Ivanov, Vyacheslav Ivanovich

born Feb. 28, 1866, Moscow
died July 16, 1949, Rome

Russian philosopher, scholar, and poet.

He studied in Berlin and spent much of his life abroad, especially in Italy, where he converted to Roman Catholicism. His first volume of lyric poetry, Pilot Stars (1903), immediately established him as a key figure in the Russian Symbolist movement, a position strengthened by later works, including the important Cor Ardens (1911). He also produced poetic dramas, essays, criticism, and translations.

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▪ Russian poet
born Feb. 16 [Feb. 28, New Style], 1866, Moscow, Russian Empire
died July 16, 1949, Rome, Italy

      leading poet of the Russian Symbolist movement who is also known for his scholarly essays on religious and philosophical themes.

      Ivanov was born into the family of a minor official. He attended Moscow University, but, after his second year, he went abroad and studied at the University of Berlin with the historians Theodor Mommsen (Mommsen, Theodor) and Otto Hirschfeld until 1891. He did not, however, defend his dissertation and so did not complete his degree. Ivanov stayed in Europe until 1905, living in Germany, France, Italy, and Great Britain, among other countries.

      His first book of poetry, Kormchiye zvyozdy (“Pilot Stars”), published in St. Petersburg in 1903, went almost unnoticed by critics and the general public alike. That same year Ivanov gave lectures in Paris for a course on the history of the cult of Dionysus. The lectures were published in 1904–05, bringing him fame as a religious thinker. At the same time, he showed himself to be part of the Russian Symbolist movement with Prozrachnost (1904; “Translucency”), a book of poetry, and he began working at the magazine Vesy (“Libra,” or “Scales”).

      Ivanov returned to Russia and settled in St. Petersburg, his large apartment (known as the “Tower”) becoming one of the centres of Russian cultural life. Poetry readings, philosophical discussions, and political debates were regularly held there. During the period 1905–12 he gained a reputation as one of the leading poets and theorists of Russian Symbolism. He published the two-volume work of poetry Cor ardens (1911–12) as well as Po zvyozdam (1909; “By the Stars”), a collection of articles. The formula that he invented to describe the essence of Symbolism—“a realibus ad realiora” (“from reality toward a higher reality”)—is generally considered one of the most astute.

      In 1912 Ivanov left Russia once again, but he returned in the autumn of 1913 and lived in Moscow, where he drew closer to the circle of religious philosophers there. During this period Ivanov published articles, the philosophical and aesthetic essays gathered in the book Borozdy i mezhi (1916; “Furrows and Boundaries”), and the historico-philosophical and political pieces in Rodnoye i vselenskoye (1917; “Native and Universal”). His most important works of poetry during those years were published later: the poetic cycles Chelovyek (1915–19; “Man”) and Mladenchestvo (1913–18; “Infancy”) and the tragedy Prometey (1906–14; “Prometheus”).

      Ivanov rejected the Russian Revolution of 1917 because of its irreligious nature. He did not, however, oppose the new regime, and he served in various governmental institutions. His work also appeared in Soviet publications. In 1920 he moved to Baku (now in Azerbaijan), where he became a professor at the university, and in 1924 he began living in Rome. He did not thereafter return to the Soviet Union. In 1926 he became a Roman Catholic, and he began teaching in Pavia, Italy, and in Rome, where he mixed with Europe's foremost writers and philosophers.

      His most famous work of the postrevolutionary years, which came to be widely translated, is Perepiska iz dvukh uglov (1921; Correspondence Across a Room), a dialogue with the philosopher Mikhail Gershenzon about the fate of culture and civilization after war and revolution. In 1944 Ivanov wrote a series of poems that were published posthumously in Svet vecherny (1962; “Evening Light”). His Povest o Tsareviche-Svetomire (“Tale of Tsarevich Svetomir”) remained unfinished at his death.

      For many years, the complex structure of Ivanov's theories, his use of archaic language, and his uncommon erudition in many fields of knowledge made his works and ideas inaccessible to readers. Since the early 1980s, however, there has been a marked increase in interest in his work in many countries.

Additional Reading
James D. West, Russian Symbolism: A Study of Vyacheslav Ivanov and the Russian Symbolist Aesthetic (1970); Robert Louis Jackson and Lowry Nelson, Jr. (eds.), Vyacheslav Ivanov: Poet, Critic, and Philosopher (1986); Pamela Davidson, The Poetic Imagination of Vyacheslav Ivanov: A Russian Symbolist's Perception of Dante (1989), and Viacheslav Ivanov: A Reference Guide (1996).

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Universalium. 2010.

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