Poetry of the Silver Age of Russian Literature. Theme and idea, the sharpness of the conflict and the artistic features of the play

RESPONSE PLAN

1. The main literary trends in turn of XIX and XX centuries:

a) realism:

b) modernism.

2. Symbolism:

a) old school;

b) a new school.

3. Acmeism.

4. Futurism:

a) Cubofuturists!

b) ego-futurists.

5. The meaning of the poetry of the "Silver Age".

1. At the turn of the 19th and 20th centuries, literally all aspects of life in Russia changed radically - the economy, politics, science, technology, culture, art. The new era of historical and cultural development was distinguished by rapid dynamics and sharpest drama. The transition from classical literature to a new literary trend was accompanied by far from peaceful processes in general cultural and intraliterary life, an unexpectedly rapid change in aesthetic guidelines, and a radical renewal of literary devices. Russian poetry developed especially dynamically at that time. Later, the poetry of this period was called the “poetic renaissance”, or “silver age”. The epithet “silver” implies individuality and a special radiance (not shine!), the spirituality of a whole constellation of unique word artists of this time. Having arisen by analogy with the concept of the “golden age”, which traditionally denoted the Pushkin period of Russian literature, this phrase was initially used to characterize the pinnacle of the poetic culture of the 20th century - the work of A. Blok, A. Bely, I. Annensky, A. Akhmatova, O. Mandelstam and other brilliant masters of the word. However, gradually the term "Silver Age" began to refer to the entire artistic culture Russia of the late XIX - early XX century: this is symbolism, acmeism, "neo-peasant" and partly futuristic literature. In the writer's environment, there was a desire to unite between writers, artists, and philosophers who were close in worldview and aesthetics. Therefore, new literary trends, as a rule, developed from the activities of small writers' circles that united writers with similar views on poetry and art. It is a different assessment of the possibilities and destiny of a person that separates poets into different channels of a single literature. Realism at the turn of the century continued to be a large-scale and influential literary movement. Modernist It is customary to consider, first of all, three literary movements that declared themselves in the period from 1890 to 1917. it symbolism, acmeism and futurism.

2. Symbolism - the largest of the modernist movements that arose in Russia. The beginning of its theoretical self-determination was laid by D. S. Merezhkovsky. Central location in poetry he assigned to the symbol.

a) On initial stage of its existence, symbolism reflected decadent tendencies - despondency, fear of life, disbelief in human capabilities:

We are steps above the abyss,

Children of darkness, we are waiting for the sun,

We will see the light and, like shadows,

We will die in its rays.

D. Merezhkovsky

Z. Gippius, V. Bryusov, N. Minsky, K. Balmont, F. Sologub belonged to the group of decadent poets.

b) But then new poets joined the symbolism, significantly updating the appearance of the current: A. Blok, A. Bely, Vyach. Ivanov and others. With their arrival, many of the symbolists revised their views on literature, and symbolism became an important factor in Russian cultural and spiritual life. For the work of the symbolists new school characterized by the desire for a higher ideal, faith in the high purpose of art and a call to unite people. They preached the fusion of creativity and religion, the cult of the form (symbol), the musicality of the verse:

Among the worlds, in the twinkling of the stars

One Star I repeat the name...

Not because I loved her

And because I languish with others...

I. Annensky

The embodiment of dreams

Almighty game,

This world of charms

This world of silver!

3. Acmeism. AT literary association The “shop of poets” included N. Gumilyov, S. Gorodetsky, M. Kuzmin, O. Mandelstam, A. Akhmatova. Acmeist poets advocated the artistic development of a diverse and vibrant earthly world. They contrasted the mystical aspirations of symbolism with the “element of nature”, declared concrete sensory perception “ eternal peace”, returning the word to its original meaning.

Spacious world and polyphonic,

And he is more colorful than rainbows,

And here he is entrusted to Adam,

Name Inventor.

Name, recognize, rip off the covers

And idle secrets, and decrepit haze -

Here is the first feat. New feat -

Sing praises to the living earth.

S. Gorodetsky

The most authoritative teachers for acmeists were poets who played a prominent role in symbolism - M. Kuzmin, I. Annensky, A. Blok. We can say that the acmeists inherited the achievements of symbolism, neutralizing its extremes. For acmeists, the overly persistent tendency to perceive reality as a sign of the unknowable, as a distorted likeness of higher entities, turned out to be unacceptable. Acmeists attached great importance to the category of memory. Memory has become the most important aesthetic component in the work of A. Akhmatova, N. Gumilyov and O. Mandelstam.

I see everything. I remember everything

Lovingly meekly in the heart of the shore.

Only one I never know

And I can't even remember anymore...

A. Akhmatova

But entering, renewed, into an unknown country,

I won't forget anything, I won't overlook anything.

And to remember every feat - and elevation,

I will fasten a steel chain to the silver helmet.

I. Gumilyov

Pray, anxious musician,

Love, remember and cry

And, abandoned from a dim planet,

Pick up an easy ball!

O. Mandelstam

4. Futurism - this is the most extreme trend in aesthetic radicalism. Futurists gravitated toward formal experimentation and opposed the expression of social trends in art. Their poetry is characterized by the spirit of anarchist rebellion. They could split a word, create a new one, combine it with other words. The spirit of rebellion among the futurists was present not only in the "booing" of everything that did not correspond to the norms of the futuristic direction, but also in the creation of poetry.

5. Cubo-futurists (V. Khlebnikov, D. Burliuk, V. Kamensky, V. Mayakovsky) sought to create difficult game words:

Bobeobi sang lips

Veomi sang eyes,

Pieeo eyebrows sang,

Leeey sang the face...

V. Khlebnikov

6. Ego-futurists (I. Severyanin) acted as poets of refined public accessibility:

Pineapples in champagne! Pineapples in champagne!

Surprisingly tasty, sparkling, spicy!

I'm all in something Norwegian! I'm all in something Spanish!

I get inspired impulsively! And take up the pen!

7. Russian poetry of the "Silver Age" showed a brilliant constellation of bright individuals. The poets of this era seldom closed themselves within the boundaries of a literary school or current. Therefore, the literary process was determined to a greater extent by the creative individualities of poets than by the history of trends and currents.

The great artists of their time, who differed from each other not only in style, but also in their attitude, artistic taste, the poets of the "Silver Age" played a prominent role in the development and renewal of Russian verse.

ADDITIONAL QUESTION

Explain the meaning of the term "Silver Age".

Story

The question of the chronological framework of this phenomenon remains controversial. If researchers are quite unanimous in defining the beginning of the “Silver Age” - this is a phenomenon at the turn of the 80s - 90s of the XIX century, then the end of this period is controversial. It can be attributed to both 1917 and 1921. Some researchers insist on the first option, believing that after 1917, with the beginning civil war The "Silver Age" ceased to exist, although in the 1920s those who created this phenomenon with their creativity were still alive. Others believe that the Russian Silver Age was interrupted in the year of the death of Alexander Blok and the execution of Nikolai Gumilyov, as well as the emigration of many poets and writers from Russia in the early 1920s. Finally, there is a point of view that the end of the "Silver Age" can be considered the turn of the 1920s - 1930s, associated with the suicide of Vladimir Mayakovsky and the strengthening of ideological control over literature. Thus, the time frame of this period is about thirty years.

Literary currents

Symbolism

New literary direction- symbolism - was the product of a deep crisis that engulfed European culture in late XIX century. The crisis manifested itself in negative assessment progressive public ideas, in the revision of moral values, in the loss of faith in the power of the scientific subconscious, in the passion idealistic philosophy. Russian symbolism was born in the years of the collapse of Populism and the wide spread of pessimistic sentiments. All this led to the fact that the literature of the "Silver Age" does not put topical social issues, and global philosophical ones. The chronological framework of Russian symbolism - 1890s - 1910. The formation of symbolism in Russia was influenced by two literary traditions:

- domestic - poetry of Fet, Tyutchev, Dostoevsky's prose;
- French symbolism - the poetry of Paul Verlaine, Arthur Rimbaud, Charles Baudelaire. The symbolism was not uniform. Schools and trends stood out in it: “senior” and “junior” symbolists.

Symbolism - the largest of the modernist movements that arose in Russia. The beginning of its theoretical self-determination was laid by D. S. Merezhkovsky. He assigned a central place in poetry to the symbol.

a) At the initial stage of its existence, symbolism reflected decadent tendencies - despondency, fear of life, disbelief in human capabilities:

We are steps above the abyss,

Children of darkness, we are waiting for the sun,

We will see the light and, like shadows,

We will die in its rays.

Z. Gippius, V. Bryusov, N. Minsky, K. Balmont, F. Sologub belonged to the group of decadent poets.

b) But then new poets joined the symbolism, significantly updating the appearance of the current: A. Blok, A. Bely, Vyach. Ivanov and others. With their arrival, many of the symbolists revised their views on literature, and symbolism became an important factor in Russian cultural and spiritual life. The work of the symbolists of the new school is characterized by the desire for a higher ideal, faith in the high purpose of art and a call to unite people. They preached the fusion of creativity and religion, the cult of the form (symbol), the musicality of the verse:

Among the worlds, in the twinkling of the stars

One Star I repeat the name...

Not because I loved her

And because I languish with others ..

The embodiment of dreams

Almighty game,

This world of charms

This world of silver!

Senior Symbolists

§ Petersburg Symbolists: D. S. Merezhkovsky, Z. N. Gippius, F. K. Sologub, N. M. Minsky. In the work of the St. Petersburg Symbolists, at first, decadent moods and motives of disappointment prevailed. Therefore, their work is sometimes called decadent.
§ Moscow Symbolists: V. Ya. Bryusov, K. D. Balmont.

The "senior" symbolists perceived symbolism in an aesthetic sense. According to Bryusov and Balmont, the poet is, first of all, the creator of purely personal and purely artistic values.

Junior Symbolists

A. A. Blok, A. Bely, V. I. Ivanov. The "younger" symbolists perceived symbolism in philosophical and religious terms. For the "younger" symbolism is a philosophy refracted in the poetic consciousness.

The Silver Age of Russian Poetry is the period of the turn of the 19th and 20th centuries. This is the heyday of poetry, philosophical and religious thought. The main directions and schools of the Silver Age:

Modernism. Modernism as one of the leading trends in art at the beginning of the 20th century. The preconditions for modernism and its constituent movements in Russian literature ( romantic poetry V. A. Zhukovsky, philosophical lyrics F. I. Tyutcheva, theory " pure art”, Impressionistic lyrics by A. A. Fet). The essence of modernism and its miscalculations (modernists were blinded by the "crazy dream of being only artists in life" (E. Zola). The main feature of modernism is subjectivity. The difference between modernism as a literary trend and decadence as special type consciousness. Symbolism, acmeism and futurism as the main currents of modernism.

Symbolism. At the initial stage of its existence, it reflected decadent tendencies - despondency, fear of life, disbelief in human capabilities (N. Minsky, D. Merezhkovsky, Z. Gippius). Then K. Balmont, V. Bryusov, F. Sologub, I. Annensky, Vyach. Ivanov, A. Blok, A. Bely. Central themes symbolists become: personality, history, eternity. The idea of constructing the world in the process of creativity. Rejection of rationality in art. The symbol as a means of conveying contemplated secret meanings, central aesthetic category. The pathos of the tragic world outlook. interest in problems cultural traditions different peoples. Senior Symbolists: V. Bryusov, K. Balmont, F. Sologub.

3. Gippius. Young Symbolists: Vyach. Ivanov, A. Bely, A Blok, S. Solovyov Artistic features: the cult of form, the musicality of the poem. The Crisis of Symbolism.

Acmeism. Acmeism as national form neo-romanticism. The connection between the poetics of symbolism and acmeism (article by N. Gumilyov “The legacy of symbolism and acmeism”). Courageous and firm outlook on life. Style features: the logic of the artistic conception, the harmony of the composition, the clarity of the organization of all elements art form. The category of memory in creativity. Acmeist poets: N. S. Gumilyov, O. E. Mandelstam, A. A. Akhmatova, S. M. Gorodetsky, G. I. Ivanov, V. N. Narbut and others.

Futurism. The rise of futurism. Russian futurism: cubo-futurism. egofuturism. Refusal of the futurists from the old culture. Striving for rational substantiation of creativity. The dream of the birth of art that can transform the world. Set to outrageous. The purpose of creativity is to stimulate action. Search new form expressiveness: onomatopoeia, word creation, poster techniques, graphic verse (“ladder” by Mayakovsky). Not only a new, but a new and final word in art - such are the attitudes of Futurism. Futurists: I. Severyanin. V. Mayakovsky, D. Burliuk, V. Kamensky and others.

The main literary trends at the turn of the XIX-XX centuries. "Silver Age" as the heyday of Russian poetry at the beginning of the 20th century, characterized by the emergence of a large number of poets and poetic movements. Features and significance of the new peasant poetry.

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abstract

On the topic

Poetry of the "Silver Age" (general overview)

The main literary trends at the turn of the 19th and 20th centuries

At the turn of the 19th and 20th centuries, literally all aspects of life in Russia changed radically - the economy, politics, science, technology, culture, and art. The new era of historical and cultural development was distinguished by rapid dynamics and sharpest drama. The transition from classical literature to a new literary trend was accompanied by far from peaceful processes in general cultural and intra-literary life, an unexpectedly rapid change in aesthetic guidelines, and a radical renewal of literary devices. Russian poetry developed especially dynamically at that time. Later, the poetry of this period was called the “poetic renaissance”, or “silver age”. The epithet “silver” implies individuality and a special radiance (not shine!), the spirituality of a whole constellation of unique word artists of this time. Having arisen by analogy with the concept of the “golden age”, which traditionally denoted the Pushkin period of Russian literature, this phrase was initially used to characterize the pinnacle of the poetic culture of the 20th century - the work of A. Blok, A. Bely, I. Annensky, A. Akhmatova, O. Mandelstam and other brilliant masters of the word. However, gradually the term "Silver Age" began to refer to the entire artistic culture of Russia in the late XIX - early XX century: this is symbolism, acmeism, "neo-peasant" and partially futuristic literature. In the writer's environment, there was a desire to unite between writers, artists, and philosophers who were close in worldview and aesthetics. Therefore, new literary trends, as a rule, developed from the activities of small writers' circles that united writers with similar views on poetry and art. It is a different assessment of the possibilities and destiny of a person that separates poets into different channels of a single literature. Realism at the turn of the century continued to be a large-scale and influential literary movement. Modernist It is customary to consider, first of all, three literary movements that declared themselves in the period from 1890 to 1917. it symbolism, acmeism and futurism. silver age poetry literary

silver Age- the heyday of Russian poetry at the beginning of the 20th century, characterized by the appearance of a large number of poets, poetic currents preaching a new, different from the old ideals, aesthetics. The name "Silver Age" is given by analogy with the "Golden Age" (the first third of the 19th century). Philosopher Nikolai Berdyaev, writers Nikolai Otsup, Sergey Makovsky claimed the authorship of the term. The Silver Age ran from 1880 to 1920.

Story

The question of the chronological framework of this phenomenon remains controversial. If researchers are quite unanimous in defining the beginning of the “Silver Age” - this is a phenomenon at the turn of the 80s - 90s of the XIX century, then the end of this period is controversial. It can be attributed to both 1917 and 1921. Some researchers insist on the first option, believing that after 1917, with the outbreak of the Civil War, the “Silver Age” ceased to exist, although those who created this phenomenon with their work were still alive in the 1920s. Others believe that the Russian Silver Age was interrupted in the year of the death of Alexander Blok and the execution of Nikolai Gumilyov, as well as the emigration of many poets and writers from Russia in the early 1920s. Finally, there is a point of view that the end of the "Silver Age" can be considered the turn of the 1920s - 1930s, associated with the suicide of Vladimir Mayakovsky and the strengthening of ideological control over literature. Thus, the time frame of this period is about thirty years.

Literary currents

Symbolism

A new literary trend - symbolism - was the product of a deep crisis that engulfed European culture at the end of the 19th century. The crisis manifested itself in a negative assessment of progressive social ideas, in the revision of moral values, in the loss of faith in the power of the scientific subconscious, in the enthusiasm for idealistic philosophy. Russian symbolism was born in the years of the collapse of Populism and the wide spread of pessimistic sentiments. All this led to the fact that the literature of the "Silver Age" does not raise topical social issues, but global philosophical ones. The chronological framework of Russian symbolism - 1890s - 1910. The formation of symbolism in Russia was influenced by two literary traditions:

Patriotic - the poetry of Fet, Tyutchev, Dostoevsky's prose;

French symbolism - the poetry of Paul Verlaine, Arthur Rimbaud, Charles Baudelaire. The symbolism was not uniform. Schools and trends stood out in it: “senior” and “junior” symbolists.

a) At the initial stage of its existence, symbolism reflected decadent tendencies - despondency, fear of life, disbelief in human capabilities:

We are steps above the abyss,

Children of darkness, we are waiting for the sun,

We will see the light and, like shadows,

We will die in its rays.

Z. Gippius, V. Bryusov, N. Minsky, K. Balmont, F. Sologub belonged to the group of decadent poets.

b) But then new poets joined the symbolism, significantly updating the appearance of the current: A. Blok, A. Bely, Vyach. Ivanov and others. With their arrival, many of the symbolists revised their views on literature, and symbolism became an important factor in Russian cultural and spiritual life. The work of the symbolists of the new school is characterized by the desire for a higher ideal, faith in the high purpose of art and a call to unite people. They preached the fusion of creativity and religion, the cult of the form (symbol), the musicality of the verse:

Among the worlds, in the twinkling of the stars

One Star I repeat the name...

Not because I loved her

And because I languish with others ..

The embodiment of dreams

Almighty game,

This world of charms

This world of silver!

Senior Symbolists

§ Petersburg Symbolists: D. S. Merezhkovsky, Z. N. Gippius, F. K. Sologub, N. M. Minsky. In the work of the St. Petersburg Symbolists, at first, decadent moods and motives of disappointment prevailed. Therefore, their work is sometimes called decadent.

§ Moscow Symbolists: V. Ya. Bryusov, K. D. Balmont.

The "senior" symbolists perceived symbolism in an aesthetic sense. According to Bryusov and Balmont, the poet is, first of all, the creator of purely personal and purely artistic values.

Junior Symbolists

Acmeism

Acmeism (Adamism) stood out from symbolism and opposed it. Acmeists proclaimed materiality, objectivity of themes and images, the accuracy of the word (from the standpoint of "art for art's sake"). Its formation is associated with the activities of the poetic group "Workshop of Poets". The founders of acmeism were Nikolai Gumilyov and Sergei Gorodetsky. Wife joined the flow Gumilyova Anna Akhmatova, as well as Osip Mandelstam, Mikhail Zenkevich, Georgy Ivanov and others.

The literary association "Workshop of Poets" included N. Gumilyov, S. Gorodetsky, M. Kuzmin, O. Mandelstam, A. Akhmatova. Acmeist poets advocated the artistic development of the diverse and vibrant earthly world. They contrasted the mystical aspirations of symbolism with the “element of nature”, declared a concrete-sensual perception of the “eternal world”, a return to the word of its original meaning.

Spacious world and polyphonic,

And he is more colorful than rainbows,

And here he is entrusted to Adam,

Name Inventor.

Name, recognize, rip off the covers

And idle secrets, and decrepit haze -

Here is the first feat. New feat -

Sing praises to the living earth.

The most authoritative teachers for acmeists were poets, syg who played a prominent role in symbolism - M. Kuzmin, I. Annensky, A. Blok. We can say that the acmeists inherited the achievements of symbolism, neutralizing its extremes. For acmeists it turned out to be unacceptable and h an overly persistent tendency to perceive reality as a sign of about known as a distorted likeness of higher beings. Acmeists attached great importance to the category of memory. Memory has become and the most important aesthetic component in the work of A. Akhmatova, N. G at Mileva and O. Mandelsht a ma.

I see everything. I remember everything

Lovingly meekly in the heart of the shore.

Only one I never know

And I can't even remember anymore...

But entering, renewed, into an unknown country,

I won't forget anything, I won't overlook anything.

And to remember every feat - and elevation,

I will fasten a steel chain to the silver helmet.

Pray, anxious musician,

Love, remember and cry

And, abandoned from a dim planet,

Pick up an easy ball!

Futurism

Futurism was the first avant-garde trend in Russian literature. Assigning itself the role of a prototype of the art of the future, futurism as the main program put forward the idea of destroying cultural stereotypes and instead offered an apology for technology and urbanism as the main signs of the present and the future. The founders of Russian futurism are considered members of the St. Petersburg group "Gileya". "Hilea" was the most influential, but not the only association of futurists: there were also ego-futurists headed by Igor Severyanin (St. Petersburg), groups "Centrifuga" and "Mezzanine of Poetry" in Moscow, groups in Kyiv, Kharkov, Odessa, Baku .

Futurism - this is the most extreme trend in aesthetic radicalism. Futurists gravitated toward formal experimentation and, in s stepped against the expression of social trends in art. Their poetry is characterized by the spirit of anarchist rebellion. They could other about beat a word, create a new one, combine it with other words. spirit boo n The futurist spirit was present not only during the “booing” of everything that did not correspond to the norms of the futuristic trend, but also in the creation of poetry.

cubofuturism

In Russia, "Budetlyane", members of the "Gilea" poetic group, called themselves Cubo-Futurists. They were characterized by a demonstrative rejection of the aesthetic ideals of the past, shocking, active use occasionalisms. Within the framework of cubo-futurism, “abstruse poetry” developed. The Cubo-Futurist poets included Velimir Khlebnikov, Elena Guro, David and Nikolai Burliuk, Vasily Kamensky, Vladimir Mayakovsky, Alexei Kruchenykh, Benedict Livshits.

Cubofuturists (V. Khlebnikov, D. Burliuk, V. Kamensky, V. Mayakovsky) strove to create a difficult play on words:

Bobeobi sang lips

Veomi sang eyes,

Pieeo eyebrows sang,

Leeey sang the face...

egofuturism

Egofuturism - (ego-I). In addition to the general futuristic writing, egofuturism is characterized by the cultivation of refined sensations, the use of new foreign words, and ostentatious selfishness. Egofuturism was a short-lived phenomenon. Most of the attention of critics and the public was transferred to Igor Severyanin, who rather early stepped aside from collective policy egofuturists, and after the revolution completely changed the style of his poetry. Most ego-futurists either quickly outlived the style and moved on to other genres, or soon abandoned literature altogether. In addition to Severyanin, to this current in different time adjoined Vadim Shershenevich, Rurik Ivnev and others.

Egofuturists (I. Severyanin) acted as poets of exquisite b accessibility:

Pineapples in champagne! Pineapples in champagne!

Surprisingly tasty, sparkling, spicy!

I'm all in something Norwegian! I'm all in something Spanish!

I get inspired impulsively! And take up the pen!

New peasant poetry

The concept of "peasant poetry", included in the historical and literary bypass, unites poets conditionally and reflects only some common features inherent in their worldview and poetic manner. United creative school with a single ideological and poetic program, they did not form. As a genre, "peasant poetry" was formed in the middle of the 19th century. Its largest representatives were Alexey Vasilyevich Koltsov, Ivan Savvich Nikitin and Ivan Zakharovich Surikov. They wrote about the work and life of the peasant, about the dramatic and tragic collisions of his life. Their work reflected both the joy of merging workers with the natural world, and a feeling of dislike for the life of a stuffy, noisy city alien to wildlife. famous peasant poets period of the Silver Age were: Spiridon Drozhzhin, Nikolai Klyuev, Pyotr Oreshin, Sergey Klychkov. Sergei Yesenin also joined this trend.

Imagism

The Imagists claimed that the purpose of creativity is to create an image. Main means of expression Imagists - a metaphor, often metaphorical chains, juxtaposing various elements two images - direct and figurative. The creative practice of the Imagists is characterized by outrageous, anarchist motives. For style and general behavior Imagism was influenced by Russian futurism. The founders of Imagism are Anatoly Mariengof, Vadim Shershenevich and Sergei Yesenin. Rurik Ivnev and Nikolai Erdman also joined Imagism.

Meaning

Russian poetry of the "Silver Age" revealed a brilliant constellation of bright individuals. The poets of this era seldom closed themselves within the boundaries of a literary school or current. Therefore, the literary process was determined to a greater extent by the creative individualities of poets than by the history of trends and currents.

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currents

The Silver Age stands out very sharply against the background of all other cultural phenomena with the presence of many currents. All of them were very different from each other, but in their essence they were related, since one came from the other. Symbolism, acmeism and futurism stood out most clearly. To understand what each of the directions carried in itself, it is worth delving into the history of their occurrence.

Symbolism

1980 - mid 19th century. What was the worldview of man at that time? He was confident in himself through knowledge. The theories of Darwin, the positivism of Auguste Comte, the so-called Eurocentrism, created solid ground under their feet. But at the same time, an era of great discoveries began. Because of this European man I couldn't feel as confident as I used to. New inventions and changes made him feel lost in abundance. And at this moment comes the era of denial. Decadence took possession of the minds of the cultural part of the population. Then Mallarme, Verlaine and Rimbaud became popular in France - the first poets who dared to find a different way to display the world. Russian poets will very soon learn about these most important figures and begin to follow their example.

From this moment the symbolism begins. What is the main idea behind this direction? Symbolist poets argued that with the help of a symbol one can explore the world. Of course, throughout the history of the world, all writers and artists have used symbolism. But modernists looked at this phenomenon differently. A symbol for them is an indication of what is beyond human understanding. The Symbolists believed that reason and rationalism could never help in comprehending the beautiful world of art. They began to focus their attention on the mystical component of their own works.

Signs:

The main theme of their work is religion.
The main characters of their works are now martyrs or prophets.
Symbolism refuses a concrete representation of reality and content. It is rather a representation of the objective world with the help of symbols.
Symbolist poets kept their distance and did not interfere in the public and political life of society.
Their main motto was the phrase: "We attract the elect", that is, they deliberately repelled readers so as not to be mass phenomenon culture.

The main symbolists include such writers as:

Bryusov,
Balmont,
Merezhkovsky,
Gippius.

The aesthetics of symbolism is the aesthetics of allusion. The author does not depict the world of things, does not express his opinion, he only writes about his associations that he has with this or that subject. That is why the Symbolists valued music so much. S. Baudelaire considered symbolism as the only possible way reflections of reality.

Acmeism

Acmeism is the most mysterious phenomenon Silver Age. It originates in 1911. But some researchers and philologists sometimes claim that there was no acmeism at all and that it is a kind of continuation of symbolism. But there are still differences in these areas. Acmeism became a new, more recent trend and appeared at a time when symbolism began to outlive itself and a split was brewing in its midst. Young poets, who initially wanted to classify themselves as symbolists, were disappointed by this event and decided to create a new grouping. In 1911, Gumilyov organized the "Poets Workshop" when he felt that he had enough experience and strength to teach others. Gorodetsky joins him. Together, they want to attach to themselves as many "motley" poets as possible. As a result, this happened: Khlebnikov, Klyuev and Burliuk visited the “Workshop”, such writers as Mandelstam and Akhmatova came out from under the wing of Gumilyov. Young poets needed a professional environment, and they got it when they joined the "Tsekha" community.

Acmeism - beautiful word, which translates as "top" or "point". What are the main differences between symbolism and acmeism?

First of all, it consists in the fact that the works of acmeist poets were simpler and did not carry such a deep sacred meaning as those of the symbolists. The theme of religion was not so intrusive, the theme of mysticism also faded into the background. More precisely, the acmeists wrote about the earthly, but they suggested not to forget that the unreal side also exists.
If symbolism carried the idea of an incomprehensible mystery, then acmeism is more of a riddle that you should think about, and you will definitely find the answer.

But the acmeists were in a hurry, and the movement did not last as long as its participants wanted. Already in the first years, a manifesto of acmeism was written, which, for all its richness, did not particularly correspond to reality. The work of the poets of the "Workshop" did not always carry all the ideas of the manifesto, and critics were very unhappy with this fact. And in 1914 the war began, and acmeism was soon forgotten, without having time to blossom.

Futurism

Futurism was not integral aesthetic school and included various directions: cubo-futurism, ego-futurism, poetry mezzanine, etc. Its name comes from English word"future", which means "future". David Davidovich Burliuk - one of the main representatives, the "father of futurism", as he liked to call himself, hated borrowing from the language and called the futurists "budetlyans".

Signs and features:

Futurists, unlike other trends, focused on different types culture. The poet has formed new role, he simultaneously became a destroyer and a creator.
Futurism, as an avant-garde phenomenon, sought to shock the public. Marcel Duchamp, who brought a urinal to the exhibition and called it his own creation, depicting his signature on it, was the first to make such a scandalous attack on the creative intelligentsia.
Some philologists argue that acmeism and futurism are not separate movements, but only a reaction to what representatives of symbolism did in their time. Indeed, in the poems of many symbolists, for example, in Blok or Balmont, one can find lines that sound very avant-garde.
If the Symbolists considered music to be the main art, then the Futurists, first of all, were guided by painting. No wonder many of the poets were originally artists, for example, D. Burliuk and his brother, Mayakovsky and Khlebnikov. After all, the art of futurism is the art of depiction, the words were depicted on posters or propaganda sheets so that the public could see and remember the main message of the poets.
The Futurists offered to completely forget traditional art. "Throw Pushkin off the ship of modernity" is their main motto. Marinetti also called for "daily spitting on the altar of art."
Futurists paid more attention not to symbolism, but specifically to the word. They tried to modify it, sometimes not in the most understandable and aesthetic way, in order to offend the reader. They were interested in the historical basis of the word, its phonetics. This was necessary in order for the words to literally “stick out” from the text.

The origins of Futurism were greatly influenced by the activities of the Italian Futurists, in particular by the manifesto of Filippo Tomaso Marinetti, which was written in 1910.

In 1910, a group of the Burliukov brothers, Velimir Khlebnikov and the poetess Elena Guro gathered, who, unfortunately, lived a very long time. short life, but showed great promise as a creator. They appoint the house of David Burliuk as a place for creativity and create a collection of "Judges' Garden". They printed it on the cheapest paper (wallpaper) and came to the famous "Wednesdays" to V. Ivanov. The whole evening they sat rather quietly, but they left earlier, after stuffing the same collections into the pockets of other people's coats. It was from this unusual incident, in fact, that Russian futurism began.

In 1912, "A Slap in the Face of Public Taste" was created, which shocked readers. Half of this collection consisted of poems by V. Khlebnikov, whose work was greatly appreciated by the futurists.

Futurists called for the creation of new forms in art. The main motives of their work were:

exaltation of one's own "I",
fanatical worship of war and destruction,
contempt for the bourgeoisie and weak human effeminacy.

It was important for them to attract as much as possible more attention, and for this the futurists were ready for anything. They dressed in strange clothes, painted symbols on their faces, hung posters and walked around the city like this, chanting own works. People reacted differently, someone looked admiringly, surprised at the courage of the aliens, and someone could pounce with their fists.

Imagism

Some features of this trend are very similar to futurism. The term first appeared in the English poets T. Eliot, W. Lewis, T. Hume, E. Pound and R. Aldington. They decided that poetry needed more imagery (“image” in English means “image”). They sought to create a new poetic language in which there is no place for clichéd phrases. Russian poets first learned about Imagism from Zinaida Vengerova, at that time one of the most famous literary critics. In 1915, her article "The English Futurists" was published, and then the young poets thought that they could borrow the name from the British, but at the same time create their own trend. Then the former futurist Vladimir Shershnevich wrote in 1916 " green book”, in which he first uses the term “Imagism” and states that the image should stand above the content of the work.

Then, in 1919, the "Declaration" of the Imagist Order was published in the Sirena magazine. It contained the basic rules and philosophical concepts this movement.

Imagism, like the Surrealist movement in France, was the most organized movement in existence. Its members often literary evenings and meetings, published a large number of collections. They published their own magazine, which was called "Hotel for travelers in the beautiful." But, despite such cohesion, the Imagist poets had absolutely different views for creativity. For example, the poetry of Anatoly Mariengof or Vladimir Shernevich was characterized by decadent moods, personal feelings, and pessimism. And at the same time, Sergei Yesenin was in their circle, for whom the theme of the homeland becomes a key one in his work. In part, it was the image of a simpleton peasant boy, which he himself invented in order to become more popular. After the revolution, Yesenin will completely abandon him, but the very fact of how heterogeneous the poets of this trend were, and how they approached the creation of their works, is important here.

It was this difference that eventually led to the split of Imagism into two different groups, and later the movement broke up altogether. In their circle at that time, more often began to appear different kind controversy and controversy. The poets contradicted each other, expressing their thoughts, and could not find a compromise that would smooth out the conflict.

egofuturism

A kind of futuristic current. Its name carries the main idea ("Egofuturism" is translated as "I am the future"). Its history began in 1911, but this trend did not last long. Igor Severyanin became the poet who decided to independently come up with his own trend and embody his idea with the help of creativity. In St. Petersburg, he opens the "Ego" circle, from which ego-futurism began. In his collection Prologue. Egofuturism. Poetry grandos. Apotheotic notebook of the third volume” the name of the movement was heard for the first time.

Severyanin himself did not draw up any manifestos and did not write a creative program for his own movement, he wrote about him like this:

Unlike the Marinetti school, I added to this word [futurism] the prefix "ego" and in brackets "universal" ... The slogans of my ego-futurism were: 1. The soul is the only truth. 2. Self-affirmation of personality. 3. Searching for the new without rejecting the old. 4. Meaningful neologisms. 5. Bold images, epithets, assonances and dissonances. 6. The fight against "stereotypes" and "screensavers". 7. Variety of meters.

In 1912, in the same St. Petersburg, the "Academy of Egopoetry" was created, to which the young and completely inexperienced G. Ivanov, Grail-Arelsky (S. Petrov) and K. Olympov joined. The leader was still Severyanin. Actually, of all the poets named above, he became the only one whose work is still not forgotten and is actively studied by philologists.

When the very young Ivan Ignatiev joined the current of egofuturism, the “Intuitive Association of Egofuturists” was created, which included P. Shirokov, V. Gnedov and D. Kryuchkov. This is how they characterized the movement of egofuturism in their manifesto: "The incessant striving of every Egoist to achieve the possibilities of the Future in the Present through the development of egoism."

Many works of ego-futurists were not for reading, but for exclusively visual perception text, about which the authors themselves warned in the notes to the poems.

Representatives

Anna Andreevna Akhmatova (1889-1966)

Poet, translator and literary critic, her early work It is customary to refer to the flow of acmeism. She was one of Gumilyov's students, whom she later married. In 1966 she was nominated for Nobel Prize. The main tragedy of her life, of course, was the revolution. Repression took from her the most dear people: the first husband of Nikolai Gumilyov, who was shot in 1921, after their divorce, the son of Lev Gumilyov, who spent more than 10 years in prison, and, finally, the third husband of Nikolai Punin, who was arrested three times and died in the camp in 1953. Akhmatova put all the pain of these terrible losses into the poem "Requiem", which became the most significant work in her work.

The main motives of her poems are connected with love, which manifests itself in everything. Love for the motherland, for the family. Surprisingly, despite the temptation to join the emigration, Akhmatova decides to stay in the outraged country. To save her. And many contemporaries recall that the light in the windows of her house in Petrograd inspired hope for the best in their souls.

Nikolai Stepanovich Gumilyov (1886-1921)

Founder of the school of acmeism, prose writer, translator and literary critic. Gumilyov has always been distinguished by his fearlessness. He was not ashamed to show that he was not good at something, and this always led him to victory, even in the most hopeless situations. Very often, his figure looked rather comical, but this had a positive effect on his work. The reader could always put himself in his place and feel a certain similarity. poetic art for Gumilyov, this is, first of all, a craft. He sang in his work of artists and poets who worked hard to develop their skills, because they did not believe in the triumph of a born genius. His poems are often autobiographical.

But there is a period of absolutely new poetics, when Gumilyov finds his own special style. The poem "The Lost Tram" is an emblem reminiscent of the work of C. Baudelaire. Everything earthly in the space of the poem becomes metaphysical. During this period, Gumilyov defeats himself. During the revolution, while in London, he nevertheless decides to return to Russia and, unfortunately, this decision becomes fatal for his life.

Marina Ivanovna Tsvetaeva (1892-1941)

Tsvetaeva really did not like the use of feminitives in her address, therefore, let's say about her this way: a poet of the Silver Age, a prose writer, a translator. She was the author who cannot be attributed to a specific course of the Silver Age. She was born in prosperous family and childhood was the happiest period in her life. But farewell to carefree youth becomes real tragedy. And we can notice the echoes of these experiences in all the mature poems of Tsvetaeva. Her 1910 collection, The Red-Bound Book, just describes all those beautiful, inspiring impressions of a little girl. She writes with love about children's books, music, going to the skating rink.

In life, Tsvetaeva could be called a maximalist. She always went all the way to the end. In love, she gave all of herself to the person for whom she had feelings. And then I hated it just as much. When Marina Ivanovna realized that kids time forever gone - she is disappointed. With the help of the main sign of her poems - a dash, she seemed to oppose two worlds. In her late poetry there is an extreme despair, God no longer exists for her, and the words about the world have too cruel a connotation.

Sergei Mitrofanovich Gorodetsky (1884-1967)

Russian poet, prose writer, playwright, critic, publicist, artist. He began to engage in creativity after rapprochement with A.A. Block. In his first experiments, he was guided by him and Andrei Bely. But, on the other hand, the young poet became close to the ordinary peasant people during his trip to the Pskov province. There he hears many songs, jokes, epics and absorbs folklore, which later will be fully reflected in his work. He is enthusiastically received in the "tower" of Vyacheslav Ivanov, and Gorodetsky for some time becomes the main guest on the famous "Wednesdays".

But later the poet began to pay too much attention to religion, and this caused backlash the symbolists. In 1911, Gorodetsky broke off relations with them and, having enlisted the support of Gumilyov, became one of the organizers of the "Workshop of Poets". In his poems, Gorodetsky called for the development of the ability to contemplate, but he tried to show this idea without excessive philosophy. Throughout his life, he did not stop working and improving his poetic language.

Vladimir Vladimirovich Mayakovsky (1893-1930)

One of the most significant poets of the 20th century, who distinguished himself in the field of cinema, drama, screenwriting. He was also an artist and magazine editor. He was a representative of futurism. Mayakovsky was pretty complex figure. His works were forcibly forced to read, and therefore the intelligentsia developed a strong dislike for everything that the poet did.

He was born in countryside, in Georgia, and this fact radically influenced his further fate. He put more effort into getting noticed, and this was reflected in his work and in the way he knew how to present it. After imprisonment, Mayakovsky retires from political life and devotes himself entirely to art. Enters art academy, where he meets D. Burliuk, and this fateful meeting forever determined the nature of his occupation. Mayakovsky was a poet-orator who tried to convey new truths to the public. Not everyone understood his work, but he did not stop confessing his love to the reader and turning his ideas to him.

Osip Emilievich Mandelstam (1908-1916)

Russian poet, prose writer and translator, essayist, critic, literary critic. He belonged to the current of acmeism. Mandelstam becomes a mature writer quite early. But still, researchers are more interested in the later period of his work. It is surprising that he was not perceived as a poet for a long time, his works seemed to many empty imitations. But, having joined the "Workshop of Poets", he finally finds like-minded people.

Often Mandelstam relies on references to other works of classical poetry. Moreover, he does it quite subtly, so that only the well-read and clever man could understand the true meaning. His poems seem a little dull to readers, since he did not like excessive exaltation. Reflections on God and the eternal is a frequent motif of his works, which is closely intertwined with the motif of loneliness. The author said about the process of creativity: "The poetic word is a bundle, and the meaning sticks out of it in different directions." It is these meanings that we can consider in each line of his poems.

Sergei Alexandrovich Yesenin (1895-1925)

Russian poet, representative of the new peasant poetry and lyrics, and in more late period creativity - imagism. A poet who knew how to frame his work and surround his own figure with a veil of secrecy. That is why literary critics are still arguing about his personality. But one fact, which all the poet's contemporaries spoke about, is absolutely clear - he was extraordinary person and creator. His early work is striking in its poetic maturity. But behind this lies a certain deception, when Yesenin collected latest collection his poems, he realized that it was necessary to include in it the works that he wrote, being an experienced poet. It turns out that he himself substituted the necessary verses in his biography.

The appearance of Yesenin in the poetic circle became a real holiday, as if they were waiting for him. So he created an image for himself simple guy which can tell about life in the village. He was specifically interested in folklore in order to write folk poems. But by 1917 he was tired of this image and scandalously refuses it. Having entered the circle of imagists, he begins to play the role of a Moscow hooligan, and the motives of his work change dramatically.

Velimir Khlebnikov (1885-1922)

Russian poet and prose writer, one of the largest figures in the Russian avant-garde. He was one of the founders of Russian futurism; reformer of poetic language, experimenter in the field of word creation and zaumi, "chairman the globe". Most interesting poet of his era. He was the main figure of Cubo-Futurism.

Despite the external image of a calm and quiet person was very ambitious. He tried to change the world with his poetry. Khlebnikov really wanted people to stop seeing boundaries. “Out of space and out of time” is the main motto of his life. He was trying to create a language that could bring us all together. Each of his works was an attempt to create such a language. Also, in his work, one can trace some kind of mathematics, apparently, this was influenced by the fact that he studied at the Faculty of Mathematics at Kazan University. Despite the external complexity of his poems, each one can be read between the lines and understand what exactly the poet wanted to say. Difficulties in his works are always present intentionally, so that the reader each time solves a kind of riddle while reading it.

Anatoly Borisovich Mariengof (1897-1962)

Russian poet-imaginist, art theorist, prose writer and playwright, memoirist. He wrote poetry from childhood, as he was a well-read child and was fond of Russian classics. After the appearance of the symbolists on the literary arena, he falls in love with the work of A.A. Blok. In their early works Mariengof tried to imitate him.

But its real and complete literary career began from the moment I met Yesenin. They were very friendly, their biographies literally intertwined with each other, they rented an apartment together, created together, and shared all their sorrows. After meeting Shershnevich and Ivnev, they decide to create a group of Imagists in 1919. It was a period of unprecedented creative activity in the life of Mariengof. The publication of the novels "Cynics" and "The Shaved Man" was accompanied by high-profile scandals that caused the writer a lot of inconvenience. His personality was persecuted in the USSR, works for a long time were banned and read only abroad. The novel "Cynics" aroused great interest among Brodsky, he wrote that this book - best work Russian literature.

Igor Severyanin (1887-1941)

Real name - Igor Vasilyevich Lotarev. Russian poet, representative of egofuturism. Charming and bright, even V.V. himself envied his popularity. Mayakovsky.

He was made famous by Lev Nikolayevich Tolstoy, or, more precisely, his review of the poem, which begins with the words "Put the corkscrew into the elasticity of the cork ...". That morning in Yasnaya Polyana, everyday readings aloud were held, and when Severyanin’s poem was sounded, those present noticeably perked up and began to praise young poet. Tolstoy was amazed at this reaction and said the words that were later replicated in all the newspapers: "Around the gallows, murders, funerals, and they have a corkscrew in a traffic jam." After that, the personality and work of Severyanin were on everyone's lips. But it was hard for him to find allies in the literary environment, he rushed between different groups and movements, and as a result decided to create his own - egofuturism. Then he proclaims the greatness of his own "I" in his work and speaks of himself as a poet who changed the course of Russian literary history.

Sofia Yakovlevna Parnok (1885-1933)

Russian translator and poet. Many called her Russian Sappho, because she was the first to speak freely about same-sex love in the Soviet space. In every line of her poems, one feels a great and reverent love for women. She was not shy about talking about her inclinations, which manifested themselves quite early. In 1914, at the evening at Adelaide Gertsyk, the poetess met Marina Tsvetaeva, and at that moment both women realized that they were in love with each other. Since then, all further work of Parnok was filled with love for Tsvetaeva. Each meeting or joint trip gave both a surge of inspiration, they wrote poems to each other in which they talked about their feelings.

Unfortunately, they were visited by thoughts that sooner or later they would have to leave. Their relationship ended with the last bitter messages in verse after one major quarrel. Despite relationships with other women, Sofia Parnok believed that it was Tsvetaeva who left deep trace in her life and work.

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Portal for the student. Self-training

Poetry of the Silver Age of Russian Literature. Theme and idea, the sharpness of the conflict and the artistic features of the play

Story

Literary currents

Symbolism

The main literary trends at the turn of the XIX-XX centuries. "Silver Age" as the heyday of Russian poetry at the beginning of the 20th century, characterized by the emergence of a large number of poets and poetic movements. Features and significance of the new peasant poetry.

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Similar Documents

currents

Symbolism

Acmeism

Futurism

Imagism

egofuturism

Representatives

Anna Andreevna Akhmatova (1889-1966)

Nikolai Stepanovich Gumilyov (1886-1921)

Marina Ivanovna Tsvetaeva (1892-1941)

Sergei Mitrofanovich Gorodetsky (1884-1967)

Vladimir Vladimirovich Mayakovsky (1893-1930)

Osip Emilievich Mandelstam (1908-1916)

Sergei Alexandrovich Yesenin (1895-1925)

Velimir Khlebnikov (1885-1922)

Anatoly Borisovich Mariengof (1897-1962)

Igor Severyanin (1887-1941)

Sofia Yakovlevna Parnok (1885-1933)

Portal for the student. Self-training

Story

Literary currents

Symbolism

The main literary trends at the turn of the XIX-XX centuries. "Silver Age" as the heyday of Russian poetry at the beginning of the 20th century, characterized by the emergence of a large number of poets and poetic movements. Features and significance of the new peasant poetry.

Send your good work in the knowledge base is simple. Use the form below

Similar Documents

currents

Symbolism

Acmeism

Futurism

Imagism

egofuturism

Representatives

Anna Andreevna Akhmatova (1889-1966)

Nikolai Stepanovich Gumilyov (1886-1921)

Marina Ivanovna Tsvetaeva (1892-1941)

Sergei Mitrofanovich Gorodetsky (1884-1967)

Vladimir Vladimirovich Mayakovsky (1893-1930)

Osip Emilievich Mandelstam (1908-1916)

Sergei Alexandrovich Yesenin (1895-1925)

Velimir Khlebnikov (1885-1922)

Anatoly Borisovich Mariengof (1897-1962)

Igor Severyanin (1887-1941)

Sofia Yakovlevna Parnok (1885-1933)

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