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Download A History of Russian Symbolism by Ronald E. Peterson PDF

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By Ronald E. Peterson

The period of Russian Symbolism (1892-1917) has been known as the Silver Age of Russian tradition, or even the second one Golden Age. Symbolist authors are one of the maximum Russian authors of this century, and their actions helped to foster some of the most major advances in cultural existence (in poetry, prose, track, theater, and portray) that has ever been visible there. This publication is designed to function an creation to Symbolism in Russia, as a circulation, a creative strategy, and a global view. the first emphasis is at the historical past of the flow itself. awareness is dedicated to what the Symbolists wrote, stated, and concept, and on how they interacted. during this context, the most actors are the authors of poetry, prose, drama, and feedback, yet area can be dedicated to the real connections among literary figures and artists, philosophers, and the intelligentsia more often than not. This vast, precise and balanced account of this era will function a regular reference paintings an inspire additional study between students and scholars of literature.

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This was in fact a common kind of reaction to Russian Symbolist poetry in these early years; the talent of these poets could not be ignored. Balmont Another poet who gained a reputation as a "decadent" during this phase of Symbolism was Konstantin Balmont. Like Sologub, Balmont also published some poetry before his first serious debut in 1894. He came from the provinces (a village near Vladimir) to study at Moscow University in 1886; he was expelled for political activities and he tried again, unsuccessfully, to study there in 1888.

25 Nordau saw decline, decay, and degeneration in nearly everything around him, particularly in works by Zola, Ibsen, Tolstoy, the Symbolists, the Pre-Raphaelites, and other groups; Nordau's book was much discussed in Russia and other countries. Bryusov began to translate Maeterlinck in 1892, including the play L'Intruse (The Intruder), and in February 1893 he wrote a lecture about Symbolism that was apparently never delivered. " 26 Also in March 1893 he purchased Verlaine's famous book about Symbolist poets, Les Po├Ętes maudits (literally, The Accursed Poets).

2 In that study, Shestov maintains that both Dostoevsky and Nietzsche avoid commonplaces and focus instead on the ugliest people and their problems. He praises both for seeking refuge in chaos and darkness; he feels that philosophy is the philosophy of tragedy, as portrayed by Dostoevsky's Underground Man and Nietzsche's Zarathustra. Just before that, Shestov had published a book, The Good in the Teachings of Count Tolstoy and F. 3 Though Shestov should not be considered a card-carrying Symbolist, his ideas did have some popularity in Symbolist circles, and his preference for Dostoevsky and Nietzsche over Tolstoy reflects the general attitude among Symbolists.

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