By Vladimir E. Alexandrov
A number one Russian Symbolist poet, essayist, and mentor to a whole new release of writers, Andrei Bely (1880–1934) completed maximum renown for 3 exceptional 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 belief 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 advanced from 4 early experimental prose narratives to the main novels, and the way it's manifested of their issues, shape, and magnificence. Alexandrov additionally presents lucid discussions of the numerous impact that a number of philosophical and occult structures had on Bely's paintings, and of the theoretical challenge of what constitutes a Symbolist novel.
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Extra resources for Andrei Bely: The Major Symbolist Fiction
Bars" means "snow leopard" in Russian, and thus has associations with the Dionysian tiger, and, in turn, with Bely s own special conception of Nietzsche as a precursor of Soloviev. It is also worth noting the Bely himself claimed to have encountered the "white shade" of Soloviev, and to have conversed with him in dreams after the philosopher's death. 54 The final canonization of the "passive and knowing" stance with regard to the apocalypse specifically occurs near the end of part four. The enigmatic figure is introduced to the quiet and passive Father John as Aleksei Sergeevich Petkovsky.
297). 34 Andrei Bely These errors are not a simple case of Musatov's confusing matter for spirit; there is evidence that another agency interfered in his life. " In Musatov's case, his overly eager anticipation of the Second Coming leads to imbalance, and he projects his solipsistic desires onto an aspect of external reality instead of perceiving what lies outside himself. Moreover, Musatov's error is not wholly invented by the author. In Bely's "Instead of a Foreword to the Second Symphony," a text that has been widely (and sometimes inappropriately) cited in the critical literature because it appears to provide a key to his intentions, he speaks of satire as being the second of the three levels of meaning in his work.
In early diary-like entries he refers a number of times to the importance of "listening" to the approach of a cosmic upheaval, rather than "reading, thinking, or making conclusions" about it. 56 However, the problem with Musatov is not only that his active stance is diametrically opposed to the correct passive one of the positive characters. His willfulness, which is, after all, a form of pride, and consequently an echo of the cause of Lucifer's fall and man's first sin in Eden, appears to be the fatal flaw that the transcendent uses to destroy him.