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By Ronald E. Peterson

The period of Russian Symbolism (1892-1917) has been known as the Silver Age of Russian tradition, or even the second one Golden Age. Symbolist authors are one of the maximum Russian authors of this century, and their actions helped to foster essentially the most major advances in cultural existence (in poetry, prose, tune, theater, and portray) that has ever been noticeable there. This booklet is designed to function an advent to Symbolism in Russia, as a stream, a creative procedure, and a global view. the first emphasis is at the background of the move itself. awareness is dedicated to what the Symbolists wrote, stated, and concept, and on how they interacted. during this context, the most actors are the authors of poetry, prose, drama, and feedback, yet area can be dedicated to the real connections among literary figures and artists, philosophers, and the intelligentsia often. This large, designated and balanced account of this era will function a customary reference paintings an motivate extra study between students and scholars of literature.

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He also shows how early he became interested in the image of a volkhv (magician, sorcerer), which later assumed greater importance for him. 26 Bryusov saw some similarities between Tolstoy's rather unusual views of art (including major rejections of much of world literature and figures such as Shakespeare and Ibsen in favor of writing simple stories) and surprisingly, his own. He was so astounded that he even wrote a letter to Russia's venerable moralist, in which he almost accused Tolstoy of plagiarism because some of Tolstoy's statements are supposedly similar to those in Bryusov's introduction to Chefs d'Oeuvre.

20 In this work, he praises Dostoevsky, whom he labels a "seer of the spirit," and shows his disdain for Tolstoy's religious views. After a visit to Yasnaya Polyana, where Merezhkovsky had an opportunity to meet the person he described as the "seer of the flesh," he softened his previously critical stance toward Tolstoy somewhat. Similar to his earlier statements about the decline of Russian literature, this study caused others in the intelligentsia to question their own assumptions about these two authors and the general direction of Russian literature at the end of the century.

15 The Symbolists who published there were happy, for the most part, to have this outlet for their writings, and in the first years of this century, several of the World of Art artists illustrated books by Symbolists. But it was difficult for some authors, particularly the Merezhkovskys, to work with Diaghilev, who was apparently rather authoritarian in his dealings with colleagues. The two persons in the Symbolist camp who were initially most active in the World of Art journal were the Merezhkovskys, however.

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