Valery Bryusov’s the Earth as an experiment of scientific poetry
Depiction of Bryusov's "Earth" as an outstanding work of scientific poetry. The play went beyond the framework of symbolist drama. The eschatological character Teotl and the humanist Teopikski. Creation of a cognitive methodology for scientific poetry.
| Рубрика | Литература |
| Вид | статья |
| Язык | английский |
| Дата добавления | 25.09.2020 |
| Размер файла | 36,6 K |
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Conclusion
In order to dismantle boundaries artificially segregating the world, cognitive stimulation is required. Mentally crossing these boundaries and thinking unconventionally are made possible through the use of intellectual and psychological energy, namely shock and contemplation. The setting of another Bryusov's play, The World of Seven Generations, written in 1923, takes place as a comet narrowly misses a collision with the Earth, yet in a letter to Morozov, the playwright wrote that if Halley's Comet in 1910 had collided with Earth, it would have greatly helped humankind [15. P. 54]. Here, the author means that such a catastrophe was capable of destroying all obstacles that prevent humans from reaching their full cognitive potential. In the paper “Secret Key” (“Ключи тайн”), Bryusov says the following on artistic potential subjugating the cognitive limits of science: “The iron bars of science and axes of sociology do not have the power destroy the door or the walls that have confined us, but art is ferocious dynamite capable of breaking down these walls” [5. P. 87]. The key to our cell doors in the “blue prison” of custom and tradition is art, which leads us toward eternal freedom. Art is the first and only hint that provides any clue to salvation, impossible to find in our distressed lives and civilization. The Earth is a distress signal from an intellectual unable to find a solution or logical exit on the eve of revolution, a literary and scientific warning regarding the confusion and despair caused by a complete lack of alternatives. The play exemplifies this in the political backwardness of the Consul, the citizens unwilling to resist their fate, intellectuals who are unable to present a novel solution to the current disaster, and religions thick with dogmatism and hatred.
Although The Earth imagines a hypothetical world of an unknown future and its social structure and psychological atmosphere, Bryusov's scientific poetrylike cognitive expansion delivers knowledge and new life to the society and humanity of the time. New scientific discoveries, discourse, and foresight of the future rearrange daily experience and understanding of reality-based ever- changing methodologies. Predictions regarding the end of days activate alternative possibilities to inspire a novel means to survive in spite of Armageddon. The Earth allegorizes the brutal political situation in the 1905 Russia, actively intervening in and commenting on the tragic reality. In addition, the work develops a new cognitive methodology called scientific poetry, which, while based on realistic concepts, also maintains an alternative perspective from reality. The Earth analyzes the ontological stature of human beings by restructuring the theme of cultural crisis into a drama, achieving a new level of science, knowledge, and cognition.
poetry symbolist drama eschatological
References
1. Lyukov, K. (2017) Valeriy Bryusov. Khudozhnik na rubezhe [Valery Bryusov. Artist at the Turn]. Izdatel'skie resheniya.
2. Bryusov, V. (1987) Sochineniya v 2 t. [Works in 2 Vols]. Vol. 2. Moscow: Khudozhestvennaya literatura.
3. Brodskaya, G.Yu. (1976) Bryusov i teatral'nye iskaniya nachalaXX veka (1902-1908) [Bryusov and Theatrical Searches of the Early Twentieth Century (1902-1908)]. Abstract of Philology Cand. Diss. Leningrad.
4. Strashkova, O.K. (2016) Valeriy Bryusov - dramaturg [Valery Bryusov, a Playwright]. In: Bryusov, V. Dramaturgiya [Plays]. Moscow: Sovpadenie. pp. 5-26.
5. Bryusov, V. (2016) Dramaturgiya [Plays]. Moscow: Sovpadenie.
6. Andreasyan, N.G. (1992) Drama “Zemlya”. Stseny budushchikh vremyon [Drama “The Earth”. Scenes of the Future]. In: Amirkhanyan, M.D. et al. (eds) Bryusovskie chteniya 1986goda [Bryusov Readings, 1986]. Erevan: [s.n.] pp. 146-155.
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8. Bryusov, В. (2002) Dnevniki. Pis'ma. Avtobiograficheskaya proza [Diaries. Letters. Autobiographical Prose]. Moscow: Olma-press.
9. Strashkova, O.K. (2011) Modernistskaya drama Serebryanogo veka [The Modemist Drama of the Silver Age]. Moscow: Lambert Academic Publishing.
10. Soshkin, E. (2010) Mezhdu mogiloi i tyur'moi (Stat'ya pervaya) [Between the Grave and the Prison (Article One)]. In: Pild, L. (ed.) Blokovskii sbornikXVIII: Rossiya i Estoniya v XX veke: Dialog kul'tur [Blok Collection XVIПП: Russia and Estonia in the 20th Century: Dialogue of Cultures]. Tartu: Tartu Ьlikooli Kiryastus. pp. 56-79.
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14. Gerasimov, K.S. (1973) Nauchnaya fantastika Bryusova [Bryusov's Science Fiction]. In: Ayvazyan K.V. (ed.) Bryusovskie chteniya 1971 goda [Bryusov Readings, 1971]. Erevan: Ayastan. pp. 33-57.
15. Andreasyan, N.G. (1988) Dramaturgiya V.Ya. Bryusova (1907-1917) [V.Ya. Bryusov's Plays (1907-1917)]. In: Al'tshuller, A.Ya., Ninov, A.A. & Smirnov- Nesvitskiy, Yu.A. (eds) Russkii teatr i dramaturgiya 1907-1917 godov [Russian Theater and Plays of 1907-1917]. Leningrad: LGITMIK. pp. 21-36.
16. Voloshin, M. (1988) Liki tvorchestva [Faces of Creativity]. Leningrad: Nauka.
17. Gumilyov, N. (2000) Nikolay Gumilyov: Pro et Contra. St. Petersburg: Russian Christian Institute for the Humanities. (In Russian).
18. Heller, L. & Niqueux, M. (2003) Utopiya v Rossii [Utopia in Russia]. Translated from French by I.V. Bulatovskiy. St. Petersburg: Giperion.
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