Egor Otroshchenko. Century = text. Issue 3: 1903

Century = text. Issue 3: 1903
Egor Otroshchenko

Publication date: March 22, 2000

Poem of the Year

Recipe Mephistopheles

I will release the poison of the dope
Into the hearts of people, let them sharpen!
I’ll put a thought in the hemp of a rope
For those who want to hang themselves! To the sound of fun and feasts,
To the clink of glasses, the crash of timpani
I am in the sphere of feelings and conditions
I will resurrect the ichthyosaurs again! In front of the whining chimeras
I'll borrow samples of creations,
Some new, wild faiths
No more revelations! I will mix according to existence
The stench of decay with a thirst for ideal;
I will dissipate into the minds of madness,
Having given a conclusion before the start! I will bring together, engage, in-laws
Fossil and idea,
And I will make a feast of death,
By including it in the Cheti-Minea.

K.K. Sluchevsky . "Northern flowers for 1903"

Book of the Year

V. Bryusov. Urbi et orbi. Poems 1900-1903 - M.

First publication

A. Blok . 10 poems with the general title “From dedications” from the cycle “Poems about a Beautiful Lady”. "New Path" #3. Almost simultaneously, 10 more poems from this cycle are published in “Northern Flowers for 1903”.

Vyach.Ivanov . The first book of poems "Helmsmen of the Stars. Book of Lyrics" . - St. Petersburg.

A. Bely. The first poems appear in “Northern Flowers for 1903” and in the first “Almanac” of the new publishing house “Grif”.

G. Chulkov. The first book of poems "The Flint Path. Poems and Poems." - M. (year of publication indicated 1904).

D.Ya.Izman. The first book "Dark Days. Essays and Stories" . - St. Petersburg. (year of publication indicated 1904).

Controversy

Yu.A. (Y.I. Aikhenvald). Modern Art. "Russian Thought" #1.

“A brilliant success befell Gorky’s play “At the Lower Depths”... A bright and vital performance by almost all the actors, combined with a well-thought-out external staging, which in this case, more than anywhere else, had to correspond to the inner essence of the work and which, indeed, created a complete illusion precisely because the director, Mr. Nemirovich-Danchenko, in his pursuit of the latter, sensitively stayed on the border of artistic necessity and retained the proper stage perspective - this harmonious game to such an extent brightened up and obscured the very major shortcomings of the play, that the audience made a deep and complete impression from her."

A. Menshov. Lie. "New Path" #5.

“There was a time when the so-called best people too often repeated the big word: truth. This word, without entering into life, without feeding it... only bogged down in the soul and finally caused nausea...

Down with the truth, it’s unbearable to live with, it stings the eyes, it’s evil... In its place let’s put a lie, a beautiful, kind lie. Previously they said: beauty, goodness, truth, but we will say: beauty, goodness, lies. The first act of struggle must be the denial of the Source of truth. The denial of God, the denial of the afterlife, the denial of everything that is higher than man, that is above him - this is the basis of Gorky’s drama “At the Depths,” dedicated to the glorification and exaltation of lies...

Luka came, lied to everyone, consoled everyone for a moment with this sweet lie and, having collected his belongings, prudently ran away as soon as it came to the police and murder. He pitied everyone and loved no one... Gorky’s behavior is very similar to Luka’s behavior.”

D. Filosofov. About Gorky's "lies" . "New Path" #6.

“The author of the note, Mr. Menshov, reproaches Mr. Gorky for the fact that in the entire play “At the Lower Depths,” he, having said a few beautiful words about a person, gave nothing but a sweet and only temporarily misleading lie...

Gorky's lie is not a lie: denial, it is a lie of easy spitting and the cheap wisdom of a romantic flophouse.

This lie was exalted not so much by Mr. Gorky as by Mr. Menshov, who, thanks to some strange blindness, saw in Mr. Gorky a genuine denial.

Finally, I note that the concept of “lie” in art is a double-edged thing... Artistic lies are at the same time artistic truth...

Gorky is extolled by that part of our society on which special hopes are placed - the so-called "intelligent proletariat." You can be upset by this or you can be happy about it, but this is a fact. And this layer of society patronizes Gorky and creates his fame. This proves that Gorky is extremely needed at this historical moment, thanks to which the most blatant insults to artistic truth are forgiven. Here is the tragedy of Russian social life."

A. Menshov. A few more words about Gorky's "lies". "New Path" #7.

“Speaking about “lies” in Gorky’s drama, I am trying to emphasize the difference between a person shouting with deep suffering: “There is no God!” and a person muttering with an ambiguous grin: “maybe there is a God”; that a lie that does not scream , philanthropic, convenient and is the most genuine and most dangerous for life... It eats it up like an internal worm, and imperceptibly turns it into dust, crumbling from the first breath of truth.

In Gorky's drama, this lie is intensified and emphasized by the implausibility of the types being deduced, an artistic lie."

Chronicle

January 3 is the 200th anniversary of Russian periodicals.

In January began publishing , the magazine “New Way” , the organ of St. Petersburg religious and philosophical meetings, . Editor-publisher P. Pertsov.

in January begins In St. Petersburg, the publication of "Bulletin of Knowledge" - a monthly literary and popular science magazine with applications for self-education. Editor-publisher V.V. Bitner.

On March 11, died A.V. Sukhovo-Kobylin .

On May 7, died in Naples K.M. Stanyukovich .

On June 12 died . , M.M. Filippov , editor of the Scientific Review magazine,

On October 19, I.A. Bunin was awarded the A.S. Pushkin Prize of the Academy of Sciences for his translation of Longfellow’s “Hiawatha” and for the poetry collection “Falling Leaves.”

Characters and performers

Anton Krainy (Gippius Z. N.)

A word about the theater . "New Path" #8.

“My God, my God! Does anyone know what a modern play is?..

The principle of the Art Theater is to make art identical with life, to drive it into life, to equalize it, to smooth it out with life... The Art Theater succeeds only in plays that meet this principle, mainly plays by Chekhov (lately Gorky), and during such performances there are moments of complete harmony - author, actors and crowd...

I don’t want to touch here on Chekhov and Gorky as writers in general, I’m talking now exclusively about the theater... Both Chekhov and Gorky, so differently talented, both greatly moved the Russian theater forward, to its final end. What is going on in their “temple of art”?

Here's the thing: it's raining. Leaves are falling. People drink tea with jam. Playing solitaire. They miss you very much. The drunken man sings and laughs quietly for a long time. They're bored again. Sometimes a man, feeling sexual desire, begins to court him and says: “luxurious woman?” Then they drink tea again, get bored and finally die, sometimes from illness, sometimes by shooting themselves. And how true, how precise, to the point of genius precise, identical with life! No fiction! There is another picture: people don’t have money for tea with jam, they lie on the boards and swear “in different words,” or talk at length about the fact that they are people, and that this is very good and nothing else is needed. Then they beat each other, are scalded with boiling water, someone foolishly hangs himself, and others again lie on the boards and talk about how good it is that they are people and can, if they want, fight a lot and for a long time. And again - how accurate! Absolutely so, it probably is. No fiction!..

May our honest intelligentsia, luxurious women, proud drunkards, and modern “true” life live forever and indestructibly! Death to art!"

D.F. (Filosofov D.)

New editions of "Scorpio" . Chronicle of the magazine "World of Art" #14.

“In a short period of time, the Scorpion publishing house published collections of poems by five modern poets: Balmont, Bryusov, Gippius, Merezhkovsky and Sologub...

Scorpio obviously cannot count on the success of its publications. All these poets are not only not the Gorkys, but not even the Fedorovs, Galins, Bunins and similar writers and poets needed and dear to our “intellectuals”...

Strange role of our criticism! She either mocks and swears, or in the name of “sound principles of social ethics,” but contrary to common sense and a minimal sense of artistic decency, she throws laurels at tendentious poems “about slavery,” “chains,” etc. ultra-modern accessories of our reality.

... Our criticism, with some special, voluptuous, choking, hastens to admit its primitive vulgarity and rudeness.”

Lemke M.

Journalist's thoughts. - St. Petersburg.

“You don’t have to be particularly insightful and have an outstanding ability to make generalizations in order not to notice one feature common to all Russian journalism. This is an almost complete ignorance of the conditions and circumstances of its own modern activity. Several articles about the status quo of censorship and freedom of the press, several articles, dedicated to individual issues and single facts of the complex life of journalism - that’s all we have so far: broad coverage of this life, thoughtful analysis of the very diverse needs and requirements of journalism, its diseases and ulcers, exposure of the behind-the-scenes world that hides behind some printed sheets - there is almost nothing of this, especially in any systematized, generalized form. You never know, you never know, but we talk about everything that we can still talk about - and this, of course, is our enormous merit - but we are voluntarily silent only about journalism, about ourselves, about our own shirt. Is it because the latter is not so close to our body? Is there really nothing to talk about? Maybe it's not interesting? Or is it useless?"

Bely A.

Northern Symphony (1st, heroic) . - M.

“Andrei Bely is a very strange figure in young Russian literature, full of unbridled lyricism and unbridled humor. In his person, perhaps, that old romantic irony has finally reached us, which is one of all romantic trends that has not yet been instilled in Russian fine literature" ( Abbadonna (A.V.Amphiteatrov) . Responses . "Rus", 1904, May 15).

A few words from a decadent addressed to liberals and conservatives . Chronicle of the magazine "World of Art" #7.

“So frequent are attacks on young people. So rude are the reproaches addressed to them... There is decadence, madness, immorality, and laziness - there’s a lot of everything - in these reproaches from liberals and conservatives...

Our fault is that we are later. They forced us to carry their absurd lusts to the point of absurdity, only to then abandon them in disgust...

Youth is sickly - who created the conditions for this sickness? Youth is a caricature - whose caricature is it?..

Each generation is more nervous, subtler, more tender. Each generation needs to be treated more and more carefully. More subtle requests are often rejected. They laugh at them rudely. Normal growth is then interrupted: refinement turns into perversity...

We know that our feelings are like a hurricane, and their feelings are like complete calm. Is it any wonder that they are afraid of our feelings, calling them crazy?

"Northern flowers for 1903". - M.

“Medical science often comes to the aid of the researcher in his attempts to unravel the mysterious problems of the creativity and life of writers...

We don’t know how willingly psychiatric science will undertake the study of the main features of modern decadent creativity, but the connections of the latter with Russian literature, in its historical continuity on the basis of common sense, are more than doubtful. For its representatives, everything is turned upside down - worldview, soul, heart, as if people walk upside down, like flies on the ceiling, and the whole world seems to them not in its proper form...

The poet alone is not ashamed - he is so... frank!

It is given to me to sing whatever I like, whatever my dreams like.
And you - be silent and listen, delve into the tunes.
And no matter what I plan to sing, there is no prohibition,
And everything will be worthy, because I am a poet!

Such is the author’s feeling towards his poetic inspiration and his contemptuous attitude towards the crowd... apparently goats, satyrs, silenos and other evil spirits with whom he frolicked on the lawn. For it is difficult to imagine the possibility of such an appeal to the human crowd, which may have common sense, and its own concepts and tastes, developed in a different direction than the Narcissists of decadent poetry.

We confess to the lack of civic courage to say anything about the content of the wild delirium of Mr. Andrei Bely ("The One Who Came, an excerpt from an unwritten mystery...") or about the physiological study of Mrs. Z. Gippius ("Mass"), but we cannot help to note that fundamentally decadent, and in particular arrogantly absurd in its injustice, philippics of Mr. Balmont against his (and ours, with the poet’s permission) contemporaries... What to do, poets feel the blood of their ancestors in themselves more vividly than ordinary mortals, and it affects their imagination with tropical patterns of distant times of cannibalism and indiscriminate mixing of the sexes..." ( Literary Review . "Bulletin of Europe" #9).

Volynsky A.L.

Book of Great Wrath. Critical articles. Notes. Controversy . - St. Petersburg. (year of publication indicated 1904).

“Volynsky’s new book is a typical book for Volynsky. It combined all the good that is in this criticism, and all the bad that throws away the sympathies of many from him...

As always, he writes about what he has studied conscientiously, diligently and with the tenacity of a thoughtful person - studied in detail and with passion, despite the seeming distance of the special subject of study from his supposed interests, such as, for example, in this case, Christian iconography. As always, there is a lot of observation in his coverage of literary topics, and there is a lot of sincerity, vivid and aptly defining words in his literary characteristics.

There is in him both the breadth of a purely literary view, and freedom from the blinders of a narrow party in his eyes, and this freedom gives him the opportunity to look at things objectively, without blindly admiring what comes from “his own”, and resolutely refusing to understand and recognize the beauty under his pen a person from someone else's household.

But, as always, in the new book the author makes one feel some kind of break, some kind of dislocation of his critical worldview, a clear inclination of sympathy towards decadence, some kind of extravagances of thought and corresponding frills of style. The thought does not flow smoothly and evenly, but at moments it somehow impetuously rushes up and down, is strangely demanding in its proof and leans into some mystical-philosophical, metaphysically unclear and sometimes chaotic supposed depths. And again, as always, as everywhere, a repulsive and sometimes intolerable feature of biting, self-confident, arrogant and indiscriminate disdain for small, medium and great Russian names" (A. Izmailov. Literary notes . " Birzhevye Vedomosti", 1904 , June 4).

Bryusov V.Ya.

Urbi et orbi. Poems 1900-1903 . - M.

“A book of poems should not be a random collection of heterogeneous poems, but a book , a closed whole, united by a single thought. Like a novel, like a treatise, a book of poems reveals its content sequentially from the first page to the last. A poem, snatched from a common connection, loses as much ", like a separate page from a coherent argument. Sections in a book of poetry are nothing more than chapters that explain one another, which cannot be rearranged arbitrarily" ( V. Bryusov . Preface ).

“In general, his collection, despite the manifestation of talent in individual poems, produces a heavy and cumbersome impression. In the author one can feel the nightmares of muddy and difficult psychologies, not only not enlightened, but, as it were, further complicated by rational ideology, artificially multifaceted and not always sincere ...

We can say that Valery Bryusov, with all his quests, with all his sophistication in the field of speech and style, does not have a specific style of his own. His poems are absolutely not united by anything and therefore give the impression of some kind of noise, shouting and commotion...

Bryusov, obviously, would like to be some kind of Rubens in poetry, but his poems on love themes reek of the stale air of petty debauchery in brothels" ( A.L. Volynsky . The Book of Great Wrath ).

"...The lines of the preface to "Urbi et orbi", so strict and precise, initially seem almost superfluous, imposing on the author an impossible task for anyone. They sound like a mathematical formula. It is difficult to imagine that at the tip of this formula alone it was possible to lift a three-year load of such diverse poems, judging at least by those published in Northern Flowers over three years.

But the promise was fulfilled. Before us is a book like a song from which “you can’t remove a word,” closed in all its ten parts, leaving only narrow straits from part to part - like chapter to chapter... It should be noted that Bryusov does not burden the reader with not only options the same content, but avoids repetition in size. It is enough to point out that in the book, consisting of 96 poems, more than 40 different meters are used. Moreover, some of them (vers libre) were adopted by Russian versification for the first time...

The book "Urbi et orbi", which surpassed in all respects the previous collections of Bryusov's poems, represents an important and significant literary fact. Groundless “decadence” is left far behind, and the path to it is completely blocked...” ( A. Blok . “New Path”, 1904, #7).

Ivanov Vyach.

Pilot stars. Book of Lyrics . - St. Petersburg.

“We must do justice to Mr. Ivanov, his archaic style is heavy, clubbed, not artistic, but it is not trivial, sometimes even noble and sublime. Not distinguished by talent, Mr. Ivanov’s poetry does not have anything plebeian or charlatan in it” ( P. N. Chronicle of the magazine "World of Art" #14).

“V. Ivanov’s book is an exceptional phenomenon in our literature, almost the only one. It is a vivid and highly integral expression of that art alien to the Slavic spirit, which can be called “lyrics of thoughts”, “lyrics of knowledge.”

True, such art, as one aspect, constituted a distinctive feature in the poetry of Baratynsky and Tyutchev, however, even with them, even the deepest abstract thought, clothed in artistic form, is inevitably harmoniously combined with the lyricism of the feeling or fleeting mood prevailing in the author’s soul.

One cannot look for this lyricism in V. Ivanov. He captivates the mind with the beauty of the images in which he dresses his soulful thoughts, with the beauty of the original, refined, but deathly cold; he surprises with the wealth of poetic erudition and the inexhaustible multi-colored variety of vocabulary. But he does not touch the heart, does not disturb peace. The works of V. Ivanov are calmly depicted knowledge, the figurative philosophy of the ancient Greek sages, an artistically executed synthesis of deeply analyzed, but externally drawn, often long-frozen, vital tremors; because of his terzas, sonnets, sapphic and Alcaeus stanzas, the serene face of the Epicurean author, a prophet who comprehended the eternal with his mind, but did not feel the instantaneous with his heart, emerges before us. G. V. Ivanov is a characteristic contrast to Mr. Balmont, as a poet of “fleeting events.” But based on the strength of his artistic talent, he and he can take a place at the head of modern lyricists" ( Krs. (A.A. Kursinsky?) . "Courier", May 27).

“The debutant appears in it (the collection of poems. - E.O. ) as a real master who understands the modern tasks of verse and works on them. Having a completely independent command of traditional meters, he looks for new ones, and finds them, resurrects the ancient ones, and knows how to give them vitality. In accordance with the aspirations of our entire era, V. Ivanov is an eclectic. All times and countries are equally close to him, he collects his honey from all flowers. He speaks a sonnet with the sophistication of the Italian masters, its creators; he is strict and strong in terzas, free and classically clear in hexameters and elegiac distichs; he assimilates Alcaean and sapphic stanzas to Russian poetry, giving amazing lightness to these alien meters, akin to Russian verse; he either approaches the harmony of Pushkin’s melodies, then resumes the drunken sounds of Yazykov, then uses the warehouse in a new way of our folk songs... In all this one can feel a long work, an intimate closeness to the chosen samples, one can feel the completion of many years of searching. Behind the "Helmsman Stars" there should be hidden preparatory studies, student exercises, which the author, being in this regard an exception among his brothers, hid from readers" ( V. Brusov . "New Path" #3).

Balmont K.D.

Let's be like the sun. Book of Poems . - M.

“There is manic narcissism, some kind of ineradicable psychological banality that hits from within and scatters in muddy splashes throughout all of Balmont’s works. Real poetic talent, real imagination, real riot of passion, painfully capricious and at times rising to some bright heights, incomparable, sonorous, light verse - all this is mixed in Balmont with unbearably stupid boasting, with delirium of alcohol and inventions of charlatan calculation" ( A.L. Volynsky . The Book of Great Wrath ).

"Our days are exceptional days, one of the most remarkable in history...

In few with such strength, this tremor of the future is so clearly manifested, as in K.D. Balmont... Balmont is, first of all, a “new man”, he has a new soul, new passions, ideals, aspirations - different from those of previous generations. .. Balmont forges his poems, caring only that they are beautiful in his own way, interesting in his own way, and if his poetry still belongs to the “new” art, this happened against his will. He simply tells his soul, but his soul is one of those that have only recently begun to bloom on our land...

The thirst for the fullness of every moment, the feeling of the abysses surrounding us, the feeling of mystery in passion and merging with elemental life - these are the four main trends in Balmont’s work...

In Balmont, unconscious life prevails over conscious life. But proud of his bright eye, he, this blind man who can see, relies too much on the power of his insight. He ventures onto the most forbidden roads, sometimes passes where there seemed to be no way, and sometimes miserably slips and falls where many walk freely, guided by a stick. Wherever strength lies in consciousness, in clarity of thought, Balmont is weaker than the weak...

Despite all the subtlety of the overall construction of the poems, in individual poems he reaches the limits of banality..." ( V. Bryusov. Balmont . "World of Art" #7-8).

Merezhkovsky D.S.

Collected Poems . - M. (year of publication indicated 1904)

"...Unfortunately, this collection of his poems produces... the most discouraging impression. First of all, there is no poetry in it, because there are no living sensations and feelings, nor those thoughts that grow organically on the basis of immediate sensations and feelings and can be called poetic thoughts. In general, Merezhkovsky, so to speak, is not an organic person and therefore an inorganic poet. This is some kind of center of multi-style modern thoughts, intensely striving for synthesis, but linked together only mechanically" ( A.L. Volynsky . Book great wrath ).

“As far as I have noticed, Merezhkovsky has a truly elegant attitude towards fame, as well as infamy. He desires the first, but without any greed; he suffers from the second, but exclusively through suffering for his ideas, not to the extent that they are rejected, but to the extent that they are not understood or they refuse to listen to them" ( V.V. Rozanov. Among foreign speakers . "World of Art" #7).

Sergey Glagol (Sergeevich S.)

Keys of Secrets . "Courier", March 28.

“Under this tempting title, yesterday in the auditorium of the Historical Museum Valery Bryusov preached his new aesthetic theory...

There is a lot in all this that is strange and even smile-inducing. There is a lot here that can provide material for witty jokes...

But that’s not the point, of course.

Laughter is laughter, but still there is no smoke without fire, and there is no teaching that does not contain a grain of truth in its depths. There is undoubtedly such a grain in the new school of aesthetes.

No matter how you feel about this teaching, there is no doubt that it sees something very big in art. For him, art is a temple, not a shop selling drinks and takeaways. Recognizing art as a special form of knowledge and thus returning to Schopenhauer... the new school frees art from any service role, any means of communication and takes it very far from the tasks of some universal pastime, and, having raised art to its proper height, it also explains its global significance. This is where all the advantages of the new teaching stop. Everything further is pure beautiful nonsense. This is a radiant dream in which the poet sees the triumph of his dear art, and not an aesthetic theory. This is not a theory, but a poem about art. There is no appeal to our thinking, there are no proven positions and logical conclusions, and instead of them there are only beautiful and not always clear statements. And if so, then arguing with the defenders of this doctrine is impossible.”

Shestov L. (Schwartzman L.I.)

Dostoevsky and Nietzsche (philosophy of tragedy) . - St. Petersburg.

“The author of this book belongs to the number of our “new” half-philosophers, half-critics... Among his colleagues, Mr. Shestov stands out for his very sympathetic features. One can feel in him undoubted sincerity, the ability for philosophical thinking, without those antics and tricks that he has adopted new ones.” priests" of literary criticism. The prophetic tone, the passion to look everywhere for analogies and comparisons, often purely external, and then deeply mentally try to find the mysterious meaning in these comparisons - this literary manner, which is so abused, for example, by Mr. Merezhkovsky, is almost absent from Mr. Shestov. He just couldn’t get rid of the constant repetitions of the same thought in different verbal forms, characteristic of the new school, and couldn’t get rid of the somewhat mysterious look with which things that are not at all mysterious are often presented" ( Literary Review . "Bulletin of Europe" #9).

Kuprin A.I.

Stories, vol. 1 . - M.

“The book of stories by Mr. Kuprin speaks of the undoubted young and versatile talent of its author. Sometimes in these stories one feels some kind of unfinished work, incomplete adherence to artistic measure...

The author is best able to depict those psychological processes that imperceptibly take place at the bottom of the human soul, in order to manifest themselves externally at certain moments in life, that subtle play of sensations, an elusive network of feelings and thoughts that, intertwined with each other, result in one mood, in one impulse of an unsatisfied soul" ( N.D. Teleshov . "Russian Thought" #5).

Serafimovich A.S.

Stories, vol. 1 . - M.

"Almost all of Mr. Serafimovich's stories are devoted to depicting the life of working people. The main characters of his works are hard work, hopeless need and silent grief. He sees them equally well in the stale darkness of underground mines and in the silence of the black, sensitively alert night on the water, and among the endless snow fields of the tundra illuminated by the silvery glow" ( Unsigned . "Russian Thought" #4).

“Neither the psychology of fear nor the more complex psychology of contradictory drives constitutes a strong side of the author’s talent. The most successful in Mr. Serafimovich’s stories are the everyday features scattered in different places in the book... But the author’s irresistible passion for piling up dangers in most cases overshadows the positive aspects his talents." ( V.Ya. "Russian Vedomosti", May 26).

Yushkevich S.

Stories, vol. 1 . - M.

“The stories of Mr. Yushkevich emanate hopeless melancholy and despair. Their author is a real singer of the people’s Jewish grief, the boundless sorrow that reigns within the narrow borders called the Jewish Pale of Settlement...

The very language spoken by the heroes of Mr. Yushkevich’s stories is extremely characteristic; it consists entirely of a whole series of perplexing questions with which the Jew seems to turn to fate, which never tires of constantly and cruelly persecuting him...

Mr. Yushkevich's stories reveal an undoubted talent in him; their only drawback is their overly monochromatic, gloomy colors..." ( Unsigned . "Russian Thought" #6).

Korolenko V.G.

Not scary (From the reporter’s notes. Sketch) . "Russian wealth" #2.

“This story is very far from the first stories of the venerable writer, with which he made his name... There is not a trace in it of that unique poetry, that kind of romanticism that permeates such works as “The Forest is Noisy,” “In Bad Society,” etc. d.

The new work by V.G. Korolenko reveals to us the nature of this terrible monster, which seems not scary because it is so gray, so consistent with our reality, that we do not notice it. The only person freed from the power of the “fearless” one is Pavel Semenovich, who broke with all compromises. Compromise gives strength to the unafraid, and as a result, the new story of our venerable writer is a challenge posed to compromise" ( N. Korobka . About the unafraid . "Education" #5).

Lunacharsky A.V.

About artists in general and some artists in particular . "Russian Thought" #2.

“For us, pure art, especially poetry, is the concentration of life...

If an artist combines... aesthetic elements: regular lines, precise contours, soft tints of caressing colors, full of pure sounds and chords, health, joy, strength, intelligence, then pure beauty will be expressed in his art . Beautiful in the narrow sense of the word is everything beautiful, containing only (or predominantly) aesthetically positive elements...

The task of artists is to concentrate life, to thicken it, to let us experience as much as possible, without, however, overstraining our nerves...

In our opinion, the most important thing in it is that it infects us with life in general, and arouses love and interest in it in the broadest sense. We are even further from demanding “sweet sounds” from the artist at all costs; let him give us dissonances, let him torment us, but not with the agony of toothache, tedious torment, but with idealized, not earth-shattering suffering.”

Other works

Teleshov N. Stories, vol. 1 . - M.

Fedorov A.M. Stories, vol. 2 . - St. Petersburg.

Chirikov E. Plays . - St. Petersburg.

Balmont K.D. Two poems under the general title "Dilemma" . "Magazine for everyone" #1.

Only love. Seven-flowered . - M.

Letkova Ek. (E.P. Sultanova). Collection of stories "Slave" . - St. Petersburg.

Gippius Z.N. Crazy . "New Path" #2.

Collection of poems. 1889-1903 . - M.

Kamensky Anatoly. Steppe Voices (first book). - St. Petersburg.

Lemke M. Essays on the history of Russian censorship and journalism of the 19th century . - St. Petersburg. (year of publication indicated 1904).

Gusev-Orenburgsky S. Stories, vol. 1 . - St. Petersburg.

Bryusov V.Ya. Poetry cycle "Premonitions" . "New Path" #4.

Botsyanovsky V.F. Leonid Andreev (the first book about the writer).

Ogareva-Tuchkova N.A. Memories . - M.

Krinitsky Mark (M.V. Samygin). Tearing movements of water . - M.

Lazarevsky Boris. Novels and stories . - M.

Gekker N. Leonid Andreev and his works . - Odessa.

Tan (V.G. Bogoraz). Eight tribes. A Novel from the Ancient Life of the Far Northeast . "The World of God" #5-8.

Olnem O.N. (V.N. Tsekhovskaya). Essays and stories . - St. Petersburg.

Verbitskaya A. Evil dew . "Education" #3-8.

Bulgakov S. Collected articles "From Marxism to Idealism (1896-1903)" . - SPb.

Sologub F. Collection of poems. 1897-1903 . - M.

Eleonsky S. Stories . - St. Petersburg.

Chekhov Mikh.P. Essays and stories . - St. Petersburg. (year of publication indicated 1904).

Tolstoy L.N. "Assyrian king Assarhadon", "Three questions" . "Russian Word", December 5 and in a separate edition of "Posrednik", M.

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