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By Avril Pyman

This booklet is the 1st distinctive historical past of the Russian Symbolist flow, which served because the seedbed of Existentialism and Modernism in Russia. It reassesses the symbolists' achievements within the mild of recent study, targeting their literary works. Prose is quoted in English translation and poetry is given within the unique Russian with prose translations. there's a important bibliography of fundamental resources and an intensive chronological appendix. This publication will fill a long-felt hole for college kids and lecturers of Russian and comparative literature, symbolism, modernism, and pre-revolutionary Russian tradition.

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I khochu, no ne v silakh liubit' ia liudei' ('I want, but have not the strength to love people'); . . 'No blizhnikh ne liubliu, kak ne liubliu sebia' ('But I do not love my neighbours, even as I do not love myself); 'la liudiam chuzhd i malo veriu / Ia dobrodeteli zemnoi' ('I am alien to people / and have little faith in earthly virtue'); 'Ia ne liubliu rodnykh moikh, druzia / Mne chuzhdy, brak - tiazhelaia obuza' ('I do not love my family, my friends / Are alien to me, marriage - a heavy burden').

His courageous and unpopular stance had called down attacks from every side. Novoe Vremia (The New Times), for instance, should, in theory, as a consistently pro-government paper, have been ready at least to lend a favourable ear to an attack on radical criticism. Instead, their critic V. S. e. Volynsky] in the first. The liberal establishment, on the other hand, disapproved not of Volynsky's Jewish origins but of his opinions, and the Populist A. M. Skabichevsky submitted him to personal humiliation, having him turned away at the door of a jubilee dinner.

C. MepOKKOBCKHH* The first chill light of the dawning Silver Age emanated from the literary section of a formerly well-respected Populist journal, Severnyi Vestnik (The Northern Herald). 1 Their enemies, however, were his: utilitarianism, materialism and the cultural complacency of the liberal establishment. Volynsky had accepted the literary editorship of Severnyi Vestnik in 1891, shortly after Liubov' Gurevich took over as publisher and editor of the ailing journal in partnership with M. N. 2 Volynsky was encouraged by Gurevich to use his position to further the cause of 'idealism in art'.

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