Analysis of the poem Andrei White "Meditation. Andrey White "Gold in Lazuri": Analysis Andrey White sunsets analysis

A. Belya is a bright representative of Russian symbolism. Its works are characterized by a complex rhyme and are not always easy to understand.

The poem "Meditation" is written in the style characteristic of the writer and his true meaning is veiled. Each reader can find something in it. The work is very dynamically, feelings and emotions are injected with each line.

In this work, the poet conveys its emotions and feelings that are accompanied by alone. At this point, time stops, it freezes in nature and becomes heard

Rustle even a small leaf. The writer conveys its timidity and stiffness. He is overwhelmed by feelings, but he cannot express them. He plunges into himself, fully gives his thoughts to nature.

The poet very accurately transfers the details of the changes associated with the sunset and falling asleep. In the first part of the poem, you might think that the writer is not alone, but with the beloved. After in the work, the essence of its experiences and stiffness is revealed.

Gust and plunge into your dream.

Apparently the author could not combine harmoniously his fantasies and real life. He was filled with conventions, he could not feel free. It could not approach your dawn to touch the bright shine. In his view, Nadezhda burned, but he still waited for something.

The poem displays not only the beauty of the landscape and natural phenomenaassociated with the sunset and end of the day. It was a sunset in the author's soul, he also experienced a whole range of emotions within himself. Such a comparison very accurately conveys a spiritual component of a person in society.

Often, nature best understands what is going on in the soul and a person appeals for the search for answers to nature. Each of us is part of nature, and the beauty of the surrounding world prompts the poet what to do. Very often it is freedom so lacking humanity in the accelerated rhythm of the modern world.

Born in the family of prominent scientific and mathematics and philosopher Labinitarian Nikolai Vasilyevich Bugaeva, the Dean of the Physics and Mathematics Faculty of Moscow University. Mother, Alexander Dmitrievna, Born Egorova, is one of the first Moscow beauties.

Rose in the high-cultural atmosphere of "Professorian" Moscow. The complex relationship between parents had a heavy impact on the forming psyche of the child, predetermined in the future a number of oddities and white conflicts with others (see memoirs "at the turn of two centuries"). At the age of 15 I got acquainted with my brother's family V. S. Solovyova - M. S. Solovyuvoy, his wife, artist O. M. Solovyova, and son, the future poet S. M. Solovyuv. Their home became the second family for white, here sympathetically met his first literary experiments, introduced the newest arts (creativity M. Meterlinka, G. Ibsen, O. Wildman, Gauptman, painting Pre-Faelites, E. Migra, R. Wagner's music and philosophy (A. Shopenhauer, F. Nietzsche, Vl. Solovyov).

He graduated from 1899 the best in Moscow private gymnasium L. I. Polivanova, in 1903 - the natural branch of the Physical and Mathematics Faculty of Moscow University. In 1904 he entered the historical and philological faculty, but in 1905 stopped attending classes, and in 1906 filed a petition for the deductions in connection with the trip abroad.

Literary activities, aesthetic position, environment

In 1901, it takes into print "Symphony (2nd, dramatic)" (1902). At the same time, M. S. Solovyov comes up with the pseudonym "Andrey White". Literary genre "Symphony", created by the writer [during life, also published "Northern Symphony (1st, Heroic)", 1904; "Return", 1905; "Flashing Cup", 1908], immediately demonstrated a number of significant features of his creative method: a synthesis of words and music (leitmotifers system, prose's rhythmization, the transfer of structural laws of the musical form into verbal compositions), the compound of plans of eternity and modernity, eschatological moods. In 1901-03, he enters on Wednesday, at first Moscow symbols, grouping around the publishers "Scorpio" ( V. Ya. Bryusov, K. D. Balmont., Yu. K. Baltrushattys.), "Grief" (S. Kretchi and his wife N. I. Petrovskaya, the heroine of the love triangle between her, white and BryusovRelaxed in the novel of the last "Fiery Angel"), then meets the organizers of the St. Petersburg Religious and Philosophical Assemblies and publishers of the magazine " New way» D. S. Merezhkovsky and Z. N. Hippius. From January 1903 begins correspondence with A. A. Blokom (personal acquaintance from 1904), with whom he was associated with the years of dramatic "friendship-enmity." In the fall of 1903, it becomes one of the organizers and ideological inspirations of the Life Mug of "Argonauts" (Ellis, S. M. Solovyov, A. S. Petrovsky, M. I. Sizov, V. V. Vladimirov, A. P. Pechkovsky, E. . Mentere et al.), Who confessed the idea of \u200b\u200bsymbolism as religious creativity ("Teurgy"), the equality of "texts of life" and "art texts", love-mystery as a path to the eschatological transformation of the world. The "Argonautical" motifs developed in the articles of the White of this period printed in the "Art World", "New Path", "Libeles", "Golden Rune", as well as in the collection of poems "Gold in Lazuri" (1904). The collapse of the "Argonautical" myth in the consciousness of the White (1904-06) was influenced by a number of factors: the shifts of philosophical landmarks from ESChatology Nietzsche and Solovyova To the neocantianism and problems of the gnoseological justification of the symbolism, the tragic peripetias of undivided love white to L. D. Block (reflected in the collection of "urn", 1909), split and fierce journal controversy in the symbolistic camp. The events of the revolution 1905-07 were perceived by white at first in line with anarchic maximalism, however, in this period, social motives, Nekrasovsky rhythms and intonations (the collection of poems "ashes", 1909 are actively penetrating in its poetry.

1910s

1909-10 - Beginning of the fracture in the worldship of white, searches for new positive "ways of life." Summing up the former creative activity, the white collects and publishes three volumes of critical and theoretical articles ("symbolism", 1910; "Green meadow", 1910; "Arabesque", 1911). Attempts to gain a "new soil", the synthesis of the West and the East are tangible in the "Silver Pigeon" novel (1910). The beginning of the Renaissance ("Second Dawn") was the rapprochement and civil marriage with the artist A. A. Turgeneva, who divided the wanderings with him (1910-12, Sicily - Tunisia - Egypt - Palestine), described in two volumes "travel notes" (1911 -22). Together with it, white is experiencing a new period of enthusiastic apprenticeship from the creator of the Anthroposophy of Rudolf Steiner (from 1912). Higher creative achievement of this period - Roman "Petersburg" (1913; Abbreviated editors - 1922), focusing in itself the historicophobic issues related to the summary of the path of Russia between the West and the East, and has enormous influence on the largest novelists of the 20th century. (M. Prost, J. Joyce, etc.).

In 1914-16, he lives in Dornakh (Switzerland), participating in the construction of the Anthroposophical Temple "Geomehum". In August 1916 returns to Russia. In 1914-15, he writes the novel "Katika Yeeev" - the first in the conceived series of autobiographical novels (continued by the novel of "Besserian Chinese", 1927). The beginning of the First World War perceived as a universal disaster, the Russian revolution of 1917 - as a possible way out of a global catastrophe. The cultural philosophical ideas of this time were embodied in the essistical cycle "On the pass" ("I. crisis of life", 1918; "II. The crisis of thought", 1918; "III. Culture crisis", 1918), Essay "Revolution and Culture" (1917 ), poem "Christ is risen" (1918), Collection of poems "Star" (1922).

Last period of life

In 1921-23, he lives in Berlin, where he experiences painful parting with R. Steiner, the gap with A. A. Turgeneva, and it turns out on the verge of a spiritual breakdown, although continues to be active literary activities. Upon returning to the Motherland, there is a lot of hopeless attempts to find live contact with the Soviet culture, creates a romance Dilogy "Moscow" ("Moscow Chudak", "Moscow under the blow", both 1926), the novel "Masks" (1932), acts as a memoirist - " Memories of the block "(1922-23); The trilogy "at the turn of two centuries" (1930), "The beginning of the century" (1933), "between two revolutions" (1934), writes theoretical and literary studies "Rhythm as a dialectic and" Bronze Horseman"(1929) and" Gogol Mastery "(1934). However, the "rejection" of the White Soviet culture, which lasted during his life, continued in his posthumous fate, which was affected by the long underestimation of his creativity, overlooked only in recent decades.

D. M. Magomedova

Encyclopedia km, 2000 (CD)

White, Andrei [pseudonym; Real Name - Boris Nikolaevich Bugaev; 14 (26) .x.1880, Moscow, - 8.I.1934, Ibid] - Russian Soviet writer, theoretical symbolism. Born in the family of Professor Mathematics N. V. Bugaev. In 1903 he graduated from the Natural Branch of the Mathematics Faculty of Moscow University. The study of C. Darwin, positivist philosophers was combined with the White with the passion of theosophy and occultism, philosophy Vl. Solovyova, A. Shopenhauer, Neokantianism. White spoke in print with verses in 1901. belonged to the symbols of the "younger" generation (together with A. Blokom, Vyach. Ivanov, S. Solovyöv, Ellis). The first collection of poems of white "Gold in Lazuri" (1904) reflected the idealization of patriarchal antiquity and at the same time its ironic rethinking. In written rhythmic prose and built as a major musical work of four symphony ("heroic", 1900, published in 1903 called "Northern Symphony"; "Dramatic", 1902; "Return", 1905; "Flake Cup", 1908) decadent affected traits of poetry white; Mystical motifs in them are interspersed with parody of their own apocalyptic aspirations (2nd symphony). The 1905 revolution caused a reinforced interest in social issues from Belono. In the poetic collection of "ashes" (1909), paintings by folk sorrow, the tragedy of the village Rus, are given sharply satirical portraits of the power of the property. In the future, white appeals to the philosophical lyrics ("urn", 1909), returns to mystical reasons ( "Christ is Risen", 1918, "Kingana and Knights", 1919, "Star", 1919, "after separation", 1922). In prose, white rational symbolism is peculiarly intertwined with realistic traditions of N. V. Gogol, F. M. Dostoevsky. In the novel "Silver Pigeon" (1909) depicts the mystical search for an intellectual, attempts to bring together the people on the soil of sectarianism. The best prosaic work of White - Roman "Petersburg" (1913-14, recycled edition 1922), where a sharp satire on the reactionary bureaucratic Petersburg appears through the symbolistic imagery. The personification of the dead regime becomes a grotesque-pointed figure of Senator Ableukhov, a living dead man trying to "fade" Russia, to suppress the recalcitable proletarian "islands" of the capital. Revolutionary traffic The novel is drawn in distorted light. Being abroad, White in 1912 experienced the influence of the head of Anthroposophos R. Steiner and fucked his teaching about self-improvement. In 1916 he returned to Russia. White welcomed the October Revolution.

In the post-revolutionary years, the White led classes on poetry theory with young writers in Polychta, published the magazine "Notes of Dreamers". In the autobiographical pendas "Kitty Seyavya" (1922), "Breshchen Chinese" (1927) and the historical epopea "Moscow" (part 1 - "Moscow Chudak", 1926, part 2 - "Moscow under blow", 1926; "Masks ", 1932) He remained faithful to symbolist poetics with its plot dispersion, displacement of planes, extreme attention to the rhythm of the phrase, its sound meaning. The pictures of the noble-bourgeois decomposition "broke out" in the prose of white through the apocalyptic visions and mystical deliriums about the "coming". As chief theorist and literary critic White made the books "Symbolism" (1910), "Green meadow" (1910), "Rhythm as a dialectic and" copper rider "" (1929) and others in which the problem of the election learned is widely developed. Significant interest are white memoirs: "At the turn of two centuries" (1930), "The beginning of the century. Memories "(1933) and" between two revolutions "(1934), in which a wide picture of the ideological life of the Russian intelligentsia of the 20th century is given.

Op.: Cathed. cit., vol. 4, 7, [M.], 1917; Election poem, Berlin, 1923; Mastery of Gogol, M. - L., 1934; Petersburg, M., 1935; Poem. Hitch Art., ed. and notes. C. Wolpe, L., 1940; Alexander Block and Andrey White. Correspondence, M., 1940.

LIT: Bruce V., Distant and relatives, M., 1912; Ivanov-umeless, tops. A. Block, A. White, P., 1923; Voronsky A., literary portraits, t. 1, M. ,; Lit. inheritance, [t.] 27-28, M., 1937; Mikhailovsky B. V., Rus. LIT-RA XX century, M., 1939; History Rus. Lithing, t. 10, M. - L., 1954.

O. N. Mikhailov

Brief literary encyclopedia: in 9 t. - T. 1. - M.: Soviet Encyclopedia, 1962

White Andrei (Boris Nikolayevich Bugaev) - a modern writer. His father, Nikolai Vasilyevich Bugaev - an outstanding scientist, professor of mathematics of Moscow University. In 1891, the White enters the private gymnasium of Polivanov, where in the last grades is fond of Buddhism, brahmanism, occultism, while studying literature at the same time. Special influence on the white is then Dostoevsky, Ibsen, Nietzsche. This is approximately the time of time and his passion Vlad. Solovyuvom. At the same time, the white persistently reads Kant, Mill, Spencer. Thus, from youthful years, white lives as if a dual life: he tries artistic and mystical sentiments to connect with positivism, with the desire for exact sciences. It's not by chance that the White at Moscow University chooses the natural branch of the Mathematical Faculty, works on the zoology of invertebrates, studying Darwin, Fervorn, chemistry, but does not miss a single number of the "World Peace", follows Merezhkovsky. Mysticism, Vlad. Solovyov, Merezhkovsky We defeat in white Darwin and Mill. White writes poems, prose, is included in the scorpion circle, in 1903 cums university, comes closer with Moscow symbolists, with Balmont, from Bryusovlater - with Merezhkovsky, Vyach. Ivanov, Alexander Blok. In the same year, he enters the philological faculty, but then leaves him, cooperates in the "scales". White is repeatedly experiencing disappointment in mysticism, raises him and in verses and in prose, trying to find out the exit then in neocantianism, then in special people's nationality, but in the end returns to religious-mystical teachings, which are fully reflected in his works.

In 1910-1911, the White travels in Italy, Egypt, Palestine, in 1912 it converges with the head of Anthroposophos Rudolph Steiner, becomes his student, actually moves away from the former mug of writers, works on his prosaic things; Returns to Russia in 1916. After October, he is in the Moscow break, there is classes on the theory of poetry and prose among young proletarian writers. In 1921, he leaves abroad, to Berlin, where he lives for about two years, cooperating between others in the Gorky magazine "Conversation"; Then returns to Moscow again, settled in the village and continues to work hard.

White as the poet wrote a number of books: "Gold in Lazuri", "ash", "urn", "Christ Risen", "Royal and Knights", "First Date", "Star", "after separation." With all its rhythmic peculiarities and wealth, poems are less significant than his artistic prose. The beginning of the artistic prose White should be attributed to his "symphony", which are like a transition from poems to prose. Next follow: "Flash Cup", a two-volume novel "Silver Pigeon", Roman "Petersburg", best work Of the whole written white now, a carefully re-reworked for a new edition of Nikita Saturdays. After the "Petersburg" of the White printed: "Kittle of flying", "Kresthenny Chinese" ("Crime of the Fathell Catcher"), "Epopea", finally - Roman "Moscow", not yet finished. Peru white also owns a number of theoretical works on the theory of art, on rhythm; It has been written a lot of literary and journalistic articles. The main theoretical work is the book "Symbolism"; His articles on the passage, "Poetry of the Word", "Revolution and Culture", and so on, should also be marked.

White in our literature is a provisional of a special symbolism. His symbolism is a symbolism mystical. The basis is a religious and moral worldview. The symbol of the white is not an ordinary realistic symbol, but a symbol-leak, externally, although white and trying to make it immanent reality. The symbol is an ethical norm embodied in a living image - myth. This image myth is fasted by a mystical experience. Art here explicitly comes into contact with religion, even more - becomes religion religion. "The image of the symbol," says white, - in a revealed face of a certain start; This face is diverse in religions; The task of the theory of symbolism regarding religions is to bring the central images of religions to a single face. "

The world of white is a world of nonsense, fiery elements, split suturn masses, formidable, continuously changing mythological images. In this form, it takes the surrounding validity of a flyev cat: its first conscious states coincide with the delusional visions that are felt like a genuine yawl. Hence the sense of instability, the fragility of the universe, nonsense and confusion. Our consciousness is trying to master this "niceness", it organizes, makes a pattern to the world of Falez and Heraclit; It occurs, empirical everyuality is established, but this "Tver" does not differ even with relative strength: a delusional, fire, chaotic principle at all in the moment threatens to break through, to flood in essence a pathetic mainland, built by our consciousness. The genuine world scares, he is terrible and in him is lonely and terribly a person. We live in the midst of constant crashes, in the mercy of all-living passions, doptop myths. They are genuine reality; On the contrary, our reality is something random, subjective, mumbling, unreliable. This is also a person in his essence and all of them created by social life. The threshold of consciousness of the bowl, it is always easy to destroy any case: then consciousness seizes the unconscious, nonsense, myths. Progress, culture - We have new skills, instinct habits, feelings, thoughts, but it is rather visibility. "Prehistoric gloomy period," Professor Korkkin thinks, - not yet deposited by culture, king in the subconscious; The culture is Primazy: You're smashing - I will bounce off, I will find a hole, from where, waving the topproels, they will jump out, damn it, the dops of the holochny people ... "The man carries the gorilla. The joiner of Kudyarov, the head of the Silver Pigeon sects, turns out to be a crook, a killer. Senator Abbeukhov, his son Nicholas, only in their appearance are cultural people: In fact, they are still authentic descendants of wild Mongol, they are barbarians, destroyers. The speech of the flyev is constantly threatened with the danger of losing reality: it can always be absorbed by the world of nonsense. Modern civilization Presented in Moscow Mandro: he is a coolness and at the same time a beast, savage; The same beast sits in a cultural buddhogne Donner. Discount, the destructive start to the struggle and psychology of the masses are imbued. Poet Darjalsky in "Silver Pigeon", disappointed in the metropolitan salons, goes to the village to sectarians; There, among the fields, in the forests, among the people, he is looking for calm and new truth. "Experience" leads Darialyas to collapse: the oblique strength of the East is rushing, "silver pigeons" -Sectants are sources from wild whip, Rasputy wonders. Daryalsky kill. The 1905 revolution is perceived by white in Petersburg as the invasion of yellow Asian hordes, Tamerlan Horde, ready to sink in the oceans of blood Russia, the West, culture. Undoubtedly, these concerns reflected influences on the writer and Vlad. Solovyova With his arguments about Eastern danger, and sermons Merezhkovsky, stubbornly writing about the coming Ham. Later, the white saw the savages "with axes" in the representatives of the bourgeois west, in Mandro, in Donner: they "pinched the War Ball", they brought a criminal hand over science, over the art, over all cultural in humanity, they threaten the death of the world. A shot against the Bolshevik Kierko and his supporters is directed against them, but it is still unknown whether they will save the world from death, or and Kierco are destined to die from the brief chaos that dominates the circle. In any case, white in modern events While only destruction, he only promises to tell about the creative forces of the revolution, but not yet told.

The world, as it is, is catastrophic. It opens in hurricanes, in the vortex elements, in delight, in Skyatice, in Bestoch. Salvation from this "Non-I" in our "I", in mind. The mind comprehends the nurse, builds the empirical world of causality, he is the only stronghold against cosmic storms. "I remember: - I grown the rooms, I left, right, postponed them from myself; In them - I postponed myself: an average of times; Times - repetition of wallpaper patterns: MiG per mig - pattern by pattern; And here the line escapes them into the corner; under the line line and under the day of the new day; I copied the times; Discarded them with space ... "Of course, the testimony of the speech of the Treeese should be treated with known caution: rather, they are indicative for the White itself as a writer: White from" Non-I "is hidden in" I "," I "projects time, space, things , It entangle the world of nonsense lines, it weighs, measures. The main heroes of white - also solipses and extreme individualists. Senator Abbeukhov is afraid of the immense wilder Russian spaces, human street multi-ninexes, he opposes them, is a circular, a carriage, a strict line of Petersburg prospectuses, balanced, calculated in small households. His son Nikolai suppresses Mongol Kant. Professor Kulkkin from the meaningless smelly garbage, which is presented to him Moscow, goes to the world of integrals, Iels and Igrekov. The revolutionary Kierko firmly believes in the meaningfulness of things. Losts are filled with life vitality by vulgar, beaten truths.

"I", mind, consciousness - as if curries the element. It would seem the stronghold found, the stability was purchased. However, the continuity of the reality, formed by our "I" in the midst of oceanic fiery elements, do not seduce the writer. Our consciousness, our mind is cold, mechanically, Lineen. He is deprived of flesh, life, genuine creative start, there is no abundance of feelings, spontaneousness, he is dry, dogmatically, he shines, but does not warm. Cognition gives us fragmented knowledge of the world, but it is unable to answer the main question, what value has space, earth, people, our individual life. Therefore, in itself, it is fruitless and creatively powerless. White mind always turns out to be a pathetic in a collision with life, which is Nevtyba, nonsense, barbarism, wild, unbridled force. A reasonable start in Darialya, in Ableukhov, in Dudkun, in Karakkin, in Zadryatovoy - Decking, insignificantly. The endings of the ages, white novels are always tragic: "reasonable, kind, eternal" dies from the evil lovers, from chaos, from game, "a debrisy" world triumphs, terrible and ridiculous Sardinnica bomb is torn by the most unexpected and terrible way. Khackkin destroys the gorilla - Mandro. Thought, mental freedom, integral, root, igrek, line - illusion; "In the prehistoric abyss, my father, we are in the glacial period, where the dreams about culture are still filmed ...".

There is a tragic dualism between Being and Consciousness: Being is meaningless, chaotically, crushing, - the mind - pity, fruitless, mechanical, is creatively powerless. Contradiction absolutely: "Scissors" are not closed with empirical way. Obviously reconciliation can be achieved in the world of transcendental. The symbolism is white and trying to close the "scissors" between the Being and Consciousness in the Outstanding World. The symbol-lyric, according to the writer, there is a living unity, it comprehends the brief chaos of Being and comes to the creative beginning of the mind, knowledge. Only the symbol is achieved by the highest synthesis of being and consciousness. The symbol opens in mystical experiments. Mystical experiments teaches Anthroposophy, she knows these secrets, it transmits them with the help of special exercises, they fully open only dedicated to. Art becomes teurgy.

Symbolism is white unacceptable for an advanced class, reorganizing the world. He returns us to the Middle Ages; It is characteristic that he is disappeared at the White. Mystical symbolism white whole "from the head." White himself is so intelligently high, something and the case exposes its mysticism to critical revisions and even irony, sometimes kill. Even before the revolution, he sent the Messiah to the crazy house, his shifters ridiculously ridiculously, announcing that mysticism was taught in Zabachki. Rustic Mistik Kudyarov turns out to be a progress, the prototype of cunning Rasputin; Superfluctal comprehension of the terrorist Dudkun is decoded by the author completely realistic: it is an alcoholic. About the speaker's speaker's cat learns that he continuously sick as a child, then a scarlet one, then dysentery, etc. White he himself tried to the destruction of his "John the building" - symbolism to clarify the artistic world of the writer. The best sentence symbolism lies in the experience that was done by the writer himself. Mystical, symbolic places in poetry and in white prose are the most contrived, unconvincing, artistically dubious. The artist in the White begins where the mystical symbolist ends. This is understandable: it is impossible to argue the immense, and even more so in art, which in its essence, by nature materialistically.

White with extraordinary, we would say, with marginal deigning and talent reflected the crisis of life and the crisis of the consciousness of the dominant class, steadily going to death. Loneliness, individualism, a sense of catastrophicity, disappointment in mind, in science, a vague feeling that new, other, healthy, strong and wretched people go - all this is very typical for the era of the bourgeoisie decline. However, the White is a first-class artist. With all its impassableness and instability, the White has managed to create a number of plastic types and images. The influence of Gogol, Dostoevsky, Tolstoy here is undoubtedly, but this does not interfere with the identity of the white. He knows the poles perfectly: delusional, chaotic, meaningless, on the one hand, and mechanically, cold and empty-rational - on the other. Here white is quite independent. Let him exaggerate, sometimes flows into the cartoon, it does not know how to synthetically restore the world for example, and proacts a new superhuman symbol, which turns out to be a bunny on the wall - artistic merit is obvious. Sometimes the white is chosen from the blacks, from the dark labyrinths, forgets about chaotic visions, and then he with a wonderful, thin skill reproduces paintings of a distant and cute childhood, skillfully talks about the simple, naive and joyful things in nature and in life. White has nothing to learn modern soviet writerWhen you need to portray a revolutionary underground, plants, workers, rallies, barricades. Here is white helpless. His revolutionaries are implausible, his workers and peasants are undefined, pale and schematically, it is really some "multi-self-effective subjects", or a stupid, they speak some ridiculous, the root. But White has abbelukhov, lipancakes, misses, Mandro, boxes. This world is perfectly known to the writer. Here he is fresh and original, its characteristics of these people are convincing and labels, they can not be circumvented with a writer or reader. White has its own discoveries here.

White owns secret artistic details And maybe even abuses sometimes with this ability, the smallest thing is to see for a little, with difficulty and captured. His metaphors and epithets are expressive, amazing their novelty, they seek jokingly are given to the writer. Despite the quirks, on the heavyness and bulky of its works, they are always involved in the plot.

The stylistic manner of white reflects the duality and inconsistency of his worldview. White - "scissors" between being, which is chaos, catastrophe, and consciousness, which is mechanically, linearly and powerless. In accordance with this, dual and white style. White avoids indefinite verb shapes: "Was", "there is", "became", "was", he does not rest anything, everything is not in the process of continuous becoming, active change. Hence his addiction to new word formations, not always relevant and successful. In this part of the style of white "explosive", dynamic. But the white bes writes a rhythmic prose. Rhythmic prose contributes monotony in his manner, monotony; In his rhythmics there is something frozen, rational, too verified, mannered. It often repels from the White reader. For all topics, the merit of White is undoubted: that he with particular perseverance stressed that in the artistic prose the word - the art that he has his own musical, purely phonetic meaning, which complements the "literal meaning"; This meaning is comprehended in the special internal rhythm of the poem, the novel, the story. The theoretical works of white on the internal rhythm of works of art deserve a special careful parsing.

As a white poet is also individual, but the prose of it is stronger. In the poems of white with a special force, the feelings of loneliness, spiritual devastation, despair, skepticism reflected. "Civil motifs" is devoted to his book of poems "ash". Criticism rightly seen in this book an attempt to return to a certain extent to Nekrasova. Some of the poems included in the "ashes" are marked by exceptional sincerity and pathos; Unfortunately, Nekrasovsky sentiment in the future did not receive any development.

The effect of white on modern literature still remains very strong. It is enough to note Bor. Pilnyaka Sergey Klychkova, Artyom of the funny, - "Forge" poets of the first period. True, this effect is limited to more formal side.

Bibliography: Vladislavlev I. V., Russian writers, M. - L., 1924 (Bibliography of the works of A. White).

Kogan P., about A. White, "Red Nove", IV, 1921; Askoldov S. A., creativity A. White, Almanac "Literary Thought", KN. I, 1923; Voronsky A., literary responses, "At the junction", M., 1923; Ivanov-Obseyn, Vertices (A. Block, A. White), P., 1923; Trotsky L., literature and revolution (ch. Empower Literature), M., 1923; Gorbachev G., Capitalism and Russian Literature, L., 1925; His essays of modern Russian literature, ed. 3rd, L., 1925.

A. Voronsky

Literary encyclopedia: at 11 t. - [M.], 1929-1939.

Dal - without end. Lazily swinging
noise Oats.
And the heart is waiting again impatient
all the same dreams.
In sadness pale, wine-oxoty,
close-free
burdens
sitting the sun is red-gold ...
And again flies
along the yellow Niv excitement holy,
ovat noise:
"Soul, come across: The middle of the pyr
died day.
And on the fields of foggy
the shadow falls.
The tired world falls asleep,
and ahead
spring for a long time no one expects.
And you do not expect.
There is nothing ... and nothing will happen ...
And you die ...
The world will disappear, and God will forget him.
What are you waiting for? "
In gave mirror, flame-rays,
close-free
and turning the arc of her lighting
punchy Zagay
a huge ball, leaving, burning over the novel
bugger roses.
The shadow falls. Lazily swinging
noise Oats.

July 1902.

Silver fluid

I walked home bent and tired,
chapter Zloniv.
I distinguished the distant, late
native appeal.
Sounded to me: "Your turn will pass,
will be shedding. "
I watched the distance - a web stretched
on blue
from gold and radiant threads ...
Sounded to me:
"And times are twisted as a scroll ...
And everything in a dream ...
For pure tears, for the joy of spiritual,
for being
my fallen son, my son is the only one,
call you ... "
So I was standing happy, unrequited.
From dusty cloud
over the distance, the nive ascended
amber beam.

June 1902.

Silver fluid

Salzing, bowed the spike.
Cool evening smells.
Dividecing voice away
in a straight, sad calls.

He calls it anxiously, vigorously
there, where the air is the pane
and tuckers sliding spots
above the Niva floats to the east.

Sunset strip of crimson
palented in Dali behind the mountain.
Noise in radiance
overlook Ocean Golden.

And the world, barge, singing
and the world is Slavorovit Father,
and the wind caresses, kisses.
Kisses me without end.

March 1902.

Moscow

Over the Sun.

Fire Sunset Gratoman Flames,
radiant air impacting the world
over the novel of the peaceful crosses ignites
and long-distance Abrises chapters.

Gust free air tissue
in the spaces of the azure worst, noisy,
wrapping us with a cold atlas of lobzany,
from east to west fly.

your outline, stuffing in a cloud, went out.
Hot Sun - Golden Ring -
gone to the unknown from us.

Let's fly to the horizon: there is a red curtain
serving the failure of the eternal day.
Early to the horizon! There's red curtain
allotted out of dream and fire.

The coveted devils of Esoterism White were expressed in his poetic collection "Gold in Lazuri" (1904). Founded in nature, in silver bed, these poems - walks the midst of fields, latter in words. "Plenärism" of a white rustling of the manner of the artist-symbolist Petrova-Vodkina. Collection "Gold to Lazuri", like the first volume of the block, moves from despair at the time of Ante Lucem to the meeting with the sun. To change the solemn, slow anthem, to replace the Silin or Feofilaktova, prayers, to replace the rhythmic prose "nightmares", causing the work of SOLOGUB in memory, comes a kind of laudatory Sun, written by Verlibro with long adjectives in the spirit of Tyutchev :

In the waves of distant sun drowned.
In tears of evening, pale-shard
Your face sparkled and shone.

The marriage smiles of sunset and the marriage crowns of the White Mountains resemble the marriage dawn of the block. Here is the same geography of the clouds as in the symphony ("return"), here humanity is invited to the feast - sucking "broken solar parts." Many poems, both mystical and burlesque, are inspired by the myth of Argus. A whole section of the collection, "before and now", is composed of stylization and "silhouettes" in the spirit of the 18th century. Here, of course, the influence of the "world of art" affected: these miniatures with their archaic, the dilapidated dictionary were created under the influence of Somov and Benois.

In "Gold in Lazuri", the White Climbing Himself "Armor of Solar Fabric" and, drawing a lyrical landscape, free from any naturalism, flexible size, often approaching a free verse, sublimates nightmares (fear of crucifix) or utopia (Icar flight) accompanying Its throughout his life. Later, after 1914, when, having survived the "second date" (with anthroposophy), the White will start to look at his past, he will recycle a collection four or five times, but will lose the most significant of new editions in the Berlin tram. In 1927, he would write that "the period of" gold in the lazuri "is the period of stopped, which has become and under-cooled in the soul symphony."