Download e-book for kindle: Andrei Bely: The Major Symbolist Fiction by Vladimir E. Alexandrov
By Vladimir E. Alexandrov
A number one Russian Symbolist poet, essayist, and mentor to a complete iteration of writers, Andrei Bely (1880–1934) accomplished maximum renown for 3 excellent novels: Petersburg — which has been ranked with the masterpieces of Joyce, Kafka, and Proust — The Silver Dove, and Kotik Letaev. Vladimir Alexandrov argues cogently that the main-spring of Bely's complicated paintings is his notion of Symbolism as a brand new type of cognition that hyperlinks the person, the cloth international, and the transcendent realm. Supplementing shut textual research with fabric drawn from Bely's theoretical and autobiographical writings, Alexandrov strains intimately how this notion developed from 4 early experimental prose narratives to the main novels, and the way it truly is manifested of their subject matters, shape, and magnificence. Alexandrov additionally presents lucid discussions of the numerous impression that numerous philosophical and occult platforms had on Bely's artwork, and of the theoretical challenge of what constitutes a Symbolist novel.
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Additional resources for Andrei Bely: The Major Symbolist Fiction
131-132). Similar references to music, eternity, and a grinding repetitiveness appear later both singly and together in different contexts (pp. 138, 147,153,164,171, 182). The impression that these three linked ideas may be the distinguishing features of a coherent world view is reinforced by their being the key concepts of Schopenhauer's philosophy. References to musical sounds coming from the sky (which, significantly, only the narrator 28 Andrei Bely hears in the Symphony) appear to be Bely's nods toward Schopenhauer's canonization of music in The World as Will and Representation as the expression of the Absolute Will, or the ultimate thing-in-itself.
And when the deceased Soloviev speaks of Musatov in the end of the fourth part, he specifically mentions Musatov's "pridefulness" and "self-confidence" (p. 313). The significance of the old priest's behavior is that it reflects the "knowing passivity" of figures in the Symphony who are clearly presented by the narrator as Bearers of the Truth. Indeed, an unspecified personage, designated at first simply as "the passive and knowing one," early in part one repeats from "up above" the city the condemnatory epithet "pig-sty" (p.
He meant by this the profound trauma he had experienced as a child—of being torn between parents with antipodal characters and interests, and of his consequent and constant sense of "guiltless guilt" for following the precepts of one instead of the other. This experience led him to identify himself with Christ, and seems to have been sufficiently seminal to have lasted into adulthood, when it was fed by the Christological orientation of anthroposophy. The motif of the innocent victim also reappears in all of Bely's works of belles lettres, and is dramatized with special poignancy in the autobiographical novels Kotik Letaev and The Baptized Chinaman.
Andrei Bely: The Major Symbolist Fiction by Vladimir E. Alexandrov