Literature. Theory

Acmeism– a literary modernist movement (from the Greek “akme” - tip, peak, highest degree of something).

Features of Acmeism.

• Sensory perception of reality, an image of the world in all its beauty, diversity, sonority. " Among the Acmeists, the rose again became good in itself, with its petals, smell and color, and not with its conceivable likenesses with mystical love or anything else” (S. Gorodetsky).
• The task of literature is to show the “beautiful clarity” of life, or clarism(from Latin clarus - clear).
• Return to the image of the material world - “nature”, specificity of content, « the intrinsic value of each phenomenon"; Acmeists believed that one should not abandon this world, one should look for some values ​​in it and capture them in their works, and do this with the help precise and understandable images, rather than vague symbols.
• The image of a person, the whole multifaceted range of his feelings and emotions, the poeticization of the natural principle. The Acmeists also called their movement Adamism, linking with the biblical Adam the idea of ​​a clear and direct view of the world.
• The purpose of art- ennoblement of the human soul.
• Specific content of the word, and not symbolic, clarity of image, perfection of details. Gumilyov called for looking not “ unsteady words", and the words " with more sustainable content."
• Poetry is a craft that can be taught to anyone.
• Improving poetic skills.
• Generalization better experience poets of previous generations.

From the history of Acmeism in Russia.

• The movement was formed as a response to the extremes of symbolism (depiction of the ideal side of the world, mysticism, etc.)
• Representatives of Acmeism: S. Gorodetsky, N. Gumilev (author of the term), O. Mandelstam, V. Narbut, A. Akhmatova, M. Zenkevich and some others.
• Acmeism began to stand out as an independent movement in Russia in 1910.
• The direction was headed by Nikolay Gumilyov and Sergey Gorodetsky.
• The group was called "Workshop of Poets", originated in 1911.
• December 9, 1912 – the Acmeist program was first proclaimed in St. Petersburg, in the “Stray Dog” cabaret.
• Articles by Acmeists, which reflect the principles of the movement: N. Gumilyov “The Heritage of Symbolism and Acmeism”, 1913; S. Gorodetsky “Some trends in modern Russian poetry”, 1913; O. Mandelstam “Morning of Acmeism”, published in 1919)
• Literary organ of Acmeists - magazine "Apollo"(began publishing in 1909).
• Collection of Acmeists "Hyperborea" published in 1913-1919
• The movement did not last long; already in 1914 the “Workshop of Poets” disbanded. However, the features of Acmeism poetry were manifested in the poems of A. Akhmatova. A. Blok, M. Tsvetaeva, S. Yesenin, B. Pasternak and other poets.

Acmeism and symbolism.

General:

• "thirst for culture"
• national traditions in creativity,
• Europeanism.

Differences:

• various WAYS to achieve these goals.

Material prepared by: Melnikova Vera Aleksandrovna.

A. Akhmatova (who was his secretary and active participant) and S. M. Gorodetsky.

Contemporaries also gave other interpretations to the term: Vladimir Piast saw its origins in the pseudonym of Anna Akhmatova, which in Latin sounded like “akmatus”, some pointed to its connection with the Greek “akme” - “edge”.

The term “acmeism” was proposed by N. Gumilyov and S. M. Gorodetsky: in their opinion, symbolism, which is experiencing a crisis, is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements.

The name for the literary movement, according to A. Bely, was chosen in the heat of controversy and was not entirely justified: Vyacheslav Ivanov jokingly spoke about “Acmeism” and “Adamism”, Nikolai Gumilyov picked up randomly thrown words and dubbed a group of poets close to him Acmeists .

Acmeism was based on a preference for describing real, earthly life, but it was perceived asocially and ahistorically. The little things of life and the objective world were described. The gifted and ambitious organizer of Acmeism dreamed of creating a “direction of directions” - a literary movement reflecting the appearance of all contemporary Russian poetry.

Acmeism in the works of writers

Literature

• Kazak V. Lexicon of Russian literature of the 20th century = Lexikon der russischen Literatur ab 1917. - M.: RIK "Culture", 1996. - 492 p. - 5000 copies. - ISBN 5-8334-0019-8
• Kikhney L. G. Acmeism: Worldview and Poetics. - M.: Planet, 2005. Ed. 2nd. 184 p. ISBN 5-88547-097-X.

Links

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See what “Acmeism” is in other dictionaries:

- (from the Greek flourishing, peak, edge) a literary movement that reflected new aesthetics. trends in early art 1910s, which covered not only literature, but also painting (K. Korovin, F. Malyavin, B. Kustodiev), and music (A. Lyadov... Encyclopedia of Cultural Studies

Acmeism, plural no, m. [from Greek. akme – top] (lit.). One of the trends in Russian poetry in the tenth years of the 20th century, which opposed itself to symbolism. Big dictionary foreign words. Publishing house "IDDK", 2007. acmeism a, plural. No m. (… Dictionary of foreign words of the Russian language

acmeism- a, m. acmé f. gr. vertex. An extremely reactionary bourgeois-noble movement in Russian literature that arose in 1912-1913. The poetry of the Acmeists was characterized by individualism, aestheticism, formalism, and the preaching of art for art's sake. SIS... ... Historical Dictionary of Gallicisms of the Russian Language

- (from the Greek akme the highest degree of something, blooming power), a movement in Russian poetry in the 1910s. (S.M. Gorodetsky, M.A. Kuzmin, early N.S. Gumilev, A.A. Akhmatova, O.E. Mandelstam). Overcoming the symbolists' predilection for the superreal,... ... Modern encyclopedia

- (from the Greek akme, the highest degree of something, flowering power), a movement in Russian poetry in the 1910s. (S. M. Gorodetsky, M. A. Kuzmin, early N. S. Gumilev, A. A. Akhmatova, O. E. Mandelstam); proclaimed the liberation of poetry from symbolist impulses to... ... Big Encyclopedic Dictionary

ACMEISM, acmeism, pl. no, husband (from Greek akme top) (lit.). One of the trends in Russian poetry in the tenth years of the 20th century, which opposed itself to symbolism. Dictionary Ushakova. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary

ACMEISM, huh, husband. In Russian literature of the 20th century: a movement that proclaimed liberation from symbolism. | adj. Acmeist, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

Acmeism- (from the Greek akme the highest degree of something, blooming power), a movement in Russian poetry in the 1910s. (S.M. Gorodetsky, M.A. Kuzmin, early N.S. Gumilev, A.A. Akhmatova, O.E. Mandelstam). Overcoming the symbolists’ predilection for the “superreal”,... ... Illustrated encyclopedic Dictionary

- (from the Greek akme - the highest degree of something, blooming power), a movement in Russian poetry in the 1910s. Acmeism arose from the literary school “The Workshop of Poets” (1911 14), which was headed by N. S. Gumilyov and S. M. Gorodetsky, the secretary was A. A. Akhmatova, in ... ... Literary encyclopedia

acmeism- a, only units, m. Modernist movement in Russian poetry of the early 20th century. (see also modernism). When Acmeism was born and we had no one closer to Mikhail Leonidovich [Lozinsky], he still did not want to renounce symbolism (Akhmatov). Related... Popular dictionary of the Russian language

Books

• Acmeism in criticism. 1913-1917, . For the first time, the collection contains under one cover articles and fragments of articles by contemporary critics about such a phenomenon of Russian poetry of the Silver Age as Acmeism. Among the “main characters” of the collection are…
• History of Russian literature of the Silver Age (1890s - early 1920s) in 3 parts. Part 3. Acmeism, futurism and others. Textbook for bachelor's and master's degrees, Mikhailova M.V.. The textbook reflects the history of Russian literature of the 1890-1920s, presents creative individuals, directions, modifications of artistic practices, the specifics of genre searches, ...

The name "Acmeism" comes from the Greek. “acme” - tip, top.
The theoretical basis is N. Gumilyov’s article “The Heritage of Symbolism and Acmeism.” Acmeists: N. Gumilyov, A. Akhmatova, S. Gorodetsky, M. Kuzmin.

ACMEISM - a modernist movement that declared concrete sensory perception outside world, returning the word to its original, non-symbolic meaning.

At the beginning of his creative path young poets, future acmeists, were close to symbolism, attended “Ivanovo Wednesdays” - literary meetings in Vyach.Ivanov’s St. Petersburg apartment, called the “tower”. In the “tower” classes were held for young poets, where they learned poetry. In October 1911, students of this “poetry academy” founded a new literary association, “The Workshop of Poets.” “The workshop” was a school professional excellence, and its leaders were the young poets N. Gumilyov and S. Gorodetsky. In January 1913, they published the declarations of the acmeist group in the Apollo magazine.

The new literary movement, which united great Russian poets, did not last long. The creative searches of Gumilyov, Akhmatova, Mandelstam went beyond the scope of Acmeism. But the humanistic meaning of this movement was significant - to revive a person’s thirst for life, to restore the feeling of its beauty. It also included A. Akhmatova, O. Mandelstam, M. Zenkevich, V. Narbut and others.

Acmeists are interested in the real, not other world, the beauty of life is in its concrete - sensual manifestations. The vagueness and hints of symbolism were contrasted with a major perception of reality, the reliability of the image, and the clarity of the composition. In some ways, the poetry of Acmeism is the revival of the “golden age,” the time of Pushkin and Baratynsky.

The highest point in the hierarchy of values ​​for them was culture, identical to universal human memory. That is why Acmeists often turn to mythological subjects and images. If the Symbolists focused their work on music, then the Acmeists focused on the spatial arts: architecture, sculpture, painting. The attraction to the three-dimensional world was expressed in the Acmeists' passion for objectivity: a colorful, sometimes exotic detail could be used for purely pictorial purposes.

Acmeism aesthetics:
- the world must be perceived in its visible concreteness, appreciate its realities, and not tear yourself away from the ground;
- we need to revive the love for our body, the biological principle in man, to value man and nature;
- the source of poetic values ​​is on earth, and not in the unreal world;
- in poetry, 4 principles must be fused together:
1) Shakespearean traditions in depiction inner world person;
2) Rabelais’ traditions in glorifying the body;
3) Villon’s tradition in chanting the joys of life;
4) Gautier's tradition in glorifying the power of art.

Basic principles of Acmeism:
- liberation of poetry from symbolist appeals to the ideal, returning it to clarity;
- rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness;
- the desire to give a certain word to a word, exact value;
- objectivity and clarity of images, precision of details;
- appeal to a person, to the “authenticity” of his feelings;
- poeticization of the world of primordial emotions, primitive biological natural principles;
- a echo of past literary eras, the broadest aesthetic associations, “longing for world culture.”

Distinctive features of Acmeism:
- hedonism (enjoyment of life), Adamism (animal essence), clarism (simplicity and clarity of language);
- lyrical plot and depiction of the psychology of experience;
- colloquial elements of language, dialogues, narratives.

Acmeism is one of the modernist movements in Russian poetry.

It was in its heyday.

The ideological inspirers of Russian acmeism are considered to be the poets N. Gumilyov and S. Gorodetsky.

Aesthetic maturity of poetry

Throughout its existence, poetry has undergone many different movements and trends. In the first decade of the 20th century, as a counterweight to symbolism in Russian poetry, a new modernist direction was formed - Acmeism. Translated from Greek, this term means the highest degree, peak, maturity, blossoming.

Creative people, and especially poets, are most often far from such concepts as modesty. Almost everyone considers himself a genius or at least a great talent. Thus, a group of young poets, connected not only by creativity, but also by personal friendship, were outraged by the harsh criticism of one of them, Nikolai Gumilyov, and created their own association with the somewhat artisanal name “Poets Workshop.”

But already in the name itself there is a desire to look like more than just lovers of the lyrical poetic genre, but to be artisans, professionals. Acmeists published the magazines "Hyperborea" and "Apollo". Not only poetry was published there, but also polemics were conducted with poets of other movements in the prose genre.

Acmeist poets photo

The ideological inspirers of Acmeism, Nikolai Gumilyov and Sergei Gorodetsky, published in these magazines a kind of program manifesto of the new poetic movement.

Basic concepts of Acmeism

• Poetry must be expressed in a clear and understandable style;
• the reality and vitality of feelings and actions are much more important than emasculated, idealized, far-fetched and sensual concepts;
  
• frozen symbols should not dominate the human worldview;
• it is necessary to completely abandon the mystical creed;
• earthly life is full of diversity and color, which must be brought into poetry;
• the poetic word must sound precise and definite - every object, phenomenon or action must be voiced clearly and understandably;
• a person with his genuine, pristine, one might even say biological, emotions, and not fictitious, sleek and varnished feelings and experiences - this is a worthy hero of real poetry;
• Acmeists should not reject past literary eras, but take from them aesthetically valuable principles and have an inextricable connection with world culture.

The Acmeists considered the Word to be the foundation of their poetry. The backbone of the first composition of the “Workshop of Poets” was made up not just of poets close in their ideology, but also of people connected by ties of friendship. Subsequently, the names of these poets were included in the Golden Fund of Russian Literature.

Acmeist poets

• - born in the 90s of the 19th century. He received an excellent education in a truly intelligent family, where morality, culture and education were considered the main values. At the time of the creation of Acmeism he was a famous poet.
• - an extraordinary and talented personality, a romantic with a very courageous appearance and a subtle soul. From a young age, he tried to establish himself as a person and find his place in this difficult life. Very often this desire grew from position to position, which may have led to an early and tragic death from life.
• - pride, glory, pain and tragedy of Russian poetry. The poetic soul of this courageous woman gave birth to piercing words about the great mystery of love, placing her poems among the beautiful creations of immortal Russian literature.
• - a poetically gifted young man with a keen sense of art. Poems, in his own words, overwhelmed him and sounded like music in him. He considered his friendship with Nikolai Gumilyov and Anna Akhmatova to be the most important success of his life.
• Mikhail Zenkevich, poet and translator, the only one of the founders of Acmeism, lived until the 80s of the 20th century, successfully avoiding repression and persecution.
• Vladimir Narbut, a young poet, belonged to the circle of visitors to the Vsevolod Ivanov Tower and warmly embraced the idea of ​​Acmeism.

Bottom line

As a literary movement, Acmeism existed for just over two years. Despite all the controversial concepts of this movement, its value lies not only in the fact that it was an exclusively Russian movement, but in the fact that the work of remarkable Russian poets is associated with Acmeism, without whose work it is impossible to imagine Russian poetry of the 20th century.

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Acmeism(from the Greek akme - the highest degree of something, blossoming, maturity, peak, edge) - one of the modernist movements in Russian poetry of the 1910s, formed as a reaction to extremes symbolism .

Overcoming the symbolists’ predilection for the “superreal,” polysemy and fluidity of images, complicated metaphors, acmeists they strived for sensual, plastic-material clarity of the image and accuracy, precision of the poetic word. Their “earthly” poetry is prone to intimacy, aestheticism and poeticization of the feelings of primordial man. For AKM e ism was characterized by extreme apoliticality, complete indifference to the pressing problems of our time.

Acmeists, who replaced the Symbolists, did not have a detailed philosophical and aesthetic program. But if in the poetry of symbolism the determining factor was transience, the immediacy of being, a certain mystery covered with an aura of mysticism, then as cornerstone in poetry Acmeism a realistic view of things was put in place. The vague instability and vagueness of symbols was replaced by precise verbal images. The word, according to acmeists should have acquired its original meaning.

The highest point in the hierarchy of values ​​for them was culture, identical to universal human memory. That's why it's so common acmeists appeals to mythological subjects and images. If the Symbolists were guided by music in their work, then acmeists- spatial arts: architecture, sculpture, painting. The attraction to the three-dimensional world was expressed in passion acmeists objectivity: a colorful, sometimes exotic detail could be used for purely pictorial purposes. That is, the “overcoming” of symbolism occurred not so much in the sphere of general ideas, but in the field of poetic stylistics. In this sense acmeism was as conceptual as symbolism, and in this respect they are undoubtedly in continuity.

Distinctive feature Acmeist circle of poets was their “organizational cohesion.” Essentially acmeists were not so much an organized movement with a common theoretical platform, but rather a group of talented and very different poets who were united by personal friendship. The Symbolists had nothing of the kind: Bryusov’s attempts to reunite his brothers were in vain. The same thing was observed among the futurists - despite the abundance of collective manifestos that they released. Acmeists, or - as they were also called - “Hyperboreans” (after the name of the printed mouthpiece Acmeism, magazine and publishing house "Hyperborea"), immediately acted as a single group. They gave their union the significant name “Workshop of Poets.” And the beginning of a new trend (which later became almost “ prerequisite"the emergence of new poetic groups in Russia) was caused by a scandal.

In the fall of 1911, a “riot” broke out in the poetry salon of Vyacheslav Ivanov, the famous “Tower”, where the poetry society gathered and poetry was read and discussed. Several talented young poets defiantly left the next meeting of the Academy of Verse, outraged by the derogatory criticism of the “masters” of symbolism. Nadezhda Mandelstam describes this incident as follows: “Gumilev’s “Prodigal Son” was read at the “Academy of Verse,” where Vyacheslav Ivanov reigned, surrounded by respectful students. He subjected the “Prodigal Son” to real destruction. The speech was so rude and harsh that Gumilyov’s friends left the “Academy” and organized the “Workshop of Poets” - in opposition to it.”

And a year later, in the fall of 1912, the six main members of the “Workshop” decided not only formally, but also ideologically to separate from the Symbolists. They organized a new community, calling themselves " acmeists", i.e. the top. At the same time, the “Workshop of Poets” as organizational structure preserved - acmeists remained in it as an internal poetic association.

Main ideas Acmeism were set out in program articles N. Gumileva"The legacy of symbolism and acmeism" and S. Gorodetsky "Some trends in modern Russian poetry", published in the magazine "Apollo" (1913, No. 1), published under the editorship of S. Makovsky. The first of them said: “Symbolism is being replaced by a new direction, no matter what it is called, acmeism whether (from the word akme - the highest degree of something, a 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 it poses. The glory of the ancestors obliges, and symbolism was a worthy father.”

S. Gorodetsky believed that “symbolism... having filled the world with “correspondences”, turned it into a phantom, important only insofar as it... shines through with other worlds, and belittled its high intrinsic value. U acmeists the rose again became good in itself, with its petals, smell and color, and not with its conceivable likenesses with mystical love or anything else.”

In 1913, Mandelstam’s article “ MorningAcmeism", which was released only six years later. The delay in publication was not accidental: acmeistic Mandelstam’s views significantly diverged from the declarations of Gumilyov and Gorodetsky and did not make it onto the pages of Apollo.

However, as T. Skryabina notes, “the idea of ​​a new direction was first expressed on the pages of Apollo much earlier: in 1910, M. Kuzmin appeared in the magazine with an article “On Beautiful Clarity,” which anticipated the appearance of declarations Acmeism. By the time this article was written, Kuzmin was already a mature man and had experience of collaborating in symbolist periodicals. Kuzmin contrasted the otherworldly and foggy revelations of the Symbolists, the “incomprehensible and dark in art,” with “beautiful clarity,” “clarism” (from the Greek clarus - clarity). An artist, according to Kuzmin, must bring clarity to the world, not obscure, but clarify the meaning of things, seek harmony with the environment. The philosophical and religious quest of the Symbolists did not captivate Kuzmin: the artist’s job is to focus on the aesthetic side of creativity and artistic skill. “The symbol, dark in its deepest depths,” gives way to clear structures and admiration of “lovely little things.” Kuzmin's ideas could not help but influence acmeists: “beautiful clarity” turned out to be in demand by the majority of participants in the “Workshop of Poets.”

Another "harbinger" Acmeism can be considered In. Annensky, who, formally being a symbolist, in fact only early period paid him tribute to his work. Subsequently, Annensky took a different path: the ideas of late symbolism had practically no impact on his poetry. But the simplicity and clarity of his poems were well understood acmeists.

Three years after the publication of Kuzmin’s article in Apollo, the manifestos of Gumilyov and Gorodetsky appeared - from this moment it is customary to count down the existence Acmeism as an established literary movement.

Acmeism has six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. For the role of "seventh" acmeist" was claimed by G. Ivanov, but such a point of view was protested by A. Akhmatova, who stated that " acmeists there were six, and there never was a seventh.” O. Mandelstam agreed with her, who, however, believed that six was too much: “ Akmeistov only six, and among them there was one extra...” Mandelstam explained that Gorodetsky was “attracted” by Gumilev, not daring to oppose the then powerful Symbolists with only “yellow mouths.” “Gorodetsky was [by that time] a famous poet...” IN different time The following people took part in the work of the “Workshop of Poets”: G. Adamovich, N. Bruni, Us. Gippius, Vl. Gippius, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, V. Khlebnikov, etc. At the meetings of the “Workshop,” unlike the meetings of the Symbolists, specific issues were resolved: the “Workshop” was a school for mastering poetic skills, a professional association.

Acmeism How literary direction united exceptionally gifted poets - Gumilyov, Akhmatova, Mandelstam, the formation creative individuals which took place in the atmosphere of the “Workshop of Poets”. Story Acmeism can be considered as a kind of dialogue between these three outstanding representatives. At the same time, from “pure” Acmeism The above-mentioned poets were significantly different from the Adamism of Gorodetsky, Zenkevich and Narbut, who formed the naturalistic wing of the movement. The difference between the Adamists and the Gumilev-Akhmatova-Mandelshtam triad has been repeatedly noted in criticism.

As a literary movement acmeism did not last long - about two years. In February 1914, it split. The "Poets' Workshop" was closed. Acmeists managed to publish ten issues of their magazine “Hyperborea” (editor M. Lozinsky), as well as several almanacs.

“Symbolism was fading away” - Gumilev was not mistaken in this, but he failed to form a movement as powerful as Russian symbolism. Acmeism failed to gain a foothold as a leading poetic movement. The reason for its rapid decline is said to be, among other things, “the ideological unadaptability of the movement to the conditions of a radically changed reality.” V. Bryusov noted that “for acmeists characterized by a gap between practice and theory,” and “their practice was purely symbolist.” This is where he saw the crisis. Acmeism. However, Bryusov’s statements about Acmeism were always harsh; At first he stated that “... acmeism- an invention, a whim, a metropolitan quirk" and foreshadowed: "... most likely, in a year or two there will be no Acmeism. His very name will disappear,” and in 1922, in one of his articles, he generally denies it the right to be called a direction, a school, believing that there is nothing serious and original in Acmeism no and that he is “outside the mainstream of literature.”

However, attempts to resume the activities of the association were subsequently made more than once. The second “Workshop of Poets,” founded in the summer of 1916, was headed by G. Ivanov together with G. Adamovich. But it didn’t last long either. In 1920, the third “Workshop of Poets” appeared, which was Gumilyov’s last attempt to organizationally preserve acmeistic line. Poets who consider themselves to be members of the school united under his wing Acmeism: S. Neldichen, N. Otsup, N. Chukovsky, I. Odoevtseva, N. Berberova, Vs. Rozhdestvensky, N. Oleinikov, L. Lipavsky, K. Vatinov, V. Posner and others. The third “Workshop of Poets” existed in Petrograd for about three years (in parallel with the “Sounding Shell” studio) - until the tragic death of N. Gumilyov.

Creative destinies of poets, one way or another connected with acmeism, developed differently: N. Klyuev subsequently declared his non-involvement in the activities of the commonwealth; G. Ivanov and G. Adamovich continued and developed many principles Acmeism in exile; on V. Khlebnikov acmeism did not have any noticeable impact. IN Soviet time poetic manner acmeists(mainly N. Gumilyov) was imitated by N. Tikhonov, E. Bagritsky, I. Selvinsky, M. Svetlov.

In comparison with other poetic movements of the Russian Silver Age acmeism in many ways it seems to be a marginal phenomenon. It has no analogues in other European literatures (which cannot be said, for example, about symbolism and futurism); the more surprising the words of Blok, Gumilyov’s literary opponent, who stated that acmeism was just an “imported foreign thing.” After all, it is acmeism turned out to be extremely fruitful for Russian literature. Akhmatova and Mandelstam managed to leave behind “eternal words.” Gumilyov appears in his poems as one of the brightest personalities of the cruel times of revolutions and world wars. And today, almost a century later, interest in acmeism has been preserved mainly because the work of these outstanding poets, who had a significant influence on the fate of Russian poetry of the 20th century, is associated with it.

Basic principles of Acmeism:

- liberation of poetry from symbolist appeals to the ideal, returning it to clarity;
- rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness;
- the desire to give a word a specific, precise meaning;
— objectivity and clarity of images, precision of details;
- appeal to a person, to the “authenticity” of his feelings;
— poeticization of the world of primordial emotions, primitive biological natural principles;
- a echo of past literary eras, the broadest aesthetic associations, “longing for world culture.”