Bryusov is considered, if not the creator of Russian symbolism, then one of the most prominent figures in this direction. At the turn of the century, when the period of the poet's creative acme came, many people created incredible works, discovered something really new and valuable. This, probably, is always the development of a transitional period, but, of course, the individuals who act in such periods are far from commonplace.
Bryusov was born on December 1, 1873 into a fairly wealthy family with a large library. A feature of his upbringing is a bias towards the ideas of materialism. Surprisingly, as a child, Bryusov was not read fairy tales, was not told stories about brownies or something like that, but was actively developed in the field of Darwin's ideas.
In his youth, the poet studied at two Moscow gymnasiums, then graduated from the historical and philological direction at the university, in 1895 he published the first collection of Masterpieces, followed by the Third Guard. These poems were created under the influence of the French Symbolists, who greatly impressed Bryusov. Of the landmarks in Russian lyrics, it should be noted Nekrasov, who was allowed to read in childhood, unlike Pushkin and Tolstov, in which the Bryusov family did not see the educational potential for a child.
By the beginning of the 20th century, the poet became recognized by critics and acquired a recognizable style. He is also imbued with the ideas of a new social order, advocates for transformations in the country, although over time Bryusov will stop praising the revolution and return to pure creativity. At the same time, he will of course remain the main ideologist and, if it is possible to put it this way, the engine of Russian symbolism, the poetry of allusions, as he himself expressed it.
At the beginning of the 20th century, he was engaged in literary magazines, translations and drama. When the First World War begins, he enters the service as a war correspondent. As a result of the war, Valery Yakovlevich remains completely disappointed in patriotism and politics, and begins to pursue purely art.
This period is interesting for sonnets, collections of Experiments and Dreams of mankind and, of course, for excellent research articles about Pushkin. Like Blok, Bryusov accepts the revolution, but after that not much lives and in 1924 leaves this world, as if closing the silver age of Russian poetry.
Biography 2
Bryusov Valery Yakovlevich is a legend of Russian symbolism, without exaggeration one of the most significant poets of the beginning of the previous century. For this person, fate turned out quite favorably, and he skillfully used what was given to him in order to absorb knowledge in himself, in order to work on his own creativity, to transform art as a whole.
Valery Yakovlevich was born in 1873 in a family of merchants, quite rich and thanks to this he could get involved in art from childhood. He began to write at an early age, from childhood he read French Symbolists, thanks to which he later became the ideologue of Russian Symbolism. The basis of this poetry is the search for something not expressed and not expressed in principle, not tangible, a departure from objective reality into the sphere of halftones and hints, into the area of dreams, dreams and similar phenomena.
The poet studied at Moscow University, where he absorbed knowledge from a variety of areas from history to philosophy. In addition, from an early age, he was quite attached to various mystical stories and secret areas of knowledge. Bryusov eventually became a rather great mystic and many of his contemporaries knew about this tendency.
In general, the poet's youth was quite rich, he was fond of many progressive ideas for that time (for example, Darwin's theory and atheism, for the propaganda of which he was safely expelled from the gymnasium), went to the races, to which his father taught him, deeply studied mathematics. In general, to say about the all-round development of this person is to say nothing. During his studies at the university, he learned 20 languages, modern and ancient, in each area he showed incredible diligence and reached a high degree of perfection.
In the early 1900s, the poet began to work in the spirit of urbanism and rather actively sympathize with new revolutionary ideas. Nevertheless, he would continue this way almost only until the 1905 revolution, after which he would return to pure ideas of symbolism and become the ideologist of this movement. In the 1910s, Bryusov gradually changed the role of the leader of the Symbolists to a more restrained one and became a conductor of academic views, although symbolism remained the basis of creativity in many respects.
Nevertheless, the poet accepts the 1917 revolution, he received awards from the new government, continued to work in the Field of Art and did a lot for Soviet culture, for example, he worked on the creation of the Great Soviet Encyclopedia, which is still used today. At first, the poet considered new times an opportunity to get rid of capitalist slavery, but in the end he was still disappointed in this and even changed the style of his work, making it more incomprehensible to the ordinary masses. Died in 1924.
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Bryusov Valery Yakovlevich
13.12.1873 - 09.10.1924
biography
Born into a merchant family. Father's grandfather is a merchant from the former serfs, and his mother's grandfather is a poet, a self-taught A. Ya. Bakulin. My father was fond of literature and natural sciences.
In the private gymnasium of F.I.Kreyman (1885-1889), Bryusov was immediately admitted to the second grade. In his second year of study, together with his classmate VK Stanyukovich, he published a handwritten gymnasium magazine "Beginning", through which he first realized himself as a "writer".
In 1889 he published a handwritten "Leaflet of the V grade", in which he denounced the gymnasium order. Because of this article, Bryusov's relations with the administration are aggravated, as a result of which he has to go to the gymnasium of L.I. Polivanov (1890-1893). At the same time, Bryusov was experiencing a number of his first youthful hobbies, a particularly strong mark on his soul was left by a love affair with E.A. Maslova (Kraskova), who suddenly died from smallpox in 1893, to whom he dedicated many poems and the last chapters (under the name of the heroine Nina) of the story "My Youth".
In 1893-1899. Bryusov studies at the Faculty of History and Philology of Moscow University. In addition to classical philology, he studies Kant and Leibniz, listens to history courses by V.O. Klyuchevsky, P.G. Vinogradov, and attends F.E. Korsh's seminars. The years of study at the university account for the first initial period of Bryusov's conscious literary creativity.
In 1894-1895. Bryusov publishes three small issues of the collection "Russian Symbolists", in which he gives samples of "new poetry". This was the first collective manifesto of Russian modernism in Russia. The reaction to the collections was scandalous and deafening.
In 1895-1986, Bryusov published the first author's collection of poems "Masterpieces", consisting of two editions. The catchy title, evocative content and the foreword, far from modesty, addressed to "eternity and art", evoked amicable opposition from critics.
In the period from 1895 to 1899, he approached the famous symbolist writers: K. K. Sluchevsky, K. M. Fofanov, F. Sollogub, D. S. Merezhkovsky, 3. N. Gippius, N. M. Minsky. On Georg Bachmann's "Saturdays", and then on his own "Wednesdays," Bryusov began to meet regularly with Moscow modernists.
In 1897 he went abroad for the first time, to Germany. In the same year he married Ioanna Matveyevna Runt, who became his life companion and assistant in literary affairs.
From 1900 to 1903 Bryusov was the secretary of the "Archive" editorial board. He publishes here a number of articles, including "On the collected works of F. I. Tyutchev" (1898), "F. I. Tyutchev. Chronicle of his life" (1903).
In the fall of 1900, the Scorpion publishing house published the third book of Bryusov's lyrics "The Third Guard. A Book of New Poems. 1897-1900", opening the second mature period of the writer's work.
In March 1903, Bryusov delivered a programmatic lecture on art, "Keys of Secrets", which was perceived as a manifesto of the latest Russian symbolism.
Since the end of 1902, the poet has been a secretary for the magazine "New Way" for some time, publishes poems, articles, notes, and also maintains the heading "Political Review". At the same time, he was a member of the commission of the Moscow literary and artistic circle, and since 1908 - the chairman of its directorate.
The collection "Wreath. Poems of 1903-1905", became the first truly major success of the poet. In it, along with historical and mythological plots and lyrics of an intimate plan, Bryusov included poems on the topical theme of war and revolution. With fantastic ecstasy, the poet looks at war and revolution as at the purifying element of fate.
By 1909, Bryusov became a recognized master of "courageous", Apollonian lyrics.
In 1904-1908. Bryusov is the organizer, permanent leader and leading author of the main journal of Russian Symbolists "Libra". After the closure of "Libra" (1909), from September 1910, within two years, Bryusov became the head of the literary-critical department of the journal "Russian Thought".
During the First World War, Bryusov as a correspondent spent many months in the theater of operations. At first, this war seemed to the poet the last ("The Last War", 1914), capable of transforming human life for the better. However, two and a half years later, Bryusov's opinion about her changed ("The Thirtieth Month", 1917). Disappointed in the outcome of the war and politics, Bryusov goes deeper and deeper into literature and scientific work. He turns to translations of Armenian, Finnish and Latvian poetry.
In 1923, in the year of the 50th anniversary of the poet, the Armenian government awarded Bryusov the honorary title of People's Poet of Armenia.
Disappointment in the victorious outcome of the war after a short hesitation prepared Bryusov for the adoption of the October Revolution. In 1920 he joined the Communist Party, worked in the People's Commissariat for Education, headed the Presidium of the All-Russian Union of Poets, read various lecture courses, organized (1921) and directed the Higher Literary and Art Institute.
The post-October, mostly revolutionary collections of Bryusov's poems (In such days, 1921; Dali, 1922; Hurry, 1924) marked the last, final period of the master's work.
Bryusov Valery Yakovlevich (1873-1924) - famous Russian poet, prose writer and playwright, the brightest representative and founder of Symbolism. He was remembered by many as a "prophet" and "magician", a legislator of the tastes of Russian symbolism, who often appeared in public in a completely buttoned black frock coat.
His literary activity is notable for its enormous scope. Journalist, critic, publisher, researcher of poetry, organizer and inspirer of literary life - this is not a complete list of his life passions and hobbies. But his main path is poetry. Many of Bryusov's poems are imbued with inner wanderings and an indefatigable desire to move forward, in spite of fate.
Early biography
Valery Bryusov was born on December 1 (13), 1873 in Moscow. His father was a fairly successful merchant. The parents of the future poet Matryona Aleksandrovna and Yakov Kuzmich were fascinated by the ideas of rationalism, which was actively making its way in the liberal times of Alexander II. From early childhood, Valera was surrounded by care and attention, and books played an important role in his upbringing and development as a person. Moreover, their orientation was of a pronounced materialistic nature, therefore Bryusov from an early age was familiar with Darwin's theory, the biographies of Kepler and Livingston, as well as the poems of N. Nekrasov. Thanks to this, he was well-developed inquisitiveness and curiosity.
At the age of 11, Valery is sent to study immediately in the second grade of F. Kreyman's private gymnasium. But against the background of many peers, he looked like a real black sheep, distinguished by the broadest outlook, excellent memory and thinking. Bryusov's interests were quite versatile: the boy's favorite subjects, along with literature, were philosophy and astronomy. From the age of 13 he became interested in literary creativity and began to write books. Over time, Valery had his own social circle, and the young man was able to break with loneliness.
Student years and tryout
In 1892, Bryusov entered the Faculty of History and Philology of Moscow University, where he was seriously engaged in the study of literature, art, ancient languages, history. At this time, he enthusiastically reads the poems of the French symbolists Verlaine, Malarme, Rambo, which had a significant impact on his work.
In 1894-1895, Valery prepared three collections of poetry entitled “Russian Symbolists”, published in the form of three thin brochures. They became a kind of manifesto for Russian Symbolists who showed their poetic face. Later, Bryusov recalled with sorrow that "he became a hero of small newspapers and ... lively feuilletonists." Indeed, only the lazy one did not criticize the poems published in the collection. From the very beginning, it was shrouded in a halo of mystification - formally, the publisher of the works was a certain Vladimir Maslov, who in fact never existed. The basis of the "Russian Symbolists" was formed by the works of Bryusov himself, which he signed with various pseudonyms (Darov, Sozontov, Fuchs and others). The author defended symbolism with a pressure worthy of respect and always tried to defend its principles in heated debates.
In 1895, Bryusov published a new collection "Masterpieces", in which he presented his own poems to the readers' judgment. This name seriously confused many critics, because not everyone would risk calling their first works such a big name. Bryusov's poetry struck with its uniqueness, bordering on provocation. His unusual images fully emphasized the vivid individualism and subjectivity of the author. Two years later, a new book by the author "This is Me" was published. Signs of the mature poetry of Valery Yakovlevich with his interest in urbanism and science are already clearly visible here. In addition, Bryusov demonstrates the principle of "art for art", manifested in a certain elevation of the poet above realities and a desire to break away from the world. In one of his poems, he wrote:
Shadow of uncreated creatures
Sways in a dream
Like blades of flying
On an enamel wall
Symbolist poet
In 1899, Bryusov graduated from the university and plunged headlong into the creative process. He gets a job at the Russian Archive magazine, where he will work as an editorial secretary for about two years. Soon the owner of the textile enterprise S.A. Polyakov, fascinated by symbolism, founded the Scorpion publishing house, which quickly united the creators of the “new art” on its platform. Among its leaders was “Valery Yakovlevich. It published their books, as well as the almanac "Severny Vestnik". Among the published works "Scorpio" published a number of collections of Bryusov, including "Mirror of Shadows", "Ways and Crossroads".
The poet's publishing activity will continue at the beginning of the 20th century, when he took part in the creation of the Symbolist almanac "Northern Flowers". It published both many well-known authors of that era and representatives of the Russian classics. This emphasized the continuity between classical literature and new art. Nevertheless, over time, there began to be observed the isolation of the subject matter of publications towards the poetry of symbolism. The Northern Flowers paved the way for the birth of their own magazine of the Symbolists, Libra (1904). For 5 years, until 1909, Bryusov will work on editing it.
Engaged in editing and publishing with enthusiasm, the poet does not forget about creativity. It was at the beginning of the XX century that he wrote one of the most powerful collections "City of the World" and "Wreath". In the first, the author, anticipating the urbanism of V. Mayakovsky, sends praise and curse to the capitalist city. The habitual sharp forms and sharp metaphors of Bryusov prophesied about the near future and found a warm response from readers.
You bend the slaves of sullen backs
To be frenzied and light
Rotary machines
Forged sharp blades!
The theme of the modern city in Bryusov's poetry is closely intertwined with the fate of humanity, with the analysis of the past and anticipation of the future. It was there, in front, that he saw the social and cultural perspectives of society. In 1900, the third book of the poet "The Third Guard" was published, after which they began to call him a poet with a capital letter. It was dedicated to a colleague and like-minded fellow K. Balmont. The main outline of the collection is composed of poems on historical and mythological themes, in which the author mentions the names of Dante, Orpheus, Cleopatra. The sonnet "To the Portrait of Leibniz" is filled with special reverence, in which Bryusov pays tribute to his beloved scientist.
In the period 1900-1915, three poetry collections were published from the poet's pen: "Seven Colors of the Rainbow", "All Chants" and "Mirror of Shadows", in which critics found repetitions of themselves, at the same time noting a simpler and more understandable poetic language the author.
A poet in Russia is more than a poet
At this time, the first prose of Bryusov appears. He writes a series of stories "The Earth's Axis", where he offers the reader, through the prism of the characters of his heroes, to help him feel a certain earthly axis that pierces being and is the abstract harmony of this contradictory world. In 1908, Valery Yakovlevich presented the novel The Fiery Angel, recognized as one of the most mysterious works of his time. It intertwines the autobiography of the poet with mystical motives and history. Bryusov draws analogies between the existence of sinners-occultists, doomed to martyrdom in the process of searching for new knowledge, and the fate of contemporary society.
In 1909, Bryusov turned seriously to the work of N. Gogol, conducting a study of his works for the presence and disclosure of fantastic themes. He presented his work "Incinerated: On the Characterization of Gogol" in the form of a report that was read at a meeting of the Society of Lovers of Russian Literature.
Bryusov is known in wide circles as a talented translator. Especially for the theater of V. Komissarzhevskaya, he presented Russian-language versions of many works, including "Amphitryon" by Moliere, "Lilyuli" by R. Rolland, "Helena Spartan" by E. Verharne, "Duchess of Padua" by O. Wilde and others. His collection includes translations of works by Goethe, Maeterlinck, Byron, Poe. During the First World War, Valery Yakovlevich went to the front, where he worked as a correspondent for one of the St. Petersburg editions "Russkiye Vedomosti". In 1917, Bryusov tries himself in the field of liberal journalism. Immediately after the abdication of Nicholas II, he wrote an article "On the New Russian Anthem", in which he called for the creation of a solemn song. "We need a short song that ... with the magic of art would unite all those gathered in one impulse.", - wrote the poet.
Allied with the new government
Unlike many artists, Bryusov recognized Soviet power and even joined the ranks of the Communist Party. This position has allowed him to occupy a number of important positions. So, in the period 1917-1919, he headed the Press Registration Committee, was in charge of the Moscow Library Department, and then worked at the State Publishing House. He was the organizer, rector and professor of the Higher Literary and Art Institute, which later received his name. The poet took part in the work on the first edition of the Great Soviet Encyclopedia as editor of the literary department.
For all the vicissitudes of the civil service, Valery Yakovlevich did not forget about creativity. In 1923-1924 two of his last collections were published - "Dali" and "Mea", in which a completely different Valery Bryusov appears before the reader. In his poems, he uses a ragged syntax, futuristic constructions of adding poetic lines, many alliterations, which allowed him to call this style "academic avant-garde". He also writes unpublished plays of a futurological nature "The Dictator" and "The World of Seven Generations" during his lifetime. Valery Bryusov died of pneumonia in Moscow on October 9, 1924.
Personal life
As a truly creative person, Bryusov often looked for inspiration in communication with the opposite sex. The poet's legal wife was the usual governess Ioanna Runt, whom he loved to madness, which did not prevent her from periodically changing. She never left heirs, as she had a miscarriage during pregnancy. Later, Bryusov had stormy romances with the poetess N. Petrovskaya, the former lover of A. Bely and N. Lvova, who tragically passed away after breaking up with the poet.
Valery Bryusov is a Russian poet, prose writer, playwright, translator, literary critic, literary critic and historian. He is also one of the founders of Russian symbolism.
Biography of Bryusov
Valery Yakovlevich Bryusov was born on December 1, 1873. His father, Yakov Kuzmich, wrote poems, some of which were published in various magazines.
Being a gambling man, he was seriously carried away by horse racing, which played a cruel joke with him, because over time he squandered a fortune on the tote.
Childhood and education
Valery Bryusov's parents were almost not involved in raising their son, as a result of which he was left to himself.
In addition, they did not believe in God, and strictly monitored that Valery did not read any religious literature.
In the future, Bryusov admits that he learned about atheism before he learned how to multiply numbers.
Undoubtedly, this was reflected not only in the poet's worldview, but also in his entire biography.
In 1885, Bryusov became a student at the private gymnasium of F.I.Kreyman. However, he did not succeed in completing his studies in it, since he was expelled for promoting atheistic ideas.
The next educational institution in the biography of Bryusov was the gymnasium of L.I. Polivanov. During this period, he developed a particular interest in.
Personal life
Having reached the age of 23, the young guy married Ioanna Runt, with whom he lived until his death. There were no children in the family.
By nature, Bryusov was a very collected, purposeful and strong-willed person. However, at the same time, he showed a weakness for gambling, nightlife, eroticism, etc.
His first three collections were called Russian Symbolists. They contained translations of some French Symbolists, as well as poems by aspiring poets.
The next collections were "This is me", "Romances without words" and "Masterpieces".
Soon from under his pen came out the collections of poems "The Third Guard", "Wreath", and "All tunes".
Bryusov's poems are full of historical, mythological and abstract subjects. They contain love, politics, philosophy and private problems of a person.
An interesting fact is that his work influenced such poets as (see), Sergei Soloviev and.
The poet never stopped at one thing, and constantly experimented with style.
For example, in his later work, the ideas of urbanism were traced when it came to the large and highly developed.
Literary environment
In 1899, he was the head of the Scorpio publishing house, which published works of the leaders of the “new art”.
The next place of work in the biography of Bryusov was the magazine "Libra", in which he was the chief editor.
Having reached the pinnacle of writing, Bryusov became one of the most prominent figures in Russian literature. He was called "the emperor of symbolism."
In 1909, the Vesy magazine was closed, as a result of which Valery Bryusov began working in the criticism department of the Russkaya Mysl publication.
There he published his own and other people's works written in the style of symbolism, the purpose of which was to destroy the isolation of the symbolic school in literature.
Historical novels and concepts
Always occupied one of the central places in the biography of Bryusov. He tried to give an objective assessment of any events taking place, both in Russia and abroad.
He perceived the revolution of 1905 as the inevitable destruction of the culture of the past. At the same time, he did not deny the possibility of his own death, since he was part of the old world (see the verse "Coming Huns").
Over time, Bryusov lost interest in political events. Instead, he began to actively study the laws of historical processes.
In his works "The Altar of Victory" and "The Fiery Angel", he described in detail various epochs, trying to show the crisis state of the world through historical analogies.
At the beginning of the First World War, the poet was a propagandist of patriotism. However, working as a war correspondent and seeing with his own eyes all the horrors of the war, he reconsidered his views.
Translation activity
In 1898 Bryusov met Bartenev, who was the editor-in-chief of the Russian Archive magazine.
As a result, friendly relations developed between them, and soon Valery Yakovlevich began to work in his publication.
Almost all his working time he was engaged in translations, and every year his translations became more high-quality and detailed.
After the revolution
After the October Revolution, of which he was the main organizer, Bryusov took over the power of the Bolsheviks.
At the same time, serious changes took place in his biography.
He became the head of the Press Registration Committee. Soon he was entrusted with the post of chairman of the presidium of the Union of Poets.
In 1919, Valery Yakovlevich became a member of the RCP, and a year later he founded a literary and artistic university.
He lectured to students, and also continued to publish articles aimed at the development of literature.
In his collection "Dreams of Humanity" Bryusov published works of Armenian and Latin poets, as well as Japanese tanka.
He seriously thought about the problems of poetry, after which he wrote a work in which he considered this topic in detail.
Last verses
In the last years of his life, Bryusov did not stop experimenting with various styles of writing poetry.
An interesting fact is that in his last works there is scientific poetry, the founder of which was the French poet Guillem.
Such poems include "Reality", "World of N dimensions" and "World of the electron".
Many contemporaries of Valery Bryusov did not understand his works because of their excessive complexity. However, this once again spoke of his talent and the existence of unique methods of versification.
Bryusov's legacy
During his biography, Bryusov wrote not only many poems of symbolism. He also gained fame as an excellent translator of English, French, German, Italian and ancient poets.
In addition, he managed to write a number of critical articles that help to better understand the quality of certain works.
Bryusov left a deep mark on Russian literary criticism, and also became the author of new forms of poetry.
Death
Valery Yakovlevich Bryusov died on October 9, 1924 at the age of 50. The cause of his death was pneumonia. The grave of the great symbolist poet is located at the Novodevichy cemetery.
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Valery Yakovlevich Bryusov. Born on December 1 (13), 1873 in Moscow - died on October 9, 1924 in Moscow. Russian poet, prose writer, playwright, translator, literary critic, literary critic and historian. One of the founders of Russian symbolism.
Valery Bryusov was born on December 1 (13 in a new style), 1873 in Moscow.
Father - Yakov Kuzmich Bryusov (1848-1907), was fond of the ideas of revolutionary populists, poet, published poems in magazines; in 1884, Yakov Bryusov sent to the magazine "Heartfelt Word" written by his son "Letter to the Editor", describing the summer vacation of the Bryusov family, it was published (No. 16, 1884).
Brother - Alexander (1885-1966) - professor of art history, employee of the Historical Museum, participant in the search for the Amber Room.
Sister - Lydia, the wife of the poet Samuel Kissin.
Sister - Nadezhda (1881-1951), musicologist-folklorist, teacher (from 1921 to 1943) and vice-rector (1922-28) of the Moscow State Conservatory.
Maternal grandfather - Alexander Yakovlevich Bakulin, merchant and poet-fabulist, published in the 1840s. the collection "Fables of a Provincial" (with the name of his grandfather, Bryusov signed some of his works).
Paternal grandfather - Kuzma Andreevich Bryusov, was a serf of the landowner Fedosya Alalykina, who owned land in the Kartsevo volost of the Soligalich district of the Kostroma province. In the 1850s. he redeemed himself and moved to Moscow, where he began a trade and acquired a house on Tsvetnoy Boulevard. The poet lived in this house in the years 1878-1910.
Valery Bryusov was born in the Kherodinovs' house (now - Milyutinsky Lane, 14, Art. 1). He was baptized on December 6 in the Church of Euplus the Archdeacon on Myasnitskaya.
Parents did little to educate Valery, and the boy was left to himself. Much attention in the Bryusov family was paid to "the principles of materialism and atheism", therefore Valery was strictly forbidden to read religious literature, he recalled: "I was zealously protected from fairy tales, from any" devilry ". But I learned about Darwin's ideas and the principles of materialism before I learned to multiply. "
He received a good education - from 1885 to 1889 he studied at the private classical gymnasium of F.I.Kreiman (he was expelled for promoting atheistic ideas), and in 1890-1893 - at the private gymnasium of L.I. Polivanov. In his last high school years, Bryusov was fond of mathematics.
At home, he grew up without comrades, did not know simple children's games, and his passion for science and literature alienated him from his classmates even more. However, later Bryusov became close to other young lovers of reading, together they began to publish the handwritten magazine "Beginning". During these years, the aspiring writer tried his hand at prose and poetry, translated ancient and modern authors.
The Bryusov family became impoverished when his father became interested in horse racing and squandered all his fortune on the tote. By the way, Valery also became interested in horse racing - his first independent publication in the magazine "Russian Sport" in 1889 is an article in defense of the sweepstakes.
From the age of 13, Bryusov decided for sure that his fate would be associated with poetry. His early experiments in poetry date back to 1881. Later, his first stories appeared. During his studies at the Kreyman gymnasium, Bryusov wrote poetry and published a handwritten magazine. In adolescence, Bryusov considered his literary idol, then he was fascinated by Nadson's poetry.
Poetic creativity of Valery Bryusov
By the early 1890s, the time had come for Bryusov's enthusiasm for the works of French Symbolists - Baudelaire, Verlaine, Mallarmé.
In 1893, he wrote a letter to Verlaine, in which he spoke of his mission to spread symbolism in Russia and presents himself as the founder of this new literary movement for Russia.
In the 1890s, Bryusov wrote several articles about French poets. Admiring Verlaine, at the end of 1893 he created the drama “Decadents. (End of the century) ", which tells about the short-lived happiness of the famous French symbolist with Matilda Mothe and touches upon the relationship between Verlaine and Arthur Rimbaud.
In the period from 1894 to 1895, he published (under the pseudonym Valery Maslov) three collections called "Russian Symbolists", which includes many of his own poems. They were written under the influence of the French Symbolists.
While working on the collections "Russian Symbolists" Bryusov used many pseudonyms. The function of the pseudonym here is not to conceal the author's true surname, but to mystify the reader. The poet, as the editor of the collections, strove to create the impression of a large number of his like-minded people and followers, allegedly in these editions, and, thus, to increase their public importance. This is the uniqueness of the use of pseudonyms by Bryusov.
Valery Bryusov's pseudonyms:
- Aurelius
- Br., Val.
- Br-ov, V.
- Bakulin, V.
- V. B.
- V. Ya.B.
- Verigin, A.
- Galakhov, Anatoly
- Harmodium
- Darov, V.
- I. A.
- K. K. K.
- L. R.
- Attic
- M. P.
- Maslov, V.A.
- Muscovite
- Nellie
- Pentaur
- Sbirko, D.
- Sozontov, K.
- Spassky
- Comrade Herman
- Tourist
- Fuchs, Z.
- Enrico
"Talent, even a genius, will honestly give only slow success if they give it. It's not enough! It's not enough for me. I have to choose something else ... Find a guiding star in the fog. And I see it: this is decadence. Yes! Whatever I say, is it false, Is it funny, but it goes forward, develops, and the future will belong to it, especially when it finds a worthy leader. And this leader will be I! Yes, I! ", - wrote Bryusov in his diary in 1893.
In 1893, Bryusov entered the Faculty of History and Philology of Moscow University, where he studied on the same course with the famous literary historian Vladimir Savodnik. The main circle of his interests in his student years is history, philosophy, literature, art, languages.
In 1895, a collection of poems "Chefs d'oeuvre" ("Masterpieces") was published. The very title of the collection, which, according to critics, did not correspond to the content of the collection (narcissism was characteristic of Bryusov in the 1890s), caused attacks by the press. Both for "Chefs d'oeuvre" and in general for Bryusov's early work, the theme of the struggle against the decrepit, obsolete world of patriarchal merchants, the desire to get away from "everyday reality" - to a new world, depicted for him in the works of French Symbolists, is characteristic.
The principle of "art for art", detachment from the "outside world", characteristic of all of Bryusov's lyrics, were already reflected in the poems of the collection "Chefs d'oeuvre". In this collection, Bryusov is a "lonely dreamer", cold and indifferent to people. Sometimes his desire to break away from the world reaches those of suicide, "the last verses." At the same time, Bryusov is constantly looking for new forms of verse, creating exotic rhymes, unusual images.
In the next collection - "Me eum esse" ("This is me") in 1897, Bryusov is still seen by us as a cold dreamer, detached from the outside "world, hated by the poet. The period "Chefs d'oeuvre" and "Me eum esse" Bryusov himself later called "decadent".
Founder of Russian Symbolism
In adolescence Bryusov developed the theory of symbolism: “The new direction in poetry is organically linked with the previous ones. It's just that new wine requires new wineskins, ”he wrote to the young poet F. Ye. Zarin (Talin) in 1894.
After graduating from the university in 1899, Bryusov devoted himself entirely to literature. For several years he worked in the journal of PI Bartenev "Russian Archive".
In the second half of the 1890s, Bryusov became close with the symbolist poets, in particular - with (acquaintance with him dates back to 1894; soon it turned into a friendship that did not stop until the emigration of Balmont), became one of the initiators and leaders of the founded in 1899 year S. A. Polyakov publishing house "Scorpio", which united supporters of the "new art".
In 1900, the collection "Tertia Vigilia" ("The Third Guard") was published in "Scorpio", which opened a new - "urban" stage of Bryusov's work. The collection is dedicated to KD Balmont, whom the author endowed with "the gaze of a convict" and noted: "But I love you - that you are all a lie." Historical and mythological poetry occupies a significant place in the collection.
In later collections, mythological themes gradually fade away, giving way to the ideas of urbanism. Bryusov glorifies the pace of life in a big city, its social contradictions, the cityscape, even the bells of trams and dirty snow piled up in heaps. The poet from the “desert of loneliness” returns to the world of people, he seems to be regaining his “father’s home”: the environment that raised him is destroyed, and now in place of the “half-dark shops and barns” shining cities of the present and the future grow sleep of a prison, and the world will come to the foretold paradise ").
One of the first Russian poets, Bryusov fully disclosed the urban theme.
At this time, Bryusov was already preparing a whole book of translations of Verharn's lyrics - "Poems about the Present". The poet is fascinated not only by the growth of the city: he is worried about the very presentiment of impending changes, the formation of a new culture - the culture of the City. The latter must become the "king of the universe." This is the key theme of his collection "Tertia Vigilia".
From this period, a characteristic feature of Bryusov's poetics became a stylistic inclusiveness, encyclopedism and experimentation, he was a connoisseur of all types of poetry, a collector of “all tunes”. He says about this in the preface to Tertia Vigilia: “I equally love the faithful reflections of visible nature in Pushkin or Maikov, and the impulses to express the supersensible, the supermundane in Tyutchev or Fet, and Baratynsky's thoughts, and the passionate speeches of a civil poet, say, Nekrasov ".
Stylizations of a wide variety of poetic manners, Russian and foreign (up to the "songs of Australian savages") - Bryusov's favorite pastime, he even prepared the anthology "Dreams of Mankind", which is a stylization (or translations) of poetic styles of all eras.
Consciousness of loneliness, contempt for humanity, a premonition of imminent oblivion (characteristic poems - "In the days of desolation" (1899), "Like shadows from outside" (1900)) are reflected in the collection "Urbi et Orbi" ("City and Peace") published in 1903. Bryusov is no longer inspired by synthetic images - more and more often the poet turns to the "civil" theme. A classic example of civic lyrics (and perhaps the most famous in the collection) is the poem "The Bricklayer". For himself, Bryusov chooses among all the paths of life "the path of labor, as a different path" in order to learn the secrets of "a wise and simple life."
In a few poems, contrived self-adoration is visible ("Both the maidens and the young men stood up, meeting, crowning me like a king"), in others - erotomania, voluptuousness (such poems are largely filled with the "Ballads" section). The theme of love gets a remarkable development in the "Elegy" section - love becomes a sacred rite, a "religious sacrament." Exactly after the release of "Urbi et Orbi" Bryusov becomes the recognized leader of Russian Symbolism... The collection had a particularly great influence on the young symbolists - Andrei Bely, Sergei Solovyov.
The apotheosis of capitalist culture is the poem "Horse Bled". In it, the reader is presented with the full of anxiety, the tense life of the city. The city with its “rumbles” and “delirium” erases the impending face of death, of the end from its streets - and continues to live with the former furious, “noisy” tension.
The great-power mood of the Russo-Japanese War of 1904-1905 (the poems "To fellow citizens", "To the Pacific Ocean") gave way to Bryusov's period of belief in the inevitable death of the urban world, the decline of the arts, and the onset of the "era of damage." Bryusov sees in the future only the times of "the last days", "the last desolations." These sentiments reached their peak during the First Russian Revolution. They are clearly expressed in the Bryusov drama "Earth" (1904, included in the collection "Earth's Axis"), which describes the future death of all mankind, then in the poem "The Coming Huns" (1905).
In 1906, Bryusov wrote a short story "The Last Martyrs", describing the last days of the life of the Russian intelligentsia, participating in an insane erotic orgy in the face of death. The mood of "Earth" (works of "extremely high", as defined by Blok) is generally pessimistic. The future of our planet, the era of the completed capitalist world, where there is no connection with the earth, with the vastness of nature, and where humanity is steadily degenerating under the "artificial light" of the "world of machines" is presented. The only way out for humanity in this situation is collective suicide, which is the final of the drama.
Bryusov's next collection was "Στέφανος" ("Wreath"), written during the most violent revolutionary events of 1905 (published in December 1905). The poet himself considered it the pinnacle of his poetic creativity. Bryusov sings a "hymn of glory" to the "coming Huns", knowing full well that they are going to destroy the culture of the world of his day, that this world is doomed and that he, the poet, is an integral part of it. The poems "Dagger" (1903), "Satisfied" (1905) are poems by the "songwriter" of the growing revolution.
The organizational role of Bryusov in Russian symbolism and in Russian modernism in general is very significant. The "Libra" headed by him became the most thorough in the selection of material and an authoritative modernist magazine (opposed to the eclectic and lacking a clear program "Pass" and "Golden Fleece"). Bryusov influenced by advice and criticism on the work of very many younger poets, almost all of them go through the stage of one or another "imitation of Bryusov". He enjoyed great prestige both among his peers, the Symbolists, and among literary youth, had a reputation as a strict, impeccable "master", creating the poetry of a "magician", a "priest" of culture, and among Acmeists (Nikolai Gumilyov, Zenkevich, Mandelstam), and futurists ( Pasternak, Shershenevich, etc.).
Valery Bryusov made a great contribution to the development of the form of verse, actively used imprecise rhymes, "free verse" in the spirit of Verharn, developed "long" sizes (12-foot iambic with internal rhymes: "Near the slow Nile, where Lake Merida is, in the kingdom of fiery Ra // you have loved me for a long time, as Osiris Isis, friend, queen and sister ... ", the famous 7-foot trochee without caesura in" Horse Bled ":" The street was like a storm. The crowds passed // As if they were pursued by the inevitable Rock ... "), used alternation lines of different meters (the so-called "lowercase logaedes": "My lips are approaching // To your lips ..."). These experiments were fruitfully received by younger poets. In the 1890s, in parallel with Zinaida, Gippius Bryusov developed tonic verse (dolnik is a term that he introduced into Russian poetry in an article in 1918), but, unlike Gippius and subsequently Blok, he gave little memorable samples and later to this verse rarely addressed.
In Bryusov's poems, the reader is faced with opposite principles: life-affirming - love, calls for the "conquest" of life by labor, for the struggle for existence, for creation - and pessimistic (death is bliss, "sweet nirvana", therefore, the desire for death is above all; suicide is "seductive," and insane orgies are "intimate pleasures of artificial edens"). And the main character in Bryusov's poetry is either a brave, courageous fighter, or a person desperate in life, who sees no other path than the path to death.
Bryusov also took an active part in the life of the Moscow literary and artistic circle, in particular, he was its director (since 1908). Collaborated in the magazine "New Way" (in 1903, became the editorial secretary).
By the 1910s, the activity of Russian Symbolism as a movement was declining. In this regard, Bryusov ceases to act as an activist in the literary struggle and the leader of a specific trend, taking a more balanced, "academic" position. Since the beginning of the 1910s, he has paid considerable attention to prose (the novel "The Altar of Victory"), criticism (work in "Russian Thought", the magazine "Art in South Russia"), Pushkin studies.
In 1914, with the outbreak of the First World War, Bryusov went to the front as a war correspondent for Russkiye Vedomosti. The growth of patriotic sentiments in the lyrics of Bryusov in 1914-1916 should be noted.
In 1910-1914 and, in particular, in 1914-1916, many researchers consider the period of the poet's spiritual and, as a consequence, creative crisis. In the collections Mirror of Shadows (1912), Seven Colors of the Rainbow (1916), author's appeals to oneself to “continue,” “move on,” and so on, which stand out from this crisis, are not uncommon; images of a hero, a worker, appear occasionally. In 1916, Bryusov published a stylized continuation of the poem "Egyptian Nights", which caused an extremely controversial reaction from critics.
With an attempt to get out of the crisis and find a new style, the researchers of Bryusov's work associate such an interesting experiment of the poet as a literary hoax - the collection "Nelly's Poems" dedicated to Nadezhda Lvova (1913) and the continuation of it "Nelly's New Poems" (1914-1916, remained unpublished at life of the author). These poems were written on behalf of the "chic" urban courtesan, carried away by fashion trends, a kind of feminine correspondence of the lyric hero Igor Severyanin, poetics reveals - along with the characteristic signs of the Bryusov style, thanks to which the hoax was soon exposed - the influence of the Severyanin and futurism, to the emergence of which Bryusov belongs with interest.
Valery Bryusov after the 1917 revolution
In 1917, the poet came out in defense, criticized by the Provisional Government.
After the October Revolution of 1917, Bryusov actively participated in the literary and publishing life of Moscow, worked in various Soviet institutions. The poet was still true to his desire to be the first in any business started.
From 1917 to 1919, he headed the Press Registration Committee (from January 1918 - the Moscow branch of the Russian Book Chamber); from 1918 to 1919 he was in charge of the Moscow library department at the People's Commissariat for Education; from 1919 to 1921 he was the chairman of the Presidium of the All-Russian Union of Poets (as such he directed the poetry evenings of Moscow poets of various groups in the Polytechnic Museum).
After the revolution, Bryusov continued his active creative activity. In October, the poet saw the banner of a new, transformed world, capable of destroying the bourgeois-capitalist culture, of which the poet had previously considered himself a "slave"; now he can "revive life." Some post-revolutionary poems are ecstatic hymns to the "dazzling October"; in some of his poems, he glorifies the revolution in one voice with the Marxist poets. Becoming the ancestor of the "Russian literary Leniniana", Bryusov neglected the "precepts" set forth by him in 1896 in the poem "The Young Poet" - "do not live in the present," "worship art."
In 1919, Bryusov became a member of the RCP (b).
He worked at the State Publishing House, headed the literary subsection of the Department of Art Education under the People's Commissariat for Education, was a member of the State Academic Council, professor at Moscow State University (since 1921); from the end of 1922 - head of the Department of Art Education of the Glavprofobra; in 1921 he organized the Higher Literary and Art Institute (VLHI) and remained its rector and professor until the end of his life. Bryusov was also a member of the Moscow City Council. He took an active part in the preparation of the first edition of the Great Soviet Encyclopedia (he was the editor of the department of literature, art and linguistics - the first volume was published after the death of Bryusov).
In 1923, in connection with the fiftieth anniversary, Bryusov received a letter from the Soviet government, in which the poet's many merits "to the whole country" were noted and "gratitude to the workers 'and peasants' government" was expressed. Despite all his aspirations to become a part of the coming era, Bryusov could not become a "poet of the New Life". In the 1920s (in the collections "Dali" (1922), "Mea" ("Hurry!", 1924)) he radically renews his poetics, using a rhythm overloaded with stress, abundant alliterations, torn syntax, neologisms (again, as in the era of "Nelly's Poems", using the experience of futurism). These poems are saturated with social motives, the pathos of "scientific". In some texts, there are notes of disappointment with their past and present life, even with the revolution itself (the poem "House of Visions" is especially characteristic).
Before his death, the poet led a strange lifestyle, began to smoke, became addicted to morphine, became untidy and nervous. He spent his last strength on the trouble of conferring on him the Order of the Red Banner, on the occasion of the upcoming anniversary, and was upset at receiving the Certificate of Honor.
On October 9, 1924, Valery Bryusov died in his Moscow apartment from croupous pneumonia. The poet was buried at the Novodevichy cemetery in Moscow.
In Krasnodar, a street and a passage are named after Valery Bryusov.
In Moscow, in the house on Prospect Mira 30, where Bryusov lived from 1910 to 1924, there is the Museum of the Silver Age. The center of the exposition is the writer's former study.
Poet Valery Bryusov (documentary)
Personal life of Valery Bryusov:
Bryusov's first love - Elena Kraskova- died suddenly from smallpox in the spring of 1893. Many of Bryusov's poems of 1892-1893 are dedicated to her.
In his youth, Bryusov was also fond of theater and performed on the stage of the Moscow German Club, where he met Natalya Aleksandrovna Daruzes, “Talya” (she performed on stage under the name Raevskaya), whom he was briefly carried away - they parted in the mid-1890s.
Wife - Ioanna Matveevna Bryusova (née Runt), the governess of his sisters. They got married in 1897. Valery Bryusov wrote in his diary: “The weeks before the wedding are not recorded. This is because they were weeks of happiness. How can I write now if I can only define my condition by the word "bliss"? I am almost ashamed to make such a confession, but what then? That's it".
Ioanna Runt was very sensitive to Bryusov's manuscripts, before the wedding she did not allow them to be thrown away during the cleaning, and after that she became a real keeper of Bryusov's works.
At the end of his life, Bryusov took up his wife's little nephew.
The poet had many novels. Bryusov painted a wreath of sonnets "Fatal Row". Each of the poems in this cycle was dedicated to real characters - women whom the poet once loved: M.P. Shiryaeva and A.A. Shestarkin, L.N. Vilkina, N.G. Lvov, A.E. Adalis, wife of I.M. Bryusov.
But contemporaries noted that Bryusov's main muse was Nina Ivanovna Petrovskaya, which played a huge role in the life of the poet.
Nina Ivanovna Petrovskaya (1879-1928) - Russian writer and memoirist, who played a prominent role in literary and bohemian life at the beginning of the 20th century, was the mistress of a literary salon, wife and assistant to the owner of the Grif publishing house S. A. Sokolov (Krechetova).
Nina Petrovskaya graduated from high school, then dental courses. She married the owner of the publishing house "Grif" and, finding herself in the circle of poets and writers, began to try her hand at literature, although her gift was not great, judging by the collection of stories "Sanctus amor", which looked more like a fictionalized diary. Nina played a significant role in Moscow life at that time. She came to the court of the Moscow bohemia with her hobbies for cards, wine, spiritualism, black magic and at the same time the cult of eroticism, seething under the seductive and partly hypocritical cover of mystical service to the Beautiful Lady. She had an affair with a symbolist poet.
Then Bryusov burst into her life in order, as she said later, to stay in her forever. At first, she became close to Bryusov, wanting to take revenge on Bely and, possibly, in the secret hope of returning him, arousing jealousy. Bryusov was eleven years older than Nina, his name - "the father of Russian Symbolism", the publisher of literary and art magazines, the original poet - resounded throughout Russia. Their first meeting took place in the living room of mutual acquaintances, where the Symbolists gathered. Bryusov seemed to her a magician and a wizard. That evening, Bryusov emphatically did not notice her, dressed in a black dress, with a rosary in her hands and a large cross on her chest. It was clear that she became a supporter of the fashion for everything mysterious and mystical, which then gripped many, like a disease. The next time they met at the Art Theater at the premiere of The Cherry Orchard in early 1904. In these January days, she recalled many years later, the strong links of the chain that tied their hearts were bound. For her, the year of their meeting was the year of resurrection: she truly fell in love. Fell in love with Bryusov.
In the same period, he dreamed of doing a long-conceived novel, which he called "The Fiery Angel". “To write Your novel,” as he called the future book in his letters to Nina Petrovskaya, “it is enough to remember You, it is enough to believe You, to love You”. He realized that he was able to create something significant, outstanding, and wanted to throw himself into work with his head. He asked her to be his leader, his beacon, his night light, here, as well as in the world of love. “Love and creativity in prose are two new worlds for me,” he wrote to her. - In one thing, you took me far, to fabulous countries, to unprecedented lands, where they rarely penetrate. May it be the same in this other world. "
As an artist, Bryusov needed not only to study and study a lot of literature from the life of Germany in the 16th century for the conceived historical narrative, but also to find genuine life similarities of these conceived images. Nina Petrovskaya, contradictory by nature, sensual, hysterical, prone to exaltation and mysticism, perfectly suited the image of the main character of the novel. It was from her that Bryusov wrote his Renata. He found in her a lot of what was required for the romantic appearance of a witch: despair, a dead longing for a fantastically beautiful past, a willingness to throw his devalued existence into any fire, turned inside out, poisoned by demonic temptations, religious ideas and aspirations.
Nina herself very soon entered the role of his heroine and played her quite seriously. It seemed to her that she really entered into an alliance with the devil, and almost believed in her witchcraft. She declared that she wanted to die so that Bryusov would write off Renata's death from her, and thereby become "a model for the last beautiful chapter."
In the summer of 1905, they made a trip to the Finnish Lake Saimaa, from where Bryusov brought a cycle of love poems. He wrote to her, recalling this time: “That was the peak of my life, its highest peak, from which, like Pizarro once, both oceans opened to me - my past and my future life. You took me to the zenith of my sky. And you let me see the last depths, the last secrets of my soul. And everything that was in the crucible of my soul, riot, madness, despair, passion, burned out and, like a gold ingot, poured into love, one, boundless, forever. "
Gradually, love for him turned into a burned out passion. Not wanting to accept the thought of losing her beloved, Nina decided to resort to the tried and tested remedy of many women: jealousy. She flirted with young people - regulars at literary salons - in front of Bryusov, kissed them, they took her away from stuffy living rooms. At first, she did not seriously cheat, teased, tried to return the warmth of the relationship, then changed - one, two, three ... He turned away, became a stranger. The severity of the breakup was unbearable, and to escape her thoughts of suicide, Nina tried morphine. Wine and drugs undermined her health, doctors miraculously brought her back to life. When they returned, she decided to leave Russia. At first, Nina lived in Italy, then in France. She continued to write to Bryusov exalted letters, still full of love outpourings and pretentiously signed: "the one that was your Renata." In 1913, in a state of severe depression, she threw herself out of a hotel window on the Boulevard Saint-Michel. She survived, but broke her leg and became lame. The transformation of Nina Petrovskaya into the image of the Bryusov heroine came after she converted to Catholicism. In the end, one day in February 1928, Petrovskaya turned on the gas tap in the hotel room where she lived, having committed suicide.
Nina Petrovskaya - the beloved of Valery Bryusov
Bryusov collected postage stamps; stamps of all countries served as the subject of his collection. He specialized in stamps of European colonies. In November 1923, he joined the All-Russian Society of Philatelists and was elected honorary chairman of the editorial board of the SAF. In January 1924 he was included in the editorial board of the Soviet Philatelist magazine.
Bibliography of Valery Bryusov:
1893 - "The Decadents (End of the Century)"
1894 - "Juvenilia" - "Youthful"
1896 - "Chefs d'oeuvre" - "Masterpieces"
1897 - "Me eum esse" - "This is me"
1899 - "On Art"
1900 - "Tertia Vigilia" - "The Third Guard"
1903 - "Urbi et Orbi" - "City and Peace"
1906 - "Stephanos" - "Wreath"
1907 - "Earth's Axis"
1908 - Fiery Angel (historical novel)
1909 - Incinerated
1909 - "All the tunes"
1911 - "F. I. Tyutchev. The meaning of his work "
1912 - "Far and Near: Articles and Notes about Russian Poets from Tyutchev to the Present Day"
1912 - "Mirror of Shadows"
1913 - "Altar of Victory"
1913 - "Outside My Window"
1913 - "Nights and Days"
1914 - Autobiography (edited by S.A. Vengerov)
1915 - "Seven Colors of the Rainbow"
1915 - "Dasha's Betrothal"
1915 - “Selected Poems. 1897-1915 "
1916 - "Jupiter Downed"
1916 - Rhea Sylvia
1916 - "Egyptian Nights"
1917 - "The Ninth Stone"
1917 - "How to end the war"
1918 - "Experiments in metrics and rhythm, in Euphony and consonances, in stanza and forms"
1918 - "Chronicle of the Historical Fates of the Armenian People"
1919 - "A Short Course in the Science of Verse"
1920 - "Last Dreams"
1921 - "On Days Like This"
1922 - Dali
1922 - "Horizon"
1922 - "Mig"
1924 - "Mea" - "Hurry!"
1924 - Fundamentals of poetry
1927 - From my life. My youth. Memory.
1927 - Diaries
1927 - Letters from V. Ya.Bryusov to P.P. Pertsov (1894-1896) (To the history of early symbolism)
1929 - My Pushkin