Innokentiy Fyodorovich Annensky (Russian: Ð˜Ð½Ð½Ð¾ÐºÐµÌ Ð½Ñ‚Ð¸Ð¹
ФÑ'дорович Ð Ì Ð½Ð½ÐµÐ½Ñ ÐºÐ¸Ð¹, IPA: [ɪnÉ Ëˆkʲenʲtʲɪj
ˈfʲɵdərəvʲɪtɕ ˈanʲɪnskʲɪj] (listen); 1 September 1855
(N.S.) â€" 13 December 1909 (N.S.)) was a poet, critic and translator,
representative of the first wave of Russian Symbolism. Sometimes cited
as a Slavic counterpart to the poètes maudits, Annensky managed to
render into Russian the essential intonations of Baudelaire and
Verlaine, while the subtle music, ominous allusions, arcane
vocabulary, the spell of minutely changing colours and odours were all
his own. His influence on the first post-Symbolist generation of poets
(Akhmatova, Gumilyov, Mandelshtam) was paramount.Annensky was born
into the family of a public official in Omsk on 1 September N.S.
1855.[1] In 1860, while still a child, he was taken to Saint
Petersburg. Innokenty lost his parents early on, and was raised in the
family of his older brother, Nikolai Annensky, a prominent Narodnik
and political activist.In 1879, Innokenty graduated from the
philological department of St. Petersburg University, where he
concentrated on Historical-comparative linguistics. He became a
teacher, and taught classical languages and ancient literature studies
in a gymnasium in Tsarskoe Selo. He served as the Director of this
school from 1886 until his death in 1909. Anna Akhmatova graduated
from this school, and called Annensky "my only teacher," as did
Nikolai Gumilev, who called him "the last of Tsarskoe Selo's
swans."Like Vasily Zhukovsky before him, Annensky was somewhat
reluctant to publish his original poems and first gained renown with
his masterful translations of Euripides and the French Symbolists.
From 1890 until his death in 1909, he translated from Ancient Greek
all the works of Euripides. At the beginning of the 1900s, Annensky
wrote a series of tragedies modelled after those of ancient Greece:
Melanippa-filosof (1901), Tsar Iksion (1903), Laodamia (1906). Some of
these works were dedicated to his colleague, Faddei Zielinski, who
would later write his obituary.
ФÑ'дорович Ð Ì Ð½Ð½ÐµÐ½Ñ ÐºÐ¸Ð¹, IPA: [ɪnÉ Ëˆkʲenʲtʲɪj
ˈfʲɵdərəvʲɪtɕ ˈanʲɪnskʲɪj] (listen); 1 September 1855
(N.S.) â€" 13 December 1909 (N.S.)) was a poet, critic and translator,
representative of the first wave of Russian Symbolism. Sometimes cited
as a Slavic counterpart to the poètes maudits, Annensky managed to
render into Russian the essential intonations of Baudelaire and
Verlaine, while the subtle music, ominous allusions, arcane
vocabulary, the spell of minutely changing colours and odours were all
his own. His influence on the first post-Symbolist generation of poets
(Akhmatova, Gumilyov, Mandelshtam) was paramount.Annensky was born
into the family of a public official in Omsk on 1 September N.S.
1855.[1] In 1860, while still a child, he was taken to Saint
Petersburg. Innokenty lost his parents early on, and was raised in the
family of his older brother, Nikolai Annensky, a prominent Narodnik
and political activist.In 1879, Innokenty graduated from the
philological department of St. Petersburg University, where he
concentrated on Historical-comparative linguistics. He became a
teacher, and taught classical languages and ancient literature studies
in a gymnasium in Tsarskoe Selo. He served as the Director of this
school from 1886 until his death in 1909. Anna Akhmatova graduated
from this school, and called Annensky "my only teacher," as did
Nikolai Gumilev, who called him "the last of Tsarskoe Selo's
swans."Like Vasily Zhukovsky before him, Annensky was somewhat
reluctant to publish his original poems and first gained renown with
his masterful translations of Euripides and the French Symbolists.
From 1890 until his death in 1909, he translated from Ancient Greek
all the works of Euripides. At the beginning of the 1900s, Annensky
wrote a series of tragedies modelled after those of ancient Greece:
Melanippa-filosof (1901), Tsar Iksion (1903), Laodamia (1906). Some of
these works were dedicated to his colleague, Faddei Zielinski, who
would later write his obituary.
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