Valerii Briusov

The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Briusov, Valerii Iakovlevich


Born Dec. 1 (13), 1873, in Moscow; died Oct. 9, 1924, in Moscow. Soviet Russian writer.

Briusov was born into a wealthy mercantile family. He regarded his literary debut, the three collections Russian Symbolists (1894-95), as a “conscious selection” of models of western poetry (verses in the spirit of P. Verlaine, S. Mallarmé, and others). The motifs of the mature poetry of Briusov—urbanity and an interest in science and history—are apparent in his books Chefs d’oeuvre (1895) and Me eum esse (It Is I; 1897). The book Tertia vigilia (Third Watch, 1900) marks the beginning of Briusov’s artistic maturity; in it, as in his later work Urbi et orbi (1903), the characteristic features of his poetry are clearly visible and distinct—a sculptured prominence and completeness of imagery, clarity of composition, resolute intonation, and oratorical vigor. The poet foresees the inevitability of revolution and guesses at its driving force —the proletariat (the poem The Secluded, 1900-01, and the verses “Night,” 1902, and “The Mason,” 1901). With the beginning of the 20th century, Briusov became the leader of symbolism, did much organizational work, directed the publications of Skorpion Publishing House, and edited the journal Vesy. But Briusov’s philosophical-social positions and his rationalist poetics contradicted the Neoplatonic theory and artistic practice of Russian symbolism.

The book of verses Stephanos (Garland; 1906) is the apex of Briusov’s pre-October poetry. It combines high flights of romantic lyrics and splendid historical-mythological cycles with models of revolutionary poetry (the cycle Contemporaneity). Briusov stigmatized the liberals, exulting over the Manifesto of October 17 (“To the Sated,” Oct. 18, 1905), and praised the revolution (“A Familiar Song,” August 1905, and “The Dagger,” 1904); he believed in the ideals of liberty, equality, and fraternity and their triumph (“To the Fortunate,” 1904-05). But he felt that the revolution’s only task was the ruthless destruction of the old (“The Coming Huns,” 1905; “The Face of Medusa,” October 1905), and he criticized the Bolsheviks from these maximalist positions (in the verse “To Kindred Spirits,” July 30, 1905). V. I. Lenin, citing a line from this poem, “I’ll join you in destruction, but never build with you!”, called Briusov an “anarchist poet” (Poln. sobr. soch., 5th ed., vol. 14, p. 288, footnote). Briusov polemicized also with V. I. Lenin about Lenin’s article “Party Organization and Party Literature” (1905), affirming that the subjectively honest artist can be independent of bourgeois society.

In the years of reaction Briusov continued to believe in the ultimate triumph of the revolution and praised the creative reason and courage of man. But with the life-affirming motifs in his books of verses All Is Sung (1909), Mirror of Shadows (1912), and The Seven Colors of the Rainbow (1916) notes of weariness resound more and more frequently and repetitions of the earlier formalist searches that were ends in themselves are encountered. In this very period he published the historical novels Fiery Angel (1908) and Altar of Victory (1913), the collections of stories and dramatic scenes Axis of the Equator (1907) and Nights and Days (1913), and the collection of articles Far and Near (1912). During World War I, Briusov collaborated with M. Gorky. He studied the history and literature of Armenia and translated the verses of Armenian poets (he was named People’s Poet of Armenia).

The poet accepted the October Revolution without qualifications. In 1920 he joined the ranks of the Communist Party. He worked in the Peoples’ Commissariat of Education, and the State Publishing House, directed the Book Chamber, and delivered lectures at Moscow University and at the Higher Institute of Literary Arts, which he founded in 1921 (later renamed the V. I. Briusov Higher Institute of Literary Arts). Briusov published the books of verses Last Dreams (1920), In Such Days (1921), A Moment (1922), Distances (1922), and Mea! Hasten! (1924). The verses on the revolution and on the death of V. I. Lenin in these books permit us to see Briusov as one of the first Soviet poets. In his two last books there are interesting models of experimental poetry. As a whole, Briusov’s post-October poetry presents a persistent but not always successful search for new forms for the expression of new content.

In his poetry and prose, plays, translations, criticism, theories of poetry, and literary history and scholarship, Briusov played an important role in the development of Russian poetry. With A. Blok, he prepared the soil for the poetic activity of many Soviet poets.


Poln. sobr. soch. iperevodov, vols. 1-4, 12, 13, 15, 21. St. Petersburg, 1913-14.
Izbr. proizv. vols. 1-3. Moscow, 1926.
Dnevniki, 1891-1910. Moscow, 1927.
Izbr. stikhi. (Introduction and commentary by I. Postupal’skii.) Moscow, 1933.
Neizdannaia proza: Iupiter poverzhennyi i fragmenty drugikh istoricheskikh rasskazov. Moscow-Leningrad, 1934.
Izbr. soch., vols. 1-2. [Introduction by A. Miasnikov.] Moscow, 1955.


Gorky, M. “Pis’ma V. Ia. Briusovu.” Sobr. soch., vols. 28-29. Moscow, 1954-55.
Lunacharskii, A. V. “Briusov i revoliutsiia.” In his book Russkaia literatura. Moscow, 1947.
Maksimov, D. E. Poeziia Valeriia Briusova. Leningrad, 1940.
Valeriiu Briusovu: Sbornik, posviashchennyi 50-letiiu so dnia rozh-deniia poeta. Moscow, 1924.
Mikhailovskii, B. V. “V. Ia. Briusov.” Istoriia russkoi sovetskoi literatury, vol. 1, 2nd ed. Moscow, 1967.
Maksimov, D. “Briusov.” Poeziia i pozitsiia. Leningrad, 1969.
Istoriia russkoi literatury kontsa XlX-nachala XX ve ka: Bibliograficheskii ukazatel’. Edited by K. D. Muratova. Moscow-Leningrad, 1963.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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A full edition of Pushkin's works had not been issued in Russia since 1919, when Valerii Briusov's three-volume edition had appeared and had sold-out immediately.
Focusing on his inner life (rather than all aspects of his biography), she examines its representation in his poetry, his exploration of pantheism, mystical encounters during his European travels, the influence of painter Arnold Bocklin, his affair with Anna Nikolaevna Gippius, his friend and posthumous publisher Valerii Briusov, his poetry collection Dreams and Meditations, his desire to abolish death through mysticism, the influence of Nietzsche, and his accidental drowning at the age of twenty-three.
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Valerii Briusov, having attended Ivanov's lectures on the Dionysiac cult in Paris in 1903, hailed him as the arcane master who could bring the Greed gods and their myths to play freely with the newer Muses of Russian Symbolism.
His contemporaries (and subsequent readers as well), many of them engaged in a Romantic search for a "singer of tales" from the narod, ignored his voracious reading and avid interest in the literary scene, insisting that his verse was entirely natural, "not knowing any 'plans' or 'rules,'" as the Symbolist Valerii Briusov wrote in his introduction to Kliuev's The Ringing of Pines (10).
Among them are Konstantin Bal'mont's translations of Shelley which bear the imprint of his immersion in Vedic texts at Oxford, the immense importance of Edgar Allen Poe for the poetic practice and theories of poetic language of Bal'mont, Valerii Briusov, Andrei Belyi, Aleksandr Potebnia and Velimir Khlebnikov, the influence of the Pre-Raphaelites on Vladimir Soloviev's sophiological lyric s and the impact of John Ruskin's forebodings about the course of the modern world on Aleksandr Blok's apocalyptic premonitions.
These included Nikolai Chernyshevskii, Alexander Herzen, the Rubinshtein brothers, Savva Mamontov, Sergei Diaghilev, Maksim Gorkii, Valerii Briusov, and Viacheslav Ivanov, to name but a few.
Grossman analyses one of the most striking instances of a narrower form of 'life-creation' - 'the relationship between Valerii Briusov and Nina Petrovskaia.