Egor Otroshchenko. Century = text. Issue 13: 1913

Century = text. Issue 13: 1913
Egor Otroshchenko

Publication date: June 6, 2000
POEM OF THE YEAR | PHRASE OF THE YEAR | CHRONICLE | SELECTED QUOTES | CHARACTERS AND PERFORMERS

Poem of the Year

Kanzeli

In a noisy moire dress, in a noisy moire dress
Along the sun-lit alley you pass the sea...
Your dress is exquisite, your talma is azure,
And the sandy path is patterned with leaves -
Like spider legs, like jaguar fur.
For a sophisticated woman, the night is always a newlywed...
The rapture of love is destined for you by fate...
In a noisy moire dress, in a noisy moire dress -
You are so aesthetic, you are so graceful...
But who should be the lover? and will there be a match for you?
Wrap your feet in an expensive jaguar blanket,
And sitting comfortably in a gasoline landaulet,
You entrust your life to a boy in a rubber mackintosh,
And close his eyes with your moire dress -
A noisy moire dress, a noisy moire dress!...

I. Severyanin ( The thunderous goblet. Poets . - M.)

Phrase of the year

Abandon Pushkin, Dostoevsky, Tolstoy, etc. and so on. from the Steamship of Modernity.

D. Burlyuk, A. Kruchenykh, V. Mayakovsky, V. Khlebnikov . A slap in the face to public taste .

Chronicle

On February 21, the “Nominal Highest Decree to the Government Senate (in commemoration of the 300th anniversary of the Romanovs)” was published, which declared an amnesty for persons prosecuted for “criminal acts committed through the press.” V. Korolenko, M. Gorky, K. Balmont, N. Minsky, V. Vodovozov, V. Semevsky, A. Peshekhonov, A. Amfiteatrov and others are subject to amnesty.

On April 26, at the age of 36, E.G. Guro died .

On August 20, the last issue of the newspaper "Russian Rumor" , closed for its anti-government direction, was published.

On October 13, took place in the hall of the Society of Art Lovers an evening of “futurist speechmakers” , which attracted an incredible number of people. Two “pillars of futurism” - D. Burliuk and V. Khlebnikov - could not speak due to illness. Mayakovsky stepped onto the stage, wearing a bright yellow jacket with black stripes. Theses of his report: “Walking taste and the levers of speech”, “Faces of cities in the pupils of a speechmaker”, “Berceuse [Lullaby] by an orchestra of drainpipes”, “Egyptians and Greeks stroking black dry cats”, “Folds of fat in chairs”, “Motley the rags of our souls." N. Burliuk read out D. Burliuk’s report “Milkers of Exhausted Toads,” that is, ideas. A. Kruchenykh read two reports, naming, among other things, Peredonov as the only positive type of Russian literature. After the reports, the futurists read poetry. Everything was calculated to create a scandal, but “the good-natured Moscow public... just laughed merrily” ( Evening of the Futurists . “Russian Word”, October 15).

On December 2, took place in St. Petersburg Luna Park the first performance of V. Mayakovsky's tragedy "Vladimir Mayakovsky" ; the author directed the play and played the main role. Artists - P. Filonov and I. Shkolnik.

Selected Quotes

Elena Gouro

From the series "Heavenly Camels"

Dedicated to Olga Gromozova

Newspaper ad: Camel down, extra warm sweatshirts, long johns, stockings, and bait.

This is done like this: they ambush young bright spirits, longish and kind, similar to golden lanky camels, covered with the down of the holy radiance - they are driven into a heap, snapping a whip in the air, and gentle good-natured creatures, too kind to understand how they do it pain, crowding, crowding, stretching their necks through each other, huddling against a rough fence, losing their delicate fluff in the cramped space.

This down of heavenly camels, especially warm with the life-giving warmth of spring, is then collected from the ground and woven into sweatshirts.

- But how do they kill the poor poor camels? - they asked me with concern.

- Why kill them, they are driven, driven, until the fluff is worn off from them, and they are released back into the sky until the next time, and their fluff grows back in one minute even better than before.

Characters and performers

FUTURISTS | ACMEISTS | OTHER WORKS

Futurists

Judges' cage | A slap in the face of public taste | Dead Moon | Kruchenykh A. Lipstick | Kruchenykh A. and Khlebnikov V. The Word as Such | Gnedov Basilisk. Death to art | No quotes
Almanac "Tank of Judges", II (St. Petersburg).

B. Livshits, V. Khlebnikov, D. Burlyuk, N. Burlyuk, V. Mayakovsky, A. Kruchenykh, E. Guro, E. Nizen, Militsa. Drawings by E. Guro, N. Goncharova, M. Larionov, D. and V. Burlyukov.

“We have put forward for the first time new principles of creativity, which are clear to us in the following order:

1. We stopped considering word construction and word pronunciation according to grammatical rules, and began to see in letters only guides of speech . We've loosened the syntax.

2. We began to give content to words according to their descriptive and phonic characteristics.

3. We are aware of the role of prefixes and suffixes.

4. In the name of personal freedom, we deny spelling.

5. We characterize nouns not only with adjectives (as we did mainly before us), but also with other parts of speech, also with individual letters and numbers:

A) considering his blots and vignettes of creative anticipation as part of an inseparable work.

C) in handwriting, adding a component of the poetic impulse.

C) in Moscow, therefore, we published books (autographs) of “self-letters”.

6. We have destroyed punctuation marks - which means the role of the verbal mass was put forward for the first time and realized.

7. We understand vowels as time and space (the nature of aspiration) consonants - paint, sound, smell.

8. We have broken the rhythms. Khlebnikov put forward a poetic meter - a living spoken word. We have stopped looking for meters in textbooks - every movement: - gives birth to a new free rhythm for the poet.

9. Front rhyme - (David Burliuk) middle, reverse rhyme (Mayakovsky) developed by us.

10. The richness of the poet's vocabulary is his justification.

11. We consider the word to be the creator of the world; the word, when dying, gives birth to myth and vice versa.

12. We are at the mercy of new themes: uselessness, meaninglessness, the mystery of imperious insignificance - are glorified by us.

13. We despise fame; we know feelings that have not lived before us.

We are new people of a new life.

David Burlyuk, Elena Guro, Nikolai Burlyuk, Vladimir Mayakovsky, Ekaterina Nizen, Victor Khlebnikov, Benedikt Livshits, A. Kruchenykh .

A slap in the face to public taste. In defense of free art. Poems, prose, articles. - M.

D. Burlyuk, N. Burlyuk, A. Kruchenykh, V. Kandinsky, B. Livshits, V. Mayakovsky, V. Khlebnikov.

"To those reading our New First Unexpected.

Only we are the face of our Time. The horn of time blows to us in the art of words.

The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs.

Abandon Pushkin, Dostoevsky, Tolstoy, etc. and so on. from the Steamship of Modernity.

Whoever does not forget his first love will not know his last.

Who, gullible, will turn his last Love to Balmont's perfume fornication? Is it a reflection of the courageous soul of today?

Who, the coward, would be afraid to steal the paper armor from the black coat of the warrior Bryusov? Or are they the dawns of unknown beauties?

Wash your hands that have touched the dirty slime of the books written by these countless Leonid Andreevs.

To all these Maxim Gorkys, Kuprins, Bloks, Sollogubs, Remizovs, Averchenks, Chernys, Kuzmins, Bunins and so on. and so on. - All you need is a dacha on the river. This is the reward that fate gives to tailors.

From the heights of skyscrapers we look at their insignificance!..

We order of poets be respected that the rights :

1. To increase the vocabulary in its volume with arbitrary and derivative words (the word is an innovation).

2. An insurmountable hatred of the language that existed before them.

3. With horror, remove from your proud brow the Wreath of penny glory you made from bath brooms.

4. Stand on the rock of the word “we” amid a sea of ​​whistles and indignation.

And if the dirty marks of your “Common Sense” and “good taste” still remain in our lines, then for the first time the Lightnings of the New Coming Beauty of the Self-Valuable (Self-Valuable) Word are already trembling on them.
D. Burlyuk
Alexander Kruchenykh
V. Mayakovsky
Viktor Khlebnikov"

"Why?

"Nobody came out of there.

"Nobody?

"Nobody.

"No one?

"No.

“Yes! And as I passed by, there was still one standing there.

"In front of the door?

“In front of the door. Standing with his arms spread out.

"Yes! It's because he doesn't want to let anyone in."

"Nobody went in there?

"Nobody.

“The one who spread his arms was the one there?

"Inside?

"Yes, inside.

“I don’t know. He spread his arms only so that no one would enter there.

“They put him there so that no one would go in? The one who spread his arms?

“No. He came himself, stood and spread his arms.

“And no one, no one, no one came out of there?

"Nobody, nobody.

V.V. Kandinsky ".

Dead moon. Almanac. - M.

B.N. Livshits, A.E. Kruchenykh, V.V. Mayakovsky, N. and D. Burlyuk, V.V. Khlebnikov.

"...If it is a mistake to think that... the principles (of futurist art. - E.O. ) have already found full implementation in the works of poets who recognize them, then a much greater deviation from the truth is the assertion that the new trend is reduced, ultimately ultimately, to word creation in the narrow sense of the word. It is in vain that our overly perspicacious and helpful friends, with zeal worthy of a better fate, helping us to construct ourselves, push us along this path. Applying what is happening in front of them to their narrow understanding, they, we believe , quite conscientiously missing the most valuable thing that is in the new movement - its basis: a change in the angle of view on a poetic work. If “Pushkin, Dostoevsky, Tolstoy, etc. are thrown off the ship of modernity" not because “we are at the mercy of new themes,” but because from a new angle, in a new perspective, their works have lost a significant share of their, henceforth illegal, charm, then, equally, not in consistency or inconsistency with the spirit of the Russian language of our neologisms, or with the academic syntax - of our sentence, not in the ways of finding a new rhyme, not in the combination of words that seemed incompatible, one should look, as V. Bryusov does, for example, for the essence and measure of the value of the new trend. All this is on the periphery of the latter, all these are just means of our transition today, which we, perhaps, will abandon tomorrow without damage to our poetry. But what separates us with an impassable abyss from our predecessors and contemporaries is the exceptional emphasis we place on the first free - liberated by us - creative word" ( B. Livshits ).

Kruchenykh A.

Lipstick . Poems. Rice. M. Larionova. - M.

The sky is stuffy and smells
blue and udders
O beloved, have mercy
you me
myself and you
I'm already crucified
steppe and willows

A. Kruchenykh together with E. Lunev.

Kruchenykh A. and Khlebnikov V.

The word as such . - M.

"...The writers before us had completely different instrumentation, for example -

An angel flew across the midnight sky
And he sang a quiet song...

Here the color is given by bloodless pe... pe... Just like paintings painted with jelly and milk, we are not satisfied with poems built on

by-by-by
pee-pee-pee
you-you-you
and so on.

A healthy person will only upset their stomach with such food.

We gave an example of a different sound and word combination:

maybe this is the case
Ubeshchur
scum
you and boo
owner

(by the way, there is more Russian national in this five-line poem than in all of Pushkin’s poetry).

Not the voiceless, languid creamy toffee of poetry (solitaire... marshmallow...), but a menacing bayach...

Even students who are mediocrity love to work

(the hardworking bear Bryusov, who rewrote and polished his novels Tolstoy, Gogol, Turgenev 5 times), the same applies to the reader.

Speech-makers should write on their books:

read - tear it up! "
Gnedov Basilisk

Death to art. - St. Petersburg.

Basilisk (Vasily Ivanovich) Gnedov published the brochure “Death to Art”, where the last “Poem of the End” was a blank page, and in oral performance he read it “with a rhythmic movement. The hand drew lines: to the right from the left and vice versa (the second destroyed the first, as plus and minus result in minus)". “Basilisk Gnedov Says the Whole What in Nothing... Modern creativity has provided complete freedom to personal comprehension” (“Preface” by I. Ignatiev to “The Death of Art”).

DEATH TO ART
fifteen (15) poems

Poem 1. STONGA

It's hysterical - Ashes Soul.

Poem 2. KOZLO

Bubchigi Kozlevaya - Lilac. Hide the Sun.

Poem 3. PIPE

Broken √ Common speech... Mosses-Zvukopas.

Poem 4. MALE GRIEF

Dull-Swirling. Forgive.

Poem 5. UNKNOWN

I understand - I understand - take the Soul.

Poem 6. ROBCOTT

Som - a - you - ka. Female! - a - vill - to.

Poem 7. SMOLGA

Kudreni - Outstanding Morality.

Poem 8. ROCKLIT

Silver Thread - Rocker. Brows.

Poem 9. RUMMY GRIEF

Beetle. Beetle. Beetle.

Poem 10. HERE

I'll cut the edges.

Poem 11. SING

in -

Poem 12. EVENING

My Brother is 8 years old. - Petrusha.

Poem 13.

They mock

Poem 14.

Yu.

Poem of the End (15).

...

No quote

Kruchenykh A. Half-dead . - M.

Declaration of the word as such . - St. Petersburg.

Blew it up . - St. Petersburg.

Let's grumble . Rice. O. Rozanova and K. Malevich. - St. Petersburg.

Kruchenykh A. and Khlebnikov V. Lesinny Bukh . - St. Petersburg.

Breviary of three. Collection of poems and drawings. - M. (V. Khlebnikov, V. Mayakovsky, V., D., Nik. and Nad. Burliuk, Tatlin).

Khlebnikov V. and Kruchenykh A. Three . - St. Petersburg.

Mayakovsky V. I am! Rice. V. Chekrygina and L. Zh[egina]. - M.

Shershenevich V. Carmina . Lyrics (1911-1912). Book 1. - M.

Evreinov N. Theater as such . Justification of theatricality in the sense of a positive beginning of performing arts and life. From fig. N.I. Kulbina. - St. Petersburg.

Severyanin I. Thundering goblet . Poets. Preface by F. Sologub. - M.

Almanacs of the Moscow group of futurists "Mezzanine of Poetry" , editor and publisher E.L. Lvova-Shershenevich:

Vernissage . - M. (V.Bryusov, Khrisanf [L.S.Zak], R.Ivnev, V.Shershenevich, P.Shirokov, B.Lavrenev, K.Chaikin, A.Sidorov, N.Benediktova, M.Rossiyansky [L .S. Zak and V. Shershenevich], Abbot Fanferlyush [V. Shershenevich]).

Feast in Time of Plague . - M. (Khrisanf [L.S.Zak], I.Severyanin, V.Shershenevich, N.Lvova, S.Tretyakov, R.Ivnev, P.Shirokov, P.Pogodin, Grail Arelsky [S.S.Petrov] , Abbot Fanferlyush [V. Shershenevich], M. Rossiyansky [L.S. Zak and V. Shershenevich]).

Crematorium sanity . - M. (I. Severyanin, Khrisanf [L.S. Zak], V. Shershenevich, S. Tretyakov, R. Ivnev, Nelly, K. Bolshakov, P. Shirokov, B. Lavrenev, P. Pogodin, M. Sandomirsky, K. Chaikin, M. Moravskaya, S. Beketova, M. Rossiyansky [L.S. Zak and V. Shershenevich], Abbot Fanferlyush [V. Shershenevich]).

Lyrics. First almanac. - M. (Yu. Anisimov, N. Aseev, S. Bobrov, B. Pasternak, S. Raevsky, S. Rubanovich, A. Sidorov, V. Stanevich).

Acmeists

Gumilyov N. The legacy of symbolism and acmeism | Gorodetsky S. Some trends in modern Russian poetry
Gumilev N.

The legacy of symbolism and acmeism . "Apollo" #1.

“For the attentive reader it is clear that symbolism has completed its circle of development and is now falling. And the fact that symbolic works almost no longer appear, and if they do appear, they are extremely weak even from the point of view of symbolism, and that they are distributed more and more often voices in favor of revising the values ​​and reputations that were so recently indisputable, and the fact that futurists, ego-futurists and other hyenas have appeared, always following the lion. The Symbolists are being replaced by a new direction, no matter what it is called, whether it is Acmeism (from the word " acme" - the highest degree of something, color, blooming time) or Adamism (a courageously firm and clear view of life), in any case requiring a greater balance of forces and a more accurate knowledge of the relationship between subject and object than was the case in symbolism. However, In order for this movement to establish itself in its entirety and become a worthy successor to the previous one, it is necessary that it accept its inheritance and answer all the questions posed by it. The glory of the ancestors obliges, and symbolism was a worthy father.

We Russians cannot help but take French symbolism into account, if only because the new movement, which I spoke about above, gives decisive preference to the Romanesque spirit over the German one. Just as the French were looking for a new, freer verse, the Acmeists strive to break the shackles of meter by skipping syllables, by freely rearranging stress more than ever, and there are already poems written according to the newly thought-out syllabic system of versification. The vertigo of symbolic metaphors accustomed them to bold turns of thought; the unsteadiness of the words to which they listened prompted them to look for new ones in the living folk speech - with a more stable content, and a bright irony that does not undermine the roots of our faith, an irony that could not help but appear at least occasionally in romance writers, has now taken the place of that hopeless , German seriousness, which our Symbolists so cherished.

Every movement is in love with certain creators and eras. Dear graves connect people most of all. In circles close to Acmeism, the names most often mentioned are Shakespeare, Rabelais, Villon and Théophile Gautier. The selection of these names is not arbitrary. Each of them is a cornerstone for the building of Acmeism, a high tension of one or another of its elements. Shakespeare showed us the inner world of man, Rabelais - the body and its joys, wise physiology. Villon told us about a life that does not doubt itself at all, although it knows everything, God, vice, death, and immortality; Théophile Gautier found in art worthy clothes of impeccable shapes for this life. To combine these four moments in oneself is the dream that now unites people who so boldly called themselves Acmeists.”

Gorodetsky S.

Some trends in modern Russian poetry . "Apollo" #1.

“The symbolic movement in Russia can by now be considered, in its main course, completed. Growing out of decadence, it achieved, through the efforts of a whole galaxy of talents, what in the course of development should have turned out to be an apotheosis and what turned out to be a disaster... The causes of this catastrophe were deeply rooted in the movement itself.In addition to random reasons, such as fragmentation of forces, the absence of a single leader, etc., the vices of the movement itself were most active here.

method The approximation is of great importance in mathematics, but it is not applicable to art. Art is first and foremost a state of balance. Art is strength. Symbolism fundamentally neglected these laws of art. Symbolism tried to use the fluidity of the word... The symbolists consciously set themselves the goal of using, mainly, this fluidity , strengthening it by all means, and thereby violated the royal prerogative of art - to be calm in all positions and with all methods.

This misfortune was followed by an even worse one. What could prevent the intrusion of a symbol into any area of ​​thought if infinite significance constituted its inalienable feature? With complete consistency, Georgy Chulkov wanted to give the entire area of ​​political and social quest of his time to the power of the symbol. With even greater consistency, Vyacheslav Ivanov introduced mysticism, religion, theosophy and spiritualism into symbolism. Both of these examples are characteristic in that the Symbolists themselves turned out to be heretics; heresy started in the center.

The new century infused new blood into Russian poetry... Among the numerous books of this new poetry there were several interesting ones; Among the considerable number of circles, the Workshop of Poets stood out...

Sharply defined individualities are of great value to the Workshop - in this sense, the tradition has not been interrupted. The deeper the unity of some basic lines of worldview seems. These lines are roughly named by two words: Acmeism and Adamism.

The struggle between Acmeism and Symbolism, if it is a struggle and not the occupation of an abandoned fortress, is, first of all, a struggle for this world, sounding, colorful, having shapes, weight and time, for our planet Earth. Symbolism, in the end, having filled the world with “correspondences”, turned it into a phantom, important only insofar as it shines through and shines through other worlds, and diminished its high intrinsic value. Among the Acmeists, the rose again became good in itself, with its petals, scent and color, and not with its conceivable likenesses with mystical love or anything else.

The hardest thing was to forge a new path to the lyrics; the road to the epic was not so clogged, but to the lyricism of impeccable words it was necessary to break through. Isn’t that why N. Gumilyov’s youthful book was called “The Way of the Conquistadors”?

It became clear that symbolism is not a state of equilibrium, and therefore is possible only for individual parts of a work of art; and not for his creatures in general. The new poets are not Parnassians, because abstract eternity itself is not dear to them. They are not impressionists, because every ordinary moment is not an artistic end in itself for them. They are not symbolists, because they do not look for a glimpse into eternity in every moment. They are Acmeists because they take into art those moments that can be eternal."

Other works

Gorky M. Childhood . "Russian Word", August 25, September 8, 14, 22, 29, October 10, 17, 24, November 10, 17, 24, December 1, 8, 15, 22, 29.

Ivanov Vyach. A tender secret. Mite . - St. Petersburg. (The year is given as 1912).

Skaldin A.D. Poems (1911-1912) . - St. Petersburg. (The year is given as 1912).

Podyachev S. Stories . Book five. - St. Petersburg.

Grigoriev R. On the damage . - St. Petersburg.

Grebenshchikov G. In the vastness of Siberia . Stories. - St. Petersburg.

Meyerhold Vs. About the theater . - St. Petersburg.

Poor Demyan . Fables . - St. Petersburg.

Shaginyan M. Orientalia . February-October 1912 (Poems). - M.

Surguchev I. Stories , vol. 2. - St. Petersburg.

Merezhkovsky D.S. Alexander the First , vols. 1 and 2. - St. Petersburg.

Prishvin M. Zavoroshka . Responses of life. - M.

Sergeev-Tsensky S. Collected Works, vol. 6. Stories . - St. Petersburg.

Anisimov Yu . Abode . Collection of poems. - M.

Tsvetaeva M. From two books . - M.

Klyuev N. There were forest ones . Book three. - M.

Bryusov V. Nights and days . Second book of stories and dramatic scenes (1908-1912). - M.

Complete works and translations, vol. 1. Youth poems (1892-1899). - St. Petersburg.

Outside my window (At Tolstoy's funeral. Vrubel's last work. At St. Lazarus. Pyotr Ivanovich Bartenev). - M.

Mandelstam O. Stone . Poetry. - St. Petersburg.

Rozanov V. Fallen leaves . - St. Petersburg.

Zamyatin E. Uezdnoe . "Testaments" #5.

Remizov A. Podorozhie . - St. Petersburg.

Volnov I. The Tale of the Days of My Life . Peasant chronicle. - St. Petersburg.

Ehrenburg I. Everyday life . Poetry. - Paris.

Erberg K. The purpose of creativity . Experiments on the theory of creativity and aesthetics. - M.

Chapygin A.P. Novels and stories , vol. 2. - St. Petersburg. (The year is given as 1914).

Annensky I. Famira Kifared . Bacchic drama. - M.

Klychkov S. The Secret Garden (Poems). - M.

Aikhenvald Yu. Silhouettes of Russian writers , vol. 3. 2nd edition. - M.

Shmelev I. Stories , vol. 4. - M.

Serafimovich A. Stories , vol. 5. - M.

Bunin I. Ioann Rydalets . Stories and poems of 1912-1913. - M.

Tolstoy A.N. Stories , vol. 3. - M.

Poems by Nelly. With dedication to Valery Bryusov. - M. (Literary hoax of V. Bryusov).

40th (last) collection "Knowledge" . - St. Petersburg. (S. Naydenov - “Aunt Anya’s Novel”, S. Astrov - poetry, A. Zolotarev - “One of the Saturdays”).

Almanac of the publishing house "Rosehipnik" . Book 19. - St. Petersburg. (L. Andreev - “Ekaterina Ivanovna”, A. Schnitzler - “Frau Beate and her son”).

Almanac of the publishing house "Rosehipnik" . Book 20. - St. Petersburg. (B. Zaitsev - "The Far Land" (1st part of the novel), P. Mill - "The Love Adventures of Amanda Mangin", H. Bialik - "Noah and Marinka").

Almanac of the publishing house "Rosehipnik" . Book 21. - St. Petersburg. (B. Zaitsev - “The Far Land” (end), Y. Verkhovsky - “The Golden Flower (lyrical cycle)”, L. Reisner - the play “Atlantis”).

Almanac of the publishing house "Rosehipnik" . Book 22. - St. Petersburg. (L. Andreev - play "The Seal of Cain (Thou Shalt Not Kill)", K. Chukovsky - articles "Ego-Futurists and Cubo-Futurists" and "Samples of Futurist Works", F. Sologub - play "Love over the Abyss", L. Andreev - "Letters about the theater").

Word. The first collection. - M. (V. Veresaev - “Apollo, the god of living life”, I. Shmelev - “Rosstani”, A.N. Tolstoy - “Gully”, B. Zaitsev - “Student Benediktov”, N. Teleshov - “Overnight” , I. Bunin - “On the Road”).

Sirin. The first collection. - St. Petersburg. (F. Sologub - “The Charms of Spring (Triolets)”, A. Bely - “Petersburg” (chapters 1 and 2), A. Blok - “Rose and Cross”, A. Remizov - “Golden Chain”).

Sirin. Collection two. - St. Petersburg. (V. Bryusov - from the book “Human Dreams”, A. Bely - “Petersburg” (chap. 3-5), Vl. Piast - “Poem in Nones”).

Earth , Sat. 11. - M. (L. Andreev - “Professor Storitsyn”, M. Artsybashev - “On Jealousy”, F. Sologub - “Smoke and Ashes”).

Earth , Sat. 12. - M. (M. Artsybashev - “Avenger”, N. Krasheninnikov - “Virginity”).

Earth , Sat. 13. - M. (M. Artsybashev - “Jealousy”, S. Yushkevich - “Leon Drey”).

• 1912 year