedy is aggravated by the social 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) - the pinnacle of Bely's creativity. The bright dawns of the Young Symbolists were also burned, the suffering Russian land was covered in ashes. Here it is no longer “gold in the azure”, but “lead clouds, ominous taverns, expanses of hungry provinces”:

“Fatal country, icy,
Cursed by iron fate-
Mother Russia, oh evil homeland,
Who played such a joke on you?”

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

(Slide 13). Watch the video “Andrey Bely. Memory"

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

5). Analysis of the poem “Dedication” (1915)

I asked you for bread - they gave me molten stone,
And the singed palm instantly stinks and smokes...
So the fire has cracked, and the flames are dancing under the sky.
They say to me: “Purple.” They put on it at the stake.
The dancing purple stuck, tearing off both skin and flesh:
Instantly, a black, grinning mouth exploded to the ears.
Then you exclaimed: “He laughs with enlightenment...”
And the leafy laurel covered the terrible skull.

What symbolist images did you see in the poem?

(symbolic image of the prophet, as in ancient literature, in Pushkin and Lermontov; images of fire, bread, laurel; contrasting colors - red and black; alliteration r-r-r, associations a-u)

6). Spiritual revival of Bely. Since 1909, Bely’s worldview has indicated a transition from pessimism and “self-immolation” to the search for the “path of life,” the “second dawn.” These sentiments were reflected in the poems of 1909-1911 - book “The Queen and the Knights” (1919).(Slide 14).

Bely’s spiritual revival was facilitated by his rapprochement in 1909-1910 with the aspiring artist Anna Alekseevna Turgeneva (Asya), who became his de facto wife [the civil marriage was formalized in Bern (Switzerland) on March 23, 1914]. Listening to the sound file “White. Ase.” Read by Shevchenko. (Slide 15).

Simultaneously with the termination of “Scales” (1909), Bely, Medtner and Ellis organized the publishing house “Musaget” - a center of symbolism of a religious, philosophical, cultural orientation; Bely attracts Vyach to participate in “Musaget” for the near future. Ivanov and Blok (with whom he became close again in 1910). Bely’s books are published in Musaget “Symbolism” (1910) and “Arabesque” (1911) (Slide 16) - the result of his activities as a critic and theorist of the literary school in the 1900s.

From December 1910 to April 1911, Bely and his wife travel abroad (Sicily - Tunisia - Egypt - Palestine), discovering a new cultural world in which they look for living spiritual values, contrasting them with decrepit “Europeanism”. The eastern journey marks one of the brightest and most creatively productive periods in Bely’s life. Its 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 takes place against the backdrop 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 “St. Petersburg” theme of Russian literature, embodied in the works of Pushkin, Gogol, and Dostoevsky, finds its development. Combining high pathos with comedic travesty motifs, lyrical and confessional intonations with satirical grotesquery, revealing the psychology of the heroes 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 classes. In April-May 1912, Bely and his wife lived in Brussels; in May 1912, in Cologne, they met R. Steiner, the creator of anthroposophical religious-mystical teaching, and became his adherents. In anthroposophy, Bely sees the systematic embodiment of spiritual ideals, the achievement of the desired harmony between the mystical and scientific knowledge. From March 1914 to August 1916, Bely was mainly in Dornach, near Basel (or in neighboring Arlesheim), where he participated, under the leadership of Steiner, in the construction of the anthroposophical center - the “temple-theater” of the Goetheanum . (Slide 17). Studies in anthroposophy (and the related problem of internal self-knowledge of man) encourage Bely's in-depth attention to the autobiographical theme. From October 1915 to October 1916 he wrote a novel “Kotik Letaev”, in which his own infant experiences and first perceptions of the world are resurrected and comprehended. The novel was supposed to begin a series of autobiographical works (later continued by the novel “Baptized Chinese” 1921).

8). Vasilyeva. Kuchino. In 1916, Bely was called up to military service, he comes to St. Petersburg and receives a reprieve. Bely becomes close to 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 disinherited his son, so the mother’s apartment after her death passed to strangers. For three years, Bely wandered around friends and 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 exhibition was opened, a branch of the Zheleznodorozhny local history museum.

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

What Kuchino near Moscow meant for Andrei Bely can be understood by listing only the most significant of what he wrote here: he resumed work on the novel "Moscow" In it, he described in phantasmagoric form his life in a house on Arbat and the grotesque and dry image of his father. (Slide 19), later reworked it into a drama; wrote a book of travel essays “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 became a kind of encyclopedia of Russian life at the beginning of the 20th century; not to mention the literary articles and 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 everyday 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 visit the writer Voloshin. The last book Bely will have a monograph on the rhythm of verse and poetics “The Mastery of Gogol.” 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 “Andrei Bely Memorial Apartment” and in the central library 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).

Literature used.

1. Andrey Bely. Alexander Blok. Moscow.\ Comp. M.L. Spivak, E.V. Nasedkina, A.E. Rudnik, M.B. Shaposhnikov. – M.: OJSC “Moscow Textbooks and Cartolithography”, 2005.
2. Egorova N.V., Zolotareva I.V. Lesson developments in Russian literature. 20th century. 11th grade. 1st half year. – 3rd ed., rev. and additional – M.: VAKO, 2004.
3. Notes from an excursion to the Shipovs' dacha in Kuchino.
4. kvartira-belogo.guru.ru

In 1922, in a letter to B. A. Pilnyak, whom the critics of that time considered a follower and imitator of Andrei Bely, he writes: “... Bely, a very subtle man, of refined culture, is a writer on an exceptional topic, his essence is a philosophizing feeling “White cannot be imitated without accepting it entirely, with all its attributes, as a kind of unique world - as a planet on which its own - peculiar - plant, animal and spiritual worlds.”

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Municipal Educational Budgetary Institution

Secondary school "Gorki-X".

Creative work(research) on literature.

Subject:

"The Journey for

"Golden Fleece of A. Bely."

The work was carried out by:

1. Prokofieva Olesya
2. Senchenkova Nastya
3. Borodkina Kristina

Head: O.V. Shkunova.

2015

1. About the poet.

1. 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 Vasilyevich Bugaev, dean of the Faculty of Physics and Mathematics at Moscow University. Mother, Alexandra Dmitrievna, nee Egorova, is one of the first Moscow beauties. Andrei grew up in the highly cultural atmosphere of “professorial” Moscow. The complex relationship between the parents had a heavy impact on the developing psyche of the child, predetermining a number of oddities and conflicts between Bely and others in the future.

Andrei Bely graduated in 1899 from the best private gymnasium in Moscow L.I. Polivanov, in 1903 - the natural sciences 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 submitted a request for expulsion in connection with a trip abroad.

In 1901-03, Andrei Bely first entered the circle of 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, reflected in the latter’s novel “Fire Angel”), then meets the organizers of St. Petersburg religious and philosophical meetings and the publishers of the magazine “New Way” D. S. Merezhkovsky and Z. N. Gippius.

In January 1903, he began corresponding with A. A. Blok (personal acquaintance since 1904), with whom he was connected by years of dramatic “friendship and enmity.” In the fall of 1903, he became one of the organizers and ideological inspirers of the life-creative circle of the “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 Path”, “Libra”, “Golden Fleece”, as well as in the collection of poems “Gold in Azure” (1904). The collapse of the “Argonautic” myth in the minds of Bely (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 problems of epistemological justification of symbolism, the tragic vicissitudes of Bely’s unrequited love for L. D. Blok (reflected in the collection “Urna”, 1909), a split and fierce journal polemics in the Symbolist camp.

The events of the revolution of 1905-07 were initially perceived by Andrei Bely in line with anarchic maximalism, but it was during this period that social motives, “Nekrasov” rhythms and intonations actively penetrated 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 “new ground” and 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 “ 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 in itself the historiosophical issues associated with summing up Russia’s path between the West and the East, and had a huge influence on the largest novelists of the 20th century. (Marcel Proust, J. Joyce, etc.).

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 “Baptized Chinese”, 1927). He perceived the beginning of the First World War as a universal disaster, and the Russian Revolution of 1917 as a possible way out of the global catastrophe. Cultural and philosophical ideas of this time were embodied in the essayistic cycle “At the Pass” (“I. Crisis of Life”, 1918; “II. 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 lived in Berlin, where he experienced a painful separation from R. Steiner, a break with A. A. Turgeneva, and found himself on the verge of a mental breakdown, although he continued to be active literary activity. Upon returning home, he makes many hopeless attempts to find

living contact with Soviet culture, creates the novel duology “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), “Beginning of the century” (1933), “Between two revolutions” (1934), writes theoretical and literary studies “Rhythm as dialectics and “ 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, which was 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. Peculiarities 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 not only suffers, he burns in the flames of the fire. And only then is his “terrible skull” crowned with laurels.

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

5. Symbolic images: Let us note the symbolic images of fire, bread, laurel; alarming colors: purple combined with black; bright instrumentation of the poem: assonance (a wide “a” is replaced by a drawn-out, narrow “u”) and alliteration (a rolling, powerful sound “r”).

"From the carriage window."

1. Creative history: Andrei Bely’s poem “From the Carriage Window” was written by him in 1908. It was included in the collection "Ashes", 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. There is also a theme of chaos - the cross-cutting theme of the collection - which is especially emphasized in this work.

The idea of ​​self-immolation and death: but death itself is only a curtain that closes the horizons of the distant in order to find them in the near. This is shown in the boundless, “empty,” “terrible,” hungry spaces of Russia, in which the people, tormented by disease, hunger and drunkenness, are doomed to scatter:

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

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

4. Features of rhyme, meter and rhythm: Dynamics of external relative motion it is deliberately emphasized (“they fly by – behind the villages there are villages”), rhythmic in relation to the fast movement of the train, but it is both semantics and rhythm that create monotony as the main impression of a holistic and united Rus'. Size - anapest. The 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 harsh muteness of the motherland emphasizes the expressiveness of the tragic situation:

Mother Russia! My songs for you

O dumb, stern mother!

Here and more remotely give me and more unknown

To weep away from your unlucky life.

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

I advise everyone to read it to really understand and get into the spirit that ruled the Whites at that time.

"To friends."

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

“I believed in golden glitter, but died from the sun’s arrows”

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

3. Lyrical hero: dull despair squeezes the soul. He asks that they not forget about him, that they love him. But in the final lines of this poem one can feel the lyrical hero’s faith in our Immortality:

“Perhaps I have not died, perhaps I will wake up and return!”

4. Main features of 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 are humiliating, shimmering with assonance, alliteration, and a 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 my creative, writing journey, from the first steps to

In recent days, Andrei Bely has 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 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: “Talking about Blok’s life, I mentioned several times the name of another wonderful writer - Andrei Bely. Blok was the greatest, but Andrei Bely was, of course, 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 was closest to the Futurists. Even today he is far ahead of all symbolists in terms of the power of his influence; perhaps he is 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 all other symbolists; in this sense he can rival the most complex and disconcerting figures in Russian literature, Gogol and Vladimir Solovyov, who had no small influence on Bely himself.

Georgy Adamovich: “Bely always had everything down the drain, and like the wind, everything swept through his consciousness without taking root. Andrei Bely's genius was, in essence, only his impressionability. 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, abandoned that too - he was completely torn apart by mutually hostile aspirations and attractions. But behind the impressionability there was almost nothing.”

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

universe. It’s as if it was sculpted from space.<...>

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

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

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

V. F. Khodasevich: On January 8, Andrei Bely (Boris Nikolaevich Bugaev) died of arteriosclerosis. It would be naive to try to give even an approximate description of his activities in a short note. This was a man marked not by talent, not by talent, but by undoubted genius. Many circumstances, personal and socio-literary, prevented him from fully developing his strength. Eternally restless, always agitated to the very depths of his soul, he did not accomplish everything that a person gifted by nature as generously as Andrei Bely was gifted could have accomplished. Everything he did was wonderful, but the stamp of haste, incompleteness, and sometimes breakdown lay on almost everything. Perhaps it is precisely the spiritual forces that seem to overflow physical composition him 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 critic A. A. Bolotnikov “Andrei Bely” appeared in the Literary Gazette, “correcting” and refuting the obituary: “It would be a reactionary statement to classify Bely as a classic of world literature, since such a statement does not correspond true situation things..."

Vl. Muravyov: “Andrei Bely is a magnificent stylist, but at the same time, first of all, he sets himself the task of conveying in words as accurately as possible a feeling, a movement of thought, and acutely senses their inexpressibility (“how the heart can express itself”),

therefore, he searches, searches for an exact verbal correspondence, developing, clarifying, adding definition to definition, word to word - and despite all the inexpressibility of feelings in words, he achieves an amazing convergence of them.”

In 1922, in a letter to B. A. Pilnyak, whom the critics of that time considered a follower and imitator of Andrei Bely, he writes: “... Bely, a very subtle man, of refined culture, is a writer on an exceptional topic, his essence is a philosophizing feeling “White cannot be imitated without accepting it entirely, with all its attributes, as a kind of unique world - as a planet on which its own - peculiar - plant, animal and spiritual worlds.”

References:

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

2. Big Soviet Encyclopedia- M., 1970.

3. Bryusov V., Distant and Close - M., 1988.

4. Dolgopolov L.K., Andrei Bely and his novel “Petersburg” - Leningrad, 1986.

5. Berdyaev N.A. Russian idea Question. philosophy. - M., 1990.

6. K.N.Bugaeva “Memories of A.Bely.”

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

8. Poems and poems. (Poet's Library. Large series). - M.;L., 1966.

“Golden Fleece” Andrey Bely

(Dedicated to E.K. Medtner)

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

And on the sea from the sun
golden tongues tremble.
Everywhere the reflection of the chervonets
amid bursts of melancholy.

The breasts of the rocks rose
among the trembling solar fabric.
The sun has set. Sobbing
the cry of albatrosses is full:

“Children of the sun, again the cold of dispassion!
It has set -
golden, ancient happiness -
golden fleece!

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

The slope of the sky is engulfed in fire...
And now the Argonauts fly away to our horn
trumpeting...
Listen, listen...
Enough suffering!
Put on your armor
made of solar fabric!

Calls for you
old Argonaut,
calls out
pipe
gold:
“Behind the sun, behind the sun, loving freedom,
let's rush off to the air
blue!.."

The old Argonaut calls for a solar feast,
trumpeting
into a gilded world.

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

The earth is flying away...
Wine
global
is burning
fire
again:
then a fireball
shine
floats out
fleece
golden,
sparkling.

And, engulfed in brilliance,
daylight,
that the torch is re-lit,
rushing,
overtakes
our Argo is winged.

It's catching up again
your gold
fleece...

Analysis of Andrei Bely’s poem “The Golden Fleece”

In 1903-1905 A group of symbolists formed around Andrei Bely, christened by the poet and philosopher Ellis as a circle of “Argonauts”. This name arose thanks to Bely’s poem “The Golden Fleece,” created by Bely in 1903. It is a two-part series. “The Golden Fleece” was first published in the magazine “World of Art” in 1904 as part of the article “Symbolism as a World Understanding” and became a programmatic work for a circle of adherents of the genre. In this poem, with the help of symbols, an entire philosophy was expressed that the poet adhered to during this period.

To understand the encrypted ideas, consider the plot of the work. In the first part, the reader finds himself in the middle 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 a 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 sunlight with the shine of chervonets (coins Russian Empire, nicknamed chervonets, were minted from high-grade gold). The poet calls the rays piercing the air 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 guardian.

Night is approaching. Just as the last glow of the setting sun is about to fade, the sky in the west suddenly turns red. The entire second part of the poem is devoted to rapid movement lyrical heroes– Argonauts to the sun, behind the “fleece”. 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 characterizing its appearance: “golden wings”, “golden pipe”.

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 fading away, 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 new meaning in the East. The Golden Fleece is a symbol of a happy future; it shows the heroes the way.

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

If you believe Vladislav Khodasevich, the father of Andrei Bely (Boris Bugaev), mathematics professor Nikolai Bugaev, said: “I hope that Borya will look like his mother and mind like me.” The professor was ugly, but smart. The mother is a beauty, a style icon, but a fool and hysterical. The son turned out to be handsome and strange.

“Huge wide-open eyes, raging fires on a pale, emaciated face. An excessively 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 trouble takes possession of everyone.”(Ilya Ehrenburg).

“There is bestiality in Andrei Bely, only covered with a dull sheen of madness. His eyes, /…/ exactly outlined by coal, are unnaturally and insanely shifted towards the bridge of his nose. The lower eyelids are squinted, and the upper ones are wide open. On a narrow and high forehead Three tufts of long hair stand on end..."(Maximilian Voloshin).

There are many similar 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 pass all day; /…/ this is Nietzsche, then Baader, then Schelling, then Steiner; and this, of course, is Solovyov, crossed with Nietzsche". With greater justification, however, what has been said can be attributed to him himself.

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

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

Nietzsche, godfather Silver Age, Bely generally fell in love with him as if he were his own: “Nietzsche - you are our sweet, 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 its spoiled man: “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 in appearance. Reality in dreams." /…/ So Eternity joked with her spoiled man, hugged her friend with her black outlines, placed her pale, peaceless 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 what is 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. The Argonauts were looking for golden fleece, that is, they tried to penetrate the mystical secrets of existence. They saw "red dawns of brand new days" and they believed that the path to the (eschatological) transformation of the world lies through mystical love. They represented symbolism as “combining the heights of art with mysticism”, as theurgy, which leads to the broadest stage of knowledge - wisdom.

The “Argonauts” perceived life as text, and text as life. And they waited for the earthly appearance of Sophia of Wisdom, glorified by Solovyov, aka Eternal Femininity, Soul of the World, etc. like Sofia and the Beautiful Lady, they revered Lyubov Dmitrievna Mendeleeva, then Blok’s bride, and called themselves “Blokites.” “The symbol of the “wife” became the dawn for us (the connection of heaven with earth), intertwined with the teachings of the Gnostics about concrete wisdom with the name of a new muse, merging mysticism with life.”- said Bely.

Triangle with Bryusov

It so happened that Andrei Bely constantly got into trouble. love stories- scandalous, ridiculous, funny. But it was these stories that were sublimated into literature both by 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 grounds. At least Bely seemed to be counting on mysterious love that does not involve physical intimacy. 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 the sibyl in the temple.
Their love is like a flower
burned like roses in the sunset incense.

Under the arches of his eyebrows
glances were shining
fiery saints.
Curls of curls flowed -
cascade wines, foamy gold...

(This is how he talks about himself!)

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

It seems that Bely should have been happy that his senior comrade had diverted the attention of a hysterical and eccentric woman (she even shot at him). He was happy, of course, but he was 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 unprincipledness /.../ I hate and despise Valery Bryusov now that his cards have been revealed to me”).

Bryusov, in turn, dedicates a mocking rehash of his “Tradition” to Bely: while the prophet is floating somewhere out there, the sibyl is vulgarly cheating on him with the priest... And in another poem she even threatens the singer of the sun and light ( “... O golden-haired one, / A magic bow is aimed at you”) and promises the reign of twilight. White replies menacingly: “My armor is on fire / My spear is like lightning. The sun is a shield. / Don’t come closer: in furious anger / The thunderstorm will burn you to ashes.”.

Bryusov summed up the result of this “mental duel” (A. Bely), essentially admitting his defeat: “I don’t know which of us won! / It must be you, son of light, you!”

A real duel between two nightingales almost took place: Bely did not like the way 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 depicted (with heavy irony) this love triangle: Renata - Nina Petrovskaya; Count Heinrich - Andrei Bely, whom she mistakes for a fiery angel; Ruprecht is Bryusov himself, in love with Renata. In a duel with Heinrich, Ruprecht is defeated, but after Renata's death the rivals begin to become friends. It was the same 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 changed from correspondence to full-time worship when Bely met Bloki and began to appear in Shakhmatovo. Maria Beketova, Blok’s aunt, testified: “They /A. Bely, S. Solovyov/ positively haunted Lyubov Dmitrievna, making mystical conclusions and generalizations about her gestures, movements, and hairstyle. As soon as she put on a bright ribbon, sometimes just waved her hand, the “blokists” would look at each other with a significant look and pronounce their conclusions out loud.”.

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 Friend, Maiden of the Rainbow Gate, Soul of the World). He accepted Solovyov’s ideas earnestly and sincerely ( “the transference of carnal, animal-human relations to the superhuman realm is the greatest abomination and the cause of extreme destruction”). Maybe he shouldn't have married L.D. in the first place.

Andrei Bely, being also seemingly a devout Solovyovite, did not give a damn about ideas. He called L.D. also "hierophantida 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 only petting (“we hardly had time to be alone when no barrier stood between us, and we helplessly and greedily could not tear ourselves away from long and unquenchable kisses”, - L.D. later recalled), this does not change matters. Because petting serves the same purpose "dragon of lust".

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

L.D. it was very hard ( “One is not a husband. White is temptation"). Under pressure from Bely, she was already inclined to divorce, but changed her mind. Hysterics, meetings, showdowns, and threats of suicide began. Bely either challenged Blok to a duel, or swore his love to him and asked: "Tell Lyuba that we can, we can, we can be sister and brother".

Finally restored L.D. against Bely his story “The Bush”, published in “The Golden Fleece” (1906). They were active there: the bush-sorcerer - Blok (he once said: “...I will turn into a golden autumn bush, dressed in a net of rain 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 befriended and to whom the gardener’s daughter was given: “Indescribably, her face suddenly began to glow, breathing with transparent longing; It was as if a hurricane of passion blew over him, and her blue burning coals-eyes - brightly widened, blue /.../ Compassionately, the gardener’s daughter bent down and, breathing greedily, embraced her white, brave body with her lily hands.”.

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

After all his 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). So that the Blocks would be very ashamed.

I walked alone on my own path;
I froze like a ball of ice in a snowstorm...
And here in the icy snowdrift
They found me under the house.
I gave them everything I brought:
soul split by doubt,
Crystals of doom, diamonds of tears,
And the heat of love and chants,
And the morning of life's day.
But he became a hindrance to their leisure time.
They are so affectionate to me
They kicked me out of the house into a blizzard. /…/

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

Bely perceived the “Balaganchik” as a mockery of the most sacred ( “the theurg wrote “booth”, and we were ridiculed”). However, he himself says goodbye to his hobby even more harshly: “The most poisonous caterpillar turned out to be Beautiful Lady(subsequently decomposed into a prostitute and an imaginary quantity)".

Howl, storm element

In 1912, Andrei Bely and his first wife Asya Turgeneva went to study with Rudolf Steiner: they built the anthroposophical temple Goetheanum in Dornach, listened to and took notes of 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 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 gave the world anthroposophy, an exotic theory that mixed into one seething cocktail reincarnation, karma, astrology, numerology and many other things that are directly related to both the reserved hermetic sciences and the newfangled trends of Western intellectuals. At first glance, the mixture is explosive, nevertheless, worthy people, including our compatriots Andrei Bely, Vasily 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 revolution a powerful theurgic means of changing the world, Bely welcomes February revolution confusingly, but figuratively: “At first the source flows dirty; and the inertia of the earth takes off at first in a stream, but the stream is purified, 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 cathedral joy.

He closely agrees 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), where he states: crucified Russia will rise, like Christ, with glory. Contemporaries compare this poem with Blok’s “The Twelve,” but the comparison is too flattering. Although you can find something funny in the poem:

It looked like two vampires
With a grimace of red lips,
Dragged along the roads of the world
Bandaged corpse.

True, neither revolutionary poems nor statements help Bely: the Bolsheviks clearly do not like him. Leon Trotsky smashes him to smithereens, reproaching him "the magic of words", individualism, mysticism, symbolism, etc. And even a pseudonym, which (Trotsky assures) “testifies to his opposition to the revolution. For the most militant era of the revolution passed in the struggle between red and white.”.

Nevertheless, Bely seethes and seethes: he gives lectures at 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 completed the study “Gogol’s Mastery” and the first part of the memoirs “Between Two Revolutions” - these books will be published after his death. In the 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 the Literary Gazette.

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 voice, launched a pineapple into the sky...”(“On the Mountains”, 1903). Dedicated to Zinaida Gippius “Despair” (1908): “Enough: don’t wait, don’t hope - / Scatter, my poor people!”. In his pandan there is a poem “To the Motherland” (August 1917):

Howl, storm element,
In columns of thunderous fire!
Russia, Russia, Russia, -
Be crazy, burning me!

Bely's most significant novel is Petersburg (1913). But in general his prose is too sophisticated. Words are not provided with energy. There is no music that he put so much on. The memoir trilogy, of course, is grandiose in scope, but it’s difficult to read - it’s hampered by the tense patter, saturated with old and recent grievances, logical inconsistencies, and awkward ideological rants.

Much more interesting is the literature that Bely unwittingly inspired. And “Fire Angel” and “Balaganchik”. And Mandelstam’s brilliant poem, written on Bely’s death:

...They put a tiara on you - a fool's cap,
Turquoise teacher, tormentor, ruler, fool!
Like a snowball in Moscow, the gogol started up a mess:
Incomprehensible, incomprehensible, incomprehensible, confusing, easy...
The collector of space, the chick who passed the exams,
Writer, goldfinch, student, student, bell...

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

Well, Andrei Bely wanted to create life, and this is what he did, perhaps, best of all.