Poet, Poetry, Poets“ workshop and creative environment, Attitude to the unknowable, Reliance on traditions - Art culture of the 20th century

Poet

A poet is both an ordinary man, and a romantic figure - a knight, a warrior, a traveler, a conquistador, of the Inner World, a seeker and bearer destined to "Dry in the back of the room // Before dusty piles of books."

According to the notions of Acmeists, the poet's work is the highest point of artistic truth and the expression of a man's (in contrast to the female one in the Symbolists), a solid view of life. The poet, according to the views of the Acmeists, must fight "for this world, sounding, colorful, shaped, weight and time, for our planet earth" (Gumilev).

Poetry

In the program article "Life of the verse" N. Gumilev argues that the poem is a living organism. It is necessary that it live a full and mighty life. Gumilev, defining poetry, wrote: "Poetry for man is one of the ways of expressing one's personality, and is manifested through the medium of a word, the only instrument that satisfies his needs"; "Poetry and religion are two sides of the same coin. Both require a great spiritual work from a person. "

Gumilev dreamed of making poetry an exact science. Peculiar mathematics. Nothing otherworldly, unconditioned, no mysticism, no zami. Gumilev dreamed of creating a rhyme dictionary and believed that the poet's rhyming was not a creative affair. The technology for creating a poetic work, according to Gumilev's ideas, is simple: you have to choose the rhyme necessary for you and the rhyme you need in the dictionary and put your idea into the lines. This idea of ​​poetic creativity allowed Gumilev to create a Poets' Workshop.

Poets workshop and creative environment

The poets' shop, even with its name, made reference to the medieval handicraft shops, on the model of which it was built. It was a permanently functioning creative assembly that lived according to the principles of the studio, not the salon, like the Symbolists. Its chairman - a syndicate was Nikolai Gumilev.

The critic and poet SK remembered the atmosphere that reigned in the Poets' Workshop. Makovsky: "There were no special reports at these meetings. Everything was limited to reading poetry and critical analysis, and Gumilev conducted his "acmeistic" point of view on the quality of the read lines. " (Gumilev in reminiscences, 1990, p. 70).

Attitude to the unknowable

The ratio of Acmeists to the unknowable, according to Gumilev, has two aspects:

1) unknowable by the very meaning of the word can not be known;

2) all attempts in this direction are unchaste. The unknowable is attractive. Gumilev says: "All beauty, all the sacred significance of the stars is that they are far from the earth and with no successes of aviation will become closer ... A childishly wise, painfully sweet sensation of one's own ignorance is what the unknown gives us." The principle of acmeism, according to Gumilev, is always to remember the unknowable, but not to insult your thought about it with more or less probable guesses.

Building on tradition

In the work of Acmeists such as Anna Akhmatova, Osip Mandelstam, Nikolai Gumilev, the traditions of world culture take a big place. Such a respectful and interested creative attitude to the classics Acmeists inherited from the Symbolists.

V.M. Zhirmunsky highly appreciated the creative accomplishments of the Acmeists, but he criticized the contemporary literary atmosphere (both symbolic and acmeist). The critic emphasized the "individualistic sophistication" poets, "the lucidity of their lyrics", in which "there is no real way out to the world from his lonely soul". The future academician noted that in & quot; new poetry & quot; entered "various kinds of decadent aestheticism and amoralism" (Zhirmunsky. 1916. P. 56).

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