Content
- 1. Creative way of Zinaida Hippius
- 2. Figure Poetry Z. Hippius
- 3. Topics of poems Z. Hippius
- Conclusion
1. Bobrova O. Silver Century Heroine. // Navigator of Russian Culture. - 2004.
2. Krasnikov Salzing image: To the 130th anniversary of the poetess Z. Hypius. // Independent newspaper. - №8. - 1999.
3. Orlov V. Poet, who shown himself in advance and boldly. // Bulletin. - №26 (233). - 2003. - December 21.
4. Russian writers. Biographical dictionary. - M., 1989.
5. Russian writers of the 20th century. Bibliographic dictionary. - M.: Enlightenment. 1998.
6. Russian poetry of the silver century. 1890-1917. Anthology. / Ed. M. Gasparova, I. Koretskaya, etc. Moscow: Science, 1993
Love is one. About the work of Zinaida HippiusWithout this figure, imagine the Russian literature of the very end of the past and the first half of this century is impossible.
Zinaida Hippius could be loved and could hardly be despised to treat her respectfully and with disregard, but it was impossible to close his eyes and pretend that she was not in the literature. Poet, prose, authoritative critic, the soul of many public enterprises who directly influenced the literature, she also could not imagine himself outside literary and public life. Her sharp mind and brilliant conversations made the interlocutors to clarify their not only literary, but also spiritual abilities, train intellect, wrap their arguments in disputes. The presence of Hippius in the literature demanded from contemporaries to release those meanings that were deeply laid in memory and consciousness. Hippius and Block, Hippius and Brucery, Hippius and Andrey White, Hippius and Bitter - This series can be dreamed and dellets, but for a serious conversation about all such topics it is necessary first of all to know the texts of Hippius - poems, prose, criticism, diaries, letters, political articles...
The book that the reader receives today is one of the first, if not all the first on the territory of Russia after 1918. Then in the cold, hungry and dark petrograd, Hippius issued a collection, characterized by the named "last poems". They were the latter because they wrote in the last days of the world, which she could hate, but beyond which he had no live. Her prophecies about the revolution were always purely utopic, and therefore the reality of that Russia, which opened her eyes at the end of 1917, in 1918 and 1919 (from Petrograd, along with her husband D. S. Merezhkovsky and the nearest friend D. V. Philosopher left 24 December 1919), not just horrified her, but caused a sensation almost incredible for us - the feeling of boredom: "Even in the earthquake, in the death and misfortunes, it is completely outdoor, more than life and more meaning than in the most thicker what is happening - only the beginning Circle, perhaps "1. In the revolution, it was terrified by the impersonality of the mass, completely subordinate organizing will from above. Unlike the block, White, Khodasevich, many young Russian writers of that time, she resolutely refused the revolution in the spontaneous character, in the free will of people, its components (and here it coincided with a later Stalinist concept of revolution as subordination of the natural power of unreasonable iron Will party). Russia of this time was represented by a paralyzed country, which manages a bunch of cowardly, but powerful leaders based on cruel nationwide force (in the diary this force is specified as Latvian, Bashkir and Chinese wolves). In the fatherland, there is no longer anything expensive for its urgent consciousness aimed at identifying human spiritual possibilities.
From the very first revolutionary days, Hippius clearly declares the rejection of the accomplished and until the end of the life remains the enemy of everything that is being done in Russia and the USSR. It was not possible for her and could not be reconciling with a new system, and it should be remembered quite clearly. But it is impossible to remember only this and cross out the name Hippius from the literature only because she ranked the political position of the enemy. Art remains, verses and prose, memoirs and critical articles, recreation of the spiritual appearance of an outstanding person who has their own look at the world, who has thought about the problems that are among the key in the whole existence of humanity on Earth, who has often, who remained hidden For the eyes of other people. Without works by Zinaida Hippius not only an idea of \u200b\u200bthe literature of the beginning of the century will be incomplete, but the very idea of \u200b\u200bthe latitude of Russian thought will be insufficient. That is why the most sharp and unfair statements should be logged in and the robber call, which we are now trying to hear, peering into the Russian culture of the beginning of the twentieth century, is one of the richest and most controversial cultures created by the history of mankind.
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1 Hippius Zinaida. Petersburg diaries (1914-1919). New York, 1982, from 283.
"The Hippius family starts from Adolfus von Gingsta, who changed the name Gingst on the background Hippius and moved to Russia (to Moscow) in XVI, seems to be a century from Meclanderburg" 1. However, Russian blood in Hippiiius was clearly more than German: her grandmother from his father's side and mother were Russian. The father served according to the legal agency and lived in different cities that Hippius with the family traveled: Bellev (where she was born on November 8, 1869), Tula, Saratov, Kharkov, St. Petersburg, Georgian. "My father, who grabbed all the time, was very cold and died (on March 9, 1881) from acute tuberculosis. He died young - he was not 3 years old. After it, quite a lot of literary material remained (he wrote for himself, never printed). He wrote poems, translated Lenaão and Byron, translated, by the way, of all Cain "2.
Unsurface home education quite consistent with the warehouse of the Hippiius character, which, violently fond of interested in her themes, could be amazingly indifferent to everything else. Against the background of the whole family to art, it looked completely natural that from early childhood she appeals to poetry. In early 1902, she wrote Bryusov: "In 1880, that is, when I was 11 years old, I already wrote poems (and I really believed in the" inspiration "and tried to write immediately, without taking the pen from paper at once). My verses seemed to be "spoiledness," but I did not hide them. Were quite monotonous, not survived, but I remember the pieces of one of the very first:
I have long been sad I don't know
And the tears for a long time I am no longer.
I do not help anyone.
Yes, I do not like anyone.
Love people - you will be in grief.
All do not comfort anyway.
The world is not the bottomless sea?
I forgot about the world for a long time.
I look at the sadness with a smile,
From the complaints I keep myself.
I lived my life in errors,
But man is not loving ... 3
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1 Hippius Z. Autobiographical note. Russian literature of the 20th century. 1890-1910. Ed. S. A. Wengerova. T. 1. M., 1914, p. 173.
2 there, with. 174.
3hl, f. 386, cards. 82, units xp 36. Hippius is allocated.
In November 1888, the first poem of Hippius appeared in the journal "Northern Vestnik", and in January 1889 she married 
For the poet D. S. Merezhkovsky. Already on the outcome of life, starting a book about him, she wrote: "We lived with D. S. Merezhkovsky 52 years, not separating, from the day of our weddings in Tiflis, never for one day" 1.
Further life was reflected in the memoirs that the reader receives with the release of this book. Therefore, let's say very briefly about the most important thing: Once in St. Petersburg, Hippius falls into the literary environment, and the "Northern Bulletin who supported her magazine", but also in a much wider, where there were young Poets, and the honorable old writers , and university professors. The editor of the Northern Bulletin, L. Ya. Gurevich recalled her in those years: "Slim, narrow, with a figure, which later called decadent, in a semi-border dress, with sharp and gentle, as if a wonderful face in the halo of lush gold hair, falling from behind Tolstoy Kosovo, with light-rich eyes, in which there was something inviting and mocking, she could not not pay for general attention, imparking alone, confused and irritating others. Her voice was brittle, screeching and daring. And she behaved like a bald, slightly breaking girl: Bucked his teeth pieces of sugar, which put "on the addition" into a glass of tea and the guests, and spoke with the causing laugh childly candid things "2. Among the fans not only her talent, but also the beauty was known at the time the poet N. M. Minsky, a little later - critic A. L. Volynsky. However, how much can be judged by the records in the intimate diary hypiot, never after her "love" (frequent word for her) did not go into real love and relationships remained purely platonic.
Marriage with Meriazhkovsky was a source for Hippius not only literary dating and connections, but also the strongest incentive to his own ideological self-determination. In 1890, Meriazhkovsky actively produced the system of views, in the formation of which hypius took the most active part, so that some memoirists even wrote that the majority of Merezhkovsky's ideas were borrowed by Hippius and only developed independently. Now it is already difficult to approve with complete certainty, but, in any case, to say about some joint will need to create ideological concepts.
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1 Hypiius-Merezhkovskaya Z. Dmitry Merezhkovsky. Paris, 1951, p. five.
2 Russian literature of the XX century, t. 1, p. 240.
Z.Gippiius and A. Voloshansky
The activity of Hippius by the end of the nineties was particularly strengthened, when the problems of the new religious consciousness came to first place for her, and the Center for Literary Activities moved from the Northern Bulletin to the "World of Art".
In the very first years of the twentieth century, the religious case of Meriaryovsky receives its material embodiment: at the end of 1901, they, with a shortly before that, D. V. Philosophical, create their own church and begin in her worship, and on November 29, 1901 in the Hall of Geographical Society The first religious and philosophical assembly took place, which Hippius for a long time believed hardly the main thing about his life.
Since 1903, the magazine "New Way" began to be published, the main inspirations of which were Merezhkovsky and - more specifically - precisely Hippius. After the closure of the meetings on April 5, 1903 and increasingly growing difficulties with the journal of Hippius eventually loses interest in it and goes into other areas of activity. In the years of the 1905 revolution, public problems came to the fore. The overall direction of the kindergarten hypiot in those years was defined by Z. Mintz: "... The years of the first Russian revolution is the time of the greatest political radicalism of Merezhkovsky. Hostile to Marxism, they, however, are closer to the esrames and especially - with an uncertain "non-irregularity" of the second half of the 1900s. "1. Nature and the evolution of this radicalism still need research and understanding, but it is already clear now that he has manifested itself in the sphere of spiritual and religious quests, when the "public" was inevitably built to the sphere of the interests of a separate person. Being in the years of the first revolution with a decisive opponent of Vyach ideas. Ivanova, she, obviously, could agree with his thoughts outlined in a slightly later, in the interval between February and October: "Revolution or will leave in the place of Russia" pile of smoldering bones ", or will be its actual reincarnation and as it were, for the first time full and The conscious embodiment of the People's Spirit. For the true accomplishment of its in the specified sense, it must have a holistic and, therefore, primarily the religious self-determination of the people "2.
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1 Mintz Z. G. A. Block in controversy with Merezhkovsky.- Blokovsky collection, IV. Tartu, 1981, p. 157.
2 "Population", 1917, No. 14, p. five.
Because the Paris years of Merezhkovsky (they left there on March 14, 1906; and returned in the summer of 1908), they became years not only of political search, but also the time of the final design of religious aspirations of the small cell, which was drawn up into the Church of the Third Testament.
Returning to Russia, Merezhkovski found themselves in a new literary situation for themselves: they look at them on the famous 
writers who have great authority explicitly leaving the limits of the relatively narrow circle, in which they rotated at the beginning of the century; Meriazhkovsky for a while becomes the editor of the Belletristic Department of the RUSSIAN MODE "Russian Thought", Hippius is regularly printed there (and not only at Meriarykovsky, but also when I replaced it by Bruce). Religious searches in these years are moved to the background, inferior to the tasks of the literary actually and partly public.
Much in their life tilted 1914. War from the very beginning was aware of Hippius as a destructive event in the life of the whole of Europe, and especially in Russia: "Once Slavian's evening gathered in the evening<...> They spoke all. When the queue reached me, I said very carefully that the war essentially, as such, deny that any war ending with the complete victory of one state over the other, over another country, wears the germ of the new war, because national-state binding creates , And every war gives us from what we go to, from "Ecumenicality". But what, of course, considering the reality of the war, I wish now the victory of the allies "1. The decomposition of the autocracy, with such psychological discriminations described in the "small Annin House", caused more contempt, and the February Revolution Hippius had enthusiastically welcomed, seeing the possibility of a fundamental change in Russian fate, the revival of ideas inspired by the Decembristians in the first days of October for her collapsed: "Here is a cold black night on October 24-25. I and D. C, wrapped, stand on our balcony and look at the sky. It is in lights. This is the shelling of the Winter Palace<...> Another day, - black, dark, we came out with D. S. on the street. How slippery, student, black ... pillow pillowed - to the city? To Russia? Worse ...... "2
After the transition of the Polish border, Hippius, Merezhkovsky and philosophers are justified for a while in Warsaw, where they are engaged in campaign activities, a lot is printed in the "Freedom" newspaper, completely obeying its political program. However, soon Merezhkovsky was disappointed in the Pilsudsky's personality, in which a person who could save not only Poland saw, but also Russia, as well as in the tactics of their relative friend B. Savinkov for some time. Soon after the signing of the world between Poland and Soviet Russia, on October 20, 1920, Merezhkovsky left Warsaw (philosophers remained so there). Through Wiesbaden, they move to France, where they live before death. However, in these past twenty-five years, the creative and vital activity of Hippius is clearly reduced: she did not have a permanent job with a newspaper or a journal, the books managed to publish with difficulty, less wishing to take part in the circles, Merezhkovsky turned out to be increasingly and greater isolation, which The only concerns of several faithful friends, especially the constant secretary of V. A. Zlobin, especially their concerns.
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1 Hippius Zinaida. Petersburg diaries, p. 100-101.
2 Hypiiius-Merezhkovskaya Z. Dmitry Merezhkovsky with. 226.
Often I had to read about cooperation Hippius with the Germans during the fascist occupation. According to the search for its most competent biograph Temira Pakhmus, this information is incorrect. She despised Hitler and hated his totalitarian regime, but in principle believed that if he could crush the Soviet power, then even his board would be justified. But after the invasion of Hitler in France, Hippiius took an irreconcilable position in relation to German, while maintaining a tanning silence. Unfortunately, this did not do Merezhkovsky: In 1939, he spoke on the radio with a speech, in which he "compared Hitler with Jeanne D" Ark, designed to save the world from the deeline power, spoke of the victory of spiritual values \u200b\u200bthat are carrying German knights on his bayonets warriors, and about the death of materialism, which the end of the world came to the end "1. Just below the same memoirman remembers:" Merezhkovsky, as they said later, after liberation, fascinated to the German radio V. Zlobin and one foreign familiar, thinking that A similar speech can facilitate their financial situation, - without the knowledge of Z. Hypiius, who allegedly died from indignation and indignation, when he learned about the ill-fated speech "2. Finally, in a letter to Temir Pakhmus, he wrote:" After speech she said Dmitry Sergeevich: "Now we died!" 3
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1 Therapian Yuri. The literary life of Russian Paris for half a century. 1924-1974. Paris - New York, 1987, from 94.
2 there, with. 95.
3 Pachmuss Temira. Zinaida Hippius. An Intellectual Profile. Carbondale e. a., 1971, p. 283.
However, Merezhkovsky lived after that, long: he died on December 7, 1941. Hippius survived him less than four years and died on September 9, 1945. Two years before the death, she began a book about Meriazhkovsky, and although some of their acquaintances write that hypiot's mental abilities at this time were sharply limited, the text of the book seems to prove the opposite. The book broke off literally in a half-headed, as the life of Zinaida Hippius itself was cut off, for many years of writing his biography, and not acquired inner calidity.
A truly about the work of Hippius in Russian should still be written by the books exploring her biography, restoring the canvas of its journal and newspaper enterprises, telling about the inner history of religious and philosophical assemblies, talking about the relationship between Hippius with the largest Russian writers and thinkers of their time. Trying to determine her writing individuality, the principles of its worldview without all this would be highly self-addened. Therefore, presenting the poetry and memoirs of Hippius to the modern reader, we will only try to restore what it is possible to determine with a sufficient degree of failure to determine what is reliably known.
And above all, it should be said that the most sensitive critics, and the Hippius itself said that her poems and stories, novels and stories, critical articles and memoirs are not at all phenomena possessing fundamental implicitness.
Harding the collection of its stories "Scarlet Sword", V. Ya. Bryusov wrote: "Almost all the latest stories of Ms. Hippius are tendentious. Apparently, the author and wrote them not so much on the prompting of purely artistic, as in order to reveal, express one or another abstract thought "1. True, at the beginning of the review, he is negotiated that it only refers to prose Hippius, whereas her poems develop the framework of this net tendency. But if you remember that she herself spoke about her verses as a prayer (but the essence of the prayer is not in her shape and not in the impeccable accuracy of words, but in the sense) that in the preface to completely helpless verses B. Savinkov seriously wrote about them The meaning for Russian literature, and in general, stubbornly defended the right to represent as an artistic phenomenon "Human documents", that is, how little a person processed evidence of a person about his mental experience, it should be recognized that it should be recognized that the conversation about her own work should be started Not with what is directly in it, on the pages of books, and with the spiritual reality with which the path to work begins.
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1 Golden Fleece, 1906, No. 12, p. 154.
Talking about different principles of attitudes towards life at home and at Merezhkovsky, hypiot recalled: "He has a slow and permanent growth, in the same direction, but a change of a phase; Change (without treason). I have a given time, anyway, but the same. A bud can dismiss, but it is the same flower, nothing new to it is added. We can't see an increase in the limit or restriction (except death if it is about a person). And this limit is seeing the blooming flower, we know in advance "1. It would seem that this reasoning enters into a contradiction with a rapidism of the mind of the mind, unexpected bends of spiritual and spiritual biography, the transitions from one building to another, which seemed to be exactly the opposite to another, which seemed exactly the opposite of thoughts to another thought. But such self-esteem should at the same time encourage the researchers to find the main, support constants in the world view, which could open the door to her work.
In one of the poems that did not enter the lifted books of poems, Hippius gave her formula of the world's vision:
Three mindlessness is rich.
Triple bottomlessness is given to poets.
And do not say poets
Only about it?
Only about it?
Triple truth - and triple threshold.
Poets, believe it correct.
Only God thinks about it:
About a human.
Love.
And death 2.
Man, Love, Death, God - Here are the main topics around which the Creativity Hippius invariably concentrates, and this concentration is a reflection of ideological quests that fill the entire creature of the poet.
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1 g of Ippiius-Merezhkovskaya Z. Dmitry Merezhkovsky, p. 42.
2 Modern notes, 1927, kN. Xxxi, p. 247.
The main thing in this notebook, of course, is God. It is complete to judge the problems of religious thinking hypius so far clearly early. The point here is not only that many of the documents of her world-plating have not yet become not only the subject of consideration, but not even published, and above all that the most important aspects of this world survey remain in the sphere of "unspeakable", are inexpressible by human words. If it was so for Hippius, accustomed to openly discuss the most pressing problems of religious consciousness with acquaintances, half a commercial and not at all unfamiliar people, then it is all the more true for us, in many ways lost the keys to the very build of the thoughts in which the ideas of hypius developed.
If you still try to do this, call the mysterious by your name, then the most correct thing to start with the wording given to it in autobiography: "The center of the same place, the essence of the indigenous world, to which the consistent path led me is, is the" only in words ". Schematically, in part symbolically, this entity is presented in the form of a comprehensive global triangle, in the form of a permanent sentence of three beginnings, inseparable and unsalted, always three - and always constituting one.
The embodiment of this worldview in words and, most importantly, in life - it is necessary, and it will be. Not at the power of us will do others. It is still, if only it was "1.
The triplicity of the nature of the universe opens hypius in a wide variety of spheres of being, from the most fundamental to the lower belonging to the private life of a separate person. However, the definition of "lower" here is not quite accurate, for in the world of hypiot (as, however, in the representation of most Russian symbolists) everything is intertwined inextricably, and in a block, eliminated from the universe, all of it is reflected as clearly as in all Your volume, microcosm there is an accurate similarity of Macrocosm.
In order to imagine how this tripleness spread to all the worldview, listen to the opinion of a solid congestion of life and creativity Hippius: "Hippius also distinguished the three phases in their concept of the history of mankind and his future. These phases represent three different kingdoms: the kingdom of God the Father is the kingdom of the Old Testament; The kingdom of God-Son, Jesus Christ - the Kingdom of the New Testament and the current phase in the religious evolution of mankind, and the kingdom of God - the Spirit of the Holy Mother's Spirit, the Kingdom of the Third Testament, which will open humanity in the future. The kingdom of the Old Testament opened God's power and power as the truth; The kingdom of the New Testament opens the truth as love, and the kingdom of the Third Testament will open love as freedom. The third and last kingdom, the kingdom of third humanity, will allow all existing unsolvable antithesis - sex and asceticism, individualism and the public, slavery and freedom, atheism and religiosity, hatred and love "1.
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1 Russian literature of the XX century, p. 177.
And the person in three of his hypostatas, symbolized by the numbers 1, 2 and 3. 1, should be included in this triple, symbolized by numbers 1, 2 and 3. 1 is a person as a person who is deprived of external ties and thereby doomed to hopeless existence in the world. It is even more important that, on the basis of such a presentation, Hippius strongly rejects individualism, so important for the early Russian symbolism in its decadent goods. Neither Solnogubovsky Solipseism nor the underlined glorification of a separate person standing outside of human standards, characteristic of the day of early Bruce, nor the more decadent feces of poets such as Alexander Dobrolyubov for hypius as an inner driving force did not exist. The indispensable stage of Genesis was becoming 2 - the union of two personalities in love, in a certain ideal action, from which the "lust" was almost eliminated (as it happened in the real tripal alliance of Merezhkovsky and philosophian) and the desire for childbearing, but the spiritual acquires particular importance The unity of two human individuals, again "inseparable and unsalted". But the full love of his love could be found only if the third joins the third - God, invisibly, but clearly present in their union. The completion of a mystical triangle gives a special fortress and the inviolability of everything that is happening.
From the point of view of a modern man who perceives the "miscarriage" of Hippius without their personal mystical halo, it may look ridiculous, naive, utopian. However, it was precisely on this basis that all the mini-plating hypius, which became the basis of not only for the new religious act, which really existed in nature, but also for its creative development as a poet, prose, criticism. And yet, apparently, if the work of Hippiiius was valuable only by this, that is, the expression of the new religious consciousness, the presentation of the coming kingdom of the Third Testament, about the new church, founded by Merezhkovsky and
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1 Pachmuss Temira. Op. Cit, p. 104-105.
Philosophers1, it is unlikely that we would have reread her works now. Religious ideas Hippiiius, which were in a completely special sphere in relation to historical Christianity and historical church, had too small distribution during life, and after the death of Merezhkovsky and generally left the consciousness of Russian society. But its creativity, in addition to the value of religious and ideological, carries the importance and purely artistic, not disappearing over time, as the abyss of the phenomenon of art in general.
In the book, before the eyes of the reader, those parts of the literary heritage of Hippiius, who, from our point of view, have retained their importance for modernity to the greatest extent: poems and memoirs. The poems give an idea of \u200b\u200bthe life of the spirit that was so tense at Hippius all of its many years, and memoirs represent her relationship with many outstanding Russian writers, and not only portraits of various people are drawn in them, but also a portrait of the Hippius itself is quite clearly visible.
The current reader who is accustomed to deal with poetry A. Akhmatova or M. Tsvetaeva, Poems Hippiiius may seem strange, not accompanying the traditional idea of \u200b\u200b"female poetry". First of all - she is speaking all the time from the man's face. In one of the few cases, when the poem was written in feminine, Hippius immediately collided with a wave of misunderstanding and rejection, her heroine (and quite abstract pain) was identified by critics and parodists with her itself, and the anecdical conclusions made from this identification were immediately made by the possession of the press. In verses wanted to see the true face of poetess, whereas she preferred to hide behind a mask of a relative narrator.
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1 The most detailed description of this church, its rituals and symbols is contained in the Diary Hippius entitled "On Former" (Revival, 1970, No. 218-220). In the literature, affordable to the Soviet reader, let's call the memories of M. Shaginyan "Man and Time".
2 Pretty skeptically configured to this idea of \u200b\u200bBruce recorded in the diary: "After talked about the church, they are close to her. It was about whether you should be tested. "I think that if I died, you would take it, said Zinechka D. S. He hesitated, whether the priest was not better called, but after he decided that he could join the zinchik .<...> All this is not a joke, but just seriously. What hell and paradise is. Argued for a long time, whether a terrible court was committed in a phenomenal or not. Nonsense and absurdity "(GBL, f. 386, cards. 1, units. XP 16).
And it's funny to search in her verses of an open expression of emotions, direct experiences, that spontaneity of feeling, which is characteristic, say, for the color. In one of the letters to the writer V. D. Komarov Hippius so formulated the basic principle of his writing: "I, without any" female "modesty, I really sincerely consider myself incapable of sober things, juicy, as I put it -" from flesh and blood " . It is now that I am writing a similar thing (for the last time!) And with each line in despair I repeat: not that! not that! And there is no fun in the Scripture, the soul participates only by half, and I look forward to the moment when I again begin something in my spirit - on Paul Archshina from the Earth. "1 It is written about the prose, but also in verses that hypiota attached special significance2, there is also a similar attitude to the material. They are always somewhat abstructed from time and place of action and in most cases are text or developing some idea in a clean form, as an ideal presentation, or an existing in the form of direct prayer. In the early book, Marietta Shaginyan, dedicated to poetry hypiot, even made counting: "We have only 161 a poem in both books. Of these, more than fifty are an expression of the author's relationship towards God, direct or indirect, with the constant mention of the name of God; and eleven of these poems<...> The essence of direct - in form and content - prayers, consciously clothed with the author in a poetic form "3. It is unlikely that such a responsible statement could be done without the sanction of the poets itself, with whom Shaginyan has long talked closely.
And indeed, many poems Hippius are before us not as prayers in the figures of this word, in which every true poetry is a prayer, that is, a verbal formulated attitude towards the universe, and how the prayers are concrete, created in a state of extremely aggravated need in response, and Answer effective.
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1 Tsagali, f. 238, op. 1, units. xp 154.
2 In the same letter, she said: "Nothing in the world gives me such a pleasure, as writing poems - maybe because I am writing one poem per year - approximately, but after everyone I go all day as in love, and It takes some time to come to yourself. "
3 Shaginyan Marietta. On the bliss of the property. Poetry Z.N. Hippius. M., 1912, p. P. On the list of prayer poems, it brought the following: "Prayer", "knock", "Road", "Non-Church Teacher", "Christ", "Other", "Fear and Death", "God's creature", "Bander Ring "," justification "," Take me. "
Obviously, this "limit" 1 and produces such a strong impression on the reading poems hypius and now. A famous phrase of the block, determined by the poetry of Akhmatova, is: "She writes poetry as if a man, but it should be written as if before God." Obviously, in relation to Akhmatova, it is unfair, but the opposite in relation to hypiiius is fairly completely. She really writes their poems as if in a constant upcoming, before God, and hence the strong, and the weaknesses of her poetry. The tension of the feeling, sincerity of thought, the acute feeling of every spiritual breakfast, every change in the volatile soul, which caused a poem to life, - all this makes listening to her words. At the same time, a constant desire to feel "before God", leading to artificial smelting of experiences, leads to the fact that any "immaintity" seeks to certainly be called, and from this stems to shocking many contemporaries poetess as limit to the "last questions", Immediately turning into frivolous juggling with high concepts. Hippius poems, it is necessary to remember the feeling that an outstanding Russian woman experienced at the first acquaintance with Merezhkovsky - Mother Maria, Elizaveta Yuryevna Kuzmina Karavaeva: "We did not have time to say hello to everyone, and Meriazhkovsky shouts my husband:
- Who are you with Christ or with Antichrist?
The dispute continues. I recognize that Christ and the Revolution are inextricably linked that the revolution is the disclosure of the Third Testament. I hear the endless stream of the last, most serious words. In front of me as if spiritual nude, all outward, everything is almost shameless<...> Is I not among irresponsible words that begin to be perceived as blasphemy as an insult as a deadly poison? It is necessary to run, exempted "2.
For our time, this feeling is almost lost, because the atmosphere has changed, surrounding today's reader in everyday life. But the hypius is necessary to remember this face of creativity.
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1 As the same Shaginyan wrote "When it is already impossible to go further, the soul stops, closed, at the extreme borders, not yet spread, - and the minute it is captured by the author in the poem" (W A G and I N Marytte. On the bliss of the property, with . sixteen).
2 Alexander Block in the memoirs of contemporaries, t. II. M, 1980, p. 63-64.
It must be said that in his confidence in his own rightness, hypius was not always inclined to hear other voices, having their own truth, his own idea of \u200b\u200bthe world and on the laws defining its being. With the greatest clarity, this was put in verses written immediately after the October Revolution. Discarding one side of what is happening, Hippius described it with that artistic power that makes a poem convincing, makes it takes to believe it, even if you disagree with the author. Was the side seen by the poetess in the revolution, in fact? Undoubtedly, it was. But to see only her, listen only to this voice, clinging his rumor from the music of the revolution and hear only her howl and scream, was one of the manifestations of one-sidedness of poetess in her desperate struggle for his own understanding of the essence of the world.
The story of poetry hypiot will be obviously incomplete, if not to say about the meaning that she acquired in the history of the Russian verse. Hippius was one of the first, who began a long time ago, at the end of the XIX century, develop non-standard meters and rhythms, experimenting with strokes (in particular, to originally develop a Russian sonnet). In his books, she avoided include open experiments, but it is worth noting that much of them anticipates the search for futurists. Say, the search for rhymes to the word dominant in the poem or row, as it was with the word "truth", immediately cause a modern historian of the poetry line from the Mayakovsky article "how to do poems": "I always put the most characteristic word at the end of the line and get out It is rhyme for anything "1. And cited in the memoirs about Bruce "Dissenters Rhymes", published in 1911, reject the complaints of futurists who announced: "The front rhyme (David Burluk), the average, reverse rhyme (Mayakovsky) developed by us" 2. But the main rhyme that Evtushenko and Ahmadulin uses so widely in our days, was also tested Hippius. Against the background of enough smooth poems of the late XIX century, when almost none of the poets decided to systematically go beyond the classical metric, hypius gave the novelty samples not only in the content side of the verse, but also in its form. Yes, and at the beginning of the twentieth century, when the experiment became for the poetics, it was completely legal for the poetics, it demonstrated their ability to find the opportunities in the Russian verse that was often not even suspected.
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2 ibid, vol. 13, p. 246.
In a word, poem Hippius - from the very first and most recent, which included in the collection "Lights" - undoubtedly, labeled with the unique brand of the author, the sign of his poetic personality, making the concept of "Poetry Zinaida Hippius" by a completely concrete, immediately causing in memory not separate Successful lines, and the impression of a holistic artistic world, endowed with its laws, its external forms, its logic, geography, the flow of time, in a word, with all what we demand from the world of this poet.
This inner world, closely associated with the inner world of hypiius-man, is dominated in the memoir book 
"Live persons", first represented by the Soviet reader. Six essays united in two issues of Prague publication are introduced into our field of view of the block, Brysov, Sologuba, Rosanov and senior contemporaries Hippius, already for her who retired to the area of \u200b\u200blegend (Plescheyev, Polonsky, Majkova, Grigorovich, Weinberg, Suvorin ...) . But, as well as in all kinds of memoirs, these personality is shown to us not in the objectivity of their existence, but in the perception, which was due to the personality of the memoirristian. Repeat: it always happens. But in the case of "live persons", it is necessary to speak constantly and especially persistently, since the extremely strong and original personality hypius refracts events and impressions from them in such a way that it is often an impression of a certain curve of the mirror. Inside the irresponsible block, confused under the demonic mask of Bruce, Baritary Plescheev, spiritually alive and internally young Suvorin, - how it all does not look like our traditional ideas about them! From time to time the need arises to object hypiot, shout: "No! not this way! I do not believe!" "But she continues to convince the power of his talent and forces it in the end to believe that her characters were just such."
A little degrees, going away from a direct impression, remembering other memories and judgments, you begin to understand that the big truth of Memoirov Hippiiius is that her heroes were and could be perceived and as she perceived them. And then really begin to remember that in the block there was something about the eternal child surrounded by a loving relative to the relatives, from which he was saved and flew, he returned to their kind embracing; You begin to estimate the drafts of Brussian letters to Hippius, where he deliberately sulfates his thought and feeling to create the impression of greater depth, and Hippius is easily parried of his sophistication, no matter how not even noticing them; You begin to understand the justice of the concept of the people of the sixties as external materialists, but in the depths of the soul so deep and purely believers in the upcoming truth and justice, which turn out to be one step from the faith that Hippius professed all his life ...
Of course, as the only source of her memoirs can not be taken, - too much subjective invested in them hypiot, too resolutely it is diverted from those memories that they look unflattering for her. So, in "my lunar friend", she seeks to explain non-separable cooling in relations with a block of causes of purely external, non-communications with the inner meaning of the existence of two poets, whereas in fact (and this is excellent shown Z. G. Mintz1) meetings and discrepancies The block with Hippius and Merezhkovsky was caused by the deep circumstances of his spiritual development, in the existence of which, however, Hippius generally doubted. It is as thoroughly shes on the story with the exception of Rosanov from the religious and philosophical assemblies, which for Meriazhkovsky, shortly before that that came up with the same Rozanov in relations with suvorin and readiness to be printed in the "New Time", it looks very ugly (however, we do not have at all The form that Rozanov was innocent in this situation). She builds a lot of vain and Bruce, and on Gorky, which is easily refuted by the documents and memories of their other contemporaries, not to believe in this case it is impossible.
So I will say to the reader who wants through the MEMUARS Hippius to see the era of such what it was actually that this can be done only if you constantly drain the described with other memoirs and documents, having constantly in mind that in any other memoirs however in good faith they were, there may be subjective interpretations, and memory errors, and excessive severeness to rumors; Yes, and documents, by wise Word Tynyanov, can "lie like people."
But in this case, the memories will remain a valuable historical source not only because they talk about very significant events that no one else can tell, but also because through the text we see the hypius itself, a person for Russian culture of that time is extremely important .
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1 See: M and H C Z. G. A. Block in the controversy with Mererykovsky.- Blokovsky collection, IV. Tartu, 1981.
Do not hide behind the imaginary objectivity, it draws a complex picture in which it clearly outlines its own place, thereby making memories evidence doubly valuable. In this light, the defaults are acquired by the defaults, intentional and unsliminated distortion of reality: they are to the same extent as said, give readers of "living persons" the opportunity to see and understand the role of Hippius in the literary and social movement of the era.
For a long time, official literary studies tried to throw off Zinaida Hippius from the history of the Russian culture of the beginning of the century, pretend to pretend that very unflattering (which is quite natural) Gorky estimates completely exhaust the need to talk about hypiota as a writer and as a cultural figure. In fact, this led only to one: to the emergence of various myths, which lowered her creativity without any reservations (as, however, the creativity of Sologuba, Khodasevich, Gumilyov, Nabokova - and bear the number of others), then, mutating in unofficial thinking , gave him an extreme value. The current publication is the first step to be assessed by it without anger and addiction, with the complete knowledge, which only and can create a living picture of the life of literary and ideological quests both in the sphere of religious and in the sphere of pure public, political clashes. , without which it is impossible to understand our past, and therefore, our present, so requiring evaluation and interpretation.
Hippius Zinaida Nikolaevna, pseudonym - Anton Extreme - Poet, Prose, critic. In the 70s, her father served as a fellow Ober-Prosecutor of the Senate, but soon (after the exacerbation of tuberculosis) moved with his family to Nezhin, where he received a court chairman. After his death, the family moved to Moscow, and then in Yalta and Tiflis. There was no feminine gymnasium in non-residential, and the foundations of science hypause trained home teachers. In the 80s, living in Yalta and Tiflis, Hippius is fond of Russian classics, especially F.M. Dostoevsky.
In the summer of 1889, Hippius is married to D.S. Merezhkovsky and with him moved to Petersburg, where he starts literary activities in the circle of symbolists, which in the 90s it develops around the journal "Northern Vestnik" (D. Mezhkovsky, N. Minsky, A.Volynsky, F. Sologub) and popularizes The ideas of Bodler, Nietzsche, Meterlinka. In line with the moods and those who are characteristic of the work of the participants of this circle, and under the influence of new Western poetry, poetic topics and the style of poetry hypius are beginning to be determined.
In print poems, Hippius appeared for the first time in 1888 in the North Herald, signed by Zinaida Hippius. The main motives of early poetry Hippius - the curse of boring reality and the glorification of the world of fantasy, the search for the newest-sized beauty ("I need something that is not in the world ..."), a dreary feeling of disunity with people and at the same time is a thirst for loneliness. These verses reflected the main motives for early symbolic poetry, its ethical and aesthetic maximalism. Genuine poetry, considered Hippius, is reduced only to the "triple bottomlessness of the world," three topics - "On a man, love and death". The poetess dreamed of reconciliation of love and eternity, but the only path to this was seen in death, which only can save love from all transient. These reflections were determined on "Eternal themes" determined the tonality of many poems hypius.
The same moods dominated in the two first books of Hippius stories. "New people" (1896) and "Mirrors" (1898). The main idea of \u200b\u200bthem is the approval of the truth of only the intuitive start of life, beauty "in all its manifestations" and contradictions and lies in the name of some high truth. In the stories of these books, the explicit influence of the ideas of Dostoevsky, perceived in the spirit of decadent world population.
In ideological and creative development, Hippius played a big role played the first Russian revolution, which turned her to public issues. They begin to take a big place in her verses, stories, novels.
After the revolution, collections of the stories "Black in White" (1908), "Lunar Ants" (1912), the novels "Cheyrtov Doll" (1911), "Roman-Tsarevich" (1913). But, speaking of revolution, creating images of revolutionaries, Hippius argues that the true revolution in Russia is possible only due to the revolution of religious (more precisely, as a result of it). Outside the "Revolution in the Spirit", Hippius convinced, portraying Russian post-revolutionary reality in the "Black Doll", the myth, fiction, the game of imagination, which can play only non-neurasthenics-individualists.
Oktyabrskaya Revolution Hippius met hostile. Together with Merezhkovsky in 1920 emigrated. Emigrant creativity Hippius consists of poems, memories, journalists. She spoke with sharp attacks on Soviet Russia, prophesied her soon fall. The book of "Lights" (Paris, 1939), two volumes of memories "live persons" (Prague, 1925), are very subjective and very personal, who reflected it, and political views, and the unfinished book of memoirs and political views, and the unfinished book of memories of Meryechkovsky, (Z.Gippiius-Merezhkovskaya, Dmitry Meriazhkovsky - Paris, 1951), which even critic Emigrant G.STraw said that she demands great amendments "to bonding and even the omnibration of a memoirist."
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Moscow Department of Education
Federal State Budgetary Educational Institution of Higher Professional Education
Moscow Pedagogical State University
Test
by discipline: literary studies
on the topic: Creativity Z.N. Hippius
Performed:
Droccan D.G.
Moscow, 2014
1. Biography Zinaida Nikolaevna Hippius
Hippius Zinaida Nikolaevna (1869-1945), Russian Poet, Prose, literary critic. From 1920 in emigration. Born 8 (20) November 1869 in Bellev Tula lips. In the family of a lawyer who rubbed German.
Nikolai Romanovich Hippius and Anastasia Vasilyevna Stepanova, daughter of the Yekaterinburg Oberpolitzmeister, got married in 1869. It is known that the ancestors of the father emigrated from Mecklenburg to the Russian state in the XVI century, the first of them, Adolfus von Gingst, who changed the surname to the "Hypius von Hippius" (him. Von Hippius), settled in Moscow, opened the first in German Sloboda in 1534 Russia bookstore. Gradually, the genus Hippius became less and less "German", in the veins of the daughters of Nikolai Romanovich Russian blood was three-quarters.
Zinaida was the eldest of four daughters. In 1872, Hippius was born asya (Anna Nikolaevna), which later became a doctor. Since 1919, she lived in emigration, where he published work on historical and religious topics ("Saint Tikhon Zadonsky", 1927). Two other sisters - Tatiana Nikolaevna (1877-1957), an artist who wrote, in particular, the portrait of A. Blok (1906), and the sculptor Natalia Nikolaevna (1880-1963) - remained in Soviet Russia, where they were arrested and link, after liberation From the German concentration camp, they worked in the Novgorod Art Museum of Restoration.
In the summer of 1888, eighteen-year-old Zinaida Hippius met Borjomi with a twenty-one-year-old poet D.S. Merezhkovsky, who had just released her first book of poems and trained in the Caucasus. A few days before the meeting, one of the fans Hippius demonstrated the Merezhkovsky photography of the girl. "What a face!" - As if exclaimed Merezhkovsky (if you believe the memories of V. Zlobin). At the same time, Hippius the name of Merezhkovsky was already familiar. "... I remember the Petersburg magazine, the old, last year ... there, among the Diffirabov Naddon, mentioned another poet and Nadon's friend - Merezhkovsky. Even some of his poem, which I did not like it. But it is unknown why - the name is remembered, "Hippius wrote, meaning the poem" Buddha "(" Bodisatva ") in the first issue of the" Bulletin of Europe "for 1887.
A new acquaintance, as he recalled the hypius, was distinguished from the rest of her admirers seriousness and silence. All biographical sources note the mutual sensation of ideal "intellectual compatibility" immediately between them. In his new acquaintance, Merezhkovsky immediately gained a like-minded man, "he who understood from half-clow, what even he himself was confident to the end," for Hippius (according to Y. Zobnin), the phenomenon of Meriakhovsky had "Onegin" character before all her The novels "ended the sorting record in the diary:" I am in love with him, but I see that he is a fool. "
January 8, 1889 in Tiflis Hippius was notified with Merezhkovsky. The wedding was very simple, without witnesses, colors and a wedding dress, in the presence of relatives and two chapheris. After the wedding of Zinaida Nikolaevna went home, Dmitry Sergeevich - to the hotel. In the morning, the mother woke up the bride cry: "Get up! You still sleep, and my husband came! " Only here Zinaida remembered that yesterday was married. Newlyweds everyday met in the living room for tea, and closer to the evening they left Dilijanse to Moscow, from which they again went to the Caucasus in the Military Guard. At the end of this brief wedding trip, they returned to the capital - first in a small, but cozy apartment on Virusky street, 12, removed and furnished with a young husband, and at the end of 1889 - in the apartment in the apartment house, which was removed for them, offering in as a wedding gift, mother Dmitry Sergeevich. Union with D.S. Meriazhkovsky "made sense and a powerful incentive of all ... Improving the internal activity" began "beginner poetess, soon allowing" breaking on huge intellectual expanses ". It was noted that this marital union played a crucial role in the development and development of the literature "Silver Century".
The statement of Hippius is widely known that the spouses lived together for 52 years, "... without dividing any day." However, the fact that they were "created for each other" should not be understood (as V. Zlobin clarified) "in the romantic sense." Contemporaries argued that their family union was primarily a spiritual union and was never truly married. Despite the fact that "the bodily side of marriage has denied both", both (as Vulf notes) "hobbies, love happened."
In April 1892, at Villa, Professor Maxim Kovalevsky Merezhkovsky met with a student of the St. Petersburg University Dmitry Philosophical. Hippius drew attention to the fact that "the young man was wonderful beautiful," but immediately forgot about it. Ten years later, philosophers became her close friend, to which, until the end of his life, she retained the deepest feelings. "... philosophers has emerged by the situation. He was tormented by conscience, he felt extremely awkwardness before Meriazhkovsky, to whom he experienced the most friendly location and considered his mentor. "
Merezhkovsky (in a letter V.V. Rozanov on October 14, 1899) recognized: "Zinaida Nikolaevna ... not another person, and I am in another body." "We are one creature," Hippiiius constantly explained. V.A. Zlobin outlined the situation by the next metaphor: "If you imagine Merezhkovsky as a kind of high tree with branches, then the roots of this tree - she. And the deeper the roots grow into the ground, the higher the branches extend to the sky. And here are some of them as it may apply to Paradise. But that she is in hell - no one suspects. "
The last record in the diary Hippius made before the death itself was phrase: "I stall a little. How God is wise and fair. " Zinaida Nikolaevna Hippius died in Paris on September 9, 1945. The secretary V. Zlobin remained to the last side testified that in a moment before the death of two tears of glass on her cheeks and the "expression of deep happiness" appeared on her face.
Zinaida Hippius was buried under one tombstone with Merezhkovsky at the Cemetery of St. Geneviev de Boua.
2. Creativity Zinaida Nikolaevna Hippius
The beginning of the literary activities of Zinaida Hippius (1889-1892) It is considered to be the stage of "romantic ammunition": in its early poems and stories of criticism of that time, the influences of Nice, Reskina, Nietzsche saw.
After the appearance of program work D.S. Merezhkovsky "On the reason for the decline and new currents of modern Russian literature" (1892), the work of Hippius acquired a clearly "symbolist" character, moreover, it later began to be counted among the ideologues of the new modernist movement in Russian literature. During these years, the central theme of her creativity becomes a sermon of new ethical values. As she wrote in "Autobiography", "I was engaged in, actually, not decadence, but the problem of individualism and all the questions related to it." The collection of stories of 1896, she polemically entitled "New People", thereby implying the image of the characteristic ideological aspirations of the emerging literary generation, anew rethinking value of "new people" Chernyshevsky.
Her heroes seem unusual, lonely, painful, underlined incomprehensible. They declare new values: "I would not want to live at all," "And the disease is good ... you need to die from something", "Miss May" story, 1895.
In the story "Among the Dead" shows the extraordinary love of the heroine to the deceased artist, whose grave she surrounded care and on which, in the end, freezes, having connected, so in his unearthly feeling with his beloved.
However, at the heroes of the first prosaic collections, the hypios of the "symbolist type" people who were searching for the "new beauty" and human spiritual transformation paths were noticed and clear traces of the influence of Dostoevsky (not lost over the years: in particular, Roman-Tsarevich 1912 Compared with "demons"). In the story of "Mirrors" (the eponymous collection of 1898), the heroes have their prototypes among the characters of the works of Dostoevsky. The main heroine tells how she "everything wanted to do something great, but such ... unparalleled. And then I see that I can't - and I think: let me do something bad, but very, very bad, to the bottom of the bad ... "," Know that it is not bad to offend. "
But her heroes inherited the problematics not only Dostoevsky, but also Merezhkovsky. ("We are for new beauty, violate all laws ..."). In the novel "Zlatootsvet" (1896), the murder on "ideological" is being reached in the name of the complete release of the hero: "She must die ... Everything will die with her - and he, Zvygin, will be free from love, and from hatred, and from all thoughts about her". Reflections on the murder are interspersed with disputes of beauty, freedom of personality, about Oscare Wilde, etc.
Hippius did not copy blindly, and re-conceived Russian classics, placing his heroes into the atmosphere of Dostoevsky's works. This process was of great importance for the history of Russian symbolism as a whole. The main motives of the early poetry hypiot critics of the beginning of the 20th century were considered "curses of boring reality", "the glorification of the world of fantasy", the search for "newest-sized beauty." The conflict characteristic of the symbolist literature between a painful sensation within the human disunity and, at the same time, the desire for loneliness was present in the early work of Hippius marked with characteristic ethical and aesthetic maximalism. Genuine poetry considered Hippius, it comes down to the "Triple Cleanness" of the World, three themes - "On a man, love and death". The poetess dreamed of "reconciliation of love and eternity", but the uniting role assigned death, which only can save love from all transient. This kind of thought on the "Eternal Topics", which determined the tonality of many poems Hippius of 1900, dominated in the two first books of the Gippius stories, the main topics of which were - "approval of the truth of only an intuitive start of life, beauty in all its manifestations and contradictions and lies in the name Some of the high truth. "
The Third Story Book (1902) Hippius caused a significant resonance, the critic in connection with this collection spoke about the "painful strangeness" of the author, the "mystical fog", "head mysticism", the concept of metaphysics of love "against the background of people's spiritual twilight ... not yet capable To realize it. " The formula of "Love and Suffering" on Hippius (according to the "Encyclopedia of Kirill and Methodius") relates to the "meaning of love" V.S. Solovyov and carries the basic idea: to love not for themselves, not for happiness and "assignment", but to gain infinity in "I". Imperatives: "Express and give the whole soul", to go to the end in any experience, including in experimenting with you and people, were considered the main life plants.
A notable event in the literary life of Russia of the beginning of the 20th century was the exit of the first collection of poems from Z. Gippius in 1904. Criticism noted here the "motifs of tragic closetness, deprivation of the world, the volitional self-affirmation of the individual." The like-minded people noted a special manner of "poetic letter, non-infractions, allegory, hint, defaults", the Manera playing "singeling chords of distraction on the piano", "as I. Annensky called it. The latter believed that "no man would never dare to dress up abstraction with such charm," and that in this book, the whole fifteen-year-old story ... lyrical modernism in Russia was best embodied. A significant place in poetry hypiot took the topic of "efforts to create and preserve the soul", with all the "devilish" claims and temptations from them, many were avenue with which the poetess told about their internal conflicts. An outstanding master of verse believed her V.Ya. Bruce and I.F. Annene, admired by the virtuosity of the form, rhythmic wealth and "singement abstraction" lyrics Hippius of the late 1890s - 1900s.
Some researchers believed that Creativity Hippius is distinguished by "characteristic not femininity", in her verses "everything is large, strongly, without private and small things. Live, acute thought, intertwined with complex emotions, breaks out of poems in search of spiritual integrity and gaining harmonic ideal. " Others warned against unequivocal estimates: "When you think about where Hippius is intimate, where the necessary rod, which is the work of creativity, where -" face ", then you feel: this poet may be like anyone else, there is no single person, And there is a lot ... ", - wrote R. Gul.
I.A. Bunin, implying a Hippius stylist who does not recognize open emotionality and often built on the use of oxymoronov, called it poetry "electric poems", V.F. Khodasevich, reviewing the "radiance", wrote about the "peculiar internal boring of the poetic soul with a non-efficient mind."
Collected stories Hippius "Scarlet Sword" (1906) highlighted "the author's metaphysics already in the light of non-Christian themes", while the God-human person in the human person consisted here as a givenness, the sin of self-andman was considered uniform. Collection "Black on White" (1908), which made the prosaic works of 1903-1906, was set aside in the "tangent, foggy-impressionistic manner" and explored the topics of the dignity of the personality ("on the ropes"), love and gender ("in love" "Eternal" female "," two-one "), in the story" Ivan Ivanovich and Damn "the influences of Dostoevsky were again noted. In the 1900s, Hippius declared itself and as a playwright: The play "Holy Blood" (1900) entered the third book of the stories. Created in co-authorship with D. Merezhkovsky and D. Philosophical play "Poppy Color" was published in 1908 and was a response to revolutionary events of 1905-1907. The most successful dramatic work of Hippius is considered the "Green Ring" (1916), the play dedicated to the people of "tomorrow" was supplied by VE. Meyerhold in the Alexandrinsky Theater.
An important place in the work of Z. Gippiius occupied critical articles that were first published in the "New Way", then in the "scales" and "Russian thought" (mainly under the pseudonym Anton extreme). However, its judgments were distinguished (according to the "new encyclopedic dictionary") both "Big Thoughtfulness" and "extremely sharpness and sometimes lack of impartiality." Running with the authors of the magazine "World of Art" S.P. Dyagilev and A.N. Benoit on religious soil, hypiotus wrote: "... live among their beauty scary. There is no place for ... God, faith, death, this is the art" for "here", "the art of positivist."
A.P. Czechs in the evaluation of criticism - the writer "Cooling the heart to the whole living", and those whom the Chekhov will be able to captivate, "go to be treated, shoot and to dry." In her opinion ("Mercure De France"), Maxim Gorky "mediocial socialist and a learned artist." Konstantin Balmont, who published his poems in a democratic "magazine for everyone," criticized as follows: "In this literary" Omnibus "... even G. Balmont, after some poems, decides to be" as everything "" ("New Way", 1903, №2) that did not prevent her from also to put their poems in this magazine.
In the reviews on the collection of A. Bloka "Poems about the beautiful lady" with the epigraph "Without a deity, without inspiration", the hypius liked only some imitation of Vladimir Solovyov. In general, the collection was assessed as a foggy and peculiar "mystico-aesthetic romanticism." According to Criticism, where "without ladies", the poems of the block "are not harmful, unsuccessful", it sesters the "mermaid cold" and so on.
In 1910, the second collection of poems Hippius "Meeting of Pychs. Kn. 2. 1903-1909 ", in many ways, the" mental disorder of a person became the main theme, its main theme, in all the seekers of the highest meaning, the divine justification of low earthly existence ... ". Two novels of the unfinished trilogy, "Chestov Doll" ("Russian Thought", 1911, №1-3) and "Roman-Tsarevich" ("Russian thought", 1912, №9-12), were called on to "ignite the eternal, deep roots Reactions in public life, "collect" features of the spiritual death in one person, "but they met the rejection of critics that marked the tendency and" weak artistic embodiment. " In particular, in the first novel, the cartoon portraits of A. Blok and Vyach were given. Ivanova, and the chief hero was opposed by the "enlightened faces" of the participants of the Triumvirata of Mererykovsky and Philosophian. Another novel was entirely devoted to the issues of sovereign and was, according to R.V. Ivanova-Obzaznik, "tedious and torn continuation by anyone who does not need the" Black Doll "." After their publication "New Encyclopedic Dictionary" wrote: Hippius is original as the author of poems than as the author of the stories and the lead. Always carefully thoughtful, often putting interesting questions that are not deprived of a label of observation, stories and lead Hippius at the same time somewhat contrived, alien to freshness of inspiration, do not show the real knowledge of life.
Heroes Hippius speak interesting words, fall into complex collisions, but do not live in front of the reader, most of them are only the personification of abstract ideas, and some are no more than skillfully worked puppets, leading in motion by the author's hand, and not the power of their internal psychological experiences.
Hate for the October Revolution forced Hippius to break with those from the former friends who took it with the block, Bryusov, White. The history of this gap and the reconstruction of ideological collisions, which led to the October events that made the inevitable confrontation of the former allies in literature, amounted to the essence of the memoir cycle of Hippius "Living Persons" (1925). The revolution (in advance the elements and a cleansing hurricane in it, which he saw the explosion in it, was described by her as a "tight suffocation" of monotonous days, "boredom is amazing" and at the same time, "monstrousness", which caused one desire: "go blind and flop." At the root of what happened Hippius seen some "huge madness" and considered extremely important to preserve the position of "common mind and hard memory."
Collection "Latest poems. 1914-1918 "(1918) Gippiiius led the hell under active poetic creativity, although two more poetic compilations were published abroad:" Poems. Diary 1911-1921 "(Berlin, 1922) and" Shinia "(Paris, 1939). In the works of the 1920s, the eschatological note prevailed ("Russia died irretrievably, the kingdom of the antichrist occurs, the crust of the collapsed culture will be ravaged" - according to the Encyclopedia "Circiers").
As the author's chronicle of the "bodily and spiritual dying of the old world", Hippiius left diaries, perceived by her as a unique literary genre, allowing to capture the "Lifestyle", fix the "disappeared little things", for which the descendants would be able to restore a reliable picture of the tragic event. Hippius artistic creativity in the years of emigration (according to the Encyclopedia "Circlevet") "begins to plump, she is increasingly penetrated by the conviction that the poet is not able to work away from Russia": "Heavy cold" reaches her soul, she is dead, like "Killed Hawk " This metaphor becomes key in the last collection Hippius "Lightness" (1938), where the motives of loneliness prevail and everything is seen by the look of "walking past" (title important for the late Hippius of the poems printed in 1924).
Attempts to reconcile with the world in the face of a close farewell with him are replaced by declarations of non-reconnaissance with violence and evil.
According to the "literary encyclopedia" (1929-1939), the overseas creativity hypiotus "deprived of any kind of artistic and social value, except that it brightly characterizes the` animal face "Emigrantshina". Another assessment of the work of the poetess gives V.S. Fedorov: creativity Hippius with all its internal vapority drama, with a tense-passionate desire to unattainable, has always been not only "change without treason", but also carried the exemption of hope, fiery, indestructible faith-love in the forensic truth of the ultimate harmony of human life and being .
Already living in emigration, his "behind the Star country" hopes with a aphoristic brilliance of the poetess wrote: Alas, they are divided ... (V.S. Fedorov). Z.N. Hippius. Russian literature XX century: writers, poets, playwrights.
3. Social activities Zinaida Nikolaevna Hippius
In 1899-1901, Hippius became close to the circle S.P. Dyagileva, who was grouped around the world of art, where she began to publish their first literary-critical articles. In them, signed by men's pseudonyms (Anton Extreme, Lev Pushchin, Comrade Hermann, Roman Arensky, Anton Kirsha, Nikita Evening, V. Vitovt), Hippius remained a consistent preacher of the aesthetic program of symbolism and philosophical ideas laid down in its foundation. After leaving the "world of art", Zinaida Nikolaevna acted as a criticism in the magazines "New Way" (actual degree of degree), "Scales", "Education", "New Word", "New Life", "Vershins", "Russian thought" , 1910-1914, (as a prose, she was published in the journal before), as well as in a number of newspapers: "Speech", "Word", "Morning of Russia" and so on.
The best critical articles were subsequently selected by it for the book "Literary Diary", (1908). Hippius as a whole negatively assessed the state of Russian artistic culture, tying him with the crisis of the religious foundations of life and the collapse of public ideals of the previous century. The vocation of the artist Hippius saw in the "active and direct impact on life", which was followed to "hike". The critic found his literary and spiritual ideal in the literature and art that developed "to prayer, to the concept of God." It was believed that these concepts were largely directed against writers close to the "knowledge led by M." Knowledge ", and in general," against literature oriented on the traditions of classical realism. "
By the beginning of the 20th century, Hippius and Merezhkovsky had their own, original ideas about freedom, metaphysics of love, as well as unusual non-physical views related primarily with the so-called "Third Testament". The spiritual and religious maximalism of Merezhkovsky, who expressed in the awareness of his "Providence, not only in the fate of Russia, but also in the fate of humanity," reached apogee in the early 1900s. In the article "Life Bread" (1901), Hippius wrote: "Let us be a sense of responsibility in relation to the flesh, to life, and the premonition of freedom - to spirit, to religion. When life and religion really come together, they will become one thing - our sense of duty will inevitably affect the religion, sprinkling with the premonition of freedom, (...) which the Son of Human promised us: "I came to make you free". "
The idea of \u200b\u200bthe update largely exhausted (as it seemed) Christianity arose in the Meriazhkovsky autumn of 1899. To implement the conceived, it was decided to create a "new church", where the "new religious consciousness would be born. The embodiment of this idea was the organization of religious and philosophical assembly (1901-1903), the purpose of which was proclaimed the creation of a public tribune for the "free discussion of the issues of the Church and Culture ... non-Christians, a public device and the improvement of human nature." The organizers of the assembly interpreted the opposition of the Spirit and the flesh: "Spirit - church, flesh - society, spirit - culture, flesh - people, spirit - religion, flesh - earthly life ...".
"New Church."
At first, Hippius was suddenly skeptical to a suddenly manifested her husband's "clericalism", later she recalled, as "evening gatherings" turned into "fruitless disputes", which did not make sense, for most Miriskusenikov were very far from religious issues. "But Dmitry Sergeyevich seemed that almost all understood him and sympathize with him," she added. Gradually, however, the wife not only took the position of her husband, but herself began to generate ideas related to the religious renewal of Russia.
L.Ya. Gurevich testified that Hippius "writes Catechisis a new religion and produces dogmas." In the early 1900s, all literary and journalistic and practical activities of Hippiius were directed to the embodiment of the ideas of the Third Testament and the coming Bogoral Tereocracy. The combination of Christian and pagan holiness to achieve the last universal religion was the cherished dream of Merezhkovsky, which the basis of their "new church" put the principle of combination - external division with the existing church and the inner union with her.
The appearance and development of the "New Religious Consciousness" hypiota justified the need to eliminate the gap (or the abyss) between the spirit and flesh, to sanctify the flesh and thereby enlighten it, to abolish Christian asceticism, a person forcing a person to live in the minds of his sinfulness, bring religion and art.
Disconnection, chopping, "unnecessaryness" for the other is the main "sin" of her contemporary, dying alone and who does not want to move away from him ("Criticism of Love"). Hippius assumed to overcome the search for the "common god", the awareness and adoption of "equivalence, multiplicity" of others, in their "inseparalism."
Distortion Hippius was not only theoretical: on the contrary, it suggested her husband to give shortly before that created by the religious and philosophical meetings "Public" status. "... we are in a close, tiny corner, with random people try to believe in between the artificial-mental agreement between them - why is it? Do you think that we are better to start some real thing in this side, but wider, and so that it was in the conditions of life, so that ... well, officials, money, ladies so that it is clear, and that different people come together who never converged ... "," she repeatedly retell his conversation with Merezhkovsky in the fall of 1901, at the cottage under the meadow. Merezhkovsky "jumped up, hit his hand on the table and shouted: right!" The idea of \u200b\u200bthe assembly received, thus, the last, terminating "bar".
Hippius with great enthusiasm described later his impressions of the assembly, where people met two first not in contact with communities. "Yes, these were truly two different worlds. Getting closer with "new" people, we moved from surprise to surprise. Not even about the inner difference, I'm talking now, but just about the skills, customs, about the very language, - all this was another, exactly the other culture ... There were people in between them peculiar deep, even thin. They perfectly understood the idea of \u200b\u200bmeetings, the meaning of the "meeting", "she wrote. I made a deep impression on it undertaken in those days with the resolution of the synod a trip with her husband to a bright lake, for the controversy with the rowers-splitters: "... what I had to see and hear, so enormous and fine - that I have only sadness - about People, like Nikolai Maximovich (Minsk), decadents ... Rozanova - "writers" traveling abroad and writing about unpaved philosophy and do not know anything about life as children. "
Hippius belonged to the idea of \u200b\u200bcreating a new path magazine (1903-1904), in which, along with a variety of materials about the revival of life, literature and art through "Religious Creativity", and reports of meetings were printed. The magazine existed not long, and his sunset was due to the Marxist "influence": on the one hand - (temporary, as it turned out), the transition of N. Minsk to the Leninsky camp, on the other - the appearance in the editorial office of the recent Marxist S.N. Bulgakov, in the hands of which turned out to be a political part of the magazine. Merezhkovsky and Rozanov quickly walked to the publication, and after the Bulgakov rejected the Hippius article about the block under the pretext of the "insufficient significance of poems theme" of the latter, it became clear that the role of "Merezhkovs" in the magazine was not at no.
In December 1905, the last book of the "New Way" was published, by this time Hippius was already printed, mainly in the Bryus "scales" and "northern colors".
The closure of the "New Way" and the events of 1905 significantly changed the life of Meriazhkovsky: they finally went to the home Circle of "Builders of the New Church", whose participant was now and a close friend of both D.V. Philosophers, with the participation of the latter and the famous "Three Brotherhood" was formed, the joint existence of which lasted 15 years. Often, the "sudden guesses", which came from the triumvirate, were initiated by Hippiius who served, as the remaining members of this union, the generator of new ideas, were also recognized. She was, in essence, the author of the idea about the "Triple Device of the World", which Merezhkovsky developed for decades.
The events of 1905 became largely turning in the life and work of Zinaida Hippius. If, before that time, the current socio-political issues were practically outside the sphere of its interests, then the execution of January 9 came for her and Merezhkovsky shock. After that, the actual public issues, "civil motifs" became in the work of Hippiius, primarily prose-free, dominant. For several years, the spouses became irreconcilable opponents of autocracy, fighters with the conservative state structure of Russia. "Yes, autocracy - from Antichrist," Hippiius wrote in those days.
In February 1906, Merezhkovsky left Russia and headed to Paris, where in voluntary "exile" spent more than two years. Here they released a collection of antimonarchical articles in French, got together with many revolutionary (primarily by Esrami), in particular with I.I. Fondaminsky and B.V. Savinkov. Later hypiotus wrote: in Paris, the poetess began to organize "Saturdays", which began to attend old writers (N. Minsk, who left the Leninist edition, K.D. Balmont et al.). In these Paris years, the spouses worked a lot: Merezhkovsky - over historical prose, hypius - over journalistic articles and verses.
The passion for politics did not affect mystical searches of the latter: the slogan of the creation of the "religious community" remained in force, assuming the connection of all radical movements to solve the task of renewal of Russia. Spouses were not interrupted by ties with Russian newspapers and magazines, continuing to publish articles and books in Russia.
So in 1906, a collection of stories Hippius "Scarlet Sword" came out, and in 1908 (also in St. Petersburg) - written in France by all the participants of the "Three Brotherhood" drama "Poppies", whose heroes were the participants of the new revolutionary movement.
In 1908, the spouses returned to Russia, and in the cold Petersburg at Hippius after three years there was no old diseases here again. Over the next six years, she and Merezhkovsky have repeatedly leaving abroad to be treated. In the last days of one such visit, in 1911, Hippius bought a cheap apartment in Passion (Rue Colonel Bonnet, 11-BIS), this acquisition was subsequently for both decisive, saving significance.
From the fall of 1908, Merezhkovsky took an active part in the religious and philosophical meetings renewed in St. Petersburg, transformed into a religious and philosophical society, but the representatives of the church were now practically not practically, and the intelligentsia itself solved numerous disputes. In 1910, "Meeting of Pychs. Kn. 2. 1903-1909 ", the second volume of the collection of Zinaida Hippius, in many respects consonant first. Its main theme was the "spiritual breakdown of a person, in all the seekers of the highest meaning, the divine justification of a low earthly existence, but not yet found sufficient resonance and accept - neither" the severity of happiness "nor rejecting him." By this time, many poems and some stories Hippius were translated into German and French. Abroad and in Russia they came out in French (in collaboration with D. Merezhkovsky and D. Philosophical) The book "Le Tsar et La Ryvolution" (1909) and an article about Russian poetry in Mercure De France. By the beginning of the 1910s, the last prosaic collection of Hippius "Lunar Ants" (1912), who has entered the stories that she herself believed in their works, as well as two novels of the unfinished trilogy: "Chestov Doll" (first part) and " Roman-Tsarevich "(the third part) who met the rejection of the left press (which saw" slander "to the revolution in them) and in general the cool technique of criticism, which found them frankly tendentious," problematic ".
The beginning of the First World War made a heavy impression on the Meriazhkovskih, they sharply opposed Russia's participation in it. The changed life position of Z. Gippius manifested themselves in an unusual way: it is from the face of three women (using the names of the names and surnames of the servants as the aliases as aliases) - began to write stylized ones under the firm "common" female letters to the soldiers to the front, sometimes putting them in the brushes.
These poems messages ("fly, fly, a present", "on the far kid", etc.), which did not represent artistic value, nevertheless, public resonance.
To the same period refers to the publication Hippius I.D. Syutin, who wrote A.V. Rumanov: "The trouble is scary again. We need to write Merezhkovsky and wrote ... But trouble with the publication of Zinaida. After all, this abandoned money, you have to do anything. "
4. Analysis of the poem "Pain"
Red carbon darkness cher
Shattering flesh liking
Tight, tight walk,
GNU, break and knit.
With a story
Stano and Smurk.
Game Wakeup,
A needle penetrate.
And I am so kind
Fall in love - so awake.
Like affectionate cobra i am
Purchase, woken.
And again sod, somnu,
Screw slowly Vintuch,
I will gnaw while I want.
I'm faithful - not deception.
You are tired - I will rest
Drop and wait.
I am true, love will be right
I will come to you again
I want to play with you
Red Coal Locks ...
poetess writer literary criticism
Zinaida Hippius was happy in marriage with Dmitry Meriazhkovsky, although their joint life was not smooth and simple. There were periods when spouses were starving in the literal sense of the word and laid their wedding rings to buy bread. And this is despite the fact that both Hippius and Merezhkovsky had very wealthy parents who could easily support the young family. But - did not do this, considering that their wayward children chose an inappropriate lifestyle.
However, if with the midnight existence of Zinaida Hippius could still somehow put up, then the separation of Russia became a real blow to her. It happened in early 1906, when, after a failed attempt at the state coup, her spouse insisted at the departure to Paris. It was the most real escape, covered with a faithful pretext to correct health abroad.
However, hypipes, and Merezhkovsky, who actively opposed the royal autocracy, simply could not accept the fact that the 1905 revolution ended with collapse.
As a result, the spouses voluntarily left Russia and two years wandered in France. It was during this period that the poem "Pain" was born, which many literary crituals tried for a very long time to rank a love lyrics to the category.
Indeed, in this work we are talking about deep feelings, however, they affect the relationship of Zinaida Hippius with his spouse, but her attitude to the country, which she considered his homeland all his life.
The poetess admits: "I am so kind, you fall in love - so awake." She really does not think of his life without Russia, although it understands that she will be much calmer and more comfortable for her. At the same time, Zinaida Hippiiius cannot cope with his longing, so promises: "I am true, love will return, I will come to you again." And this phrase sounds not like a barrafficness, but as a promise to overpower yourself and come to some compromise.
On the one hand, the poetess torments strong mental pain due to separation from the homeland, and on the other hand, it does not see places in Russia, where cruel repressions occur at this moment.
However, it is necessary to pay tribute to Zinaide Hippius, in 1908 she still persuades the spouse to return home. And after 9 years, completely changes his opinion on the revolution, calling it the "kingdom of Antichrist."
The fact that the spouses were able to survive in Hungry Petrograd in the winter of 1917-1918, so turning their concept of justice that they decide to leave Russia forever.
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Zinaida Nikolaevna Hippiius (on her husband Merezhkovskaya; November 8, 1869, Belyov, Russian Empire - September 9, 1945, Paris, France) - Russian poetess and writer, playwright and literary critic, one of the prominent representatives of the "Silver Century" of Russian culture. Hippius made up with D. S. Merezhkovsky One of the most original and creatively productive marital unions in the history of literature is considered an ideologist of Russian symbolism.
Zinaida Nikolaevna Hippius was born 8 (20) in November 1869 in the city of Beløve (now Tula region) in the russian German noble family. Father, Nikolai Romanovich Hippius, a famous lawyer, served for some time the Ober-prosecutor in the Senate; Mother, Anastasia Vasilyevna, nee Stepanov, was the daughter of the Yekaterinburg obrachpolitzmeister. By the need for the official activity of the Father, the family often moved from place to place, because of which the daughter did not receive a full-fledged education; Different educational institutions she attended urabs, preparing for exams with governess.
Poems Future poetess started writing from seven years. In 1902, in a letter, Valery Bryusov, she noticed: "In 1880, that is, when I was 11 years old, I already wrote poems (and I really believed in the" inspiration "and tried to write immediately, without tearing off the pen from paper). My poems seemed to everyone, but I did not hide them. Must make a reservation that I was not at all "corrupted" and very "religious" with all this ... ". At the same time, the girl with a rover, led the extensive diaries, willingly corresponded with familiar and friends of the Father. One of them, General N. S. Drashusov, first drew attention to young talent and advised her seriously to do literature.
Already for the first poetic exercises, the girls were characterized by the most gloomy moods. "I have been injured and love since childhood," - later recognized Hippius. As noted by one of the biographers of poetess, "... the time in which she was born and grew up - the seventies-eighties, did not impose any imprint on it. From the beginning of his days, it lives as if from the beginning of time and space, occupied almost with the pellery by the decision of eternal questions. " Subsequently, in a comic poems of autobiography, Hippius admitted: "I solved - the question is huge - / I went to a logical way, / solved: Numen and a phenomenon / in the ratio of what?". Vladimir Zlobin (secretary who spent the poetess most of his life) subsequently noted:
All she knows and feels at seventy years, she already knew and felt at seven, without knowing how to express it. "Every love conquers, absorbed by death," she recorded in 53 years ... And if she cries the first-old child so bitterly about her first love failure, then it was because with the ultimate sharpness felt that love would not be, as he felt after the death of his father What will die.
- V. A. Zlobin. Heavy soul. 1970.
N. R. Hippius was sick with tuberculosis; I barely received the position of the Ober-Prosecutor, he felt a sharp deterioration and was forced to urgently leave the family in Nezhin, to the Chernihiv province, to the new place of service, chairman of the local court. Zinaida was given to the Kiev Institute in Kiev, but for some time they were forced to pick up: the girl so walked around the house that almost all six months spent at the Institutional Lazarut. Since inherent was not a female gymnasium, she studied at home, with teachers from the local Gogol lyceum.
Nikolai Hippius died suddenly in Nevini in 1881; The widow remained with a large family - four daughters (Zinaida, Anna, Natalia and Tatiana), grandmother and unmarried sister - almost without livelihood. In 1882, Anastasia Vasilyevna and daughters moved to Moscow. Zinaida entered the Fisher's gymnasium, where he began to learn at first willingly and with interest. Soon, however, the doctors discovered tuberculosis and her, because of which the educational institution had to be left. "A little man with a big grief," the girl remembered here, who constantly carrying sadness on his face.
Fearing that all the children who inherited from the Father a tendency to Chakhotka can follow him, and especially disturbing the older daughter, Anastasia Hippius left the children in Yalta. The trip to Crimea not only satisfied the love of travel from childhood in the girl, but also provided it with new opportunities for classes in two favorite things: horse riding and literature. From here in 1885 the mother took the daughters in Tiflis, to Brother Alexander. He possessed sufficient means to remove the cottage to Borjomi for the niece, where she settled with her friend. Only here, after boring Crimean treatment, in the whirlwind of the "fun, dancing, poetic competitions, the racing" Zinaida managed to recover from a heavy shock associated with the loss of his father. A year later, two large families went to Manglis, and here A. V. Stepanov died suddenly from the inflammation of the brain. Hippius were forced to stay in Tiflis.
In 1888, Zinaida Hippius with his mother again went to the cottage in Board. Here she met D. S. Merezhkovsky, shortly before it released his first book of poems and in those days traveling through the Caucasus. Feeling instant spiritual and intellectual proximity with his new acquaintances, sharply different from her environment, eighteen years old hypius on his proposal about marriage without thinking to consensus. On January 8, 1889, a modest wedding ceremony was held in Tiflis, followed by a short wedding trip. Union with Meriazhkovsky, as noted later, "gave the meaning and a powerful incentive of all its improper internal activities, soon allowing young beauty to escape to huge intellectual expanses," and in a broader sense - played a crucial role in the development and development of the literature "Silver Century" .
At first, Hippius and Meriazhkovsky concluded a unworn person: she will write solely prose, and he is poetry. Some time, the wife at the request of the spouse translated (in Crimea) of the Bayronov "Manfred"; The attempt was unsuccessful. Finally, Merezhkovsky announced that he was going to violate the contract: he had an idea of \u200b\u200bnovel about Julian's apostate. From this time, they wrote and poems, and each, depending on the mood.
In St. Petersburg, Merezhkovsky introduced Hippius with famous writers: The first of them, A. N. Plescheev, "fascinated" a twenty-year-old girl in that during one of the response visits, brought from the editorial portfolio of the Northern Bulletin (where he headed the poetry department) some poems - On her "Strict Court". Among the new familiar hypiot of being. P. Polonsky, A. N. Mikov, D. V. Grigorovich, P. I. Vainberg; She got close to the young poet N. M. Minsk and the editorial office of the Northern Bulletin, one of the central figures in which was critic A. L. Volynsky. With this magazine, focused on a new direction "from positivism to idealism," the first literary experiments of the writer were associated. These days, she actively in contact with the editors of many metropolitan magazines, visited public lectures and literary evenings, met the family of Davydov, who played an important role in the literary life of the capital (A. A. Davydova published the magazine "World of God"), attended Shakespeare Circle V. D. Supzovich, whose participants were the most famous lawyers (in particular, Prince A. I. Urusov), became a member of the Russian literary society.
In 1888, in the North Herald, they came out (signed "Z. G.") two "semi-children", as she recalled, poem. These and some subsequent poems of beginner poetries reflected "the general situation of pessimism and melancholy of the 1880s" and largely the works of the popular then Semyon Nadon were consonant.
At the beginning of 1890, Hippius under the impression of herself in her eyes of a little love drama, the main characters of which were the maid of Merryovsky, Pasha and the "family friend" Nikolai Minsk, wrote a story "Simple Life". Unexpectedly (because this magazine did not favor the Merrykovsky then) the story accepted the "Journal of Europe", publishing under the headline "Zloschny": this was the debut of Hippius in prose.
New publications followed, in particular, the stories "in Moscow" and "Two Hearts" (1892 ) , as well as novels ("without talisman", "Winners", "Small Waves"), - both in the "northern messenger" and in the "messenger of Europe", "Russian thought" and other famous publications. "I don't remember these novels, even the title, except for one called" small waves ". What they were for "waves" - I do not have any idea and I do not answer for them. But we both rejoiced the necessary replenishment of our "budget", and the necessary d \u003cMitria\u003e with \u003cErgeevich\u003e freedom for "Juliana" was achieved by this, "later wrote Hippius. Many critics, however, treated this period of creativity of the writer more seriously than she herself, noting "the duality of man and the Being of Being, Angelic and Demonic began, a look at life as a reflection of the inacked spirit" as the main topics, as well as - the effect. M. Dostoevsky. Early prose works Hippius were in the bayonets were met by liberal and populic criticism, which were pretext, first of all, "anti-abnormality, invading, pretentiousness of heroes." Later, the "New Encyclopedic Dictionary" noted that the first works of Hippius were "written under the obvious influence of the ideas of the Kurkin, Nietzsche, Meterlinka and other rulers of the Duma of that time." Early prose Hippius was collected in two books: "New people" (St. Petersburg, 1896) and "Mirrors" (SPB., 1898).
All this time, Hippius pursued health problems: she suffered a return tit, a number of "endless angin and laryngitis". Partly to improve health and prevent tuberculosis recurrence, but also for reasons related to creative aspirations, Merezhkovskiy in 1891-1892 committed two memorable trips to the south of Europe. During the first of them, they communicated with A. P. Chekhov and A. S. Suvorin, which for some time became their companions, visited Paris in Plescheyev. During the second trip, stopping in Nice, the spouses got acquainted with Dmitry Philosophical, several years later, who became a constant companion and the closest like-minded person . Subsequently, the Italian impressions took an important place in the memoirs of Hippius, leaving the bright and elevated mood of her "the happiest, young years". Meanwhile, the financial position of the married couple, who lived almost exclusively on the fees, remained hard during these years. "Now we are in a terrible, unprecedented position. We live literally the injignment for several days now and laid wedding rings, "she reported in one of the letters of 1894 (in another network, which cannot drink kefir doctors due to lack of money).
Much brighter and controversial than Prose, there was a poetic debut Hippius: poems published in the North Herald, - "Song" ("I need something that is not in the world ...") and "Dedication" (with lines: "I love I myself as God ") immediately got scandalous fame. "Its poems is the embodiment of the soul of a modern man, split, often powerlessly reflective, but eternally rustling, everlasting, no one who is not reassuring with nothing," noted one of the critics later. Some time later, Hippius, according to her expression, "renounced decades" and fully adopted the ideas of Merezhkovsky, first of all, artistic, becoming one of the central figures of the emerging Russian symbolism, but the established stereotypes ("Decadent Madonna", Satancenes, "White Devilitsa" And others) pursued it for many years).
If she was consciously oriented in prose "on a common aesthetic taste," the poems of Hippius perceived as something extremely intimate, created "for themselves" and created them, according to his own words, "like prayer". "The natural and necessary need for the human soul is always a prayer. God created us with this need. Everyone, he is aware of it or not, strives for prayer. Poetry In general, the poetry in particular, verbal music is just one of the forms that prayer takes in our soul. Poetry, as Her Bratansky defined, - "There is a complete feeling of this minute" "- wrote a poetess in the essay" necessary about verses. "
In many respects, the "prayerness" gave rise to critics for attacks: was stated, in particular, that, referring to the Almighty (under the name he, invisible, third), Hippiius installed "their own, direct and equal, blasphemous relations" with him, postulating " Only love for God, but also to himself. " For a wide literary public, the name Hippius became a decadence symbol - especially after the "Dedication" publication (1895), the poem containing the caller: "I love myself as God." It was noted that Hippius, in many ways, provoking the public, carefully thought over its social and literary behavior, which coincided with the change of several roles, and skillfully introduced an artificially emerged image into public consciousness. For one and a half decades, in front of the 1905 revolution, she appeared before the public - first "the propaganda of sexual relations, proudly carrier cross of sensuality" (as stated in her diary of 1893); Then - by the opponent of the "student of the church", which claimed that "sin only one - self-confidence" (diary 1901), a champion of the revolution of the Spirit, carried out by the "herd public". "Crime" and "Forbidity" in the work and the image (according to the popular stamp) "Decadent Madonna" were especially visited by contemporaries: it was believed that the "demonic, explosive principle, thrust for blasphemy, challenge, the challenge of the established life, spiritual humility and humility ", And the poetess," Kecknottering with his demonism "and feeling the center of the symbolist life, and him, and the life itself" perceived as an extraordinary experiment on the transformation of reality. "
"Meeting of poems. 1889-1903 ", published in 1904, became a major event in the life of Russian poetry. Response to the book I. Annensky wrote that in the work of Hippius concentrated "the whole fifteen-year-old story<русского> lyrical modernism, "noting as the main topic of her poems" painful swing of the pendulum in the heart. " V. Ya. Bryusov, another ardent fan of Poetic creativity Hippius, especially noted "invincible truthfulness", from which poetess fixed various emotional states and the life of their "captive soul". However, Hippius itself more than critically assessed the role of its poetry in the formation of public taste and influence on the worldview of contemporaries. For several years later, in the preface to reproving the first collection, she wrote:
I sorry to create something useless and no one right now. Assembly, the book of poems at this time is the most useless, unnecessary thing ... I do not want to say that the verses are not needed. On the contrary, I argue that the poems are needed, are even necessary, natural and eternal. There was a time when everyone seemed necessary for the necessary books of poems when they were read right, everyone was understood and accepted. Time is the past, not our. The modern reader does not need a collection of poems!
Poetry
- "Collection of poems." The first book. 1889-1903. Bookbook "Scorpio", M., 1904.
- "Collection of poems." Second book. 1903-1909. Bookbook "Musaget", M., 1910.
- "Latest poems" (1914-1918), Edition "Science and School", St. Petersburg, 66 ss., 1918.
- "Poems. Diary 1911-1921. Berlin. 1922.
- "Lights", series "Russian poets", the release of the second, 200 copies. Paris, 1938.
Prose
- "New people". The first book of the stories. St. Petersburg, 1st Edition 1896; The second edition of 1907.
- "Mirrors". Second book story. St. Petersburg, 1898.
- "Third Book of Story", SPb, 1901.
- "Scarlet Sword". Fourth book story. St. Petersburg, 1907.
- "Black on white." Fifth book story. St. Petersburg, 1908.
- "Lunar ants." Six story book. Publishing house "Altice". M., 1912.
- "Chestov doll." Novel. Ed. "MOSCOW BOOKS". M. 1911.
- "Roman-Tsarevich". Novel. Ed. "MOSCOW BOOKS". M. 1913.
Dramaturgy
- "Green Ring". Play. Ed. "Lights", Petrograd, 1916.
Criticism and publicist
- "Literary Diary." Critical articles. St. Petersburg, 1908.
- "The Kingdom of Antichrst". Merezhkovsky D. Printed diaries Z. Hippius (1919-1920). 1921.
- "Blue Book. Petersburg diaries 1914-1938. " Belgrade, 1929.
- "Zinaida Hippius. Petersburg diaries 1914-1919. " New York - Moscow, 1990.
- Zinaida Hippius. Diaries
Modern editions (1990 -)
- Pieces. L., 1990.
- Live faces, TT. 1-2. Tbilisi, 1991.
- Works. Leningrad Department Art. Lit. 1991
- Poem. St. Petersburg, 1999.
