Photograph of Fyodor Sologub.
Fyodor Sologub

Overview

Fyodor Sologub (, born Fyodor Kuzmich Teternikov; -December 5, 1927) was a Russian Symbolist poet, novelist, playwright and essayist. He was the first writer to introduce the morbid, pessimistic elements characteristic of fin de siècle literature and philosophy into Russian prose.

Literature

Sologub's most famous novel, The Petty Demon (1907), was an attempt to create a living portrait of the concept known in Russian as poshlost'(a idea whose meaning lies somewhere between evil and banality). Published partially in serial form in 1902, and in a standalone edition in 1907, the novel quickly became a bestseller, going through ten printings during the author's lifetime. The Petty Demon tells the story of a provincial schoolteacher, Peredonov, notable for his complete lack of redeeming human qualities. While the book was received as an acidic indictment of Russian society, it is a richly metaphysical novel and one of the major prose works of the Russian Symbolist movement. Sologub's next major prose work, A Created Legend (a trilogy consisting of Drops of Blood, Queen Ortruda, and Smoke and Ash), contained many of the same characteristics but presented a considerably more positive and hopeful view of the world.

While Sologub's novels (especially The Petty Demon and, to a lesser extent, A Created Legend and Troubled Dreams) have become his most prominent works, the St. Petersburg writer has always been most respected by scholars and fellow artists for his poetry. The Symbolist poet Valery Bryusov admired the deceptive simplicity of Sologub's poetry and described it as possessing a Pushkinian perfection of form. Innokenty Annensky, another poet and contemporary of Sologub, wrote that the most original aspect of Sologub's poetry was its author's absolute unwillingness to separate himself from his literature. While many other writers of the period took pride in inventing new literary and aesthetic personas for themselves, Sologub (as he wrote many times) viewed poetry as a glimpse behind the mask - an opportunity to seek the truth within.

Major works

Novels
*Bad Dreams *The Petty Demon *The Created Legend **Drops of Blood **Queen Ortruda **Smoke and Ash
Short stories
*Light and Shadows *Beauty *In the Crowd *The Hungry Sheen *The White Dog *Hide and Seek
Plays
*The Triumph of Death
Who is Fyodor Sologub connected to?
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How is Fyodor Sologub connected to Alexander Pushkin? Tell the world.

That biography says:

...That year, Severyanin (his penname means "Man from the North" in Russian) brought out a collection entitled "The Cup of Thunder" (Громокипящий кубок), with a preface written by Fyodor Sologub....

This biography says:

...The Symbolist poet Valery Bryusov admired the deceptive simplicity of Sologub's poetry and described it as possessing a Pushkinian perfection of form. Innokenty Annensky, another poet and contemporary of Sologub, wrote that the most original aspect of Sologub's poetry was its author's absolute unwillingness to separate himself from his literature...

This biography says:

...Petersburg writer has always been most respected by scholars and fellow artists for his poetry. The Symbolist poet Valery Bryusov admired the deceptive simplicity of Sologub's poetry and described it as possessing a Pushkinian perfection of form...
How is Fyodor Sologub connected to Yuri Annenkov? Tell the world.

That biography says:

...Petersburg, introducing classical plays in an innovative manner, and staging works of controversial contemporary authors like Fyodor Sologub, Zinaida Gippius, and Alexander Blok. In these plays Meyerhold tried to return to acting in the traditions of Commedia dell'arte, rethinking them for the contemporary theatrical reality...

That biography says:

...He became friendly with the Futurist poets and particularly Anna Akhmatova, whose poetry he was among the first to set. He was also acquainted with Vladimir Mayakovsky, Nikolai Kulbin, Fyodor Sologub and Alexander Blok; and was deeply influenced by contemporary art. His early piano pieces, from 1908 onward, take on from the late works of Scriabin but evolve new kinds of discourse, arriving in 1914 at an early form of dodecaphony (the Synthèses) and in 1915 at the Formes en l'air, dedicated to Picasso, a rather Cubist conception using an innovative form of notation in which different systems are placed spatially on the page in independent blocks, with blanks instead of bars' rest...