Russian symbolism
Other minor influences included Oscar Wilde, D'Annunzio, Joris-Karl Huysmans, the operas of Richard Wagner, the dramas of Henrik Ibsen and the broader philosophy of Arthur Schopenhauer and Friedrich Nietzsche.
Sometimes cited as a Slavic counterpart to the accursed poets, Annensky managed to render into Russian the essential intonations of Baudelaire and Verlaine, while the subtle music, ominous allusions, arcane vocabulary, and the spell of minutely changing colors and odors in his poetry were all his own.
The poet and philologist Vyacheslav Ivanov, whose main interests lay in Classical studies, returned from Italy to establish a Dionysian club in St Petersburg.
Other works worthy of mention include the highly influential theoretical book of essays Symbolism (1910), which was instrumental in redefining the goals of the symbolist movement, and the novel Kotik Letaev (1914-1916), which traces the first glimpses of consciousness in a new-born baby.
Blok's verses on the imperial capital bring to life an impressionistic picture of the "city of a thousand illusions"[This quote needs a citation] and as a doomed world full of merchants and bourgeois figures.
Various elemental forces (such as sunrises and sunsets, light and darkness, lightning and fire) assume apocalyptic qualities, serving as portents of a cataclysmic event that would change the earth and humanity forever.
In the Literary Gazette of September 9, 1958, the critic Viktor Pertsov denounced, "the decadent religious poetry of Pasternak, which reeks of mothballs from the Symbolist suitcase of 1908-10 manufacture.
According to Symbolist conviction, divisions between various fields of knowledge and artistic disciplines were artificial: poetry was intimately linked not only to painting, music, and drama, but also to philosophy, psychology, religion, and myth.
"[This quote needs a citation] As to more traditional theatre, Paul Schmidt an influential translator, has written that The Cherry Orchard and some other late plays of Anton Chekhov show the influence of the Symbolist movement.
Stanislavski collaborated with the English theatre practitioner Edward Gordon Craig on a significant production of Hamlet in 1911–12, which experimented with symbolist monodrama as a basis for its staging.
Evreinov insisted that everything around us is "theatre" and that nature is full of theatrical conventions, for example, desert flowers mimicking stones, mice feigning death in order to escape cats' claws, and the complicated dances of some birds.
