Literary Association of Acmeists. Acmeism in literature. Nikolai Gumilyov in Acmeism

Acmeism (from 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 the extremes of symbolism. Acmeists united in the group "Workshop of Poets" in 1912-1913. published the magazine "Hyperborea". The main ideas of Acmeism were set out in the programmatic articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Currents in Modern Russian Poetry”, published in 1913 in No. 1 of the magazine “Apollo” (the literary organ of the group during its heyday) , published under the editorship of S. Makovsky.

Acmeism did not put forward a detailed philosophical and aesthetic concept. The poets shared the views of the Symbolists on the nature of art, absolutizing the role of the artist. But they called for clearing poetry of the use of vague hints and symbols, proclaiming a return to the material world and acceptance of it as it is.

For the Acmeists, the impressionistic tendency to perceive reality as a sign of the unknowable, as a distorted likeness of higher entities, turned out to be unacceptable. Acmeists valued such elements of artistic form as stylistic balance, pictorial clarity of images, precisely measured composition, and precision of detail. Their poems aestheticized the fragile edges of things, establishing an atmosphere of admiring everyday, familiar little things.

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 certain, 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;
• echoes of past literary eras, broad aesthetic associations, “longing for world culture”

Acmeists have developed subtle ways of conveying the inner world of the lyrical hero. Often the state of feelings was not revealed directly; it was conveyed by a psychologically significant gesture, a listing of things. This manner of materializing experiences was characteristic, in particular, of many poems by A. A. Akhmatova.

O. E. Mandelstam noted that Acmeism is not only a literary, but also a social phenomenon in Russian history. With him, moral strength was revived in Russian poetry. Depicting the world with its joys, vices, and injustices, the Acmeists demonstratively refused to solve social problems and affirmed the principle of “art for art’s sake.”

After 1917, N. S. Gumilyov revived the “Workshop of Poets,” but as an organized movement, Acmeism ceased to exist in 1923, although there was another attempt to restore this literary movement in 1931.

The fates of the Acmeist poets turned out differently. The leader of the Acmeists, N.S. Gumilyov, was shot. O. E. Mandelstam died in one of Stalin’s camps from extreme exhaustion. A. A. Akhmatova suffered severe hardships: her first husband was shot, her son was arrested twice and sentenced to hard labor in a camp. But Akhmatova found the courage to create a great poetic testimony to the tragic era - “Requiem”.

Only S. M. Gorodetsky lived a fairly prosperous life: having abandoned the principles of Acmeism, he learned to create “according to new rules,” obeying the ideological demands of the authorities. In the 1930s created a number of opera librettos (“Breakthrough”, “Alexander Nevsky”, “Dumas about Opanas”, etc.). During the war years he was engaged in translations of Uzbek and Tajik poets. In the last years of his life, Gorodetsky taught at the Literary Institute. M. Gorky. He died in June 1967.

It often happens to pioneers that instead of the planned discovery of a short route to India, the New World is suddenly discovered, and instead of El Dorado - the Inca Empire. Something similar happened at the beginning of the twentieth century with the Acmeists. The Acmeism movement arose in contrast to its predecessors, but, as it turned out later, it merely continued them and became a kind of crown of symbolism. However, many researchers believe that the difference between the two poetic groups was much deeper than it seemed at the beginning of the last century. Speaking about what Acmeism is, it is worth talking not only about the features of the literary creativity of its representatives, but also about their life path.

Emergence of movement

The history of the movement began in 1911, when poets first gathered in St. Petersburg under the leadership of Gorodetsky and Nikolai Gumilyov. In an effort to emphasize the importance of craft and training in poetic creativity, the organizers called the new society the “Workshop of Poets.” Thus, answering the question of what Acmeism is, we can start with the fact that it is a literary movement, the founders of which were two St. Petersburg poets, who were later joined by equally significant heroes of the literary scene.

The first Acmeists demonstrated their fundamental difference from the Symbolists, claiming that, unlike the former, they strive for maximum reality, authenticity and plasticity of images, while the Symbolists tried to penetrate into the “super-real” spheres.

Poetry club members

The official opening of the poetry club took place in 1912 at a meeting of the so-called Academy of Verse. A year later, two articles were published in the Apollo almanac, which became fundamental for the new literary movement. One article, written by Nikolai Gumilyov, was called “The Legacy of Symbolism and Acmeism.” The other one was written by Gorodetsky, and it was called “Some trends in modern Russian poetry.”

In his programmatic article on Acmeism, Gumilyov points out the desire of himself and his colleagues to reach the heights of literary excellence. In turn, mastery was achievable only by working in a cohesive group. It was the ability to work in such a group and organizational cohesion that distinguished the representatives of Acmeism.

According to the testimony of Andrei Bely, the name itself appeared completely by accident in the heat of an argument among friends. On that decisive evening, Vyacheslav Ivanov jokingly began to talk about Adamism and Acmeism, but Gumilev liked these terms, and from then on he began to call himself and his comrades Acmeists. The term “Adamism” was less popular, as it evoked associations with brutality and pochvenism, with which the Acmeists had nothing in common.

Basic principles of Acmeism

Answering the question of what Acmeism is, one should name the main features that distinguished it from other artistic movements of the Silver Age. These include:

• romanticization of the feelings of the first man;
• conversation about the earth's pristine beauty;
• clarity and transparency of images;
• understanding art as a tool for improving human nature;
• influence on the imperfection of life through artistic images.

All these differences were reflected by participants in the informal community and processed into specific instructions, which were followed by poets such as Nikolai Gumilyov, Osip Mandelstam, Mikhail Zinkevich, Georgy Ivanov, Elizaveta Kuzmina-Karavaeva and even Anna Akhmatova.

Nikolai Gumilyov in Acmeism

Although many researchers insist that Acmeism was one of the most united movements of the early twentieth century, others, on the contrary, argue that it is more worth talking about a community of very different and talented poets in their own way. However, one thing remains indisputable: most of the meetings took place in the “Tower” of Vyacheslav Ivanov, and the literary magazine “Hyperborea” was published for five years - from 1913 to 1918. In literature, Acmeism occupies a very special place, being separated from both symbolism and futurism.

It will be convenient to consider all the internal diversity of this movement using the example of such key figures as Akhmatova and Gumilyov, who were married from 1910 to 1918. These two poets gravitated toward two fundamentally different types of poetic expression.

From the very beginning of his work, Nikolai Gumilyov chose the path of a warrior, discoverer, conquistador and inquisitor, which was reflected not only in his work, but also in his life path.

In his texts, he used vivid, expressive images of distant countries and fictional worlds, idealized much in the world around him and beyond, and in the end he paid for it. In 1921, Gumilev was shot on charges of espionage.

Anna Akhmatova and Acmeism

This direction played an important role in the life of Russian literature even after the “Workshop of Poets” ceased to exist. Most members of the poetry community have lived difficult and eventful lives. However, Anna Andreevna Akhmatova lived the longest life, becoming a real star of Russian poetry.

It was Akhmatova who was able to perceive the pain of the people around her as her own, because the terrible century also cast its shadow on her fate. However, despite all the hardships of life, Anna Andreevna throughout her work remained faithful to Acmeistic principles: respect for the word, the heredity of times, respect for culture and history. One of the main consequences of the influence of Acmeism was that in Akhmatova’s work, personal experiences always merged with social and historical ones.

It seems that everyday life itself did not leave room for mysticism and romantic thoughts about the lyrical. For many years, Akhmatova was forced to stand in lines to deliver parcels to her son in prison and suffered from deprivation and instability. Thus, everyday life forced the great poetess to follow the Acmeistic principle of clarity of speech and honesty of expression.

Osip Mandelstam valued Akhmatova’s work so highly that he compared the richness and imagery of her literary language with all the richness of the Russian classical novel. Anna Andreevna also achieved international recognition, but was never awarded the Nobel Prize, for which she was nominated twice.

Akhmatova's lyrical acmeism contrasted sharply with the temperament of another poet from her circle, Osip Mandelstam.

Mandelstam in the circle of Acmeists

Osip Mandelstam stood apart among young poets, distinguished from his fellow tribesmen by a special sense of the historical moment, for which he paid by dying in the Far Eastern camps.

The legacy of the great poet has survived to this day only thanks to the truly heroic efforts of his devoted wife Nadezhda Yakovlevna Mandelstam, who kept her husband’s manuscripts for several decades after his death.

It is worth noting that such behavior could cost Nadezhda Yakovlevna her freedom, because even for storing the manuscript of an enemy of the people, serious punishment was imposed, and his wife not only saved, but also copied and also distributed Mandelstam’s poems.

Mandelstam's poetics is distinguished by a subject carefully inscribed in the context of European culture. His lyrical hero not only lives in the difficult times of Stalinist repression, but also in the world of Greek heroes wandering the seas. Perhaps his studies at the Faculty of History and Philology of the university left their mark on the poet’s work.

A conversation about what Acmeism is for Russian culture cannot do without mentioning the tragic fates of its main representatives. As already mentioned, after exile, Osip Mandelstam was sent to the Gulag, where he disappeared without a trace, and his wife was forced to wander around different cities for a long time, without permanent housing. Akhmatova’s first husband and son also spent many years in prison, which became an important theme in the poetess’s texts.

“Poets of the Silver Age of Russian Poetry” - Silver Age of Russian Poetry. Russian "Silver Age". Fundamental question. Symbol. Poets are futurists. A slap in the face to public taste. Alone among a hostile army. Conscious meaning of the word. Representatives of symbolism. Acmeist poets.

“Poems of the Silver Age poets” - Gippius Zinaida Nikolaevna. Gray-eyed king. Name the poets of the “Silver Age”. The sophistication of Russian slow speech. Gumilev Nikolay Stepanovich. Analyze the poem "Giraffe". Lines. Annensky Innokenty Fedorovich. Balmont Konstantin Dmitrievich. Symbolism. Futurism. Pasternak Boris Leonidovich. Dictionary. Poem. Akhmatova. The Path of the Conquistadors. Poems by Z. Gippius. Akhmatova and Gumilev.

“Themes of Silver Age Poetry” - Symbolism in the world. Paul Gauguin. And I dedicate this verse to all the gods. Contemporaries about the era. Romantic flowers. Key categories of Acmeism. Philosophical basis of symbolism. Tasks of futurists. A look at the world. Musical and compositional techniques. The rhythm of Bryusov's verse. The birth of modernism. Collections of poems by N.S. Gumilyov. The founder of Russian symbolism. Poetics of Gumilyov's late lyric poetry. Futurism in poetry.

“Directions of poetry of the Silver Age” - Features of symbolism. Features of Acmeism. Main directions of the Silver Age. V. V. Mayakovsky. Symbolism. Aesthetics of Acmeism. Silver age of Russian poetry. Symbolist poets. Aesthetics of futurism. Aesthetics of symbolism. Way of thinking. Futurist groups. The emergence of symbolism. The emergence of Acmeism. The concept of the "Silver Age". Acneism. Futurism. Performances by futurists. Futurist poets. Acmeism.

“Anthology of Silver Age Poetry” - Peasant Poetry. Alexander Blok. Imagists. Vladimir Mayakovsky. Basic principles of Acmeism. Acmeists. Vladislav Khodasevich. Prisoner. Innokenty Annensky. Symbolist poets. Daniil Kharms. Harbingers. Shershenevich Vadim. Igor Severyanin. Centrifuge. Sergey Yesenin. Oberiu. Konstantin Konstantinovich Sluchevsky. Futurists. Symbolists. Nikolay Gumilyov. Osip Mandelstam. Foliage.

“Poetry of the Silver Age” - Attitude to the word. Relation to previous cultures. Futurism. Symbolism. Decades have passed. Existentialism. Silver age of Russian poetry. Silver Age. Electronic educational resources. Features of literary trends. Acmeism. Modernism. The purpose of creativity of modernist poets. Figurative expression. Alexander Blok.

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.

Overcoming the Symbolists’ predilection for the “superreal,” polysemy and fluidity of images, and complicated metaphors, the Acmeists strove 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. Acmeism was characterized by extreme apoliticality, complete indifference to the pressing problems of our time.

The 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 existence, a certain mystery covered with an aura of mysticism, then a realistic view of things was set as the cornerstone in the poetry of Acmeism. 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 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. 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.

A distinctive feature of the Acmeist circle of poets was their “organizational cohesion.” Essentially, the 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 of Acmeism, the magazine and publishing house “Hyperboreas”), immediately acted as a single group. They gave their union the significant name “Workshop of Poets.” And the beginning of a new movement (which later became almost a “mandatory condition” for the emergence of new poetic groups in Russia) was marked 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: “The Prodigal Son of Gumilyov was read at the Academy of Verse, where Vyacheslav Ivanov reigned, surrounded by respectful students. He subjected the “Prodigal Son” to real defeat. The speech was so rude and harsh that Gumilev’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 commonwealth, calling themselves “Acmeists,” i.e., the pinnacle. At the same time, the “Workshop of Poets” as an organizational structure was preserved; the Acmeists remained in it as an internal poetic association.

The main ideas of Acmeism were set out in the programmatic articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Currents 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, whether acmeism (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 power 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 other worlds, and diminished its high intrinsic value. Among the Acmeists, the rose again became good in itself, with its petals, scent and color, and not with its conceivable likenesses with mystical love or anything else.”

In 1913, Mandelstam’s article “The Morning of Acmeism” was also written, which was published only six years later. The delay in publication was not accidental: Mandelstam’s acmeistic 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 of 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 was to concentrate on the aesthetic side of creativity and artistic skill. “The symbol, dark in its final depths,” gives way to clear structures and admiration of “lovely little things.” Kuzmin’s ideas could not help but influence the Acmeists: “beautiful clarity” turned out to be in demand by the majority of participants in the “Workshop of Poets.”

Another “harbinger” of Acmeism can be considered In. Annensky, who, formally being a symbolist, actually paid tribute to him only in the early period of 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 by the 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 the existence of 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. G. Ivanov claimed the role of the “seventh Acmeist,” but such a point of view was protested by A. Akhmatova, who stated that “there were six Acmeists, and there never was a seventh.” O. Mandelstam agreed with her, who, however, believed that six was too much: “There are only six Acmeists, 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 “ yellowmouths." “Gorodetsky was [by that time] a famous poet.” At different times, the following took part in the work of the “Workshop of Poets”: G. Adamovich, N. Bruni, Nas. 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 as a literary movement united exceptionally gifted poets - Gumilyov, Akhmatova, Mandelstam, the formation of whose creative individuals took place in the atmosphere of the "Poets' Workshop". The history of Acmeism can be considered as a kind of dialogue between these three outstanding representatives. At the same time, the Adamism of Gorodetsky, Zenkevich and Narbut, who formed the naturalistic wing of the movement, differed significantly from the “pure” Acmeism of the above-mentioned poets. The difference between the Adamists and the triad Gumilyov Akhmatova Mandelstam 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. The Acmeists managed to publish ten issues of their magazine “Hyperborea” (editor M. Lozinsky), as well as several almanacs.

“Symbolism was fading away” Gumilyov was not mistaken in this, but he failed to form a movement as powerful as Russian symbolism. Acmeism failed to gain a foothold as the 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 “the Acmeists are characterized by a gap between practice and theory,” and “their practice was purely symbolist.” It was in this that he saw the crisis of Acmeism. However, Bryusov’s statements about Acmeism were always harsh; At first he declared that “Acmeism is an invention, a whim, a metropolitan whim” and foreshadowed: “Most likely, in a year or two there will be no Acmeism left. 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 and that it 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 the Acmeist line. Poets who consider themselves to be part of the school of Acmeism united under his wing: S. Neldichen, N. Otsup, N. Chukovsky, I. Odoevtseva, N. Berberova, Vs. Rozhdestvensky, N. Oleinikov, L. Lipavsky, K. Vatinov, V. Pozner 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.

The 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 of the principles of Acmeism in emigration; Acmeism did not have any noticeable influence on V. Khlebnikov. In Soviet times, the poetic style of the 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, is seen as a marginal phenomenon. It has no analogues in other European literatures (which cannot be said, for example, about symbolism and futurism); the more surprising are the words of Blok, Gumilyov’s literary opponent, who declared that Acmeism was just an “imported foreign thing.” After all, it was Acmeism that 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 remained 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 certain, 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;

echoes of past literary eras, the broadest aesthetic associations, “longing for world culture.”

Acmeist poets

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 appear not just as 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.