Presentation on the topic of Acmeism in literature. Acmeism Acmeism (from the Greek akme - the highest degree, peak, flowering, blooming time) is a literary movement that is opposed to symbolism and arose at the beginning. List of used literature

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“Silver Age of Russian Literature” - Analysis of artistic and visual means. Silver age of Russian literature. Where and when did symbolism originate? Remember the mastermind of Italian futurism. Where and when did futurism originate? Silver age of Russian poetry (1892 - 1917). What you need to remember. Key Features. Acmeism originated in Russia in the 1910s. A celebration of individuality. Futurism. Where and why did Acmeism originate? Futurism originated in Italy in the 1910-1915s.

“History of Russian literature of the 20th century” - The Great October Socialist Revolution. 1930s – Stalinist repressions, collectivization, dispossession. Literary work must become part of the general proletarian cause. Interdependence of historical and cultural events. Features of the development of art at the turn of the century. 1914 – 1918 - World War I. 1991 – Collapse of the USSR. Russian literature at the turn of the 19th and 20th centuries. You should not look for allegories in poetry in advance.

“Literature of the October Revolution” - General. Post-October journalism. Letters and diaries. Part of the Russian intelligentsia. V. Korolenko. M. Gorky in “Untimely Thoughts”. Attitude towards the people. Day and night. Attitude to the revolution. Writer's journalism.

“Futurism in the literature of the 20th century” - Nikolai Dulgeroff. Alexey Kruchenykh. Dynamism of a cyclist. Igor Severyanin. Airplane over the train. Vladimir Vladimirovich Mayakovsky. Umberto Boccioni. Fortunato Depero. Futurism in literature and art. Kazimir Malevich. Futurism. The term "futurism". Velimir. Pablo Picasso. Futurist architecture. Umberto Boccioni "Elasticity".

“Russian literature of the 20s” - New Peasant Poetry. Ivanov Vsevolod Vyacheslavovich. Cheerful Artem. Furmanov Dmitry Andreevich. Z. Gippius. Literary group. Platonov Andrey Platonovich. O. Mandelstam. Teffi (real name Lokhvitskaya) Nadezhda Aleksandrovna. Serafimovich (Popov) Alexander Serafimovich. Tikhonov Nikolai Semenovich. Klychkov (real name Leshenkov) Sergey Antonovich. A. Bely. V. Khodasevich. Lugovskoy Vladimir Alexandrovich. Literature of the 20s.

“Acmeism in Literature” - Poetics of Acmeism. Key categories of Acmeism. M. Zenkevich. Acmeism. Reaction to symbolism. Distinctive features of Acmeism. Modernist movement. Acmeist poets. M. Zenkevich and V. Narbut. Poems by V. Narbut. Vladimir Narbut.

Class: 11

Lesson objectives:

Educational

• introduce the history of the emergence of Russian Acmeism;
• note the thematic richness of the lyrics of the Acmeist poets;

Developmental

• develop skills in analyzing a poetic work;

Educational

• instill a sense of beauty;
• cultivate an emotional and sensory attitude towards works of art.

1. Organizational moment. Slide 1

2. Statement of the problem Slide 2

3. Explanation of new material

3.1 "For Acmeists, the conscious meaning of the word: The same beautiful form as music for Symbolists: Love existing things and your existence more than yourself - this is the highest commandment of Acmeism: The Middle Ages are dear to us because it never mixed different plans and treated the other world with great restraint." ABOUT. Mandelstam. "Morning of Acmeism" Slide 3

“Symbolism is being replaced by a new direction, no matter what it is called, which requires a greater balance of forces and a more accurate knowledge of the relationship between subject and object than was the case in symbolism... In circles close to Acmeism, the names of Shakespeare and Rabelais are most often uttered , Villon and Gautier. Each of these names is the cornerstone for the building of Acmeism. Shakespeare showed us the inner world of Rabelais - his body and joy, wise physiology, Villon told us about life, not at all doubting itself, although it knows everything: and God, and vice, and death and immortality; Gautier found in art worthy clothes of impeccable forms. To combine these four moments in oneself is the dream that unites the people who called themselves Acmeists. I. Gumilyov "The Legacy of Symbolism and Acmeism" 1913 Slide 4

Teacher's word:

The Silver Age of Russian poetry is associated with the most complex spiritual quests of mankind at the turn of the 19th and 20th centuries, at the same time, in the poetry of modernism there is a premonition of an impending catastrophe. This period was called the Russian Renaissance. The art of the Silver Age became a philosophy, a universal view of the world. Never before has a word been so closely associated with music and painting.

Acmeism grew out of symbolism. In 1909, young poets who attended Symbolist meetings with the St. Petersburg poet V. Ivanov created the Poetry Academy, where they studied the theories of versification. In 1911, students of the academy founded a new association, “The Workshop of Poets,” the name of which indicated the attitude of the participants towards poetry as a purely professional activity. The leaders of the “shop” were N. Gumilyov and S. Gorodetsky. In the fall of 1912, at a meeting of the “workshop”, it was decided to create a new poetic movement - Acmeism (from the Greek “acme” - the highest degree of something). The title emphasized the desire for the heights of art. Acmeists include N. Gumilyov, A. Akhmatova, S. Goroditsky, O. Mandelsham, M. Zenkevich, V. Narbut. Slide 5

Acmeism, according to Gumilev, is an attempt to rediscover the value of human life, abandoning the desire of the symbolists to know the unknowable.

Acmeism affirms the earthly world in its visible concreteness, sonority, and colorfulness.

Mandelstam called Acmeism “longing for world culture.”

Affirming the intrinsic value of the objective, visible world, Acmeists developed subtle ways of conveying the inner world of the lyrical hero. Feelings are not revealed directly; they are conveyed through a psychologically significant gesture, a listing of things.

It was N. Gumilyov, the founder of Acmeism, who rebelled against symbolist mysticism, vagueness, and nebula.

Let us turn to O. Mandelstam’s manifesto “The Morning of Acmeism.” What meaning did the Acmeists attach to the word?

Conclusion: The poet demanded concreteness and materiality from poetry.

3.2 Expressive reading of a poem by a trained student.

3.3 Mandelstam's poem "Slower the snow hive:" Slide 6

Issues for discussion

1. Name the color adjectives in this poem. (Transparent, turquoise, ice, blue-eyed)
2. Do they have a dual meaning, symbolize something (no)
3. With the help of what images does the poem show the collision of the eternal and the momentary?
4. Confirm with examples (the frost of eternity - the fluttering of dragonflies)

3.4. Expressive reading of the poem "On pale blue enamel:" Slide 7

Issues for discussion

1. Does the Acmeist principle appear in this poem - clarity, specificity, clarity?
2. Prove with examples.

Can a poet be called an “instant photographer”? Prove with examples.

Issues for discussion

1. 3.5 Demonstration of reproductions of I. Grabar “February Blue” and E. Degas “Blue Dancers”. Slide 8
2. On which of them do Mandelstam’s lines from this poem “lie”? Why?

Teacher's word: Look how the colors are mixed (rich, without halftones). Unusual nature for a person living in the middle zone. Gauguin, having left civilization, went to Tahiti; he was attracted by unknown, exotic countries. This was typical for the turn of the century - people, tired of civilization, strove for the “primitive land.” The same exoticism attracted the Russian poet N. Gumilyov. Africa attracted him. Already in his first collections ("The Path of the Conquistadors", 1905, "Romantic Flowers", 1908; "Pearls", 1910) the features of Gumilev's poetic world are visible: emphasized alienation from vulgar modernity, attraction to romantic exoticism, bright decorative colors. Slide 11

In his artistic. In his imagination, the poet moved freely in space and time: the ancient world, the era of chivalry, the time of great geographical discoveries, China, India, Africa.

3.6 Expressive reading of N. Gumilyov's poem "Giraffe" by a trained student.

Poem "Giraffe" 1907 Slide 12

The poet searches in detail and in many colors for the beauty of distant Africa. This is the story of a man who really observed unusual, for those accustomed to Russian landscapes, pictures. But remembering the “exquisite giraffe” the hero transforms an already beautiful reality.

3.6.1 Primary consolidation of material

Write down comparisons, colorful epithets. (Exquisite giraffe, graceful slenderness, magical pattern, like the colored sails of a ship; running is smooth, like a joyful bird's flight, mysterious countries, black maidens, heavy fog, unimaginable grasses)

Which lines directly resonate with Gauguin's paintings?

Find the features of acmeistic handwriting. (Accurate image. The existing subtext is internal, not external, as with the Symbolists).

With a fairy-tale description, the lyrical hero wants to distract his beloved from sad thoughts in Russia soaked in fogs and rains, but cheerful tales of mysterious countries only aggravate the loneliness and alienation of the heroes.

The last lines sound almost hopeless.

You are crying? Listen: far away, on Lake Chad, an elegant giraffe wanders.

3.7 Poem "Lake Chad". Expressive reading of a poem by a trained student. Slide 13

3.7.1 Mini-study

Research plan. Work in groups.

1. What images are born when reading this poem?
2. By what artistic means are they created? (comparisons, epithets, metaphors)
3. Highlight “exotic” comparisons.

3.7.2 Mini-project protection

3.8 Continuation of the lecture about N. Gumilyov

The poet's work attracts with its novelty and courage, acuteness of feelings, excitement of thoughts; personality - courage and fortitude.

Gumilyov believed that the right to be called a poet belongs to someone who, not only in poetry, but also in life, tries to be better, going ahead of the rest. To be a poet, according to his concepts, is worthy only of those who, more clearly aware than others of human weaknesses, selfishness, fear of death, overcome the “old Adam” by personal example, in the main and in the smallest things, by willpower. And, a naturally timid, shy, sickly man, Gumilyov became a lion hunter, a lancer who voluntarily went to war, earning two St. George Crosses for bravery. He did the same thing with his own life with poetry. A dreamy, sad lyricist, he strove to return poetry to its former meaning: he chose complex forms, “stormy” words, and took on difficult epic themes. Gumilyov's motto was: “always the line of greatest resistance.” This worldview made him lonely in his contemporary literary circle, although surrounded by fans and imitators. Shortly before his death, Gumilyov said: “Today I watched how they were laying the stove, and I envied - guess who? - the bricks. They lay them so tightly, so closely, and they also cover every crack. Brick to brick, to each other, all together, one for all, all for one. The hardest thing in life is loneliness. And I’m so lonely:

3.9 Reproduction of a recording of A. Akhmatova’s poem.

3.9.1 Examination of reproductions, tracing common features in the work of artists and poets.

Reproductions of paintings: V. Borisov - Musatov “Autumn Motif”, “Awakening”, “Pond”, landscapes by K. Korovin; K. Somov "Lady in Blue", V. Polenov "Grandmother's Garden", "Overgrown Pond". Slide 16

Expressive reading of a poem by A.A. Akhmatova by a trained student.

3.9.2 Poem "I learned to live simply, wisely:".

Issues for discussion

1. Which of the pictures is most consonant with the lines of this poem?

Poem "I don't know whether you are alive or dead:". Reading by a pre-prepared student.

Issues for discussion

1. Does this poem by Akhmatova evoke a mood similar to that of any of these paintings?
2. What unites them besides the external form, the system of images?
3. Why are we attracted to such paintings, and not to Gauguin’s paintings, for example?

Continuation of the lecture.

The current of Acmeism united bright individuals. Today we only touched on three names. Their early lyrics had the features of the direction they chose, but the rules and restrictions are impossible for real poets, so today we compared the subtlest feelings of poetic lines with a pictorial manner. Acmeism is focused on spatial arts: architecture, sculpture, painting. Thus, Benoit’s painting “The King’s Walk” (1906) depicts a procession along the paths of the Versailles park past the swimming pool. Living, moving people seem less mobile here than the bronze putti of the fountain, which stretch out their hands to those walking, as if inviting them to stop and take part in their game. Slide 18

Clarity, simplicity, and concreteness of poetic images in the works of Gumilyov, Akhmatova and Mandelstam received diverse and very individual manifestations. And today literary and artistic figures turn to their work.

Summing up the lesson.

Completion of the lesson: a video with a song based on the words of N. Gumilyov, performed by A. Domogarov.

List of used literature:

1. Garicheva E. Review lesson on the poetry of the Silver Age. "Literature at school", 2002, No. 3
2. Studying the poetry of the "Silver Age" at school, Samara, 1993
3. Silver Age of Russian Poetry, M., "Enlightenment", 1993
4. Poetry of the Silver Age at school. M., 2007

Acmeism

• ACMEISM(from the Greek akme - highest degree, peak, flowering, blooming time) - a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia.

Principles of Acmeism

• Liberation of poetry from symbolist appeals to the ideal, returning to it clarity, materiality, “joyful admiration of being”;
• The desire to give a word a certain precise meaning, to base works on specific imagery, the requirement for “beautiful clarity”;
• Appeal to a person, to “the authenticity of his feelings”;
• Poeticization of the world of primordial emotions, primitive biological natural principles, prehistoric life of the Earth and man.

• The term acmeism was proposed in 1912 by N. Gumilev and S. Gorodetsky: in their opinion, symbolism, which was experiencing a crisis, is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements.

• The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”, the central figure of which was the organizer of Acmeism N. Gumilyov. Contemporaries gave the term other interpretations: Piast saw its origins in the pseudonym of A. Akhmatova, which in Latin sounds like “akmatus”, some pointed to its connection with the Greek “acme” - “edge”.

• As a literary movement, Acmeism did not last long - about two years (1913–1914), but one cannot ignore its generic connections with the “Workshop of Poets,” as well as its decisive influence on the fate of Russian poetry of the twentieth century. Acmeism counted the six most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut.

• At the meetings of the “Workshop,” in contrast to the meetings of the Symbolists, specific issues were resolved: the “Workshop” was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathized with Acmeism developed differently: N. Klyuev subsequently declared his non-involvement in the activities of the commonwealth, G. Adamovich and G. Ivanov continued and developed many of the principles of Acmeism in emigration; Acmeism did not have any effect on V. Khlebnikov noticeable influence.

• The platform of the Acmeists was the magazine Apollo, edited by S. Makovsky, in which the declarations of Gumilyov and Gorodetsky were published. The program of acmeism in "Apollo" included two main provisions: firstly, concreteness, materiality, comprehensiveness, and secondly, the improvement of poetic skill. The rationale for the new literary movement was given in the articles of N. Gumilyov The legacy of symbolism and acmeism(1913), S. Gorodetsky Some trends in modern Russian poetry(1913), O. Mandelstam Morning of Acmeism(1913, was not published in Apollo).

• One of the main tasks of Acmeism – to straighten the tendency towards the otherworldly, characteristic of symbolism, to establish a “living balance” between the metaphysical and the earthly. The Acmeists did not renounce metaphysics:

• “always remember the unknown, but do not insult your thoughts about it with more or less probable guesses” - This is the principle of Acmeism.

• The main difference between Acmeism Gumilyov proposed recognizing the “inherent value of each phenomenon” - it is necessary to make the phenomena of the material world more tangible, even crude, freeing them from the power of foggy visions.

• Poorly substantiated as a literary movement, Acmeism united exceptionally gifted poets - N. Gumilyov, A. Akhmatova, O. Mandelstam, the formation of whose creative individuals took place in the atmosphere of the “Poet's Workshop”, disputes about “beautiful clarity”. The history of Acmeism can be considered as a kind of dialogue between its three outstanding representatives. Subsequently, Acmeist poetics was refracted in complex and ambiguous ways in their work.

• O. Mandelstam

• N. Gumilev

• A. Akhmatova

• In the poetry of N. Gumilyov, Acmeism is realized in the desire to discover new worlds, exotic images and subjects. The path of the poet in Gumilyov’s lyrics is the path of a warrior, a conquistador, a discoverer. The muse that inspires the poet is the Muse of Distant Journeys.

• Baby elephant
• My love for you now is a baby elephant,
• Born in Berlin or Paris
• And stomping with cotton feet
• Through the rooms of the owner of the menagerie.
• Don't offer him French rolls,
• Don't offer him cabbage cabbages -
• He can only eat a slice of tangerine
• A piece of sugar or candy.
• Don't cry, oh gentle one, who is in a tight cage
• He will become the laughing stock of the mob,
• So that cigar smoke blows into his nose
• Clerks to the laughter of the midinettes.
• Don't think, honey, that the day will come,
• When, enraged, he breaks the chains
• And he will run through the streets, and it will be
• Like a bus, crushing people screaming.
• No, let you dream about him in the morning
• In brocade and copper, in ostrich feathers,
• Like the Magnificent one that once
• Carried Hannibal to trembling Rome.

• A. Akhmatova’s acmeism had a different character, devoid of any attraction to exotic subjects and colorful imagery. The originality of Akhmatova’s creative style as a poet of the Acmeistic movement is the imprinting of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays an entire spiritual structure. “This couplet contains the whole woman,” she spoke of Akhmatova Song of the last meeting M. Tsvetaeva.

• x x x
• I've lost my mind, oh strange boy,
• Wednesday at three o'clock!
• Pricked my ring finger
• A wasp ringing for me.
• I accidentally pressed her
• And it seemed she died
• But the end of the poisoned sting,
• It was sharper than a spindle.
• Will I cry for you, strange one,
• Will your face make me smile?
• Look! On the ring finger
• So beautifully smooth ring.
• March 18-19, 1913,
• Tsarskoe Selo

• The local world of O. Mandelstam was marked by a feeling of mortal fragility before a faceless eternity. Mandelstam's Acmeism is “the complicity of beings in a conspiracy against emptiness and non-existence.” Among the Acmeists, Mandelstam was distinguished by an unusually keenly developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”; all mentioned objects acquired biblical overtones.

• American bar
• Still no girls to be seen in the bar,
• The footman is impolite and sullen;
• And in a strong cigar it seems
• The American has a caustic mind.
• The stand shines with red varnish,
• And the soda-whisky fort teases:
• Who is unfamiliar with the buffet sign
• And not too hard on labels?
• Golden pile of bananas
• Just in case, served
• And the wax saleswoman
• Unperturbed as the moon.

• At first we will feel a little sad,
• We'll ask for coffee with curasso.
• Turns around in half a turn
• Our fortune wheel!
• Then, talking quietly,
• I'm on a swivel chair
• I climb in with a hat and a straw
• While stirring the ice, I listen to the hum...
• The master's eye is yellower than a chervonets
• No offense to dreamers...
• We are dissatisfied with the light of the sun,
• By the flow of measured orbits!
• No later than June 1913

• Acmeism greatly influenced the development of Russian poetry in emigration, the “Parisian note”: among Gumilev’s students, G. Ivanov, G. Adamovich, N. Otsup, I. Odoevtseva emigrated to France. The best poets of the Russian emigration G. Ivanov and G. Adamovich developed acmeistic principles: restraint, muted intonation, expressive asceticism, subtle irony. In Soviet Russia, the style of the Acmeists (mainly N. Gumilyov) was imitated by Nik. Tikhonov, I. Selvinsky, M. Svetlov, E. Bagritsky.
• Acmeism also had a significant impact on the author's song.

• Acmeism united dissimilar creative individuals and manifested itself differently in the “spiritualized objectivity” of A. Akhmatova, the “distant wanderings” of M. Gumilyov, and the reminiscence poetry of O. Mandelstam.
• The role of Acmeism is in the desire to maintain a balance between symbolism, on the one hand, and realism, on the other.
• In the work of the Acmeists there are numerous points of contact with the symbolists and realists (especially with the Russian psychological novel of the 19th century), but in general the representatives of Acmeism found themselves in the “middle of the contrast”, not slipping into metaphysics, but also not “mooring to the ground.”

Description of the presentation by individual slides:

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Western European and domestic sources of acmeism Prepared by teacher of Russian language and literature of the 1st qualification category Strakhova Irina Aleksandrovna, MBOU "Polyanskaya secondary school" Spassky district of the Republic of Tatarstan

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Objectives: to give an idea of ​​Acmeism; highlight the main features of his poetics; give a brief description of the work of the Acmeist poets.

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“The retinue makes the king” The two largest poets of Acmeism, A. Akhmatova and O. Mandelstam, had already gone beyond the boundaries of this school by the mid-1910s, and G. Ivanov and G. Adamovich most fully met the requirements of A. Akhmatova’s Acmeism, O. Mandelstam G. Ivanov, G. Adamovich

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Acmeism is a modernist movement (from the Greek akme tip, pinnacle, highest degree, pronounced quality), which declared a concrete sensory perception of the external world, returning the word to its original, non-symbolic meaning.

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The beginning of their creative journey Young poets, future Acmeists, were close to symbolism, attended “Ivanovo Wednesdays” in the St. Petersburg apartment (in the “tower”) of Vyach. Ivanova. Young poets were taught versification here. In October 1911, they founded a new literary association, the Workshop of Poets. “The Workshop” was a school of professional excellence, and its leaders were the young poets N. Gumilyov and S. Gorodetsky N. Gumilyov S. Gorodetsky, 1910

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Western European and domestic origins of Acmeism The founder of this unique “guild” of poets was Pushkin himself. Speaking as a faithful follower of the work of Peter the Great, Pushkin in almost every verse testifies to the deepest knowledge and subtlest understanding of the national poetic element of each people. Pushkin's miracle could not have come true without a strong push from the dominant culture of that time, that is, French culture. Are not Voltaire and even Guys, not to mention Moliere, Racine, Corneille, François Villon, nameless authors of folk epic songs, creative stimulators of Pushkin on a par with Derzhavin and Batyushkov or with fairy tales and legends of Russian folklore? The modernists are discovering a new Europe; they are attracted especially by France, but they are also receptive to the call of Africa and Asia, ancient history and even prehistory.

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Western European and domestic sources of Acmeism In the first collection of poems “The Path of the Conquistadors”, Gumilyov fails to hide his dependence on those poets who too clearly influence his style: Bryusov and Balmont among the Russians, and among the French poets grouped around “Modern Parnassus”, in features C. Lecomte de Lisle and J. M. Heredia. The very image of a conquistador must have arisen in his mind when he saw a portrait of Heredia, one of his then most beloved poets, in the luxurious fake armor of a conquistador. Critics have repeatedly noted that as a poet Gumilyov acted under a mask. And I am related to the hippopotamus: Dressed in the armor of my shrines, I walk solemnly and straight Without fear in the middle of the deserts. These verses from “Miscellaneous Poems” by Théophile Gautier, skillfully translated by Gumilyov, could serve as an epigraph to his entire life.

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The Association of Acmeists lasted about 2 years (1913-1914). It also included A. Akhmatova, O. Mandelstam, M. Zenkevich, V. Narbut and others. In the article “The Legacy of Symbolism and Acmeism,” Gumilyov criticized symbolism for mysticism, for its fascination with the “region of the unknown.” The article proclaimed “the intrinsic value of every phenomenon”

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Acmeism - Adamism This interpretation implied a “courageously firm and clear outlook on life.” The world is spacious and sonorous, And it is more sonorous than rainbows, And so the world is entrusted to Adam, the Inventor of names. To name, to recognize, to tear off the veils of both idle secrets and decrepit darkness - This is the first feat. A new feat - to sing praises to the Living Earth. (S. Gorodetsky “Adam”)

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Requirements of Acmeism He believes in weight, he honors space, He tenderly loves materials, He does not reproach substances for their slowness and constancy. Stanzas the obedient quadriga He loves - having violently dispersed - Stop. And he is right in that, that in eternity he is submissive to the moment. (1913, S. Gorodetsky to O. Mandelstam) Acmeists are interested in the real, not the other world, the beauty of life in its concrete sensory manifestations. The vagueness and hints of symbolism were contrasted with a major perception of reality, the reliability of the image, and the clarity of the composition.

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Hero of Gumilyov This is a traveler, a conquistador, a man of strong will. The poet's poems contain romantic motifs, geographical and historical exoticism. He is given graceful harmony and bliss, and his skin is decorated with a magical pattern, which only the moon dares to equal, crushing and swaying on the moisture of wide lakes. (1907, “Giraffe”) N.S. Gumilev (1886-1921)

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Slide captions:

Acmeism Completed by: Biketov E. Kropachev O.

The concept of Acmeism Acmeism is a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia. The Acmeists proclaimed materiality, objectivity of themes and images, and precision of words.

As a literary movement, Acmeism did not last long - about two years (1913–1914). The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”. Acmeism counted the six most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At different times, the following took part in the work of the “Workshop of Poets”: G. Adamovich, N. Bruni, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, S. Radlov, V. Khlebnikov. At the meetings of the “Workshop,” in contrast to the meetings of the Symbolists, specific issues were resolved: “The Workshop” was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathized with Acmeism developed differently: N. Klyuev subsequently declared his non-involvement in the activities of the commonwealth, G. Adamovich and G. Ivanov continued and developed many of the principles of Acmeism in emigration; Acmeism did not have any effect on V. Khlebnikov noticeable influence.

The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”, the central figure of which was the organizer of Acmeism N. Gumilyov. The term acmeism was proposed in 1912 by N. Gumilev and S. Gorodetsky: in their opinion, symbolism, which was experiencing a crisis, is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements. The name for the literary movement, according to A. Bely, was chosen in the heat of controversy; N. Gumilev picked up randomly thrown words and dubbed a group of poets close to him Acmeists. The gifted and ambitious organizer of Acmeism dreamed of creating a “direction of directions” - a literary movement reflecting the appearance of all contemporary Russian poetry.

A. Akhmatova’s acmeism had a different character, devoid of any attraction to exotic subjects and colorful imagery. The originality of Akhmatova’s creative style as a poet of the Acmeistic movement is the imprinting of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays an entire spiritual structure. In elegantly depicted details, Akhmatova, as Mandelstam noted, gave “all the enormous complexity and psychological richness of the Russian novel of the 19th century.” A. Akhmatova’s poetry was greatly influenced by the work of In. Annensky, whom Akhmatova considered “a harbinger, an omen, of what later happened to us.” The material density of the world, psychological symbolism, and the associativity of Annensky’s poetry were largely inherited by Akhmatova.

Mandelstam's Acmeism is “the complicity of beings in a conspiracy against emptiness and non-existence.” The overcoming of emptiness and non-existence takes place in culture, in the eternal creations of art: the arrow of the Gothic bell tower reproaches the sky for being empty. Among the Acmeists, Mandelstam was distinguished by an unusually keenly developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”; all mentioned objects acquired biblical overtones. At the same time, Mandelstam was disgusted by the abuse of sacred vocabulary, the “inflation of sacred words” among the Symbolists.

Questions of religion and philosophy, which Acmeism shunned in theory (A. Blok blamed the Acmeists for their absence), received intense resonance in the works of N. Gumilyov, A. Akhmatova, O. Mandelstam. The Acmeistic period of these poets lasted relatively short, after which their poetry went far into the realm of the spirit, intuitive revelations, and mystery. However, the titanic questions of the spirit, which were the focus of symbolism, were not specifically emphasized by the Acmeists. The main achievement of Acmeism as a literary movement is the change in scale, the humanization of turn-of-the-century literature that had veered towards gigantomania. The proportionality of a person to the world, subtle psychology, conversational intonation, the search for a full-fledged word were proposed by the Acmeists in response to the supra-worldliness of the Symbolists. The stylistic wanderings of the Symbolists and Futurists were replaced by a strictness towards a single word, “chains of complex forms”; religious and philosophical quests were replaced by a balance between metaphysics and the “here”. The Acmeists preferred the difficult service of the poet in the world to the idea of ​​“art for art’s sake” (the highest expression of such service was the human and creative path of A. Akhmatova).