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Ruban A.
ANTON KRAYNY ABOUT POETRY AND THEATRE
(“LITERARY DIARY (1899–1907)”)
The article presents the review of Anton Krayny᾿s (Z. N. Gippius) articles devoted to
poetry and theatre and included to the author᾿s “Literary Diary (1899–1907)”. It considers the
critic᾿s attitude to the contemporary development of poetry and dramaturgy. A special
attention is paid to Anton Krayny᾿s conceptual position, his idealistic notion of the modern
art.
“Literary Diary (1899–1907)” written by Anton Krayny is a “professional” diary. Its
title suggests that the main message of the work – “Diary” is devoted to the analysis of the
above mentioned period.
“Diary…” consists of 26 articles on various themes which conventionally may be
divided into four groups. There articles are on ethical, aesthetic and religious subjects of the
time; the reviews of the contemporary to the author poetry, the prose (with the analysis of the
particular representatives᾿ creative work) and the comprehension of the dramaturgy in the
beginning of the 20th century.
The article points out in the majority of the articles from “Literary Diary” that Krayny
doesn᾿t offer exact solutions of any problems. The only thing which is represented in his
works is his own attitude to them (it is just the subjective criticism). It is either negative, as
the phenomena of art which differs from author᾿s position are criticized, or ironical. Thus, out
of the author᾿s “seamarks” and “cries” one can observe the “conceptual” position of a
symbolist-decadent who vividly protests against any “identity” with life.
Anton Krayny doesn᾿t appreciate the work of Moscow Art Theatre where they stopped
“arting” but “imitate” the work. A. P. Checkov᾿s dramaturgy is percepted ambiguously by the
critic and his play “The Cherry Orchard”, in particular.
In the articles on lyrics the author studies the nature of the contemporary lyrics.
“Lyrics in general, versification, verbal music in particular – one of the forms which takes the
form of a prayer in the human soul”.
Anton Krayny stands up with “protective word” being convinced that verses are
necessary, natural and eternal. The critic appreciates only symbolic poetry and points out that
of A. Dobrolubov᾿s. In Krayny᾿s opinion only decadents have a “human soul”.
The articles under our analyses on lyrics and theatre in “Literary Diary” by Anton
Krayny are united due to the powerful author᾿s “I”. In critical prose he remains a poet, a
philosopher, a publicist and a carefully disguised “I” brilliantly and persistently breaks
through to the surface. Its his “I” that turns Krayny᾿s articles into the emotional thrilling
(sometimes repulsive) “critical diary” with “the image of the author” that is seen through and
discloses us his thoughts and position.
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Z. Gy`ppy`us / V. V. Agenosov // Agenosov V. V. Ly`teratura russkogo zarubezh`ya (1918–
1996). – M. : Terra. Sport, 1998. – S. 69–91. 2. Azadovsky`j K. M. Z. N. Gy`ppy`us :
metafy`zy`ka, ly`chnost`, tvorchestvo / K. M. Azadovsky`j, A. V. Lavrov // Gy`ppy`us Z. N.
Sochy`neny`ya : Sty`xotvoreny`ya. Proza. – L. : Xudozhestvennaya ly`teratura., 1991. – S. 3–
44. 3. Krajny`j A. (Z. Gy`ppy`us). Ly`teraturnыj dnevny`k (1899–1907) / A. Krajny`j. – M. :
AGRAF. – 2000. – 309 s. 4. Lucevy`ch L. Russky`e dnevny`ky` v Varshave / L. Lucevy`ch //
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