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 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 fabric global, and the transcendent realm. Supplementing shut textual research with fabric drawn from Bely's theoretical and autobiographical writings, Alexandrov lines intimately how this belief developed from 4 early experimental prose narratives to the foremost novels, and the way it's manifested of their issues, shape, and elegance. Alexandrov additionally presents lucid discussions of the numerous effect that numerous 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 resources for Andrei Bely: The Major Symbolist Fiction
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.
The transcendent underpinning of the world Bely has created is signaled in the passages cited above by the narrator's reference to "musical . . " These three words form a dominant leitmotif throughout the Second Symphony's first part. Shortly after the passages cited, the narrator hears "mournful and stern songs of great Eternity" coming from the sky; "And," he continues, "these songs were like musical scales. Scales from an invisible world. Eternally the same and the same" (pp. 131-132). Similar references to music, eternity, and a grinding repetitiveness appear later both singly and together in different contexts (pp.
From his earliest appearances in the text Musatov is repeatedly—but only implicitly—contrasted with an old Orthodox priest who closely watches those who speak at the gatherings of mystics with his "intelligent blue eyes," but who, most significantly, "listens more than speaks" (p. 204). His passive, silent presence throughout much of the Symphony is his distinguishing characteristic. It is also antipodal to Musatov's active, self-confident, and willful theurgy. As the narrator describes it, Musatov's desire in relation to his followers is to "diligently blow into their hearts a sorrow about fiery storms, so that they would become enflamed with sorrow and be consumed by love" (pp.