By Vladimir E. Alexandrov
A number one Russian Symbolist poet, essayist, and mentor to a complete new release of writers, Andrei Bely (1880–1934) accomplished maximum renown for 3 outstanding 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 artwork is his belief of Symbolism as a brand new type of cognition that hyperlinks the person, the cloth global, 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 foremost novels, and the way it's manifested of their topics, shape, and elegance. Alexandrov additionally presents lucid discussions of the numerous impact that a number of philosophical and occult structures had on Bely's artwork, and of the theoretical challenge of what constitutes a Symbolist novel.
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Extra info for Andrei Bely: The Major Symbolist Fiction
Then Bely The Symphonies 39 adds the qualifying remark "But this is only how it seemed" to the statement about the horn. This is an obvious attempt to augment the apocalyptic suggestiveness of the scene he is fashioning by undermining the certainty of the physical perception in a naive manner reminiscent of the First Symphony. This device is still common in the Second, where Bely often prefaces some portentous, symbolic vision with "as if" (tochno). But by adding the remark, Bely also introduces another, more human point of view—one less certain of the reality of Soloviev's supernatural presence.
It's not enough for me to hear: in this period I must carry over what I hear into a gait; I discover for myself that there are muscular impressions [predstavleniia] and non-muscular ones; the influence of bodily movements on the architectonics of the phrase is the America I discovered in my youth. 30 Bely wrote this memoir in 1930-1932, at a time when, judging by comments scattered throughout it, he had to defend himself against increasing hostility from the Soviet politico-literary establishment.
Indeed, in Bely s conception, the subject's interaction (through symbolic perception) with the world outside himself results in glimpses of Eternity rather than a confrontation with either blind Will, or a solipsistic screen of illusion generated by the individual. 32 These avowals do much to explain why the First Symphony's large-scale structure bears only a superficial resemblance to the sonata form. 33 The general notion of symphonic music may have appealed to Bely for the same reasons that abstract language did in the First Symphony.
Andrei Bely: The Major Symbolist Fiction by Vladimir E. Alexandrov