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Egor Otroshchenko. Century = text. Issue 10: 1910

Century = text. Issue 10: 1910
Egor Otroshchenko

Poem of the Year

Spell of laughter
Oh, laugh, you laughers!
Oh, laugh, you laughers!
That they laugh with laughter, that they laugh with laughter,
Oh, laugh merrily!
Oh, the laughter of the laughing ones - the laughter of the clever laughing ones!
Oh, laugh with laughter, the laughter of the laughing ones!
Smeyevo, Smeyevo,
Osmey, Osmey, smiley, smiley,
Smiley, smiley.
Oh, laugh, you laughers!
Oh, laugh, you laughers!

Victor Khlebnikov . Impressionist Studio , book. 1st. - St. Petersburg.

Chronicle

begins to appear in St. Petersburg . The illustrated weekly “Sun of Russia”, edited by Y. Vasilevsky,

On January 9, at the request of the Synod, performances of L. Andreev’s play “Anatema” were banned .

January 17 marked the 50th anniversary of the birth of A.P. Chekhov .

On February 10, died of smallpox in Tashkent V.F. Komissarzhevskaya .

On April 1, died M.A. Vrubel .

V.Ya. Bryusov becomes the head of the fiction department of the magazine "Russian Thought" .

Event of the year

On October 28 at 6 o'clock in the morning, L.N. Tolstoy , accompanied by Dr. D.P. Makovitsky, left Yasnaya Polyana. On the evening of October 31, Tolstoy, feeling unwell, was forced to interrupt his train journey and stop at the Astapovo station.

On November 7, Leo Tolstoy died .

Frontiers

The coincidence of three major events in 1910 seems more than symbolic: 1. The death of L. Tolstoy. 2. The publication of the first two collections of futurists (although this name of the literary movement appeared in our country later) “The Judges' Fishing Tank” and “The Impressionist Studio” , book. 1. 3. The appearance of A. Bely’s book “Symbolism” , which clearly marked the crisis of the phenomenon indicated in the title.

Book of the Year

Impressionist studio . Book 1. Edited by N.I. Kulbin. - St. Petersburg.

Authors: N. Kulbin ("Free Art as the Basis of Life"), A. Ballier ("WAJANG. Hawaiian Puppet Theater"), L.Sh.√R. ("Oriental motive"), A. Gidoni ("The Princess and the Moon"), A. Borisyak ("On painting music" and poetry), M. Rigler (poems), V. Nechaev (poems), D. Burliuk (poems ), N. Burliuk (poems), V. Khlebnikov (poems), N. Evreinov ("Performance of Love. Monodrama in 3 acts").

“The free wind drives stagnant water, creates new reflections. You, who are not given to disturb the water, do not stir up your puddle: the reflection is greater than the puddle. Honor the angel of the font of Siloam” ( Ed . Impressionist Studio . Book 1. - St. Petersburg).

"Art without reason is unreasonable art.

The artist depicts all the essential properties of the object for him, for example, the painter is not limited to color and shape, but also conveys the psyche, movements, sound, aroma, etc.

The artist creates something that irritates the creative imagination of the viewer; The picture is created jointly by the artist and the viewer.

Beauty is a process of pleasure for art lovers.

Good is the process of making everyone feel good (if possible).

Beauty and goodness are a pleasant experience.

Beauty and goodness are homogeneous.

Beauty for a person is part of goodness.

The goodness of a person is part of great beauty.

Beauty and goodness are in the unity of three dimensions of the psyche.

Consciousness = word = truth.

Feeling = music = love.

Will = plasticity = courage" ( N. Kulbin . Free art as the basis of life . "Impressionist Studio". Book 1. - St. Petersburg).

Thunderstorm (Sketch)
It's up...
rose up
White.
It spread
circled,
It got dark -
Поползло┘
It was coming.
Cover.
Strangler.
Hidden.
Trembling -
Началось┘
shined,
It thundered
It whistled!
- “How it whipped!”
It opened up
It came down
And it closed!
It rumbled.
It's gray and gloomy,
Отдыхало┘
bumped into
covered,
Howled, howled,
I was going crazy!
Bent down,
Swept away!
- "Вон, убило┘"
Tired.
brighter,
Let go -
It became clear.
It flew off
Looked around.
threatened
It went down.
Gloomy.
It's gone...
............
It blinked
Long
Along the edges
Starry night.

( A. Borisyak . "Impressionist Studio". Book 1. - St. Petersburg.)

Characters and performers

About beautiful clarity . Notes on prose. "Apollo" #4.

"...If I could give advice to someone, I would say this: “My friend, having talent, that is, the ability to see the world in one’s own way, in a new way, an artist’s memory, capable of distinguishing the necessary from the accidental, plausible fiction - write logically, observing the purity of folk speech, having your own style, clearly feel the correspondence of this form with the known content and the language appropriate to it, be a skilled architect both in details and in general, be clear in your expressions." To your beloved friend I would say in my ear: “If you are a conscientious artist, pray that your chaos (if you are chaotic) will be enlightened and settled, or for now contain it with a clear form: let it be told in a story, let it be acted in a drama, save the lyrics for poetry, love the word, like Flaubert, be economical in means and sparing in words, precise and authentic, and you will find the secret of a wondrous thing - beautiful clarity."

The first book of stories . - M. (The year is 1909).

Second book of stories . - M.

“Kuzmin, of all the writer-poets of his literary generation, is the most brilliant painter of words. All his descriptions give us the illusion of space, illuminated by the sun or flickering lights, air filled with aromas. And almost everywhere he feels movement, hears the sounds of life.

Kuzmin has a rare gift for capturing characteristic pictorial features. I see not only his landscapes, I see the figures of his people, their faces. But, looking closely, I notice that these are just artistically made masks: they have empty eyes, behind them there is no real human soul, with all the endless variety of its experiences, suffering, trembling interests. Life passes Kuzmin by: he is farsighted, he does not see what is happening around him, in our languid and frantic modernity.

Sensitive and frivolous, sophisticated and at times trivially playful, he still seems mentally motionless, as if hypnotized. And there is something eerie in the look with which he looks at us from his artistic works, and which, just like some of his heroes, represents “a combination of gaze and absent-mindedness, sharpness and blindness” ( L. Gurevich . Notes on modern Russian literature . Farsighted . "Russian Thought" #3).

Anton Krainy (Z. Gippius)

Mine. (Valery Bryusov, human poet) . "Russian Thought" #2.

“Everyone involuntarily chooses from Bryusov what seems closest to him, understandable. And everyone is mistaken, because in Bryusov there is nothing close to others: everything in him is alien, he is all his own , and only his own. Even if there are things in him that are not alien someone's features, then it doesn't matter, taken separately, torn off forcibly from the full appearance of this man-poet, they lose their meaning. Bryusov is too integral, completely clear and simple - not with primitive simplicity, but with some kind of his own, “for- complex,” if I may put it this way, which is not always seen as simplicity.

We must not forget that, first of all, he is one of our own . This is almost the only adjective that applies to Bryusov. (By the way, it’s not even an adjective). But on the other hand, I don’t know if there is another human poet who could be called “mine” to such a strange extent, with such completeness; for yourself - yours, for others - strangers.

“Harmony corresponds to geometry” (O. Weininger, “Last Words”) - yes, indeed, there is some kind of connection here. Is it not because we remember beautiful geometry when touching the beautiful poetry of V. Bryusov, because the poet and man are in pure harmony? Naturally closed, naturally self-sufficient, a perfect circle in itself, alien music without melody or rhythm, the coherent ringing of glass wings on a late, sunny night - this is what V. Bryusov and his poems remind me of.

It would seem that if so, the easiest thing to do would be to label Bryusov an “individualist.” You never know there are many of them among modern writers and poets. Frivolous definition! There is a huge difference between the closed harmonious being of the human poet Bryusov and the so-called “individualist”, the most extreme. An individualist, lonely, is always either proud of his isolation or suffers from it; but he sees it and judges it, feels it as disequilibrium; Bryusov’s inner harmony is so perfect, so natural that he can barely note his separateness and amazing difference, but he could neither rejoice in it nor be sad about it. He is like that, exactly like that, and nothing more.”

Merezhkovsky D.

Sick Russia . - St. Petersburg.

“The author did everything possible for his part to make his book less readable. All the time you have to make your way through a real forest of unexpected, mostly purely verbal convergences of disparate concepts, to overcome the capricious game of antitheses and comparisons, pulled by the hair - and this is sometimes downright unpleasantly annoying... The reader will not find in Mr. Merezhkovsky’s articles either a coherent presentation of the worldview of the author himself, or a definition of the “disease” of Russia.

And yet, despite the lack of genuine simplicity that goes to the heart, despite the unbearably prickly form of Mr. Merezhkovsky’s moods, his book is a sign of the times, in places a vivid reflection of the common and deeply painful experiences of everyone" ( Ch.V-sky (Ch Vetrinsky) "Bulletin of Europe" #3).

XXIX collection "Knowledge". - St. Petersburg.

Continuation of M. Gorky's story "Town of Okurov. Chronicle" , "Cheerful Dad" by I. Kasatkin .

“The latest works of M. Gorky - the story “Summer” and the chronicle “Town of Okurov” - did not arouse either in the public or in the press that intense interest, those passionate discussions that so recently greeted each new work of the popular writer. And this indifference is understandable : neither "Summer" nor "Okurov Town" are marked with the stamp of that bright, original talent that once so quickly created Gorky's wide fame. It's as if his good genius had flown away from the writer, as if the source of creative inspiration and artistic power had dried up. Repeatedly something that happened every time Gorky the artist stood in the way of Gorky the propagandist. And recently, such a sad misunderstanding has emerged almost every time the Caprean exile takes up his pen. Last year, clumsy attempts to combine Social Democratic doctrine with religious quests lay in tasteless blots on the story “Confession,” which was interesting in many respects. Now the tendentious and doctrinaire task forced the writer to squeeze out of himself two very weak things" ( S.A.Adrianov . Critical Sketches . Bulletin of Europe, #2).

Hoffman V.

Art . New poems. - St. Petersburg.

“The entire collection of V. Hoffman is permeated with a mannered and vague dreaminess. This also affects the very form of the poems, verbose, reminiscent of Balmont, but devoid of his free spontaneity. One could give many examples of such cold declamation, colorless repetitions. Meanwhile, V. Hoffman He easily masters verse, he achieves musicality - but that’s all" ( Vl. Volkenshtein . "Modern World" #2).

"V. Hoffman managed to preserve the best thing that was in his early poems: melodiousness. Almost all of his poems sing. And in this regard, in the direct gift of melodious verse, V. Hoffman has few rivals among modern poets: K. Balmont, A. Blok, who else? At the same time, V. Hoffman has largely overcome the main drawback of his youthful poetry, its lack of content, in his new book. Over the years, his muse has become more serious, more thoughtful. V. Hoffman, apparently, has lost the desire write poetry for any reason, only because it comes easily. His poems have become more concise; they contain much less than before, “empty” (from an artistic point of view) verses and stanzas; and the former affectation, which was so harmful to Mr. Hoffmann’s poems , imperceptibly turned into grace" ( V. Bryusov . "Russian Thought" #2).

Green A.S.

Stories . T. 1. - St. Petersburg.

“With a huge and insatiable thirst for life,” Green did not find satisfaction in it, however, and turned away from it. He left living life and ended up in a panopticon.

Yes, Greene has the indisputable honor of opening the new panopticon - no one will take this honor away from him. But, I admit, I am not happy about this discovery, especially now, when the new institution is still so bad, so uncomfortable and so carelessly equipped.

I’m not a fan of stylization at all, and if in the skillful hands of great masters it interests me as an entertaining trick, then when turned into a craft by the Auslanders, Remizovs and the like, it seems to me a nasty profanation of art.

In a number of his stories ("The Navigator of the Four Winds", "Window in the Woods", "An Incident on Dog Street", "Reno Island", "Lanphier Colony") Green opens up a new type of stylization for Bret Harte and Kipling. For this he had to study and put into circulation technical, maritime and hunting terminology. But words alone cannot seduce the reader. A sensitive reader will understand from the very first words of the narrator that the trick that he is being shown is performed by unskilled hands and is doomed to failure in advance" ( Vl. Kranichfeld . Literary responses. Literary excursion . "Modern World" #5).

Voloshin M.

Poems . 1900-1910. - M.

"G. Voloshin lovingly embraced a variety of cultural interests and literary influences┘ His own individuality, however, seems mysterious. His best poems and stanzas are striking in their exotic content┘ Mr. Voloshin's book - refined, complex, but lacking poetic power - is an interesting document in the history of literary quests of our time" ( Vl. Volkenshtein . "Modern World" #4).

"M. Voloshin's poems are not so much a recognition of the soul as a creation of art; this is literature, but good literature. M. Voloshin does not have the spontaneity of Verlaine or Balmont at all; he does not then compose his stanzas to express this or that feeling he has experienced, but his experiences give him material to make this or that artist's experience into poetry. M. Voloshin never forgets about the reader and writes only when he has something new to say or show the reader, something that has not yet been said or tried in Russian poetry ┘ Poems┘ are made by the hand of a true master who loves verse and the word, sometimes breaking them mercilessly, but just as the jeweler who cuts it does not have pity for a diamond" ( V. Bryusov . "Russian Thought" #5).

Sasha Cherny

Satires . - St. Petersburg.

“Not always smooth, not always self-possessed, sometimes even overly rude, Sasha Cherny’s satires convince us that we are dealing with a real poet who has mastered all the secrets of verse... The poet’s lyre is not only light and sonorous, but also smart strings.

Calling Sasha Cherny the most typical representative of young literature, I mean the happy and bright combination in his satire of two features of the latter. With a complete denial of modernity, with a clearly hostile attitude towards it, he at the same time seems to be filled to the brim with that feeling of healthy cheerfulness, which alone conceals within itself the mighty sprouts of the future. Modernity is denied not because it is opposed to the past, dressed in a romantic halo, but because it is clogged with remnants of the past, which prevent it from developing the possibilities inherent in it.

Having not without success tried his hand at political and social satire (see, for example, “Involuntary Confession”, “There Inside”, “Victory”, etc.), Sasha Cherny, as far as he revealed himself in the collection under consideration, is primarily a satirist of our demagnetized intelligentsia and its way of life" ( Vl. Kranichfeld . Literary responses. Literary excursion . "Modern World" #5).

Taffy

Seven lights . - St. Petersburg.

"...Ms. Teffi's poems are a number of commonplaces of modernism. If you like, in Ms. Teffi's poems there is a lot of beautiful, colorful, effective; but this is the beauty of expensive cosmetics, the colorfulness of the tenth copy, the effects of a clever director. All poets, from Heine to Blok, from Leconte de Lisle to Balmont, images, epithets and techniques were borrowed by Mrs. Teffi, and not without skill they were combined into stanzas and new poems.

Ms. Teffi calls seven stones “seven lights”: sapphire, amethyst, alexandrite, ruby, emerald, diamond, topaz. Alas, Mrs. Teffi’s necklace is made of fake stones” ( V. Bryusov . “Russian Thought” #6).

Annensky I.

Cypress casket . Second book of poems (posthumous). - M.

“The poems of the late I. Annensky are an unexpected gift to readers. The learned philologist, attentive and serious translator of Euripides, became interested in new poetic forms and worked a lot on poetry.

Aesthetically, Mr. Annensky's book is extremely vulnerable; but still she is interesting, as an unexpected manifestation of a versatile personality" ( V.V-n (V. Volkenshtein) . "Modern World" #5).

“A true poet, a subtle critic, an exceptional erudite, a person in everything and always original, not like others, I. Annensky should finally have attracted the attention of the “large public.”

He can be reproached for anything, but not for banality or imitation. I. Annensky's writing style is sharply impressionistic; he depicts everything not as he knows it, but as it seems to him, and moreover, it seems right now, at this moment" ( V. Brusov . "Russian Thought" #6).

Other works

Gumilyov N. Zhemchuga . Poetry. - M.

Gippius Z. Collected poems . Book two. 1903-1909. - M.

Bely A. Symbolism . Book of articles. - M.

The meadow is green . Book of articles. - M.

Aikhenvald Yu. Silhouettes of Russian writers . Vol. 3M.

Bunin I. Works. T. 6. Poems and stories. 1907-1909. - St. Petersburg.

Village . "Modern World" #3, 10, 11. In the same year, a separate edition was published in Moscow.

Ellis (L.L. Kobylinsky). Russian Symbolists . Balmont, V. Bryusov, A. Bely. - M.

Sivachev M. For the reader's judgment . Notes of the literary Makar . Vol. 1M.

Tolstoy L.N. Three days in the village (Wandering people. Living and dying. Taxes) . "Bulletin of Europe" #9.

Tolstoy A. Works . Book 1. - St. Petersburg.

Beyond the blue rivers . - M. (The year is 1911).

Surguchev I. Stories . T. 1. - St. Petersburg.

Ehrenburg I. Poems . - Paris.

Tsvetaeva M. Evening album . - M. (Tsvetaeva’s first collection of poems).

Northerner I. Necklace of a princess . The first notebook of the third volume of poems. - St. Petersburg.

Kotsyubinsky M. Narrator . T. 2. - SPb. (Courtesy 1911).

Shmelev I. Stories . T. 1. - St. Petersburg.

Izmailov A. Literary Olympus . Leo Tolstoy, Chekhov, Andreev, Kuprin, Gorky, Sologub, Yasinsky, Bryusov, Salias, Soloviev. Characteristics, meetings, portraits, autographs. - M. (The year is 1911).

Sologub F. Collected works in 12 volumes . T. 4, "Stories". T. 5, "Poems". T. 6, "Little Demon. Novel". T. 7, "Stories". T. 8, "Dramatic works". T. 9, "Poems". T. 10, "Fairy tales and articles." - St. Petersburg.

Sergeev-Tsensky S. N. Collected Works , vols. 1-5. - St. Petersburg.

Merezhkovsky D. Collected poems . 1883-1910." - St. Petersburg.

Korolenko V. The history of my contemporary . T. 2, "Student years". "Russian wealth" #1, 2.

Wanderer. Stories . T. 3. - St. Petersburg.

Soloviev S. April . Second book of poems. - M.

Averchenko A. Humorous stories . - St. Petersburg.

Stories (humorous) . Book 1. - St. Petersburg.

Cheerful oysters . Humorous stories. - St. Petersburg.

Bunnies on the wall . Book 2. - St. Petersburg.

Teffi. Humorous stories . Book 1. - St. Petersburg.

Gorodetsky S. Stories . Book 2. - St. Petersburg.

Judges' cage. (1 collection). - St. Petersburg. (V. Kamensky, E. Nazen, N. Burlyuk, E. Guro, S. Myasoedov, D. Burlyuk, V. Khlebnikov).

Printer . Literary collection. Edited by N.D. Teleshova. (L. Tolstoy, N. Zlatovratsky, E. Chirikov, V. Veresaev, I. Bunin, A. Serafimovich, Skitalets, N. Teleshov, B. Zaitsev, F. I. Chaliapin).

L. N. Tolstoy. Biography, characteristics, memories (life, personality, creativity). - M. (P.I. Biryukov, V.V. Kallash, P.A. Sergeenko, N.I. Timkovsky, etc.)

Earth. 4th collection. - M. (M. Artsybashev - “At the Last Line”, part 1., Sh. Ash - “Earth”, E. Chirikov - “House of the Kochergins”).

Anniversary Chekhov collection. - M. (M. Nevedomsky, V. Rozanov, N. Abramovich, etc.)

XXX collection "Knowledge". - St. Petersburg. (I. Kasatkin - “With Boredom”, N. Garin - “Hare”, I. Bunin - poetry).

XXXI collection "Knowledge". - St. Petersburg. (V. Yazvitsky - “In Taibol”, I. Shmelev - “Under the Mountains”. In this and the previous collections, the 1st part of Gorky’s story “The Life of Matvey Kozhemyakin” was published under the title “The Town of Okurov. Chronicle”, with the subtitle “Matvey Kozhemyakin ").

XXXII collection "Knowledge". - St. Petersburg. (M. Gorky - “Weirdos”, E. Militsyna - “Waiting for the verdict”, Y. Okunev - “Daria Avilova with her sons”).

XXXIII collection "Knowledge". - St. Petersburg. (M. Gorky - "Vassa Zheleznova", S. Gusev-Orenburgsky - "Knight Lancelot", A. Cheremnov - "Crimea", L. Nikiforova - "Artel").

Almanac "Love" . - St. Petersburg. (A. Blok - "Song of Hell", O. Dymov - "Ways of Love", V. Hoffman - "Margot", G. Chulkov - "Tamar", S. Gorodetsky - "In the Loop", A.N. Tolstoy - “Two anecdotes about the same thing”, E.V. Anichkov - “City love and rural love”).

Almanac of the publishing house "Rosehipnik" . Book 12. - St. Petersburg. (B. Zaitsev - "Dawn", F. Sologub - "The Road to Damascus", A. Tolstoy - "Trans-Volga Region", N. Minsky - "Little Temptation. A play for reading").

Almanac of the publishing house "Rosehipnik" . Book 13. - St. Petersburg. (L. Andreev - "Gaudeamus", B. Zaitsev - "Death", A. Tolstoy - "Matchmaking", A. Remizov - "Sisters of the Cross", Sasha Cherny - poetry).

Almanac for everyone . Book 1. - St. Petersburg. (A. Remizov - “The Irrepressible Tambourine”, A. Tolstoy - “Two Friends”, G. Chulkov - “Adonia”, F. Sologub - poetry).

1909 year