By Vladimir E. Alexandrov
A number one Russian Symbolist poet, essayist, and mentor to a whole new release of writers, Andrei Bely (1880-1934) accomplished maximum renown for 3 great novels: Petersburg -- which has been ranked with the masterpieces of Joyce, Kafka, and Proust -- The Silver Dove, and Kotik Letaev.Vladimir Alexandrov argues cogently that the main-spring of Bely's advanced paintings is his notion of Symbolism as a brand new type of cognition that hyperlinks the person, the cloth global, and the transcendent realm. Supplementing shut textual research with fabric drawn from Bely's theoretical and autobiographical writings, Alexandrov strains intimately how this belief developed from 4 early experimental prose narratives to the foremost novels, and the way it really is manifested of their issues, shape, and elegance. Alexandrov additionally offers lucid discussions of the numerous impact that numerous philosophical and occult structures had on Bely's artwork, and of the theoretical challenge of what constitutes a Symbolist novel.
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Extra resources for Andrei Bely: The Major Symbolist Fiction (Russian Research Center Studies)
My first book, 'The [Second] Symphony'," Bely explained, "was filled with echoes of these fears in the form of parodies of the sect": the image of Sergei Musatov is the image of a follower of Soloviev that has been pointed and caricatured to the extreme of sectarianism; individuals like him appeared in Schmidt's sect; in the "Symphony" I only caricatured Schmidt, depicting what would happen if V. S. 52 It is likely that the last phrase in this quotation is at least in part a bone thrown to the Soviet censors.
The ontological weight that fiction acquires in a schema such as this is also implicit in the unusual form—both structural and typographical—that the Symphony has, as well as in the generic designation Bely gave it. The key figure here is Schopenhauer. 25 In his first essay, "The Forms of Art," for example, Bely follows Schopenhauer in ranking all the arts in terms of their distance or proximity to music, which is understood as a pure expression of Will—the Absolute in Schopenhauerian metaphysics.
125-126). It is quite clear from his memoirs whom Bely had in mind when he said this. After Vladimir Soloviev died in 1900, his brother Mikhail Sergeevich hesitated to publish fragments from the philosopher's unfinished essays that touched on his mystical experiences of Divine Wisdom. The reason was Mikhail Sergeevich's fear that new publications might feed the imagination of a certain Anna Schmidt, a "half-crazed" woman from Nizhny Novgorod who had decided that she was the "world soul" that had inspired Vladimir Soloviev.
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