Valery Bryusov. Under the dead moon
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+ Table of contentsJUVENILIA
1892 – 1894
Prologue
First dreams
New dreams
Lyric poems
CHEFS D"ŒUVRE
1894 – 1896
Poems about love
Cryptomeria
Hill of Abandoned Shrines
Weekdays
Lyric poems
ME EUM ESSE
1896 – 1897
New Testaments
Visions
Moments
Wandering
Unnecessary love
The breath of death
On my way
Completion
Lyric poems
TERTIA VIGTLIA
1898 – 1901
Return
Favorites of the ages
By the sea
Crimea 1898 – 1899
Revel (Katherinenthal) 1900
Within the walls
Another fairy tale
Sweet truth
To loved ones
Book for children
From the diary
Epiphanies
Lyric poems
URBI ET ORBI
1901 – I903
Introductions
Songs
Ballads
Duma
Elegies
Sonnets and terzas
Paintings
Anthology
Odes and messages
Lyric poems
STEPHANOS
1904 – 1905
Dedication
Evening songs
On Saimaa
Truth eternal idols
Delivered from hell
Moments
Everyday life
Modernity
Lyric poems
All the tunes
1906 – 1909
To the poet
Close
Elegies and Bucolics
Evening songs
On Granites
In field
Moments
Erotica
Dead love
Doomed
Sonatas
Inscriptions for engravings
Visions
Women
In the city
Odes and messages
Truth eternal idols
Greetings
Modernity
Messages
Conclusion
Mirror of Shadows
1909 -1912
On the chest of the earth
Embrace of Dreams
Inexplicable pleasures
Under the dead moon
Native steppes
Passion dreams
Words of yearning love
Life moments
By markets
Sweet memory
Holy craft
Powerful Shadows
Hello to the future one
For all
Seven colors of the rainbow
1912 – 1915
Orange
Green
Red
Yellow
Blue
Blue
Violet
Ninth Stone
1915 -1917
Alone with myself
During the days of the red banners
Before the spectacle of war
In Armenia
Between past and future
In the land of dreams
In fact
In native fields
At night
Close to sweet lips
Above the eternal mystery
In albums
Dreams of humanity
[Songs of primitive tribes]
[Echoes of Atlantis]
Egypt
Assyria
Hellas
From the Alexandrian Anthology
India
Persia
Japan
Indochina
Arabs
Armenia
Scandinavia
European Middle Ages
Spain
France XV-XVI centuries
Renaissance Italy
England
Germany
France XVII-XVIII centuries.
Latvians
Romanticism
Romantic ballads
Addition
Last dreams
1917-1919
The soul is melting...
Live in freedom...
The only happiness is work!
Holy images
This is all a nightmare!
Small children
Sonnets
On days like these
1919-1920
In the glow of a fire
Above the world bonfire
Aphrodite's steps
Veil of centuries
Greetings
And here, in my mind...
Moment
1920-1921
Horizon
From before to now
Check
Shadow of light
House of Visions
Dali
1922
Ages and spaces
minutes
A little through a smile
Poems about hunger
Mea
1922 – 1924
Nowadays
Globally
In the village
From books
Mentally
Alone with myself
Brady
Poems not included by V. Ya. Bryusov in collections
1891-1924
Poetry
Poetry
When sending P. Verlaine a translation of “Romances without Words”
Theme of premonitions
Heaps of snow
In library
Early spring
Spinosians
“I have often thought about the essence of things...”
To the winds
Two poppies
Vestal Virgin
Too much
Boar hunt
A. M. Dobrolyubov
Poems about love
underground plants
(Lily-pine sonnet)
To the sun
Song
One line poems
Epithalamus
“Through the multi-colored glasses the sunset...”
I love another one
Summer holiday
To the past
“The rooster crowed for the last time...”
Polycrates
“Your poems are like a random ray...”
Spring poem
Introduction to the poem "Atlantis"
Excerpt
Pythia
Full moon
Meeting
To my sister
To Balmont
Rehash of Balmont
Sonnet dedicated to the poet P. D. Buturlin
Rondo
At home
On a given topic from Sluchevsky
Sonnet about the poet
Iron way
Beyond fairy tales
Mother's name day
From a children's book
In the country
Mona Lisa
Homeless brothers
“Above the delirium of our different faces...”
Orpheus
Sphinx
"Scorpio" and "Vulture"
Maximilian Schic
To the people
The scales have swung
To loved ones
Tradition
Laodamia's Lament
In the morning
Island
A thread
Booths
Zhiguli
Similar solutions
At the carriage window
Me and the cat
Cemetery
windy evening
Evening in the field
Lonely spruce
Slaves
“Love, like a powerful enemy, knits...”
Child
Sonnet
“Colorful day, brightly colorful day...”
Ellis
Leaf hidden in bark
Last way...
Climbing
Two enemies
Never ever
Germany
Excerpts
Family picture
Allegory
Stained glass - triptych
May rain
Poland exists!
In response to Eduard Slonsky
Testament of Svyatoslav
To the steel birds
An ancient call
Afterlife Summons
To the album
All the colors of the rainbow
<Из Венка сонетов>
“With excitement I touch the pen...”
“The years of dispersion have come...”
Faithful to the lyre
Lion and pig
Fable according to F. Dostoevsky
Prayer
Ballad
Evening peons
Romans in China
166 N.A.
After failure
One of the first books published by the Scorpio publishing house was Bryusov's collection "Tertia vigilia" ("The Third Watch"). “Favorites of the Ages” - this is what Bryusov called one of the main sections of the book. This title or similar ones will appear more than once in his subsequent collections; almost each of them will have a section or cycle of poems dedicated to history. In “The Third Watch” we see ancient Assyria, Mesopotamia, Egypt, Greece, Rome, the European Middle Ages and the Renaissance, the first centuries of Russian history and a relatively close event in time - the Napoleonic epic. Under the poet’s pen, both real historical figures and heroes of myths, nameless characters from different eras appear, who must express the characteristic features of their time. All these verses least of all resemble
All of Bryusov's heroes are united by one property - clarity and definiteness of character, boldness of thought, devotion to the chosen path, passion for serving their calling and their historical destiny. And the Assyrian conqueror king, and the nameless Chaldean shepherd, who “was the first to outline the paths of his planets,” and Dante, “who believed in the greatness of people,” and all his other heroes - destroyers and creators - with all the incompatibility and, in essence, the opposite of their actions, they are all primarily active. Bryusov is attracted by the strength of mind and spirit of these people, which gives them the opportunity to rise above momentary everyday worries and petty passions, discover the unknown, and lead the world to new frontiers. They reveal the author's longing for the heroic. True, Bryusov’s heroes are always alone, they are driven by Fate, or a personal thirst for knowledge, or a passion for power. None of them have a sense of service to people, no one makes self-sacrifice, but at the same time, the strength and passion of their characters, the striving for a single goal not only raises them above mediocrity, but also, as it were, focuses the force field of history in them.
Perhaps the feeling of disconnection between the heroes and the people of their time, their alienation led Bryusov to excessive picturesqueness, a certain rhetoricality and coldness in some of these poems. Subtly sensing this feature of Bryusov’s historical paintings, Gorky wrote in his review of “The Third Watch” that Bryusov “in all the poems of this cycle for some reason reminds us of the well-lived French academician-poet José Maria Heredia.” Comparing Bryusov with the Parnassian poet Heredia , Gorky hinted at a certain “detachment” of Bryusov from the heroes, the coldness of his colors, a certain museum gloss and pictorial exoticism of his heroes. Disagreeing with Gorky’s criticism, Bryusov wrote to him: “... their difference from Heredia’s sonnets is important. For him, everything is depicted from the outside, but for me, everywhere - in Scythians, and in Assargadon, and in Dante - my “I” is everywhere. Really, it’s a devilish difference!”
In this dispute, the truth was still on Gorky’s side. Bryusov’s “I” is indeed very noticeable in many of his poems, but, declaring his closeness to various heroes of history, Bryusov, in essence, remained indifferent to the very essence of their cause.
I love all dreams, all speeches are dear to me,
And I dedicate this verse to all the gods, -
he stated in the programmatic poem “I” for this collection. This worship of “all gods” turned into dispassion and sometimes dry rhetoric.
But one of the most remarkable and distinctive features of this collection is Bryusov’s major tone and optimistic conviction in the coming light, in the renewal of the world.
Similar abstracts:
The founder of Russian symbolism Valeria Yakovlevich Bryusov (1873-1924) in one of his works gave a convincing answer to the words of P.I. Weinberg, as if great poets extremely rarely and reluctantly turned to recreating works of foreign literature in their own language. We are talking about the famous article “Fia...
It seems to me that the poetry of Valery Bryusov stands somehow apart from the main stream of the “Silver Age”. And he himself as a person differs sharply from the poets of his time. He is all urban, cube-shaped, tough, cunning, and a very strong-willed person.
Bryusov Valery Yakovlevich 12/13/1873 - 10/09/1924 biography Bryusov Valery Yakovlevich was born on December 1 (13), 1873. Born into a merchant family. The grandfather on the father's side is a merchant from former serfs, and the grandfather on the mother's side is the self-taught poet A. Ya. Bakulin. My father was interested in literature and natural sciences...
Poetry of Bryusov. New ideas and motives in poetry. The poem "At Night" and its analysis.
“Blok’s Russia was drowning all around,” this is exactly what Mayakovsky wrote in the poem “Good,” speaking about a phenomenon that had never happened before or since. For Blok, Russia is not just a theme, it is a whole world, endowed with its own features, filled with special images and symbols.
Andrei Bely is a Russian writer and symbolist theorist. Born in Moscow on October 14 (26), 1880. His real name is Boris Nikolaevich Bugaev. He belonged to the Symbolists of the “younger” generation. Andrei contrasted the inexhaustible dream of the older symbolists with an active desire for the “last battle” - “roar...
The 19th century, the “golden age” of Russian literature, ended, and the 20th century began. This turning point went down in history under the beautiful name of the “Silver Age”. It gave birth to the great rise of Russian culture and became the beginning of its tragic fall.
The entire literary heritage of the poet embodies the paradoxical combination of poetic talent and analyticalism of a scientist.
In the 900s in bourgeois literature, attempts arose to overcome decadent, decadent impressionism. In particular, Bryusov in the 900s. picks up and develops those trends of bourgeois activation and aggressiveness that emerged in the decadence of the 90s.
Chassed, compressed, solid, as if forged verse, sculpturally convex clarity of images, a short phrase striving for an aphorism - all this undoubtedly catches the eye of the reader, even when picking up Bryusov’s book for the first time.
Despite all his bias and tendency towards an ahistorical revision of his own earlier assessments of the symbolists (the work of K. Balmont, for example), he still strives for the maximum possible objectivity at that time.
Bryusov, Balmont.
By nature, he was a stubborn worker, equally combining the subtle lyricism of a poet and the cold rationality of a scientist, moreover, a scientist of the new, twentieth century, mastering areas of knowledge unknown in the nineteenth century.
BRYUSOV, VALERY YAKOVLEVICH(1873–1924), Russian symbolist poet, prose writer, translator, critic, literary critic. Head of the Moscow branch of symbolism.
Born on December 1, 1873 in Moscow into a merchant family. My maternal grandfather A.Ya. Bakulin was a self-taught poet. Bryusov's father, the son of a rich peasant, was engaged in self-education, attended lectures at the Petrovsky Agricultural Academy, loved to read and himself tried to study literature. Bryusov described his creative development in detail in his autobiography ( From my life). In 1885, at the age of 11, he entered the 2nd grade of the gymnasium. By his own admission, he began composing early, but only turned to poetry in high school under the influence of his classmates. Together they began publishing a handwritten magazine, Nachalo. At the same time, Bryusov began to read Russian literature “from Pushkin and Lermontov, through Turgenev, Tolstoy, Dostoevsky, to Leskov...” (before that he was interested in history and natural sciences). Bryusov's first poetic experiments were inspired by N.A. Nekrasov, and later by M.Yu. Lermontov and S.Ya. Nadson, popular at that time, who combined civic motives with a romantic spirit. After The beginning Bryusov, already alone, publishes the handwritten “V Class Leaflet,” devoting it not to literature, but to politics and satire on gymnasium life. This became the reason for Bryusov’s expulsion from the gymnasium.
In the fall of 1890 he entered the 6th grade of another gymnasium, where he enthusiastically studied mathematics and studied philosophy (Kant, Schopenhauer, especially Spinoza). His literary interests become more diverse. He re-reads Pushkin, but also admires the “new” poets, D.S. Merezhkovsky and K.M. Fofanov. At the same time, for the first time he became acquainted with the poetry of the French symbolists P. Verlaine, A. Rimbaud and S. Mallarmé, who would later determine his literary tastes. He begins to translate the Symbolists and imitate them. Symbolist poetry became for Bryusov “a complete revelation: not being familiar with Western European literature of the last half century,” he “only from their poems understood how far poetry had gone from the work of the romantics” (ibid.). Bryusov devotes himself to serving the “new art” and writes in his diary: “Whatever you say... the future will belong to him, especially when it finds a worthy leader. And I will be this leader! Yes I!".
In 1893, Bryusov entered the Faculty of History and Philology of Moscow University, first in the department of classical philology, and then in history. At the university, in addition to classical disciplines, he studied philosophy (in particular, the theory of knowledge of G.V. Leibniz, which later influenced his aesthetic views).
In 1893, an article by D.S. Merezhkovsky was published On the causes of decline and new trends in modern Russian literature, which became a manifesto of Russian symbolism. In 1894–1895, Bryusov, together with his friend A.L. Miropolsky, published three collections Russian Symbolists. This is a three-part anthology made up of translations (the poetry of P. Verlaine, A. Rimbaud, S. Mallarmé, M. Maeterlinck, A. E. Poe, Laurent Tallade) and imitations. Imitation in this case was not simple epigonism; it made it possible to master a new poetic language and instill formal innovations of Western models into Russian verse. At the same time, Bryusov disguised his experiments with several pseudonyms: each represented a special temperament and a special branch of the “new art.” Poem Autumn feeling (The pink colors are fading in the pale glow of the moon...) varied the motifs of Mallarmé and Baudelaire, Self-confidence(Golden fairies in the satin garden...) played with metaphors in the manner of Rimbaud, and Creation(Purple hands on an enamel wall...) was an example of “concealment”, characteristic of “suggestive” poetry, etc. The collections were supposed to create the illusion of the existence of a whole movement of symbolist poetry in Russia. Despite the weakness of most of the poems, the hoax was a success. Russian Symbolists were subjected to fierce criticism, which created scandalous fame for its authors. Symbolism in Russia was recognized as existing. But Bryusov was dubbed a “decadent,” and magazines were closed to him for five whole years.
Simultaneously with the third release Russian Symbolists Bryusov published the first book of his poems Chefs d'oeuvre (Masterpieces, 1895). In 1896 he published a second book of poems Me eum esse (It's me, dated 1897). In these books, despite their shocking nature, the basic techniques of Bryusov’s work are already visible: leitmotifs, self-quotes and repetition of titles; combining poems into cycles for their thematic organization; a game of cultural associations, when an image is created using images and forms already known and familiar to the reader. Themes that Bryusov would develop in subsequent books also appeared in them: the theme of the poet and poetry; the theme of the modern city, first heard by Baudelaire; theme of personality and history; “decadent” motives of death and love as a destructive passion; lyrical landscape sketches in the spirit of the romantics, on the one hand, and Verlaine, on the other.
Book Tertia Vigilia (Third Watch, 1900), Bryusov’s third collection of poetry, brought him recognition and marked the beginning of his creative maturity. Varying the motives outlined in previous books, Bryusov changed the emphasis. Third Watch begins (after program prologue Return) cycle Favorites of the ages, dedicated to history and the place of the individual in it. Collection Chefs d'oeuvre opened with a subloop Noon in Java from the cycle Poems about love, permeated with decadent moods and an atmosphere of stuffy eroticism. In the collection Me eum esse after the prologue ( New Testaments), where the author’s new poetic tasks were discussed, followed by a cycle Visions, in which, connecting the context of the poetry of Baudelaire and Mallarmé, Bryusov solved the problem of the relationship between earthly life and the heavenly ideal. IN Favorites of the ages and in similar cycles from other collections ( Ballads V Urbi et Orbi; Truth eternal idols V Stephanos; Truth eternal idols And Greetings in the book All Tunes; Powerful Shadows V Mirror of Shadows etc.) Bryusov the poet spoke on behalf of historical characters, heroes of ancient Greek and biblical mythology, generalized heroes symbolizing a certain era. Thus, in his own words, he created “a temple to all gods, day and night, and Christ, and Adonis, and demons” (from a letter to I.I. Oreus-Konevsky on March 15, 1899). Bryusov’s free attitude to the heritage of centuries, to mythologies and religions allowed him, by mixing them, to create a unified system of cultural signs, where individual “portraits” were intended to symbolize the continuity, unity of culture and the dialogical nature of time. At the same time, the very movement of the temporary flow turned out to be possible thanks to the efforts of an individual will, a strong and bright personality.
The next two collections Urbi et orbi (To the city and the world, 1903) and Stephanos(Wreath, 1905) introduce everyday and civic motifs into Bryusov’s poetry. His view of creativity is also redefined. IN Urbi et orbi in poems Job And In reply(cycle Introductions) Bryusov, in contrast to the idea of spontaneity, the “spontaneity” of the poetic act, popular among the symbolists, asserted the need for conscious work on poetry. He compared a poetic dream to an ox, and a poet to its driver. It is no coincidence that he turned to the theme of daily work, which continued the theme of the city: Hello, everyday life / Roughly forged speech! / I want to experience the secrets, / Of life wise and simple, / All paths are extraordinary. / The path of labor is like a different path...(Job). A new poetic subject required a new language. Poems Factory, pickers, Maiden and others from the series Songs colored with conversational intonations and folklore sounds. IN Stephanos the poet looked even more closely into reality. Cycle Modernity dedicated to the events of the Russian-Japanese War and the first Russian revolution. Book Urbi et orbi made a strong impression on her contemporaries, in particular on the young A. Blok. And the apocalyptic vision of the poem Horse Bled (Stephanos) was in tune with the sentiments of the “younger” symbolists. However, these new themes did not become defining for Bryusov; they entered his poetry along with the already existing ones.
By this time, Bryusov was already the recognized “leader” of the Moscow Symbolists, head of the Scorpion publishing house, editor of the Libra magazine ( cm. SCALES). He was known not only as a poet, but also as a critic, translator (C. Baudelaire, P. Verlaine, M. Maeterlinck, E. Verhaerne, R. Gil, etc.), translation theorist ( Violets in a crucible, 1905).
In 1907–1908, his novel was published in the magazine “Scales” Fire Angel. This is a striking example of symbolist prose, where through the historical plan of Germany in the 16th century. conflicts characteristic of the beginning of the 20th century are revealed, the consciousness and subconsciousness of a contemporary are explored, but at the same time, problems of the nature of evil in the world, the possibility of salvation for man and the preservation of one’s own “I” are raised. After the closure of “Vesi”, Bryusov in 1910–1912 headed the literary-critical department of the magazine “Russian Wealth”, published articles in the new symbolist magazine “Apollo” . Bryusov also acted as a playwright: he owns the drama Earth(1904, publ. 1907), “psychodrama” Traveler(1911), tragedy Protesilaus deceased (1913).
Bryusov’s contribution to the theoretical substantiation of symbolism and creativity in general is important. Starting with the brochure About art(1899) and articles Truths. Beginnings and hints.(1901), he constantly developed his aesthetic theory. From the idea of art as a means of communication, he came to the idea of art as “comprehension of the world in other, non-rational ways” ( Keys of Secrets, 1904; Sacred Sacrifice, 1905). However, Bryusov did not associate “comprehension of secrets” with mysticism, which contrasted himself with many symbolists. In the article " About slave speech", in defense of poetry(1910) he criticized the “younger” symbolists, who considered poetry a form of “theurgism”, religious service. Bryusov proclaimed art (and in particular, symbolism) as a sphere of free interaction of meanings, not subordinate to science, the public, or religion.
From poetry collections during these years came All the tunes (1909), Mirror of Shadows (1912), Seven colors of the rainbow(1916), forthcoming Ninth Stone The poetic quality of these books is inferior to earlier collections, although the author still seemed to be in a creative search. The First World War and the patriotic upsurge associated with it brought new themes. Then, having visited the front as a war correspondent and seeing the reality of the war, Bryusov was convinced of its meaninglessness and created a number of anti-war poems, which, however, did not have much resonance. A more significant civic act of Bryusov was the publication of an anthology of Armenian poetry (1916) at a time when the Armenian people were subjected to brutal genocide. Bryusov acted as a translator and editor of the volume, visited Yerevan and met with Armenian writers. He was awarded the title of People's Poet of Armenia. Since 1962, Bryusov's philological readings have been held in Yerevan.
The October Revolution was an important turn for Bryusov both in life and in work. Having accepted the new government, he became the head of the Press Registration Committee (1917–1919), head of the Moscow library department at the People's Commissariat for Education (1918–1919), and chairman of the Presidium of the All-Russian Union of Poets (1919–1921). In 1920 he joined the RCP(b). Taking on the role of educator of a new generation of poets, in 1921 he organized the Higher Literary and Artistic Institute (later VLHI). Educational activities were not limited to lecturing. He publishes an article Yesterday, today, tomorrow of Russian poetry, where he outlines the ways of development of literature; creates a historical and literary anthology Dreams of humanity, trying to imagine “all the forms in which human lyrics took on.” IN Dreams included both Bryusov’s translations of Latin and Armenian poets, as well as stylizations reproducing various poetic forms from the Alcean stanza to the Japanese tanka. At the same time he was working on problems of poetry (book Experiments on metrics and rhythm, on euphony and consonances, on stanza and forms, 1918; article Sound recording of Pushkin, 1923).
Formal experiments were reflected in Bryusov’s later poetry collections: Last dreams(1920), On days like these(1921), Moment(1922), Dali(1922) and Mea (Hurry up, 1924, publ. posthumously). Here are examples of “scientific poetry”, which attracted him since the 1900s (its inventor was the French poet, Bryusov’s correspondent, R. Gil). These are the poems Electron world, World of N dimensions, Reality (Mea). Although the later poems, due to their excessive complexity, turned out to be incomprehensible to contemporaries and did not influence the development of poetry, they are interesting as a demonstration of the capabilities of Russian versification.
Bryusov's extensive legacy is very diverse. In addition to poetic and prose works, numerous translations from ancient, French, English, German, Italian and other poetry retain their significance. His critical articles are important material for understanding the literary situation at the turn of the 19th and 20th centuries. His studies of 19th century poetry. and works on poetry made a serious contribution to Russian literary criticism.
Tatiana Mikhailova
Valery Bryusov
RETURN
RETURN
“As a child, I didn’t know fear...”
FAVORITES OF THE AGES
ASSARGADON
CHALDEAN SHEPHERD
PRIEST OF ISIS
CASSANDRA
ALEXANDER THE GREAT
CLEOPATRA
OLD VIKING
DANTE IN VENICE
FLORENCE DECAMERON
ASTROLOGER
MARY STUART
RUINED Kyiv
ABOUT THE LAST PRINCE OF RYAZAN IVAN IVANOVICH
NAPOLEON
"The waves rise and foam..."
“The star warmed up bashfully...”
"At the crossroads of two roads..."
“Where the garden approaches the sea...”
“The day is melted; the sea is blue..."
“The whole day was dull, pale and foggy...”
“Electric light of the month...”
"Like a big bird..."
“I’m lying on a stone, warmed by the sun...”
"The troubled sea is boiling..."
"Waves come and waves go..."
“The path went around the cliff...”
“The sky turned black with lights...”
"The white color of magnolias..."
"The clouds are clinging..."
“The road winds steadily...”
"The wind from the sea drives waves..."
“Gliding from behind a cloud...”
“The sea is in powerless peace...”
STILL SUNSET
“I love lines of fidelity...”
"I love big houses..."
“When I’m sitting alone and the room is dark...”
"When the curtain falls..."
“I see proud shadows...”
“I enjoy you greedily...”
“I love the evening light and the first lights...”
“We are not used to bright colors...”
"The architecture of ancient churches..."
“You snowflakes, blow…”
"Churches, great faces..."
"Clothed in robes..."
“A sleepy and quiet street...”
"The dying sickle month..."
“The lights of the electric horses…”
“I saw sparks from the pickaxe...”
“Like unearthly shadows...”
“In the fight against spring, the winter cold is thinning...”
MORE TALE
“The autumn day was dim and sparse...”
“I am a night moth. Obediently…"
“Along the cold familiar steps...”
“Yes, I know this street...”
"Strict, cold and domineering..."
“The forest is luxurious in the autumn fire...”
“I remember the light is incorrectly white...”
“There was shamelessness in my words...”
"And again you, and again you..."
“I don’t know your name...”
“The thought of you caresses me all day…”
“The hours passed like a fickle dream...”
“The cherished hour of slumber has come...”
“The melancholy of a wandering luminary...”
"Oh yeah! I am a dark moth..."
"You know how to smile..."
“It’s sweet to slide along the outskirts of the abyss...”
“I’m sad because you and I are not two...”
SWEET TRUTH
FIRST STAR
ON SAINT AGATHA'S DAY
I LOVE…
FOUNTAIN FAIRY
"And the sky and the gray sea..."
LULLABY
“To snuggle up to your shoulder...”
TO THE PORTRAIT OF LEIBNITZ
TO THE PORTRAIT OF M. YU. LERMONTOV
TO THE DEATH OF I. LYALECHKIN
TO THE PORTRAIT OF K. D. BALMONT
K. D. BALMONT
JURGIS BALTRUSHAITIS
“GHOSTS”, PAINTING BY M. DURNOV
G. G. BAKHMAN
RANDOM
IN MEMORY E.I.P
BUT ABOUT THE COLLECTIONS “RUSSIAN SYMBOLISTS”
ABOUT “ME EUM ESSE”
TO YOURSELF
BOOK FOR CHILDREN
GREEN WORM
LITTLE RED RIDING HOOD
NATIVITY
EASTER, HOLIDAYS HOLIDAY
IN THE ANCIENT TEMPLE
DEMONS OF DUST
BEFORE THE STORM
FROM THE DIARY
TO THE URSA BIG DEPARTMENT
GREATNESS
SHADOWS OF THE PAST
STAR OF THE SEAS
TO METALS
BEYOND FAIRY TALES
ACCIDENTALITY
COTTAGES IN AUTUMN
FERN
EPILIES
IN AN UNFINISHED BUILDING
IN THE DAYS OF DESPIRATION
BATTLE OF PEOPLES
TO THE SEEMED BROTHERS
EVERY MOMENT
GLIMMER
SPIRIT OF THE EARTH
"Silent witnesses..."
"Many worship me..."
"With tireless prayers..."
"Accident and intentionality..."
LYRIC POEMS
THE TALE OF THE BIGGER
TO THE KING OF THE NORTH POLE
INTRODUCTIONS
IV SVEN'S SONG
LORD ABOUT THE MOON
CLOSED
Valery Bryusov
TERTIA VIGILIA
1898–1901
Ivan Konevsky and Georg Bachmann,
two who left.
RETURN
RETURN
I ran away from the lush brushwood,
From the dancing of voluptuous maidens.
Where the world is sad and scary;
He lived there, despising temptations.
Wandered, free, wild,
Hidden in the holes of ancient darkness;
The rocks greeted me
Eagles lived next to me.
My insights were wild
My every day is captured;
Winged joyful faces
We looked out from the pre-modern walls.
And I was in the desert for many winters,
Obediently devoted to the Dream...
But there was a voice for me. And again now
I am in the noise of words, I am in the bustle.
I put on my old purple,
Anointed my hair with myrrh.
As soon as I appeared, proud, at the feast,
Among the queens of merry dancing
I freely chose one:
May I find affection in desire
Your weak-willed spring!
And you, oh my valley flower,
Like a stem, it was drawn to me.
I captivated you with a long tale...
You are in reality, and you are in a dream.
But if, passionate, in a cherished moment,
I will hear my trumpets, -
I will rise! I'll throw out a response call
And I will break free from cramped hands!
My spirit did not faint in the darkness of contradictions,
The mind did not become weak in the fatal clutches.
I love all dreams, all speeches are dear to me,
And I dedicate this verse to all the gods.
I offered prayers to Astarte and Hecate,
Like a priest, I myself shed the blood of a hundred victims,
And then he approached the foot of the crucifixion
And he praised love, strong as death.
I visited the gardens of Lyceums, Academies,
Marked the sayings of the sages on wax;
Like a faithful student, I was caressed by everyone,
But he himself only loved combinations of words.
On the Island of Dreams, where are the statues, where are the songs,
I have explored paths with and without lights,
Then he worshiped those that were brighter, that were more corporeal,
Then he trembled in anticipation of the shadows.
And strangely I fell in love with the darkness of contradictions
And he greedily began to look for fatal plexuses.
All dreams are sweet to me, all speeches are dear to me,
And I dedicate this verse to all the gods...
“As a child, I didn’t know fear...”
As a child, I knew no fear,
Even though it was evening and there was a snowstorm,
I was wandering in the forest and met a spinner,
And he fell in love with her tow.
And it was so sweet for me as a child
Follow the flickering thread
And many strange correspondences
To find dreams in colors.
Then the thread seemed white, clean;
Then suddenly, under the slow moon,
It shone with silver fabric;
Then she merged with the darkness of the night.
I'm finally on the third watch.
The East appeared, burning,
And stained the threads of yarn
Bloody glow of dawn!
FAVORITES OF THE AGES
ASSARGADON
Assyrian inscription
I am the leader of the kings of the earth and the king, Assargadon.
As soon as I took power, Sidon rebelled against us.
I overthrew Sidon and threw stones into the sea.
To Egypt my speech sounded like a law,
Elam read fate in my single gaze,
I built my powerful throne on the bones of my enemies.
Lords and leaders, I say to you: woe!
Who will surpass me? who will be equal to me?
The actions of all people are like a shadow in a crazy dream,
The dream of exploits is like child's play.
I have exhausted you to the bottom, earthly glory!
And here I stand alone, intoxicated with greatness,
I, the leader of the kings of the earth and the king - Assargadon.
CHALDEAN SHEPHERD
Torn from you by the silence of centuries,
Today I dream about you, my friend!
I see the night and the hill, the bare steppe around,
A solemn night in quiet starlight.
You look greedily into the distance; you are from the top of the hill
You follow the stars, you recognize them and number them,
You foresee their circles, declinations... You think,
And the mysteries of the worlds become clearer to the mind.
Divine shepherd! among the silence and darkness
You heard the names, you saw the heavenly light:
You were the first to draw the paths of your planets,
Found the names for the zodiac signs.
And let the desolation, the naked steppe all around;
That night you tasted all the happiness of boldness,
And in this joy, let us merge for a moment
With you, O sincere, O unknown friend!