An analysis of Bryusov’s poem is better to start with brief information about the poet, especially since he is an outstanding person.
Valery Bryusov broke into the world of poetry at the end of the nineteenth century as a representative of the "young", new poetry (symbolism), created by him following the example of the French Verlaine, Malarm and Rimbaud. But not only symbolism was of interest to the young poet at that time. Once he puzzled the audience with his shocking monostich about pale legs, thereby declaring the artist's right to unlimited creative freedom.
Fortunately for connoisseurs of poetry, Bryusov did not limit himself only to experiments: he developed his poetic talent, filling works with historical events and images from his own life. Often, he made heroes of his poems strong personalities, characters of history or myths, being influenced by Nietzsche ’s philosophy. The appearance of more and more collections was an illustration of how Bryusov's poetic mastery grew and strengthened.
But the poet valued freedom above all else. In his early poem entitled "Creativity" there is no specific hero, or rather, he is a contemplator. And with his eyes the reader sees what is happening.
But the analysis of Bryusov’s poem “Creativity”, like any other work, must be started by indicating the day and year of its creation. It was written on March 1, 1895 and was included in the collection of "young" poems "Masterpieces".
The analysis of Bryusov’s poem once again confirms the author’s main idea that the artist is free to choose a topic, and even the mystical process of creation can become it.
The fact that the work belongs to symbolism says a lot. For example, the vocabulary that the author uses to portray strange, unusual images: patching blades (leaves spread out like five leaves), like violet bizarre hands on an enamel wall, draw not lines, but sounds, without violating the “sonorous-sonorous silence”.
A strange fantasy world appears before the reader: transparent gazebos (“stalls”), “uncreated” creatures appearing from nowhere, shining in the light of two moons, or rather, the azure moon and the “naked” (without clouds) month. And this whole process is shrouded in secrets and dreams.
An analysis of Bryusov’s poem revealed the use of such expressive means as painting and sound recording. It seems that the text contains violet and azure colors, and the enamel wall is for some reason associated with white, although, apparently, this meant the quality of its surface - smoothness. The drowsiness of the often repeated “l”, “r”, “m” and “n” is intended to create a feeling of slowness, smooth movements, as if everything is happening under water. The music of this poem is bewitching!
Compositionally, it is constructed in an original way: the last line of the quatrain becomes second in the next four lines. An analysis of Bryusov’s poem shows that the lines, repeating themselves, are concatenated with each other, creating a continuous stream of fantastic consciousness and feelings.
Bryusov’s poem “Creativity” unfolds slowly, as if to say that nothing is created immediately, you can never know anything for sure. Images of shaky, fuzzy, they are gradually guessed by the lyrical hero. Perhaps this painful process of searching for the essence is called the "flour of creativity"?
All Bryusov’s poems on the process of creation are united by one main idea: creativity is infinite and free, it cannot be comprehended, it is afraid of clarity and loudness. As soon as an illusory image appears in bright light under the eyes of an inquisitive critic, it immediately crumbles, giving no opportunity to closely and carefully study it. Such is its airy and fragile nature!