Poet-Symbolists about music as the highest form of art

Poet-Symbolists about music as the highest form of art

Music in the poetry of the Symbolists played a very important role as a metaphorical and, to an equal degree, rhythmic beginning. The Symbolists even had a so-called “musical group”, which included Balmont, Vyacheslav Ivanov and Baltrushaitis. At the same time, their like-minded people in the symbolism of Bryusov, White and Blok organized another group – “little music”. It is clear that this is their irony, delicacies. They all put music very high in their work, especially Balmont. Leonid Sabaneev wrote in his memoirs: “Balmont felt the music well and deeply, which is not very common, especially among the poets, he also felt the Scriabin music, I think that he guessed that he knew a certain, unquestionable kinship with his own poetry.”

Balmont

and Scriabin connected a great friendship. They were both “seekers of new sounds”. Their contemporaries noticed that on all other composers and poets these two friends were looked upon as their forerunners. About Scriabin playing the piano, Balmont said: “He kisses the sounds with his fingers.” This comparison very subtly conveyed the nature of the Scriabin game. Poet-Symbolists, arguing about their literary flow and developing his theory, expressed, as far as I know, that music in the fusion with life and religion gives the desired result – harmonious verses capable of fulfilling the role of a certain messiah. I do not understand the position of Scriabin himself, who considers himself a symbolist musician, when he advocated the collapse of the universe for the roar of “united arts.” But, apparently, this is almost the same as that of symbolist poets, only from the point of view of the musician. To fully expand the topic, I will bring Balmont’s poem about music: I know that today I saw a miracle.

He hummed and sang the sacred scarab. The soul could hear a clear ringing from there, Where the thunder ripples among the cloudy swells. Suddenly a powerful beetle became a sliding rookie, Melkalo white thin oar. The strings played with music by the seeing, And the heart awoke in it lightly.

And he, the sorcerer, with both hands We were scattered by the melodic rain of the rings And, all grief, trembling fingers Touching the strings, touched all hearts. As we see, for the poet music is a miracle perfect. Music is a heart-embracing idea. By music it is necessary to understand not a literal melody, but everything that in nature is in harmony with the human soul. Now it is clear why a group of symbolist poets was called “little music”. Just for Blok, Bryusov and Bely, the unifying idea shifted towards almost religious love for Russia.

Music for them served only as a background, not as a connecting link. The increased attention to the sound form of the verse, the extraordinary musicality of the poems of the symbolists of the “musical group” Balmont and Vyacheslav Ivanov gave Russian poetry a whole series of remarkable poems. In Balmont, in this connection, I would like to mention “Reeds”, “Chelny of longing”. In Vyacheslav Ivanov – “Pilot stars”, “Man” and many poems on the ancient theme. It is known that at the evening at Skryabin Vyacheslav Ivanov struck everyone with statements about music. Even Scriabin, who dreamed of erecting a musical temple on an uninhabited island in the Indian Ocean, listened to the poet with bated breath. In one of the poems Vyacheslav Ivanov exclaims: Oh, Music! In the anguish of the earthly separation, Alive sisters you bring to the wondrous dreams: And the secret rock bound silent sounds.


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Poet-Symbolists about music as the highest form of art