Valery Yakovlevich Bryusov was a Russian poet, prose writer, translator and historian. He was one of the principal members of the Russian Symbolist movement. Valery Bryusov was born on 13 December 1873 into a merchant's family in Moscow, his parents were educated for their class but had little do with his upbringing, as a boy Bryusov was left to himself. He spent a great deal of time reading "everything that fell into hands," including the works of Charles Darwin and Jules Verne, as well as various materialistic and scientific essays; the future poet received an excellent education, studying in two Moscow gymnasiums between 1885 and 1893. Bryusov began his literary career in the early 1890s while still a student at Moscow State University with his translations of the poetry of the French Symbolists as well at that of Edgar Allan Poe. Bryusov began to publish his own poems, which were much influenced by the Decadent and Symbolist movements of his contemporary Europe. During this time Bryusov came under the influence of the philosopher Nikolai Fyodorovich Fyodorov and the scientist Konstantin Tsiolkovsky.
At the time, Russian Symbolism was still a set of theories and had few notable practitioners. Therefore, in order to represent Symbolism as a movement of formidable following, Bryusov adopted numerous pen names and published three volumes of his own verse, entitled Russian Symbolists. An Anthology. Bryusov's mystification proved successful – several young poets were attracted to Symbolism as the latest fashion in Russian letters. With the appearance of Tertia Vigilia in 1900, he came to be revered by other Symbolists as an authority in matters of art. In 1904 he became the editor of the influential literary magazine Vesy, which consolidated his position in the Russian literary world. Bryusov's mature works were notable for their celebration of sensual pleasures as well as their mastery of a wide range of poetic forms, from the acrostic to the carmina figurata. By the 1910s, Bryusov's poetry had begun to seem strained to many of his contemporaries; as a result, his reputation declined and, with it, his power in the Russian literary world.
He was adamantly opposed to the efforts of Georgy Chulkov and Vyacheslav Ivanov to move Symbolism in the direction of Mystical Anarchism. Though many of his fellow Symbolists fled Russia after the Russian Revolution of 1917, Bryusov remained until his death in 1924, he supported the Bolshevik government and received a position in the cultural ministry of the new Soviet state. Shortly before his death he was involved with Otto Schmidt in drawing up the proposal for the Great Soviet Encyclopedia. In 1924, shortly before his death, Bryusov posed for the young sculptor Nina Niss-Goldman. Now the portrait is in the Russian Museum of St. Petersburg in a collection of the work of Russian avant-garde artists. Alongside Adelina Adalis and Nikolay Gumilev, he was influenced by the Malaysian literature from the XIX and XX century. Bryusov's most famous prose works are the historical novels The Altar of Victory and The Fiery Angel; the latter tells the story of a knight's attempts to win the love of a young woman whose spiritual integrity is undermined by her participation in occult practices and her dealings with unclean forces.
It served as the basis for Sergei Prokofiev's opera The Fiery Angel. Bryusov wrote some science fiction stories, under the influence of Poe, H. G. Wells and Camille Flammarion. Several of these, including the title story, were assembled in his collection The Republic of the Southern Cross; as a translator, Bryusov was the first to render the works of the Belgian poet Emile Verhaeren accessible to Russian readers, he was one of the major translators of Paul Verlaine's poetry. His most famous translations are of Edgar Allan Poe, Romain Rolland, Maurice Maeterlinck, Victor Hugo, Jean Racine, Molière, Oscar Wilde. Bryusov translated Johann Goethe's Faust and Virgil's Aeneid. Juvenilia, 1894 Chefs d’oeuvre, 1895 Me eum esse, 1897 Tertia Vigilia, 1900 Urbi et Orbi, 1903 Stephanos, 1905 The Fiery Angel, 1908 All Melodies, 1909 The Altar of Victory, 1913 Rea Silvia, 1916 The Republic of the Southern Cross and Other Stories, London, 1918. From Archive.org Contains several science fiction stories. The Fiery Angel: A Sixteenth Century Romance, Hyperion Press, 1978.
Diary of Valery Bryusov, University of California Press, 1980. Monostich Mark Willhardt, Alan Parker. "Briusov, Valerii Iakovlevich" in Who's Who in Twentieth Century World Poetry, Routledge, 2000, ISBN 0-415-16356-0, p. 47 Britannica article Works by Valery Bryusov at Project Gutenberg Works by or about Valery Bryusov at Internet Archive Collection of Poems by Valery Bryusov Translation of "Republic of the Southern Cross" A 10 page selection of English translations by Babette Deutsch and Avrahm Yarmolinsky, 1921 English translations of 5 miniature poems English translations of longer poem, "Danse Macabre" "To a Woman" English translation
Margarita Iosifovna Aliger was a Soviet poet and journalist. She was born in Odessa in a family of Jewish office workers; as a teenager she worked at a chemical plant. From 1934 to 1937 she studied at the Maxim Gorky Literature Institute; the main themes of her early poetry were the heroism of the Soviet people during industrialization and during World War II. Her most famous poem is "Zoya", about a young girl killed by Nazis; this work was one of the most popular poems during the Soviet era. From 1940 to 1950, the poetry of Aliger was characterised by a mix of optimistic semi-official verses, poems in which Aliger tried to analyse the situation in her country in a realistic way. In 1956, in a gathering of Khrushchev with the intelligentsia he admonished the writers for interfering with the political system, it is noted. It was after his retirement. Aliger wrote numerous essays and articles about Russian literature and her impressions on travelling, her first husband was the composer Konstantin Makarov-Rakitin, killed at the front near Yartsevo in 1941 after the death of their infant son, a double tragedy that left her devastated.
The following year she had an affair with the author Alexander Fadeyev. Aliger's second and final husband was the Central Committee official Igor Chernoutsan, she survived all her children, dying shortly after her daughter Maria Enzensberger. Margarita Aliger is buried in Peredelkino next to her daughters. God rozhdeniia Zoya Your victory Great Expectations Two Leninskie gory Sinii chas Poetry of Margarita Aliger
The Twelve (poem)
The Twelve is a controversial long poem by Aleksandr Blok. Written early in 1918, the poem was one of the first poetic responses to the October Revolution of 1917; the poem describes the march of twelve Bolshevik soldiers through the streets of revolutionary Petrograd, with a fierce winter blizzard raging around them. The mood of the Twelve as conveyed by the poem oscillates from base and sadistic aggression towards everything perceived bourgeois and counter-revolutionary, to strict discipline and sense of "revolutionary duty." In a violent clash with a vigilante deserter, a prostitute is killed by one of the Twelve, who appears unusually struck by the accident and reveals to his comrades that he had been in love with the woman. However, after the others remind him that in these revolutionary times one's personal tragedies are nothing, the murderer regains his determination and continues the march. In the last stanza of the poem, most controversially, a figure of Jesus Christ is seen in the snowstorm, heading the march of the Twelve.
The Twelve, with its "mood-creating sounds, polyphonic rhythms, harsh, slangy language", promptly alienated Blok from a mass of his admirers. Accusations ranged from appallingly bad taste to servility before the new Bolshevik authorities and betraying his former ideals. On the other hand, most Bolsheviks scorned Blok's mysticism and asceticism and the mention of Christ. Following the publication in the socialist revolutionary newspaper "Banner of Labor", the poem was attacked by the whole of the Russian intelligentsia. Many of the former admirers and friends of Blok broke off their relationship with him. According to academic Shklovsky few comprehended «The Twelve» poem and condemned it because everyone was used to take Blok only; the Twelve, a portrayal of criminal revolutionary Petrograd, compared by Shklovsky to The Bronze Horseman by Pushkin, had brand new images. He noted "The Twelve is an ironical work. It’s written not with folk rhyme but with "flash" language. A Savoyarov style of street trolls".
Shklovky talked about Savoyarov’s songs in the "ragged" genre, where he would go on stage dressed and made up as a criminal. George Balanchine, a choreographer, recalled Savoyarov singing thieves' songs: "Alyosha, sha! – take a half-tone lower, stop telling lies". Such a "criminal" atmosphere pervades the Petrograd of "The Twelve", a frightening city in the snowy winter of 1918. Aleksandr Blok considered this poem to be his best work. During the war, Savoyarov met Aleksandr Blok who attended his concerts in cinemas and café chantant a dozen times in 1914-1918. Sometimes Blok brought actors who recited his plays onstage, thus in 1918 he persistently showed Savoyarov’s performances to his wife Liubov Mendeleyeva-Blok so that she could "adopt" his eccentric manner. He wrote in his journals: "Liuba saw Savoyarov who plays on tour in miniature close to us. Why measuring ounces of Alexandrians’ talent who always perform after lunch and before dinner if there’s a real art in ‘miniature’?" Blok did not recite "The Twelve".
His wife performed the reading of the poem. However, according to the audience who listened to The Twelve performed by Liubov Blok, she did it poorly, falling into "bad theatricism". `A big woman with massive arms bare to her shoulders rushed about on the stage shouting and gesticulating, sitting down and jumping up again.' It seemed to some of the audience that Blok did not enjoy listening to Lyubov Dmitriyevna’s reading either. But this would have been unlikely because Blok was always advising her and showing how to recite the poem, such as by taking her to Savoyarov’s concerts. Blok believed The Twelve poem should be recited in this rough and eccentric manner, the way Savoyarov did it playing the role of a criminal from St. Petersburg; however Blok himself did not know how to recite, did not wish to learn. To do that he would have to become, as he put it, a "variety poet and singer of satirical songs" himself. Introductory essay and annotated English translation of Twelve by Maria Carlson
Anna Alexandrovna Barkova, July 16, 1901 – April 29, 1976, was a Soviet poet, playwright, essayist and writer of fiction. She was imprisoned for more than 20 years in the Gulag. In 2017 a film about her life was released by Ceská Televize, titled 8 hlav sílenství, starring the popular singer Aneta Langerová. Anna was born into the family of a private school janitor in the textile town of Ivanovo in 1901, she was allowed to attend the school because of her father's position, a rare opportunity for a young working class girl in pre-revolutionary Russia. In 1918 she enrolled as a member of the Circle of Genuine Proletarian Poets, a writers group based in Ivanovo. Soon after joining she began to write short pieces for the group's paper The Land of the Workers, she published poetry in the paper under the pseudonym Kalika perekhozhaia, a name given to blind or maimed singers who went from village to village singing devotional ballads to obtain alms. Anna's early poetry attracted the attention of the Bolshevik literary establishment, including the leading critic Aleksandr Voronsky and the Commisar of Enlightenment Anatoly Lunacharsky.
Lunacharsky became her patron, in 1922 she moved to Moscow to act as his secretary. In 1922 her first poetry collection Woman was published with a foreword by Lunacharsky. In 1923 her play, she attended the writer's school in Moscow directed by Valery Bryusov, wrote for his paper Print and Revolution. Maria Ulyanova, the sister of Vladimir Lenin, found Anna a position at the paper Pravda, helped her to put together a second collection of poems, never published, she became disillusioned with Soviet life in the late 1920s. Her poems of the early 1930s were critical of Soviet life and institutions, she wrote in 1925: In 1934 Barkova was denounced and arrested, some of her poetry was used against her as evidence. She was sentenced to five years imprisonment, she endured a repeat arrest in November 1947, when she was sentenced to 10 years imprisonment and 5 years of restricted rights. Her second conviction was overturned in December 1955 and she was freed, she was rehabilitated in October 1957 arrested for a third time in November, sentenced again to 10 years in prison and 5 years of restricted rights.
She was freed when this third conviction was overturned in May 1965. She suffered two periods of exile from 1940 to 1947 and from 1965 to 1967. In 1967 she was allowed to return to Moscow after the intervention of a group of writers led by Alexander Tvardovsky and Konstantin Fedin, she lived out the remainder of her life in relative poverty in a communal flat in the Garden Ring, where she preserved her enthusiasm for books and conversation. A Few Autobiographical Facts and Tatar Anguish, from An Anthology of Russian Women's Writing, 1777–1992, Oxford, 1994. Site dedicated to her at bard.ru
Eduard Bagritsky was an important Russian and Soviet poet of the Constructivist School. He was a Neo-Romantic early in his poetic career. A large number of this school's writers were Odessa natives who incorporated Ukrainian inflections and vocabulary into their writing. Born Eduard Godelevich Dzyubin in Odessa to a Jewish bourgeois family, most of his creative career took place in Moscow. After his early death from asthma, his friends helped to publish several of his works posthumously to provide financial assistance to his family. Isaak Babel, for example, planned to write a screenplay based on Bagritsky's long poem "Duma about Opanas". Bagritsky was influenced by the Russian Revolution and Civil War, his poetry touches on the subjects of violence, revolutionary morality and its interethnic sociological problems. His worldview was unsentimental, earned him much invective from detractors from all sides who saw his poetry as vindictive toward both his Jewish origins and the host Russian culture.
In his book Russian Poet/Soviet Jew: The Legacy of Eduard Bagritskii, Maxim D. Shrayer investigated the path of this major Jewish poet writing in the Russian language and examined Bagritsky's contested legacy; the book included English translations of Bagrtisky's works, among them his long poem February. In his poetry of the last period of his life Bagritsky managed to covertly criticise the growing oppressive Stalinist regime, he died in Moscow in 1934, aged 38. Bagritsky's wife, Lidia Gustavovna Suok, had two sisters who married noted writers: Olga married Yuri Olesha and Serafima married Vladimir Narbut. Bagritsky's son Vsevolod was a notable Russian poet, whose fiancée Yelena Bonner was a notable Russian dissident. Silver Age of Russian Poetry Article about Bagritsky in the YIVO Encyclopediad of Jews in Eastern Europe Eduard Bagritsky. Poems Bargitsky in English P. Barenboim, B. Meshcheryakov — Flanders in Moscow and Odessa:: poet Eduard Bagritskii as the Till Ulenspiegel of Russian literature.
An HTML version of the book on the Flemish theme and opposition to Stalinism in the poetical legacy of Eduard Bagritskii. Complete translations of the poems comprising the “Flemish” cycle; this book in print. Eduard Bagritsky at Find a Grave
Agniya Lvovna Barto was a Soviet poet and children's writer of Russian Jewish origin. Agniya was born Gitel Leybovna Volova in Moscow to a Russian Jewish family, her father, Lev Nikolaevich Volov, was a veterinarian, her mother, was from Kaunas, Lithuania. Agniya studied at a ballet school, she liked poetry and soon started to write her own, trying to imitate Anna Akhmatova and Vladimir Mayakovsky. She read her poetry at the graduation ceremony from the ballet school. Among the guests was the Minister of Education Anatoly Lunacharsky who remarked that instead of becoming a ballerina she should be a professional poet. According to legend, despite the fact that all of Barto's poetry at that time was about love and revolution, Lunacharsky predicted that she would become a famous children's poet. Agniya married poet Pavel Barto; some of her children's poems were published under two names: Pavel Barto. In 1925 she published Mishka the Petty Thief. Subsequently, she published The First of May, 1926 and Brothers, 1928 which received a positive review from Korney Chukovsky.
After publishing a book of poetic miniatures for toddlers entitled Toys in 1936, she became one of the most popular children's authors, with millions of published copies. During World War II, she wrote patriotic anti-Nazi poetry directly addressed to the leader of the Soviet people, Joseph Stalin. She worked as a Western Front correspondent for the newspaper Komsomolskaya Pravda. In 1949, she was awarded the Stalin Prize for her book Poetry for Children. During the 1960s, Barto worked in an orphanage. For nine years, Barto was the anchor of the radio program Find a Person, which helped people find family members lost during World War II. During that time she helped to reunite no fewer than a thousand families, she wrote a book about it in 1966. In 1977, she published Translations from the Children's Language composed of her translations of poetry written by children of different countries, she died in Moscow in 1981. She was the author of the script for the children's films Foundling, An Elephant and a Rope 1945, Alyosha Ptitsyn builds his character, 1953, 10,000 Boys, 1962, Find a Person, 1973.
Order of Lenin Order of the October Revolution Two Orders of the Red Banner of Labour Order of the Badge of Honour Medal "For the Salvation of the Drowning" Order of the Smile 1950: Stalin Prize 1972: Lenin Prize 1976: Hans Christian Andersen Award. Barto crater on Venus was named after her in 1985. A minor planet 2279 Barto discovered in 1968 by Soviet astronomer Lyudmila Ivanovna Chernykh was named in her honor. AgniyaBarto. Ru - «Agniya Barto. Poetry for Children» - Last and best collection of verses for children under edition of the author. Humour and satire in Agniya Barto creativity. Agniya Barto poetry at Stihipoeta.ru Agniya Barto. Poems Biography Agniya Barto on IMDb Illustrations to Barto's book Grievance by Marina Uspenskaya
Ivan Alekseyevich Bunin was the first Russian writer awarded the Nobel Prize for Literature. He was noted for the strict artistry with which he carried on the classical Russian traditions in the writing of prose and poetry; the texture of his poems and stories, sometimes referred to as "Bunin brocade", is considered to be one of the richest in the language. Best known for his short novels The Village and Dry Valley, his autobiographical novel The Life of Arseniev, the book of short stories Dark Avenues and his 1917–1918 diary, Bunin was a revered figure among anti-communist white emigres, European critics, many of his fellow writers, who viewed him as a true heir to the tradition of realism in Russian literature established by Tolstoy and Chekhov. Ivan Bunin was born on his parental estate in Voronezh province in Central Russia, the third and youngest son of Aleksey Nikolayevich Bunin and Lyudmila Aleksandrovna Bunina, he had two younger sisters: Masha and Nadya and two elder brothers and Yevgeny.
Having come from a long line of rural gentry with a distinguished ancestry including Polish roots, as well Tatar, Bunin was proud that poets Anna Bunina and Vasily Zhukovsky were among his ancestors. He wrote in his 1952 autobiography: I come from an old and noble house that has given Russia a good many illustrious persons in politics as well as in the arts, among whom two poets of the early nineteenth century stand out in particular: Anna Búnina and Vasíly Zhukovsky, one of the great names in Russian literature, the son of Athanase Bunin and the Turk Salma. "The Bunins are direct ancestors of Simeon Bunkovsky, a nobleman who came from Poland to the court of the Great Prince Vasily Vasilyevich," he wrote in 1915, quoting the Russian gentry's Armorial Book. Chubarovs, according to Bunin, "knew little about themselves except that their ancestors were landowners in Kostromskaya, Moskovskaya and Tambovskaya Guberniyas". "As for me, from early childhood I was such a libertine as to be indifferent both to my own'high blood' and to the loss of whatever might have been connected to it," he added.
Ivan Bunin's early childhood, spent in Butyrky Khutor and in Ozerky, was a happy one: the boy was surrounded by intelligent and loving people. Father Alexei Nikolayevich was described by Bunin as a strong man, both physically and mentally, quick-tempered and addicted to gambling and generous, eloquent in a theatrical fashion and illogical. "Before the Crimean War he'd never known the taste of wine, on return he became a heavy drinker, although never a typical alcoholic," he wrote. His mother Lyudmila Alexandrovna's character was much more subtle and tender: this Bunin attributed to the fact that "her father spent years in Warsaw where he acquired certain European tastes which made him quite different from fellow local land-owners." It was Lyudmila Alexandrovna who introduced her son to the world of Russian folklore. Elder brothers Yuly and Yevgeny showed great interest in mathematics and painting his mother said yet, in their mother's words, "Vanya has been different from the moment of birth... none of the others had a soul like his."Young Bunin's susceptibility and keenness to the nuances of nature were extraordinary.
"The quality of my vision was such that I've seen all seven of the stars of Pleiades, heard a marmot's whistle a verst away, could get drunk from the smells of landysh or an old book," he remembered later. Bunin's experiences of rural life had a profound impact on his writing. "There, amidst the deep silence of vast fields, among cornfields – or, in winter, huge snowdrifts which were stepping up to our doorsteps – I spent my childhood, full of melancholic poetry," Bunin wrote of his Ozerky days. Ivan Bunin's first home tutor was an ex-student named Romashkov, whom he described as a "positively bizarre character," a wanderer full of fascinating stories, "always thought-provoking if not altogether comprehensible." It was university-educated Yuly Bunin who taught his younger brother psychology and the social sciences as part of his private, domestic education. It was Yuly who encouraged Ivan to read the Russian classics and to write himself; until 1920 Yuly was the latter's closest friend and mentor.
"I had a passion for painting, which, I think, shows in my writings. I wrote both poetry and prose early and my works were published from an early date," wrote Bunin in his short autobiography. By the end of the 1870s, the Bunins, plagued by the gambling habits of the head of the family, had lost most of their wealth. In 1881 Ivan was sent to a public school in Yelets, but never completed the course: he was expelled in March 1886 for failing to return to the school after the Christmas holidays due to the family's financial difficulties. In May 1887 Bunin published his first poem "Village Paupers" in the Saint Petersburg literary magazine Rodina. In 1891 his first short story "Country Sketch appeared in the Nikolay Mikhaylovsky-edited journal Russkoye Bogatstvo. In Spring 1889, Bunin followed his brother to Kharkov, where he became a government clerk an assistant editor of a local paper and court statistician. In January 1889 he moved to Oryol to work on the local Orlo