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The end of the 19th beginning of the 20th century is a special period in Russian history. The feeling of constant change in the social and spiritual life of the country def. pathos Russian. literature. In Russian poetry of this period, two

oppositions in their ideological and creative principles of the direction: proletarian poetry and the poetry of new, decadent trends. At the same time, the poetry of critical realism continues to develop. In 1890, poetry was born, calling for a mass revolutionary feat: the work of A. Kots, G. Krzhizhanovsky. M. Gorky created "songs", the poem "Man", philosophical and lyrical works. Working poetry 05-07 contains a political understanding of the Russian revolutionary reality of those years. A new stage in the development of proletarian poetry - the 10s. In the 12th year, the publication of the Pravda newspaper began, a group of “Pravdist” poets appeared - Gorky, D. Poor, and others. A significant place in the literature of the beginning of the century was occupied by the work of the “Znanieve” poets. - the most famous - Bunin. Democracy, humanism, following the realistic traditions of Russian poetry are the distinguishing features of their work. At the end of the 19th and the beginning of the 20th, decadent currents were formed that openly declared their rejection of the heritage of democratic literature - nationality, ideology, realism. Each of the decadent currents - symbolism, young symbolism, acmeism, egofuturism, futurism - united with the others the denial of realism. In this sense, the decadents are always opposed to realism. The book of D. Merezhkovsky "On the Causes of the Decline and the Main Currents of Modern Russian Literature" (1893) became the manifesto of the ethics and aesthetics of Russian, a symbol.

V. Bryusov became the theoretician and organizer of symbolism in the late 19th and early 20th centuries. In addition to him, K. Balmont and F. Sologub leave a big mark in the history of Russian poetry of this period and direction. At the beginning of the 20th century, historical prerequisites were created for the emergence of a new trend in Russian symbolism - young symbolism (A. Blok, A. Bely, S. Solovyov, etc.). Among the young symbolism, A. Blok passed a special, original path - from the mysticism of poems about the Beautiful Lady to the poem "The Twelve", becoming one of the first poets of the revolution. By the age of 10, symbolism, as an ideological trend, exhausts itself. At this time, a group of young poets enter literature, who seek to bring poetry out of the mystical mists of symbolism into real life. In 1911, the literary circle "Workshop of Poets" arose, headed by N. Gumilyov and S. Gorodetsky, its members were A. Akhmatova, O. Mandelstam, T. Ivanov, E. Kuzmina-Karavaeva and others. "Workshop" publishes the journal "Hyperborea ". A new poetic school appears - acmeism, emphasizing the aspiration of its participants to new heights of quest. In the 10s, futurism arose, it was represented by the Gilea group - cubo-futurists. It included V. Khlebnikov, A. Kruchenykh, V. Kamensky, V. Mayakovsky. There were two other groups of futurists: "Mezzanine of Poetry" headed by V. Shershenevich and "Centrifuge", which included S. Bobrov, N. Aseev, B. Pasternak. Russian futurists proclaimed revolutionary forms independent of content, the subjective will of the artist, the rejection of all traditions.

Russian literature of the XX century ("Silver Age". Prose. Poetry).

Russian literature XX century- the heiress of the tradition of the golden age of Russian classical literature. Her artistic level is quite comparable with our classics.

Throughout the century, there has been a sharp interest in society and literature in the artistic heritage and spiritual potential of Pushkin and Gogol, Goncharov and Ostrovsky, Tolstoy and Dostoevsky, whose work is perceived and evaluated depending on the philosophical and ideological currents of the time, on creative searches in literature itself. . Interaction with tradition is complex: it is not only development, but also repulsion, overcoming, rethinking of traditions. In the 20th century, new artistic systems were born in Russian literature - modernism, avant-garde, socialist realism. Realism and romanticism continue to live. Each of these systems has its own understanding of the tasks of art, its own attitude to tradition, the language of fiction, genre forms, and style. His understanding of the personality, its place and role in history and national life.

The literary process in Russia in the 20th century was largely determined by the impact on the artist, culture in general, of various philosophical systems and policies. On the one hand, the influence of the ideas of Russian religious philosophy of the late 19th and early 20th centuries (the works of N. Fedorov, V. Solovyov, N. Berdyaev, V. Rozanov, and others) on literature is undoubtedly influenced, on the other hand, by Marxist philosophy and Bolshevik practice. Marxist ideology, starting from the 1920s, establishes a rigid dictate in literature, banishing from it everything that does not coincide with its party guidelines and the strictly regulated ideological and aesthetic framework of socialist realism, which was approved by directive as the main method of domestic literature of the 20th century at the First Congress of Soviet Writers in 1934 year.

Beginning in the 1920s, our literature ceased to exist as a single national literature. It is forced to be divided into three streams: Soviet; Russian literature abroad (emigrant); and the so-called "detained" within the country, that is, not having access to the reader for censorship reasons. These streams were isolated from each other until the 1980s, and the reader did not have the opportunity to present a complete picture of the development of national literature. This tragic circumstance is one of the peculiarities of the literary process. It also largely determined the tragedy of fate, the originality of the work of such writers as Bunin, Nabokov, Platonov, Bulgakov, etc. At present, the active publication of the works of émigré writers of all three waves, works that have lain in the writers' archives for many years, allows you to see the richness and variety of national literature. The opportunity arose for a truly scientific study of it in its entirety, comprehending the internal laws of its development as a special, proper artistic area of ​​the general historical process.

In the study of Russian literature and its periodization, the principles of exclusive and direct conditioning of literary development by socio-political causes are overcome. Of course, literature reacted to the most important political events of the time, but mainly in terms of themes and problems. According to its artistic principles, it retained itself as an intrinsically valuable sphere of the spiritual life of society. Traditionally, the following periods:

1) the end of the 19th century - the first decades of the 20th century;

2) 1920-1930s;

3) 1940s - mid-1950s;

4) mid-1950s-1990s.

The end of the 19th century was a turning point in the development of the social and artistic life of Russia. This time is characterized by a sharp aggravation of social conflicts, the growth of mass demonstrations, the politicization of life and the extraordinary growth of personal consciousness. The human personality is perceived as a unity of many principles - social and natural, moral and biological. And in literature, characters are not determined exclusively and primarily by environment and social experience. Different, sometimes polar, ways of reflecting reality appear.

Subsequently, the poet N. Otsup called this period the "silver age" of Russian literature. The modern researcher M. Pyanykh defines this stage of Russian culture as follows: "The Silver Age" - in comparison with the "golden", Pushkin's, - is usually called the end of the 19th - beginning of the 20th century in the history of Russian poetry, literature and art. If we keep in mind that the “Silver Age” had a prologue (the 80s of the XIX century) and an epilogue (the years of the February and October revolutions and the civil war), then Dostoevsky’s famous speech about Pushkin (1880) can be considered its beginning. , and at the end - Blok's speech "On the Appointment of the Poet" (1921), also dedicated to the "son of harmony" - Pushkin. The names of Pushkin and Dostoevsky are associated with two main, actively interacting trends in Russian literature of both the Silver Age and the entire 20th century - harmonic and tragic.

The theme of the fate of Russia, its spiritual and moral essence and historical perspectives becomes central in the work of writers of various ideological and aesthetic trends. Interest in the problem of national character, the specifics of national life, and human nature is growing. In the work of writers of different artistic methods, they are solved in different ways: in the social, concrete historical terms, by realists, followers and continuers of the traditions of critical realism of the 19th century. The realistic direction was represented by A. Serafimovich, V. Veresaev, A. Kuprin, N. Garin-Mikhailovsky, I. Shmelev, I. Bunin and others. . Symbolists F. Sologub, A. Bely, expressionist L. Andreev and others. A new hero is also born, a “continuously growing” person, overcoming the shackles of an oppressive and overwhelming environment. This is the hero of M. Gorky, the hero of socialist realism.

Literature of the early 20th century - Literature of philosophical problems par excellence. Any social aspects of life acquire a global spiritual and philosophical meaning in it.

The defining features of the literature of this period are:

interest in eternal questions: the meaning of the life of an individual and humanity; the mystery of the national character and history of Russia; worldly and spiritual; human and nature;

intensive search for new artistic means of expression;

the emergence of unrealistic methods - modernism (symbolism, acmeism), avant-garde (futurism);

tendencies towards interpenetration of literary genres into each other, rethinking of traditional genre forms and filling them with new content.

The struggle between the two main artistic systems - realism and modernism - determined the development and originality of the prose of these years. Despite the discussions about the crisis and the “end” of realism, new opportunities for realistic art opened up in the work of the late L.N. Tolstoy, A.P. Chekhov, V.G. Korolenko, I.A. Bunin.

Young realist writers (A. Kuprin, V. Veresaev, N. Teleshov, N. Garin-Mikhailovsky, L. Andreev) united in the Moscow circle "Environment". In the publishing house of the “Knowledge” partnership, led by M. Gorky, they published their works, in which the traditions of democratic literature of the 60-70s developed and transformed in a peculiar way, with its special attention to the personality of a person from the people, his spiritual quest. The Chekhov tradition continued.

The problems of the historical development of society, the active creative activity of the individual were raised by M. Gorky, socialist tendencies are obvious in his work (the novel "Mother").

The necessity and regularity of the synthesis of the principles of realism and modernism were substantiated and implemented in their creative practice by young realist writers: E. Zamyatin, A. Remizov and others.

Symbolist prose occupies a special place in the literary process. Philosophical understanding of history is characteristic of D. Merezhkovsky's trilogy "Christ and Antichrist". We will see the history and stylization of history in the prose of V. Bryusov (the novel "The Fiery Angel"). In the novel "Without hope" "Small demon" by F. Sologub, the poetics of the modernist novel is formed, with its new understanding of classical traditions. A. Bely in "Silver Dove" and "Petersburg" makes extensive use of stylization, the rhythmic possibilities of language, literary and historical reminiscences to create a novel of a new type.

A particularly intensive search for new content and new forms took place in poetry. Philosophical and ideological-aesthetic tendencies of the era were embodied in three main currents.

In the mid-90s, articles by D. Merezhkovsky and V. Bryusov theoretically substantiated Russian symbolism. The idealist philosophers A. Schopenhauer and F. Nietzsche, as well as the work of the French symbolist poets P. Verlaine and A. Rimbaud, had a great influence on the Symbolists. The Symbolists proclaimed the mystical content as the basis of their creativity and the symbol - the main means of its embodiment. Beauty is the only value and the main criterion for evaluation in the poetry of the older symbolists. The work of K. Balmont, N. Minsky, Z. Gippius, F. Sologub is distinguished by extraordinary musicality, it is focused on the transfer of fleeting insights of the poet.

In the early 1900s, symbolism was in crisis. From symbolism, a new trend stands out, the so-called "young symbolism", represented by Vyach. Ivanov, A. Bely, A. Blok, S. Solovyov, Y. Baltrushaitis. The Russian religious philosopher V. Solovyov had a great influence on the Young Symbolists. They developed the theory of "effective art". They were characterized by the interpretation of the events of modernity and the history of Russia as a clash of metaphysical forces. At the same time, the work of the Young Symbolists is characterized by an appeal to social issues.

The crisis of symbolism led to the emergence of a new trend that opposes it - acmeism. Acmeism was formed in the "Workshop of Poets" circle. It included N. Gumilyov, S. Gorodetsky, A. Akhmatova, O. Mandelstam, G. Ivanov and others. They tried to reform the aesthetic system of the Symbolists, asserting the inherent value of reality, made a setting for a “material” perception of the world, “proper” clarity image. The poetry of the acmeists is characterized by "beautiful clarity" of language, realism and accuracy of details, picturesque brightness of visual and expressive means.

In the 1910s, an avant-garde movement in poetry appeared - futurism. Futurism is heterogeneous: several groups stand out within it. The Cubo-Futurists (D. and N. Burliuk, V. Khlebnikov, V. Mayakovsky, V. Kamensky) left the greatest mark on our culture. Futurists denied the social content of art, cultural traditions. They are characterized by anarchist rebellion. In their collective programming collections (Slapping Public Taste, Dead Moon, etc.), they challenged "the so-called public taste and common sense." The Futurists destroyed the existing system of literary genres and styles, developed a tonic verse close to folklore on the basis of the spoken language, and experimented with the word.

Literary futurism was closely associated with avant-garde trends in painting. Almost all Futurist poets were professional artists.

New peasant poetry, based on folk culture, occupied a special place in the literary process of the beginning of the century (N. Klyuev, S. Yesenin, S. Klychkov, P. Oreshin, etc.)

The emergence of new trends, trends, styles in art and literature is always associated with an understanding of the place and role of man in the world, in the universe, with a change in man's self-awareness. One of these changes occurred at the end of the 19th - beginning of the 20th century. Artists of that time advocated a new vision of reality, looking for original artistic means. The outstanding Russian philosopher N. A. Berdyaev called this short, but surprisingly bright period the Silver Age. This definition primarily refers to Russian poetry of the early twentieth century. The golden age is the age of Pushkin and Russian classics. It became the basis for revealing the talents of the poets of the Silver Age. In Anna Akhmatova's "Poem Without a Hero" we find the lines:

And the silver month floated brightly above the silver age.

Chronologically, the Silver Age lasted one and a half to two decades, but in terms of saturation it can be safely called a century. It turned out to be possible thanks to the creative interaction of people of rare talents. The artistic picture of the Silver Age is multi-layered and contradictory. Various artistic trends, creative schools, individual non-traditional styles arose and intertwined. The art of the Silver Age paradoxically connected the old and the new, the outgoing and the emerging, turning into a harmony of opposites, forming a culture of a special kind. In that turbulent time, there was a unique overlap between the realistic traditions of the outgoing golden age and new artistic trends. A. Blok wrote: "The sun of naive realism has set." It was a time of religious quest, fantasy and mysticism. The synthesis of the arts was recognized as the highest aesthetic ideal. Symbolist and futuristic poetry, music that claims to be philosophy, decorative painting, a new synthetic ballet, decadent theater, and the modern architectural style arose. Poets M. Kuzmin and B. Pasternak composed music. Composers Scriabin, Rebikov, Stanchinsky practiced some in philosophy, some in poetry and even in prose. The development of art was accelerated, with great "heat", giving rise to hundreds of new ideas.

By the end of the 19th century, symbolist poets, who later became known as "senior" symbolists, loudly declared themselves - Z. Gippius, D. Merezhkovsky, K. Balmont, F. Sologub, N. Minsky. Later, a group of poets "Young Symbolists" arose - A. Bely, A. Blok, Vyach. Ivanov. A group of acmeist poets was formed - N. Gumilyov, O. Mandelstam, S. Gorodetsky, A. Akhmatova and others. Poetic futurism appears (A. Kruchenykh, V. Khlebnikov, V. Mayakovsky). But with all the diversity and variety of manifestations in the work of artists of that time, similar trends are observed. The change was based on common roots. The remnants of the feudal system disintegrated, there was a "fermentation of minds" in the pre-revolutionary era. This created a completely new environment for the development of culture.

In poetry, music, painting of the Silver Age, one of the main themes was the theme of the freedom of the human spirit in the face of Eternity. Artists sought to unravel the eternal mystery of the universe. Some approached this from a religious standpoint, while others admired the beauty of the world created by God. Many artists perceived death as a different existence, as a happy deliverance from the torments of a suffering human soul. The cult of love was unusually strong, intoxication with the sensual beauty of the world, the elements of nature, the joy of life. The concept of "love" was deeply suffered. Poets wrote about love for God, for Russia. In the poetry of A. Blok, Vl. Solovyov, V. Bryusov, Scythian chariots rush, pagan Russia is reflected on the canvases of N. Roerich, Petrushka dances in the ballets of I. Stravinsky, a Russian fairy tale is recreated (“Alyonushka” by V. Vasnetsov, “Leshy” by M. Vrubel).

Valery Bryusov at the beginning of the 20th century became a generally recognized theorist and leader of Russian symbolism. He was a poet, prose writer, literary critic, scientist, encyclopedically educated person. The beginning of Bryusov's creative activity was the publication of three collections "Russian Symbolists". He admired the poetry of the French Symbolists, which was reflected in the collections Masterpieces, This Is Me, The Third Guard, To the City and the World.

Bryusov showed great interest in other cultures, in ancient history, in antiquity, he created universal images. In his poems, the Assyrian king Assargadon appears as if alive, the Roman legions and the great commander Alexander the Great pass by, medieval Venice, Dante and much more are shown. Bryusov was in charge of the major Symbolist magazine Libra. Although Bryusov was considered a recognized master of symbolism, the principles of writing in this direction were more affected by early poems, such as "Creativity", "To a Young Poet".

Idealistic thinking soon gave way to earthly, objectively significant themes. Bryusov was the first to see and predict the onset of a brutal industrial age. He sang of human thought, new discoveries, was interested in aviation, predicted flights into space. For his amazing performance, Tsvetaeva called Bryusov a "hero of labor." In the poem "Work" he formulated his life goals:

I want to know the secrets of Life wise and simple. All paths are extraordinary, The path of labor is like a different path.

Bryusov remained in Russia until the end of his life, in 1920 he founded the Institute of Literature and Art. Bryusov translated the works of Dante, Petrarch, Armenian poets.

Konstantin Balmont was widely known as a poet, enjoyed great popularity in the last ten years of the 19th century, and was an idol of youth. Balmont's work lasted more than 50 years and fully reflected the state of transition at the turn of the century, the fermentation of the minds of that time, the desire to withdraw into a special, fictional world. At the beginning of his career, Balmont wrote many political poems in which he created a cruel image of Tsar Nicholas II. They were secretly passed from hand to hand like leaflets.

Already in the first collection "Under the Northern Sky" the poet's poems acquire elegance of form and musicality.

The theme of the sun runs through all the work of the poet. The image of the life-giving sun for him is a symbol of life, wildlife, with which he always felt an organic connection: material from the site

I came to this world to see the Sun And the blue outlook. I came to this world to see the Sun. And the heights of the mountains. I came into this world to see the Sea And the lush color of the valleys. I made worlds. In a single glance, I am the ruler ...

In the poem "Non-verbose" Balmont ingeniously notices the special state of Russian nature:

There is a tired tenderness in Russian nature, The silent pain of hidden sadness, The hopelessness of grief, the silence, the boundlessness, The cold heights, the receding distances.

The very title of the poem speaks of the absence of action, of the immersion of the human soul into a state of wise contemplation. The poet conveys various shades of sadness, which, growing, pours out tears:

And the heart forgave, but the heart froze, And cries, and cries, and cries involuntarily.

The poets of the Silver Age were able to give capacity and depth to the content of poems with bright strokes, which reflected the flow of feelings and emotions, the complex life of the soul.

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At the end of XIX - beginning of XX century. the development of Russian culture - literature, music, painting and architecture - distinguished by the extreme richness of artistic, aesthetic, religious and philosophical searches and accomplishments, did not proceed in a straight line, but like a divergent "fan", with many lines and trends, with the formation of rapidly replacing each other's schools and directions. In the visual arts, the Silver Age is represented by the painting and graphics of M. Vrubel, A. Benois, L. Bakst, K. Somov, M. Dobuzhinsky, B. Borisov-Musatov, the vigorous activity of the World of Arts, theatrical art - to the stage innovations of M. Fokin , Sun. Meyerhold, N. Evreinov, in music - by the names of A, Scriabin, N. Prokofiev, N. Stravinsky, S. Rachmaninov. Innovations of Russian Art Nouveau and avant-garde appeared in architecture. In Russian literature, against the background of realism, symbolism and acmeism arise, the left avant-garde vigorously declares itself, all of them modernize the traditions of Russian classics or completely deny them.

"Electrified" by various moods and intuitions, multidirectional searches and aspirations, the atmosphere of the turn of the century paradoxically combined an unusually bright creative upsurge with a sense of crisis and spiritual decadence. The Silver Age gave examples of a special world-feeling, sometimes super-aggravated and stylistically exalted. Russian culture of this period is characterized by active interaction with Western European art and philosophy. The possibilities of artistic and intuitive knowledge of the world were reopened, rethought symbols and "eternal images" of world culture, ancient myths were involved in creativity, samples of both primitive art and liturgical chanting were used.

One of the authors of the term “Silver Age”, N. Berdyaev wrote: “It was the era of the awakening in Russia of independent philosophical thought, the flowering of poetry and the sharpening of aesthetic sensitivity, religious anxiety and quest, interest in mysticism and the occult. New souls appeared, new sources of creative life were discovered, new dawns were seen, the feelings of sunset and death were combined with the feeling of sunrise and the hope for the transformation of life. Blossom and crisis, individualism and the feeling of an inextricable connection with the cosmos and God, the self-worth of creativity and the desire to break the boundary between art and life itself, rebellion against established aesthetic norms and the gravitation towards the synthesis of all forms of art, the search for the fullness of being and bold experiments on it - these are heterogeneous impulses that gave rise to various aesthetic schools and trends, programs and manifestos.

The definition of "Silver Age" entered the cultural consciousness of many authors of this era. A. Akhmatova in "A Poem Without a Hero" focused on the phrase "silver age": "And the silver month was bright / Above the silver age floated." V. Rozanov wrote in "Fleeting": "Pushkin, Lermontov, Koltsov (and very few others) will move into the next "silver age" of Russian literature." The attitude of the Silver Age as the end of the XIX century. and the beginning of a new era was expressed by A. Blok in 1910: “We have behind us the great shadows of Tolstoy and Nietzsche, Wagner and Dostoevsky. Everything changes; we are facing the new and the universal.<…>We have experienced what others manage to survive in a hundred years; not without reason did we see how, in the thunders and lightnings of the earthly and subterranean elements, the new age threw its seeds into the earth; in this stormy light, we dreamed and made us wise with later wisdom - all the ages. Those of us who have not been washed away and crippled by the terrible wave of the past decade are rightfully and with clear hope waiting for a new light from a new century. The choice of the epithet "silver" was not accidental: a line was drawn between Pushkin's golden age, the art of the highest standard, the century of Russian classics and the "new art", which modernized classical traditions, searched for new means of expression and artistic forms.

Symbolism declared itself in a creative dispute with realism and naturalism, acmeism advanced and aesthetically self-determined in a polemic with symbolism, Russian futurism asserted itself on the denial of symbolism and acmeism, sharply subverting all traditions and aesthetic norms of verbal creativity. The emerging new trends and directions had their flourishing and fading, gave impetus to innovations and creative achievements of their rivals and successors. Modernism could not but come to the avant-garde, leftist art, the extreme conclusion of which was the assertion of the absurdity of being, which is typical for the poets of OBERIU. Attention to formal searches, art as a device and construction initiated the scientific achievements of the Russian formal school and the emergence in the 20s of the 1920s. constructivism. Russian avant-garde - literary and artistic - is a unique phenomenon, inscribed in the general trends of world art of the 20th century. The search for new forms and means of artistic expression gave bright results in the 10-20s. The Silver Age is represented by major poets who did not belong to any groups and trends - M. Voloshin and M. Tsvetaeva.

Far from all literary and artistic realities of the early 20th century. correspond to the concept of the Silver Age. We must not forget that L. Tolstoy, the great representative of critical realism, was still alive (he died in 1910). His departure from Yasnaya Polyana and death at the hitherto unknown Ostapovo station shocked all of Russia. A. Chekhov, an artist of a piercingly clear mind, who sympathizes with a person in his pitch-black and philistine stuffy environment, also worked. Chekhov brought good laughter and a pure smile to Russian literature at the inescapable tragedy of human existence. In the same era, A. Gorky, A. Tolstoy, L. Andreev, V. Veresaev, I. Bunin, B. Zaitsev, I. Shmelev, M. Allanov, M. Osorgin began their journey.

This period is also called the Russian cultural renaissance. It was at the turn of the century that an original, independent religious, moral and philosophical thought awakened in Russia, which did not seek to build complete philosophical "systems", but penetrated into the depths of the contradictions of modern life, revealed the metaphysical foundations of being, the essential connections of man with the universal, eternally created cosmic life. . The legacy of the Russian cultural renaissance, represented by N. Berdyaev, P. Florensky, V. Rozanov, O. S. Bulgakov, N. Fedorov, G. Fedotov, L. Shestov, is original and significant. Russian emigrant philosophers became the pioneers and founders of the philosophy of personalism, the philosophy of freedom and the philosophy of creativity. "Metaphysics of unity" Vl. Solovyov, the struggle of the spirit and the flesh and the “kingdom of the Third Testament” by D. Merezhkovsky, personalism and creative struggle against the objectification of the spirit by N. Berdyaev, the creative freedom of the “inner” word of V. Rozanov, the “life of ideas” and the inextinguishability of S. Bulgakov’s “Non-Evening Light” , “Conditions of Absolute Good” by V. Vysheslavtsev, the ideas of L. Shestov, N. Shpet, S. Frank, B. Lossky, their deep understanding in the spiritual, religious and philosophical aspects of the heritage of Pushkin, Dostoevsky, Gogol - a contribution outlined in the most generalized form , which Russian religious and moral thinkers introduced into Russian and world philosophical, ethical and philological thought of the 20th century.

The Silver Age refers primarily to Russian poetry of the early 20th century. Russian cultural renaissance - to moral and religious philosophy and ethics. Poets and philosophers, artists and composers had a premonition of the death of the old world. Some tried to call on the “coming Huns” as soon as possible, others saw the meaning of life in the preservation of shrines and traditions, or, as Vyach said. Ivanov, is to "take the lamp away from them into the catacombs, into the caves," or, according to A. Blok, "conjure chaos." Symbolism, having modernized the traditions of Russian classical literature, became a brilliant end to the era. Russian religious and moral philosophy turned to the Orthodox tradition, the patristic sources of spirituality, before leaving for a long time in the "Soviet night" to Solovki, to the catacombs of camps or to a foreign land.

Literally after several decades of artistic discoveries and accomplishments, the “star flash” of the Silver Age, the October Revolution, the Civil War, the genocide of the 1930s. radically changed the life of Russia, which even began to be called in a new way - the USSR (for M. Tsvetaeva it was a “whistling sound”). There has been a radical change in the historical and cultural paradigm. In 1921 A. Blok dies, at the same time N. Gumilyov was shot. This year was perceived by many as the end of the Silver Age. However, this bright era lasted as long as the bearers of its cultural consciousness were alive. A striking example is the work of A. Akhmatova and O. Mandelstam, B. Pasternak and N. Zabolotsky.

Divided into two streams, Russian literature, contrary to all objective conditions, sought to preserve both the classical traditions and the traditions of the Silver Age, the richness of the Russian language, and to increase the cultural heritage.

This is evidenced by the work of I. Severyanin, M. Tsvetaeva, E. Kuzmina-Karavaeva, G. Adamovich, G. Ivanov, B. Poplavsky, I. Bunin, V. Nabokov and many other Russian émigré writers who were forced to leave their homeland.

Most of the symbolist poets emigrated - D. Merezhkovsky, Z. Gippius, K. Balmont, Vyach. Ivanov. Symbolist V. Bryusov found an opportunity to cooperate with the new government. Of the acmeists, N. Gumilyov was shot, O. Mandelstam died in the camps, the son of A. Akhmatova and N. Gumilyov, in the future the most prominent Russian scientist, “the last Eurasian”, L. Gumilyov was a hostage of Akhmatova’s muse, being in camps and penal battalions. Oberiut N. Zabolotsky went through the sophisticated torments of the camps and the experience of exile. The absurdist D. Kharms endured severe trials. Almost all the most prominent philosophers were sent abroad on the so-called "philosophical ship", except for Fr. P. Florensky, who died on Solovki, and A. Losev, who was serving a link. The Russian avant-garde, being a radical left phenomenon, came closest to an alliance with real political power in the country. However, V. Mayakovsky's alliance with the authorities ended in a creative and personal tragedy for him. Russian literature, together with the people, ascended the tragic Golgotha ​​of the 20th century in order to atone for pride and theomachism, self-will and rebellion at the cost of incredible suffering.

Culture of the 20th century creatively absorbed the ideas, innovations and discoveries of Russian poets and philosophers, artists and directors, musicians and actors of the Silver Age, preserving as an ideal their uplifting spirit and creative dedication, a wide ideological and philosophical range and the grandeur of artistic tasks.

Similar information.

The Silver Age is not a chronological period. At least not only the period. And this is not the sum of literary movements. Rather, the concept of "Silver Age" is appropriate to apply to the way of thinking.

Atmosphere of the Silver Age

At the end of the nineteenth and the beginning of the twentieth century, Russia experienced an intense intellectual upsurge, which was especially pronounced in philosophy and poetry. Philosopher Nikolai Berdyaev (read about him) called this time the Russian cultural renaissance. According to Berdyaev's contemporary Sergei Makovsky, it is Berdyaev who owns another, more well-known definition of this period - the "Silver Age". According to other sources, the phrase "Silver Age" was first used in 1929 by the poet Nikolai Otsup. This concept is not so much scientific as emotional, immediately evoking associations with another short period in the history of Russian culture - with the "golden age", the Pushkin era of Russian poetry (the first third of the 19th century).

“Now it is difficult to imagine the atmosphere of that time,” Nikolai Berdyaev wrote about the Silver Age in his “philosophical autobiography” “Self-Knowledge”. - Much of the creative upsurge of that time was included in the further development of Russian culture and now is the property of all Russian cultured people. But then there was an intoxication with a creative upsurge, novelty, tension, struggle, challenge. During these years, many gifts were sent to Russia. It was the era of the awakening of independent philosophical thought in Russia, the flowering of poetry and the sharpening of aesthetic sensibility, religious anxiety and quest, interest in mysticism and the occult. New souls appeared, new sources of creative life were discovered, new dawns were seen, the feeling of decline and death was combined with the hope of life transfiguration. But everything happened in a rather vicious circle ... "

The Silver Age as a period and way of thinking

The art and philosophy of the Silver Age were distinguished by elitism and intellectualism. Therefore, it is impossible to identify all the poetry of the late XIX - early XX century with the Silver Age. This is a narrower concept. Sometimes, however, when attempting to determine the essence of the ideological content of the Silver Age through formal features (literary movements and groupings, socio-political subtexts and contexts), researchers mistakenly confuse them. In fact, within the chronological boundaries of this period, the most diverse phenomena in origin and aesthetic orientation coexisted: modernist movements, poetry of the classical realistic tradition, peasant, proletarian, satirical poetry ... But the Silver Age is not a chronological period. At least not only the period. And this is not the sum of literary movements. Rather, the concept of the “Silver Age” is appropriate to apply to the way of thinking, which, being characteristic of artists who were at enmity with each other during their lifetime, ultimately merged them in the minds of their descendants into some kind of inseparable galaxy that formed that specific atmosphere of the Silver Age that Berdyaev wrote about. .

Poets of the Silver Age

The names of the poets who made up the spiritual core of the Silver Age are known to everyone: Valery Bryusov, Fyodor Sologub, Innokenty Annensky, Alexander Blok, Maximilian Voloshin, Andrei Bely, Konstantin Balmont, Nikolai Gumilyov, Vyacheslav Ivanov, Igor Severyanin, Georgy Ivanov and many others.

In its most concentrated form, the atmosphere of the Silver Age was expressed in the first decade and a half of the twentieth century. It was the heyday of Russian modern literature in all its diversity of artistic, philosophical, religious searches and discoveries. The First World War, the February bourgeois-democratic and October socialist revolutions partly provoked, partly shaped this cultural context, and partly were provoked and shaped by it. Representatives of the Silver Age (and Russian modernity in general) sought to overcome positivism, reject the heritage of the "sixties", denied materialism, as well as idealistic philosophy.

The poets of the Silver Age also sought to overcome the attempts of the second half of the 19th century to explain human behavior by social conditions, environment, and continued the traditions of Russian poetry, for which a person was important in itself, his thoughts and feelings, his attitude to eternity, to God, to Love are important. and Death in the philosophical, metaphysical sense. The poets of the Silver Age, both in their artistic work and in theoretical articles and statements, questioned the idea of ​​progress for literature. For example, one of the brightest creators of the Silver Age, Osip Mandelstam, wrote that the idea of ​​progress is "the most disgusting kind of school ignorance." And Alexander Blok in 1910 stated: “The sun of naive realism has set; it is impossible to comprehend anything outside of symbolism. Poets of the Silver Age believed in art, in the power of the word. Therefore, for their creativity, immersion in the element of the word, the search for new means of expression is indicative. They cared not only about the meaning, but also about the style - the sound, the music of the word and complete immersion in the elements were important for them. This immersion led to the cult of life creation (the inseparability of the creator's personality and his art). And almost always in connection with this, the poets of the Silver Age were unhappy in their personal lives, and many of them ended badly.