Innokenty Fedorovich Annensky (1855-1909) - Russian playwright, poet, translator, critic, literature and language researcher, director of the Tsarskoye Selo men's gymnasium. Brother of N.F. Annensky.
Childhood and adolescence
Innokenty Fedorovich Annensky was born on August 20 (September 1), 1855 in Omsk, in the family of government official Fyodor Nikolaevich Annensky (died March 27, 1880) and Natalia Petrovna Annenskaya (died October 25, 1889). His father was the head of the Main Directorate Western Siberia. When Innocent was about five years old, his father received the position of official special assignments in the Ministry of Internal Affairs, and the family from Siberia returned to St. Petersburg, which they had previously left in 1849. As a child, Innocent was a very weak and sickly boy.
Annensky studied at private school, then - in the 2nd St. Petersburg gymnasium (1865-1868). Since 1869, he studied for two and a half years at the private gymnasium of V. I. Behrens. Before entering the university, in 1875, he lived with his older brother Nikolai, encyclopedic educated person, economist, populist, who helped younger brother in preparation for the exam and had a great influence on Innocent.
Activity as director of a gymnasium
After graduating from the Faculty of History and Philology in 1879 St. Petersburg University for a long time served as a teacher of ancient languages and Russian literature at the Gurevich gymnasium. He held the position of director of the Galagan College in Kyiv (January 1891 - October 1893), then the 8th St. Petersburg Gymnasium (1893-1896) and the gymnasium in Tsarskoe Selo (October 16, 1896 - January 2, 1906). The excessive gentleness he showed, in the opinion of his superiors, during the troubled time of 1905-1906 was the reason for his dismissal from this position. Gave lectures on ancient Greek literature at the Highest women's courses.
The position of director of the gymnasium always weighed heavily on I. F. Annensky. In a letter to A.V. Borodina in August 1900, he wrote: You ask me: “Why don’t you leave?” Oh, how much I thought about this... How much I dreamed about it... Maybe it wouldn’t be so difficult... But do you know how you think seriously? Does a staunch defender of classicism have the moral right to throw down its banner at a moment when it is surrounded on all sides by evil enemies?... - Innokenty Annensky. Favorites / Comp. I. Podolskaya. - M.: Pravda, 1987. - P. 469. - 592 p.
From 1906 to 1909 he held the position of district inspector in St. Petersburg, and shortly before his death he retired.
Literary and translation activities
The creative biography of Innokenty Annensky begins in the early 1880s, when Annensky appears in print with scientific reviews, critical articles, as well as articles on pedagogical issues.
From the beginning of the 1890s, he began studying Greek tragedians; Over the course of a number of years, he completed a huge amount of work translating into Russian and commenting on the entire theater of Euripides. At the same time, he wrote several original tragedies based on Euripidean plots and the “Bacchanalian drama” “Famira the Cyfared” (performed in the 1916-1917 season on the stage of the Chamber Theater). Translated French poets-symbolists (Baudelaire, Verlaine, Rimbaud, Mallarmé, Corbières, A. de Regnier, F. Jamme, etc.). He published his first book of poems, “Quiet Songs,” in 1904 under the pseudonym “Nick. T-o”, which imitated the abbreviated first and last name, but formed the word “Nobody” (this was the name Odysseus introduced himself to Polyphemus).
Annensky wrote four plays - “Melanippe the Philosopher” (1901), “King Ixion” (1902), “Laodamia” (1906) and “Famira the Cyfared” (1906, published posthumously in 1913) - in the ancient Greek spirit on the plots of lost the tragedies of Euripides and in imitation of his manner.
Innocent Annesky translated into Russian all 18 tragedies of the great ancient Greek playwright Euripides that have come down to us. He also completed poetic translations works by Horace, Goethe, Muller, Heine, Baudelaire, Verlaine, Rimbaud, Rainier, Sully-Prudhomme, Longfellow.
On November 30 (December 13), 1909, Annensky died suddenly on the steps of the Tsarskoye Selo station in St. Petersburg from a heart attack. He was buried at the Kazan Cemetery in Tsarskoye Selo (now the city of Pushkin Leningrad region). Annensky's son, philologist and poet Valentin Annensky (Krivich), published it " Cypress casket"(1910) and "Posthumous Poems" (1923).
Literary influence
Annensky's literary influence on the movements of Russian poetry that emerged after symbolism (Acmeism, Futurism) is very great. Annensky's poem "Bells" can rightfully be called the first Russian futuristic poem in time of writing. His poem “Among the Worlds” is one of the masterpieces of Russian poetry; it formed the basis of romances written by A. Vertinsky and A. Sukhanov. Annensky's influence greatly affects Pasternak and his school, Anna Akhmatova, Georgiy Ivanov and many others. In his literary critical articles, partially collected in two “Books of Reflections,” Annensky provides brilliant examples of Russian impressionistic criticism, striving for interpretation work of art through the conscious continuation of the author’s creativity within oneself. It should be noted that already in his critical and pedagogical articles of the 1880s, Annensky, long before the formalists, called for a systematic study of the form of works of art in school.
Memories of Annensky
Professor B. E. Raikov, former student 8th St. Petersburg Gymnasium, wrote in his memoirs about Innokenty Annensky:
...absolutely nothing was known about his poetic experiments at that time. He was known only as the author of articles and notes on philological topics, and he kept his poems to himself and did not publish anything, although he was already about forty years old at that time. We, high school students, saw in him only a tall, thin figure in a uniform, who sometimes shook a long white finger at us, but in general, stayed very far away from us and our affairs.
Annensky was a zealous defender of ancient languages and held high the banner of classicism in his gymnasium. During his time, our recreational hall was entirely painted with ancient Greek frescoes, and the schoolchildren performed plays by Sophocles and Euripides during the holidays. Greek, moreover, in antique costumes, strictly consistent with the style of the era.
In the city of Pushkin on Naberezhnaya Street at house No. 12 in 2009 it was installed Memorial plaque(sculptor V.V. Zaiko) with the text: “In this house from 1896 to 1905 the poet Innokenty Fedorovich Annensky lived and worked at the Imperial Tsarskoe Selo Gymnasium.”
Innokenty Annensky (1855-1909)
Innokenty Fedorovich Annensky was born on August 20 (September 1), 1855 in the city of Omsk into the family of an official Fedor Nikolaevich Annensky, who at that time held the post of head of the department of the Main Directorate of Western Siberia. Soon the Annenskys moved to Tomsk (father was appointed to the post of chairman of the Provincial Administration), and in 1860 they returned to St. Petersburg. Initially, life in the capital was going well, except for the serious illness of five-year-old Innocent, as a result of which Annensky had a complication that affected his heart. Fyodor Nikolaevich took the post of official of special assignments in the Ministry of Internal Affairs, but that was where his career ended. Wanting to get rich, he allowed himself to be drawn into dubious financial enterprises, but failed: Fyodor Nikolaevich went bankrupt, was dismissed in 1874, and soon suffered from apoplexy. Need came to the family of the ruined official. Apparently, it was poverty that was the reason that Innokenty Fedorovich was forced to interrupt his studies at the gymnasium. In 1875, Annensky passed the matriculation exams. During these difficult years for the family, his elder brother took care of Innocent. Nikolai Fedorovich Annensky, Russian intellectual - publicist, scientist, public figure, and his wife Alexandra Nikitichna, a teacher and children's writer, professed the ideals of populism of the “generation of the sixties”; The same ideals were to some extent adopted by the younger Annensky. According to Innokenty Fedorovich himself, he was “entirely indebted for his intelligent existence” to them (his elder brother and his wife). Annensky entered the Faculty of History and Philology of St. Petersburg University, from which he successfully graduated in 1879. In the same year, he married a young woman, Nadezhda (Dina) Valentinovna Khmara-Barshchevskaya, who was several years older than him and had two sons from his first marriage.
Already while studying at the university, Annensky began to write poetry, but his unusually strict strictness towards his own work led to many years of “silence” of this extremely gifted poet. Only in the forty-eighth year of his life did Annensky decide to bring his poetic works to the attention of readers, and even then he hid under a pseudonym mask and, like Odysseus once in the cave of Polyphemus, called himself the name Nobody. Collection of poems “Quiet Songs” was published in 1904. By this time, Annensky was well known in Russian literary circles as a teacher, critic and translator.
After graduating from the university, Annensky taught ancient languages, ancient literature, the Russian language, as well as the theory of literature in gymnasiums and at the Higher Women's Courses. In 1896, he was appointed director of the Nikolaev Gymnasium in Tsarskoe Selo. He worked at the Tsarskoe Selo gymnasium until 1906, when he was fired from the post of director in connection with his intercession for high school students - participants political speeches 1905 Annensky was transferred to the position of inspector of the St. Petersburg educational district. His new responsibilities included regularly inspecting educational institutions, located in the district cities of the St. Petersburg province. Frequent and tiring trips for Annensky, then already an elderly man with a heart condition, had an adverse effect on his already poor health. In the fall of 1908, Annensky was able to return to pedagogical activity: he was invited to give lectures on the history of ancient Greek literature at the Higher Historical and Literary Courses of N.P. Raev. Now Annensky constantly traveled from Tsarskoe Selo, which he did not want to part with, to St. Petersburg. Finally, in October 1909, Annensky resigned, which was accepted on November 20. But on the evening of November 30, 1909, at the station (Vitebsk station in St. Petersburg), Annensky died suddenly (para-lich of the heart). His funeral took place on December 4 in Tsarskoe Selo. IN last way teachers and poets came to see off many of his followers in literature, students and friends. How the young Nikolai Gumilyov perceived Annensky’s death as a personal grief.
Expert in ancient and Western European poetry XVIII- XIX centuries, Annensky in the 1880-1890s. often gave critical reviews and articles, many of them rather resembled original impressionistic sketches or essays (“Book of Reflections”, Vol. 1-2, 1906-1909). At the same time, he translated the tragedies of Euripides, German and French poets: Goethe, Heine, Verlaine, Baudelaire, Leconte de Lisle.
In the early 1900s. Annensky's own poems appear in print for the first time. In addition to “Silent Songs,” he publishes plays: tragedies based on ancient mythology - “Melanippe the Philosopher” (1901), “King Ixion” (1902) and “Laodamia” (1906); the fourth - “Famira-kifared” - was published posthumously in 1913. in 1916 staged. In Annensky’s biography, much happened “posthumously”: the publication of his poems was posthumous, and his recognition as a poet was also posthumous.
All of Annensky’s work, according to A. A. Blok, bore “the stamp of fragile subtlety and real poetic flair.” In their poetic works Annensky tried to capture and show the nature of the internal discord of the individual, the possibility of the collapse of a person’s consciousness under the pressure of the “incomprehensible” and “comprehensible” ( real city turn of eras) reality. A master of impressionistic sketches, portraits, landscapes, Annensky knew how to create in poetry artistic images, close to Gogol and Dostoevsky - realistic and phantasmagoric at the same time, sometimes somewhat reminiscent of either the delirium of a madman, or horrible dream. But the restrained tone accompanying the event, the simple and clear, sometimes everyday syllable of the verse, the absence of false pathos gave Annensky’s poetry amazing authenticity, “an incredible closeness of experience.” Trying to characterize distinctive features Annensky's poetic gift, Nikolai Gumilyov, who repeatedly turned to the creative heritage of his teacher and older friend, wrote: “ I. Annensky... is powerful not so much in Male power as in Human power. For him, it is not a feeling that gives rise to a thought, as is generally the case with poets, but the thought itself grows so strong that it becomes a feeling, alive to the point of pain.».
, Playwright, Critic
Innokenty Fedorovich Annensky(August 20 (September 1) 1855, Omsk, Russian empire- November 30 (December 13), 1909, St. Petersburg, Russian Empire) - Russian poet, playwright, translator, critic, literature and language researcher, teacher and educational administrator. Brother of N.F. Annensky.
Innokenty Fedorovich Annensky was born on August 20 (September 1), 1855 in Omsk, in the family of government official Fyodor Nikolaevich Annensky (died March 27, 1880) and Natalia Petrovna Annenskaya (died October 25, 1889). His father was the head of a department of the Main Directorate of Western Siberia. When Innocent was about five years old, his father received a position as an official on special assignments in the Ministry of Internal Affairs, and the family from Siberia returned to St. Petersburg, which they had previously left in 1849.
In poor health, Annensky studied at a private school, then at the 2nd St. Petersburg Progymnasium (1865-1868). Since 1869, he studied for two and a half years at the private gymnasium of V. I. Behrens. Before entering the university, in 1875, he lived with his older brother Nikolai, an encyclopedic educated man, an economist, a populist, who helped his younger brother prepare for the exam and had a great influence on Innocent.
After graduating from the Faculty of History and Philology of St. Petersburg University in 1879, he served for a long time as a teacher of ancient languages and Russian literature at the Gurevich gymnasium. He was the director of the Galagan College in Kyiv (January 1891 - October 1893), then the 8th St. Petersburg Gymnasium (1893-1896) and the gymnasium in Tsarskoe Selo (October 16, 1896 - January 2, 1906). The excessive softness he showed, in the opinion of his superiors, during the troubled times of 1905-1906 was the reason for his removal from this position. In 1906 he was transferred to St. Petersburg as a district inspector and remained in this position until 1909, when he retired shortly before his death. He lectured on ancient Greek literature at the Higher Women's Courses. Since the early 1880s, he has appeared in print with scientific reviews, critical articles and articles on pedagogical issues. From the beginning of the 1890s, he began studying Greek tragedians; Over the course of a number of years, he completed a huge amount of work translating into Russian and commenting on the entire theater of Euripides. At the same time, he wrote several original tragedies based on Euripidean plots and the “Bacchanalian drama” “Famira-kifared” (run in the 1916-1917 season on the stage of the Chamber Theater). He translated French symbolist poets (Baudelaire, Verlaine, Rimbaud, Mallarmé, Corbières, A. de Regnier, F. Jamme, etc.).
On November 30 (December 13), 1909, Annensky died suddenly on the steps of the Tsarskoye Selo station in St. Petersburg. He was buried at the Kazan cemetery in Tsarskoe Selo (now the city of Pushkin, Leningrad region). Annensky's son, philologist and poet Valentin Annensky (Krivich), published his “Cypress Casket” (1910) and “Posthumous Poems” (1923).
Dramaturgy
Annensky wrote four plays - “Melanippe the Philosopher” (1901), “King Ixion” (1902), “Laodamia” (1906) and “Thamira the Cyfared” (1906, published posthumously in 1913) - in the ancient Greek spirit on the plots of lost plays of Euripides and in imitation of his manner.
Translations
Annensky translated into Russian full meeting plays by the great Greek playwright Euripides. He also performed poetic translations of works by Horace, Goethe, Muller, Heine, Baudelaire, Verlaine, Rimbaud, Rainier, Sully-Prudhomme, and Longfellow.
Literary influence
Annensky's literary influence on the movements of Russian poetry that emerged after symbolism (Acmeism, Futurism) is very great. Annensky's poem "Bells" can rightfully be called the first Russian futuristic poem in time of writing. Annensky's influence greatly affects Pasternak and his school, Anna Akhmatova, Georgiy Ivanov and many others. In his literary critical articles, partially collected in two “Books of Reflections,” Annensky provides brilliant examples of Russian impressionistic criticism, striving to interpret a work of art through the conscious continuation of the author’s creativity. It should be noted that already in his critical and pedagogical articles of the 1880s, Annensky, long before the formalists, called for a systematic study of the form of works of art in school.
Activity as director of a gymnasium
The position of director of the gymnasium always weighed heavily on I. F. Annensky. In a letter to A.V. Borodina in August 1900, he wrote:
You ask me: “Why don’t you leave?” Oh, how much I thought about this... How much I dreamed about it... Maybe it wouldn’t be so difficult... But do you know how you think seriously? Does a staunch defender of classicism have the moral right to throw down its banner at a moment when it is surrounded on all sides by evil enemies?...
Innokenty Annensky. Favorites / Comp. I. Podolskaya. - M.: Pravda, 1987. - P. 469. - 592 p.
Professor B.E. Raikov, a former student of the 8th St. Petersburg Gymnasium, wrote in his memoirs about Innokenty Annensky:
...absolutely nothing was known about his poetic experiments at that time. He was known only as the author of articles and notes on philological topics, and he kept his poems to himself and did not publish anything, although he was already about forty years old at that time. We, high school students, saw in him only a tall, thin figure in a uniform, who sometimes shook a long white finger at us, but in general, stayed very far away from us and our affairs.
Annensky was a zealous defender of ancient languages and held high the banner of classicism in his gymnasium. Under him, our recreational hall was entirely painted with ancient Greek frescoes, and the schoolchildren performed plays by Sophocles and Euripides in Greek during the holidays, moreover, in antique costumes, strictly consistent with the style of the era.
Editions
- Annensky I. F. Quiet songs. - St. Petersburg, 1904. (Under the pseudonym “Nick. T-o”)
- Annensky I.F. Book of Reflections. - St. Petersburg, 1906.
- Annensky I. F. The second book of reflections. - St. Petersburg, 1909.
- Annensky I. F. Cypress casket. - St. Petersburg, 1910.
- Annensky I.F. Poems / Comp., intro. Art. and note. E. V. Ermilova. - M.: Sov. Russia, 1987. - 272 p. (Poetic Russia)
- Annensky I.F. Poems and tragedies / Introductory article, compilation, preparation. text., note. A. V. Fedorova. - L.: Sov. writer, 1990. - 640 p. (The Poet's Library. Large series. Third edition.)
- Annensky I.F. 1909: Lectures on ancient literature. St. Petersburg
Innokenty Fedorovich Annensky - photo
Innokenty Fedorovich Annensky - quotes
For the charm of the silver-leafed Tulips on the veil I will stand a hundred meals, I will be exhausted in fasting! 
What heavy, dark nonsense! How cloudy and lunar these heights are! Touching a violin for so many years And not recognizing the strings in the light! Who needs us? Who lit up Two yellow faces, two dull ones... And suddenly I felt a bow, That someone had taken them and someone had merged them. “Oh, how long ago! Through this darkness, say one thing: are you the one, are you the one?” And the strings caressed towards him, Ringing, but as they caressed, they trembled. “Isn’t it true that we will never part again? enough?..” And the violin answered yes, But the violin’s heart hurt. The bow understood everything, it fell silent, But in the violin it all held on... And it was torment for them, What seemed like music to people. But the man did not extinguish the candles until the morning... And the strings sang... Only the sun found them exhausted On the black velvet bed.
You are with me again, friend autumn...
What is happiness? Child of crazy speech? One minute on the way, Where with the kiss of a greedy meeting merged an inaudible forgiveness? Or is it in the autumn rain? In the return of the day? In the closure of the eyelids? In goods that we do not value For the ugliness of their clothes? You say... Here is a wing of happiness beating against a flower, But in a moment - and it will soar upward, Irreversibly and lightly. And the heart, perhaps, is dearer to the arrogance of consciousness, dearer to torment, if in it there is a subtle poison of memory.
In the separate clarity of the rays And in the fuzzy unity of visions Always above us is the power of things With its triad of dimensions. And you expand the boundaries of existence, Or you multiply forms with fiction, But in the I itself, you cannot go anywhere from the eyes of Not I. That power is a beacon, she calls, God and corruption were combined in it, And before it the secrecy of things in art is so pale. No, you can’t escape their power Behind the magic of air spots, It’s not the depth that attracts the verse, It’s only incomprehensible like a rebus. Orpheus was attracted by the beauty of his open face. Are you really worthy of a singer, the Veils of the puppet Isis? Love the separateness and rays In the aroma they give birth to. You are bowls of bright points for holistic perceptions.
Innokenty Fedorovich Annensky was older than all Russian modernist poets turn of XIX-XX centuries. He stood further away from their general direction and was recognized in much more mature age than the rest. He was born in 1855 in Omsk, the son of a prominent official, and received his education in St. Petersburg. At the university there, he graduated from the classical department and was retained at the department, but found that he was unable to concentrate on writing a dissertation - and became a teacher of ancient languages. Over time he became director Tsarskoye Selo Lyceum, and subsequently - inspector of the St. Petersburg educational district. All of him teaching career took place over high level than the career of another poet-teacher - Fyodor Sologub.
Innokenty Annensky. Photo from the 1900s.
Annensky was an outstanding expert in the field ancient literature, collaborated in philological journals, devoted himself to translating the entirety of Euripides into Russian. In 1894 he published Bacchae, and then everything else. It is no coincidence that he chose Euripides - the most “journalistic” and least religious of tragic poets. Annensky's mentality was highest degree unclassical, and he did everything he could to modernize and vulgarize the Greek poet. But all this would have given him only a small place in Russian literature if not for his own poems.
Innokenty Annensky. Genius
In 1904 he published a book of poetry (half of which was taken up by translations from French poets and from Horace) entitled Quiet songs and under the fancy pseudonym Nick. T-O (at the same time both a partial anagram of his name and “nobody”). For him, this is also an allusion to the famous episode from the Odyssey, when Odysseus tells Polyphemus that his name is Nobody. Annensky is characterized by such distant and complexly constructed allusions. Quiet songs went unnoticed, even the Symbolists did not pay attention to them.
Annensky's poems continued to appear in magazines from time to time. He published two books of critical essays, remarkable both for the subtlety and insight of critical observations and for the pretentious quirks of style. By 1909, some began to understand that Annensky was an unusually original and interesting poet. He was “picked up” by the St. Petersburg symbolists and introduced into their poetry circles, where he immediately became central figure. He was on his way to becoming a major influence in literature when he died suddenly of a heart attack at the St. Petersburg station while returning home to Tsarskoe Selo (November 1909). By this time, he had prepared a second book of poems for publication - Cypress casket, which was published in next year and among Russian poets began to be considered a classic.
Innokenty Fedorovich Annensky - poet, playwright (September 1, 1855 Omsk - December 13, 1909 St. Petersburg). His father, a high-ranking government official, returned from Omsk to St. Petersburg in 1860, where Innokenty Fedorovich grew up and graduated from the university in 1879 (department of comparative linguistics). Most throughout his life he worked in a gymnasium: first in St. Petersburg, from 1891 as a director in Kyiv, from 1893 again in St. Petersburg; in 1896 he was appointed director of the gymnasium in Tsarskoe Selo, and in 1906 he was transferred to the position of inspector of the St. Petersburg educational district.
Since the 1880s, Innokenty Annensky published philological works; from the beginning of the 1890s - regularly translated ancient Greek literature into Russian, including all 19 tragedies of Euripides (first incomplete edition - 1907). Between 1901-1906 Annensky wrote 4 tragedies on the themes Greek mythology, For example " Laodamia"(1902), but its significance in Russian literature is due to poetic creativity. He wrote poetry since childhood, but only when he was 49 years old did he publish his first collection." Quiet songs" (1904) under a pseudonym alluding to his position as a poet: Nik. T-o, that is, “nobody.”
Shortly before his sudden death Innokenty Annensky was nevertheless recognized as a poet: he became a member of the new avant-garde literary magazine"Apollo", but his second and most significant collection of poems" Cypress casket"(1910) I no longer saw. The son of Innokenty Fedorovich, philologist, (pseudonym - V. Krivich), published" Posthumous poems"(1923) by his father. Only in 1939, 1959, 1979 and 1987 did Soviet editions of Annensky's poems appear.
Literary essays about Gogol, Dostoevsky, Balmont and others, collected by the author in " Book of Reflections"(2 volumes, 1906, 1908), outline new paths for Russian literary criticism. Annensky translated not only from Greek, but also from German and, mainly, from French- modern lyrics.
Such poets as, for example, A. Blok, A. Akhmatova and S. Makovsky highly appreciated him during his lifetime, but the influence of Annensky the lyricist became noticeable only after his death. It affected, in particular, the poetry of Acmeism, then still a new movement, as well as the poetry of Futurism.
From Russian poets to lyrical creativity Annensky was influenced by Baratynsky and Tyutchev, from the French - Baudelaire, Verlaine and Mallarmé. It reveals the contradiction between the rich inner life the poet and his suffering from the imperfection of external existence between his reverence for the beautiful and fear for his fate in life, dark colors, melancholy, death, pessimism, dissonance predominate in him. In Annensky's poems, this personal beginning is hidden behind the metaphorical language, which is not always easy to decipher. “Aesthetics became for him a saving shield from thoughts of despair” (S. Makovsky). The imaginative world of Innokenty Annensky is close to nature and music. They are spiritualized and associated with experiences in the human soul. “Trivial everyday objects in Annensky’s defamiliarizing vision, in the “alarming emptiness,” suddenly acquire some kind of frighteningly magical dimension” (A. Wanner). His style is impressionistic and compressed; in the structure of poems and poetic cycles one can feel a conscious desire for a clear form. The rhythmic richness of his poems influenced the poetics of free verse. For the history of Russian literature, Annensky is doubly significant: he is the inspirer of the great Acmeists, A. Akhmatova, N. Gumilyov, O. Mandelstam, and an independent personality in poetry; his philosophical lyrics and closeness to nature belongs to symbolism.