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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 essentially the most major advances in cultural existence (in poetry, prose, track, theater, and portray) that has ever been noticeable there. This ebook is designed to function an creation to Symbolism in Russia, as a flow, a creative approach, and a global view. the first emphasis is at the background of the stream itself. awareness is dedicated to what the Symbolists wrote, acknowledged, and inspiration, and on how they interacted. during this context, the most actors are the authors of poetry, prose, drama, and feedback, yet house is additionally dedicated to the real connections among literary figures and artists, philosophers, and the intelligentsia ordinarily. This large, unique and balanced account of this era will function a customary reference paintings an inspire additional learn between students and scholars of literature.

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38 Bryusov was very impressed by Dobrolyubov, whom he felt was an "arch-Symbolist," although he was not as interested in Dobrolyubov's verse. Dobrolyubov published his first book of poetry in 1895; it carried the Latin title Natura Naturans. Natura Naturata, which refers to creative nature and created nature. 39 *** These authors, and the works they published in these four years from 1892 through 1895, were without a doubt important for the development of Symbolism in Russia, but it should be pointed out that they did not as yet play a major role in Russian literature.

These years were a time of preparation, with a certain emphasis on decadence, not only in literature, and individuals acting more or less in isolation. Merezhkovsky, Hippius, Sologub, and Balmont all gained more recognition as talented writers who could appeal to a somewhat wider circle of readers. The influence of Western European trends was strongly felt at this time; Maeterlinck's plays were produced quite frequently on Russian stages; Hauptmann and especially Ibsen began to attract more and more theatergoers and readers.

He reported that there were even different groups of Russian Symbolists in 1894, and criticized the extreme forms of Symbolism, especially mysticism; once again, Bryusov's early sentiments, that is, his dislike for the mystical aspect of Symbolism, are highly indicative of his later positions. There are more authors represented in this volume, some of which were simply made up by Bryusov, though others were his acquaintances. The book is divided into four sections: Notes, Gammas, Chords, and Suites; the readers were supposed to divine the connections between the poems and music, but anyone already familiar with Western European Symbolism and the frequently quoted first line of Verlaine's poem "Art poétique" — "De la musique avant toute chose" — would have found the names Bryusov chose for the subdivisions rather obvious.

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