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The purpose of the lesson: give an interpretation of the concept of "Silver Age"; to review the poetry of the Silver Age, to acquaint students with the main trends and representatives of the era; to update students' knowledge about the work of poets of the Silver Age in order to further perceive the poems of this period.
Equipment: Power Point presentation, poem tests, textbook, workbooks
During the classes
And the silver moon is bright
Over the silver age froze ...
A.A. Akhmatova
Organizational moment. Target setting.
slide 2.
What is the history of the development of literature in the 20th century?
(The fate of the literature of the 20th century is tragic: the blood, chaos and lawlessness of the revolutionary years and the civil war destroyed the spiritual basis of its existence. The post-revolutionary biography of most poets and writers turned out to be difficult. Gippius, Balmont, Bunin, Tsvetaeva, Severyanin and others left their homeland. In the years “ Red Terror" and the Stalinists were shot or exiled to camps and Gumilyov, Mandelstam, Klyuev died there. Yesenin, Tsvetaeva, Mayakovsky committed suicide. Many names were forgotten for many years. And only in the 90s did their works begin to return to the reader.)
The mood of many creative people of the early 20th century was reflected in A. Blok's poem from the "Retribution" cycle:
Twentieth century... even more homeless
Even more terrible than life is darkness,
Even blacker and bigger
Shadow of Lucifer's wing.
And disgusted with life
And crazy love for her
And passion, and hatred for the Fatherland...
And black earth blood
Promises us, inflating veins,
All destroying the frontiers,
Unheard of changes
Unforeseen riots...
Late XIX - early XX centuries. became the time of the bright flowering of Russian culture, its "silver age". The rapid breakthrough of Russia in development, the clash of different ways and cultures changed the self-consciousness of the creative intelligentsia. Many were attracted by deep, eternal questions - about the essence of life and death, good and evil, human nature. In Russian literature of the beginning of the 20th century, a crisis of old ideas about art and a sense of the exhaustion of past development will be felt, a reassessment of values will be formed.
The rethinking of the old means of expression and the revival of poetry will mark the onset of the "silver age" of Russian literature. Some researchers associate this term with the name of N. Berdyaev, others Nikolai Otsup.
The Silver Age of Russian poetry (the term in literature is mainly associated with poetry) is the only century in history that lasted a little more than 20 years. 1892 - 1921?
For the first time in literary work, the expression "Silver Age" was used by A. Akhmatova in "A Poem Without a Hero". (Epigraph) slide 4(1)
Renewal of literature, its modernization have led to the emergence of new trends and schools. slide 5
The poetry of the Silver Age is diverse: it includes the works of proletarian poets (Demyan Bedny, Mikhail Svetlov, etc.), and peasant (N. Klyuev, S. Yesenin), and works of poets representing modernist movements: symbolism, acmeism, futurism, which are associated with the main achievements of the poetry of the Silver Age, and poets who did not belong to any literary movement.
On the board - a table (students fill it out during the lecture)
| symbolism | acmeism | futurism | |
| Attitude towards the world | Intuitive understanding of the world | The world is knowable | The world needs to be changed |
| The role of the poet | The poet-prophet unravels the mysteries of being, the words | The poet returns to the word clarity, simplicity | The poet destroys the old |
| relation to the word | The word is both ambiguous and symbolic | Clear definition of the word | Freedom with words |
| Form features | Hints, allegories | Concrete imagery | Abundance of neologisms, distortion of words |
Slide 6. Representatives symbolism: V. Bryusov, K. Balmont. D.Merezhkovsky, Z.Gippius (senior), A.Bely, A.Blok (junior).
Slide 7. Symbolism is a literary and artistic direction, which considered the goal of intuitive comprehension of world unity through symbols. Symbolists believed that the poet unraveled the mysteries of the word. A symbol is a multi-valued allegory (allegories are unambiguous). The symbol contains the prospect of a limitless expansion of meanings. Allusions and allegory became a feature of the works of the Symbolists.
We have been familiar with the poems of symbolist poets since the 5th grade. - Reading by heart and analysis of A. Blok's verse. (d / s)
Slide 8. Representatives acmeism: N. Gumilyov, A. Akhmatova, O. Mandelstam. Acmeism - slide 9. denial of the mystical, full of vague allusions to the art of the Symbolists. They emphasized the simplicity and clarity of the word. They proclaimed the high intrinsic value of the earthly, real world. They wanted to glorify the earthly world in all its diversity. Passion for colorful, exotic details in the search for vivid epithets was characteristic of acmeist poets.
Reading and analysis by A. Akhmatova. (d/z)
Slide 10. Representatives of futurism: V. Khlebnikov, I. Severyanin, B. Pasternak, V. Mayakovsky.
Slide 11. Futurism - denied the artistic and moral heritage, proclaimed the destruction of the forms and conventions of art. F. put a person in the center of the world, refused nebula, innuendo, mysticism. They put forward the idea of art - to really transform the world with a word. They sought to update the poetic language, searched for new forms, rhythms, rhymes, distorted words, introduced their own neologisms into poems.
Slide 12. Imagism - S. Yesenin. The purpose of creativity is to create an image. The main means of expression is metaphor. Outrageousness is characteristic of the creativity of the Imagists. outrageous- defiant behavior; scandalous stunt. Deviant behavior.
Reading and analysis of S. Yesenin's verse
Slide 13. Poets outside the directions: I. Bunin, M. Tsvetaeva.
Slide 14. What unites all literary movements? Working with a table.
I dreamed of catching the departing shadows,
The fading shadows of the fading day,
I climbed the tower, and the steps trembled,And the higher I went, the clearer they were drawn,
The clearer the outlines were drawn in the distance,
And some sounds were heard around
Around me resounded from Heaven and Earth.The higher I climbed, the brighter they sparkled,
The brighter the heights of the dormant mountains sparkled,
And with a farewell radiance, as if caressed,
As if gently caressing a misty gaze.And below me the night has already come,
The night has already come for the sleeping Earth,
For me, the daylight shone,
The fire luminary burned out in the distance.I learned how to catch the shadows that are leaving
The fading shadows of a faded day,
And higher and higher I walked, and the steps trembled,
And the steps trembled under my feet.
(1894)
What is this poem about?
What is the size of the poem? What does it give? (trisyllabic anapaest - leisurely movement)
How are the lines similar? What technique does the poet use? (repeat) What is his role? What feelings does the reception evoke? What does it look like? (hypnosis, divination)
What did you see in the verse? What pictures appeared before you? (A tower, a spiral staircase, a vertical road, it leaves the ground, but does not leave, it is within sight. There are no people. ONE - I - INDIVIDUALITY OF KNOWLEDGE)
Can you determine the time of the action in the work? Historical time? (transitional time of the day, no more. There is no everyday life, living conditions. We cannot say when this happens. The lyrical hero is in a special conditional world, perhaps in an ideal one).
Find the words that define the internal state of the hero (no, except dream)
What actions does the lyrical hero perform (work with verbs of movement in stanzas)?
Compare line 1 of stanza 1 and line 1 of the last stanza. How are they similar and how are they different? (the process of cognition and the moment of cognition)
Ring composition - return to the beginning of the path (the path of spiritual knowledge is endless)
What do you think is the idea of the verse-i? (knowing yourself, you know the world)
Slide 18, 19. The results of the lesson.
What is the Silver Age? What are the main modernist currents of the Silver Age. What are their features?
The Silver Age is not just a scientific term, it is an era that gave the world amazingly bright artistic and intellectual values, distinguished by restlessness of thought and refinement of forms.
D/W: Message about the life and work of A. Blok. Learn by heart and analyze one of the poems of your choice.
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 fractures occurred at the end of the 19th - early 20th centuries. 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 ӊáchaya of the 20th 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 moon is bright
Floated over 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 in the early twentieth century became a generally recognized theorist and leader of Russian symbolism. He was a poet, prose writer, literary critic, scientist, encyclopedically educated person. The main creative activity of Bryusov 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
Life is 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. In 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:
I came to this world to see the sun
And blue vision.
I came to this world to see the Sun.
And the heights of the mountains.
I came to this world to see the Sea
And the lush color of the valleys.
I made worlds. in one glance,
I am the master...
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
Hopelessness of grief, voicelessness, boundlessness,
Cold heights, leaving gave.
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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What is the Silver Age? What is its chronological framework? Modernism and features of modernist trends in the early 20th century. The brightest representatives of acmeism, futurism and symbolism. Literary associations at the turn of the century.
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At the turn of the 19th and 20th centuries, cardinal changes took place in all areas of Russian life, and this could not but affect literature. Poetry developed especially dynamically at this time. Later, this period of development of literature will be called the term "Silver Age". This phrase arose by analogy with the "Golden Age", which denoted the Pushkin period of Russian literature.
The concept of "Silver Age" characterizes not only the literature of this period, but also philosophy and art (at the turn of the 19th-20th centuries). The chronological framework of this period is not strictly indicated. The beginning of "S.V." - 90 years of the 19th century, when the first representatives of modernist trends appeared in Russia (forerunners of symbolism).
The end of the Silver Age: 1917-1919 - the beginning of the Civil War and Revolution. 1921 - the death of A. Blok and the execution of N. Gumilyov 1920-1930 - the beginning of repressions and the first is full of Russian emigration.
The Silver Age is characterized by a variety of poetic movements, the leading place among which is occupied by representatives of a new (newest) trend in literature - modernism. Modernist currents: SYMBOLISM, ACMEISM, FUTURISM
Modernist trends SYMBOLISM ACMEISM FUTURISM sumbol - the sign of acme - the tip of the spear, the highest point of development ... futuro - the future
SYMBOLISM ACMEISM FUTURISM The current came to Russia from France The current originated and developed in Russia The current came to Russia from Italy depicted the other world depicted the real world Depicted the world of the future Mysticism - silver Harmony - gold Revolution - aluminum
SYMBOLISM Dmitry Merezhkovsky, Zinaida Gippius, Valery Bryusov, Konstantin Balmont, Fyodor Sologub, Alexander Blok, Andrey Bely, Innokenty Annensky... The central place in poetry is given to the symbol. Opening the ambiguity of the word Inviting the reader to co-creation Image of the world of shadows, dreams, dreams, fantasies The hero is a passive contemplator
REAL WORLD OUTSIDE WORLD SYMBOL
SYMBOLISTS OLDER YOUNG SYMBOLISTS
Senior Symbolists: K. Balmont, V. Bryusov
"Young Symbolists" A. Bely, A. Blok
ACMEISM Nikolai Gumilyov, Osip Mandelstam, Mikhail Kuzmin, Mikhail Zenkevich, Anna Akhmatova… Art for the sake of art, beauty for the sake of beauty The desire to speak in simple terms, to return the word to its original meaning Poetry in everyday details Longing for world culture The hero is the organizer of earthly beauty…
Acmeists A.Akhmatova and N.Gumilyov
Acmeist poets O. Mandelstam and M. Kuzmin
FUTURISM Brothers Burliuk, Velimir Khlebnikov, Igor Serevyanin, Vladimir Mayakovsky… The creative task is to create the art of the future. The desire to decompose the world into its component parts, into atoms. Rejection of the traditions of world culture and literature Introduction of multi-storeyed metaphors, versification with a ladder, neologisms Scandalousness, outrageousness
FUTURISTS CUBO-FUTURISTS EGO-FUTURISTS
Futurists I. Severyanin and V. Mayakovsky
Representatives of various modernist literary movements organized numerous creative evenings, choosing the apartments of their colleagues, cabarets, small restaurants, museums, university auditoriums as the place for their meetings. Gradually, full-fledged literary associations with their charters and programs are formed from these circles and companies of interest.
Literary associations "TOWER" "STRAY DOG" "HYLEA" "POETS' WORKSHOP" "JACK OF DIAMONDS" "ASNE'S TAIL" "POETRY ACADEMY" "CENTRIFUGE"
Prepare reports on literary associations of the early 20th century (according to the scheme). Association name. Meeting place. Members of the association The program of the association. Manifests. Collections
The 19th century, which became a period of extraordinary rise in national culture and grandiose achievements in all areas of art, was replaced by a complex, full of dramatic events and turning points of the 20th century. The golden age of social and artistic life was replaced by the so-called silver one, which gave rise to the rapid development of Russian literature, poetry and prose in new bright trends, and subsequently became the starting point of its fall.
In this article, we will focus on the poetry of the Silver Age, consider it and talk about the main directions, such as symbolism, acmeism and futurism, each of which was distinguished by the special music of the verse and a vivid expression of the experiences and feelings of the lyrical hero.
Poetry of the Silver Age. A turning point in Russian culture and art
It is believed that the beginning of the Silver Age of Russian literature falls on 80-90 years. 19th century At this time, the works of many remarkable poets appeared: V. Bryusov, K. Ryleev, K. Balmont, I. Annensky - and writers: L. N. Tolstoy, F. M. Dostoevsky, M. E. Saltykov-Shchedrin. The country is going through difficult times. During the reign of Alexander I, first there is a strong patriotic upsurge during the war of 1812, and then, due to a sharp change in the previously liberal policy of the tsar, society experiences a painful loss of illusions and severe moral losses.
The poetry of the Silver Age reaches its heyday by 1915. Public life and the political situation are characterized by a deep crisis, a restless, seething atmosphere. Mass demonstrations are growing, life is being politicized and at the same time personal self-awareness is being strengthened. Society is making strenuous attempts to find a new ideal of power and social order. And poets and writers keep up with the times, mastering new art forms and offering bold ideas. The human personality begins to be realized as a unity of many principles: natural and social, biological and moral. During the years of the February, October revolutions and the Civil War, the poetry of the Silver Age is in crisis.
A. Blok's speech "On the appointment of the poet" (February 11, 1921), delivered by him at a meeting on the occasion of the 84th anniversary of the death of A. Pushkin, becomes the final chord of the Silver Age.
Characteristics of the literature of the XIX - early XX centuries.
Let's look at the features of the poetry of the Silver Age. Firstly, one of the main features of the literature of that time was a huge interest in eternal topics: the search for the meaning of the life of an individual and all of humanity as a whole, the riddles of the national character, the history of the country, the mutual influence of the worldly and spiritual, human interaction and nature. Literature at the end of the 19th century becomes more and more philosophical: the authors reveal the themes of war, revolution, personal tragedy of a person who, due to circumstances, has lost peace and inner harmony. In the works of writers and poets, a new, bold, extraordinary, resolute and often unpredictable hero is born, who stubbornly overcomes all hardships and hardships. In most works, close attention is paid to precisely how the subject perceives tragic social events through the prism of his consciousness. Secondly, a feature of poetry and prose was an intensive search for original artistic forms, as well as means of expressing feelings and emotions. Poetic form and rhyme played a particularly important role. Many authors abandoned the classical presentation of the text and invented new techniques, for example, V. Mayakovsky created his famous "ladder". Often, to achieve a special effect, the authors used speech and language anomalies, fragmentation, alogisms, and even allowed
Thirdly, the poets of the Silver Age of Russian poetry freely experimented with the artistic possibilities of the word. In an effort to express complex, often contradictory, "volatile" spiritual impulses, the writers began to treat the word in a new way, trying to convey the subtlest shades of meanings in their poems. Standard, formulaic definitions of clear objective objects: love, evil, family values, morality - began to be replaced by abstract psychological descriptions. Precise concepts gave way to hints and understatements. Such fluctuation, fluidity of verbal meaning was achieved through the brightest metaphors, which often began to be based not on the obvious similarity of objects or phenomena, but on non-obvious signs.
Fourthly, the poetry of the Silver Age is characterized by new ways of conveying thoughts and feelings of the lyrical hero. The poems of many authors began to be created using images, motifs from different cultures, as well as hidden and explicit quotations. For example, many word artists included scenes from Greek, Roman and a little later Slavic myths and traditions in their creations. In the works of M. Tsvetaeva and V. Bryusov, mythology is used to build universal psychological models that make it possible to comprehend the human personality, in particular its spiritual component. Each poet of the Silver Age is brightly individual. It is easy to understand which of them belongs to certain verses. But they all tried to make their works more tangible, alive, full of colors, so that any reader could feel every word and line.
The main directions of the poetry of the Silver Age. Symbolism
Writers and poets who opposed realism announced the creation of a new, contemporary art - modernism. There are three main poetry of the Silver Age: symbolism, acmeism, futurism. Each of them had its own striking features. Symbolism originally arose in France as a protest against the everyday display of reality and dissatisfaction with bourgeois life. The founders of this trend, including J. Morsas, believed that only with the help of a special hint - a symbol, one can comprehend the secrets of the universe. Symbolism appeared in Russia in the early 1890s. The founder of this trend was D. S. Merezhkovsky, who proclaimed in his book three main postulates of the new art: symbolization, mystical content and "expansion of artistic impressionability."
Senior and junior symbolists
The first symbolists, later named senior, were V. Ya. Bryusov, K. D. Balmont, F. K. Sologub, Z. N. Gippius, N. M. Minsky, and other poets. Their work was often characterized by a sharp denial of the surrounding reality. They portrayed real life as boring, ugly and meaningless, trying to convey the subtlest shades of their sensations.
Period from 1901 to 1904 marks the onset of a new milestone in Russian poetry. The poems of the Symbolists are imbued with a revolutionary spirit and a premonition of future changes. The younger symbolists: A. Blok, V. Ivanov, A. Bely - do not deny the world, but utopianly await its transformation, praising divine beauty, love and femininity, which will surely change reality. It is with the appearance of the younger symbolists on the literary arena that the concept of a symbol enters literature. Poets understand it as a multifaceted word that reflects the world of "heaven", the spiritual essence and at the same time the "earthly kingdom".
Symbolism during the Revolution
Poetry of the Russian Silver Age in 1905-1907. is undergoing changes. Most Symbolists, focusing on the socio-political events taking place in the country, are reconsidering their views on the world and beauty. The latter is now understood as the chaos of struggle. Poets create images of a new world that comes to replace the dying one. V. Ya. Bryusov creates the poem "The Coming Huns", A. Blok - "The Barge of Life", "Rising from the darkness of the cellars ...", etc.
The symbolism also changes. Now she turns not to the ancient heritage, but to Russian folklore, as well as Slavic mythology. After the revolution, there is a demarcation of the symbolists, who want to protect art from the revolutionary elements and, on the contrary, are actively interested in the social struggle. After 1907, the disputes of the Symbolists exhausted themselves, and imitation of the art of the past replaced it. And since 1910, Russian symbolism has been in crisis, clearly reflecting its internal inconsistency.
Acmeism in Russian poetry
In 1911, N. S. Gumilyov organized a literary group - the Workshop of Poets. It included the poets O. Mandelstam, G. Ivanov and G. Adamovich. This new direction did not reject the surrounding reality, but accepted reality as it is, asserting its value. The "Workshop of Poets" began to publish its own magazine "Hyperborea", as well as print works in "Apollo". Acmeism, originating as a literary school to find a way out of the crisis of symbolism, brought together poets very different in ideological and artistic settings.
Features of Russian futurism
The Silver Age in Russian poetry gave rise to another interesting trend called "futurism" (from Latin futurum, that is, "future"). The search for new artistic forms in the works of the brothers N. and D. Burlyukov, N. S. Goncharova, N. Kulbina, M. V. Matyushin became a prerequisite for the emergence of this trend in Russia.
In 1910, the futuristic collection "The Garden of Judges" was published, in which the works of such brightest poets as V. V. Kamensky, V. V. Khlebnikov, the Burliuk brothers, E. Guro were collected. These authors formed the core of the so-called Cubo-Futurists. Later, V. Mayakovsky joined them. In December 1912, an almanac was published - "A Slap in the Face of Public Taste". The verses of the Cubo-Futurists "Buch of the Forest", "Dead Moon", "Roaring Parnassus", "Gag" became the subject of numerous disputes. At first, they were perceived as a way to tease the habits of the reader, but a closer reading revealed a keen desire to show a new vision of the world and a special social involvement. Anti-aestheticism turned into a rejection of soulless, fake beauty, rudeness of expressions was transformed into the voice of the crowd.
egofuturists
In addition to cubofuturism, several other currents arose, including egofuturism, headed by I. Severyanin. He was joined by such poets as V. I. Gnezdov, I. V. Ignatiev, K. Olimpov and others. They created the publishing house "Petersburg Herald", published magazines and almanacs with original names: "Skycops", "Eagles over the abyss" , "Zasakhar Kry", etc. Their poems were distinguished by extravagance and were often composed of words created by themselves. In addition to the ego-futurists, there were two more groups: "Centrifuga" (B. L. Pasternak, N. N. Aseev, S. P. Bobrov) and "Mezzanine of Poetry" (R. Ivnev, S. M. Tretyakov, V. G. Sherenevich).
Instead of a conclusion
The Silver Age of Russian poetry was short-lived, but united a galaxy of the brightest, most talented poets. Many of their biographies developed tragically, because by the will of fate they had to live and work in such a fatal time for the country, a turning point in the revolutions and chaos of the post-revolutionary years, the civil war, the collapse of hopes and rebirth. Many poets died after the tragic events (V. Khlebnikov, A. Blok), many emigrated (K. Balmont, Z. Gippius, I. Severyanin, M. Tsvetaeva), some committed suicide, were shot or disappeared in Stalin's camps. But all of them managed to make a huge contribution to Russian culture and enrich it with their expressive, colorful, original works.
The Silver Age of Russian Poetry.
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 movements who preached 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 1890 to 1930.
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 start of the Civil War, the “Silver Age” ceased to exist, although those who created this phenomenon with their creativity 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 or the suicide of Vladimir Mayakovsky, and the time frame of this period is about thirty years.
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.
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. Block, 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.
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 Nikolay Gumilyov and Sergey Gorodetsky. Gumilyov's wife Anna Akhmatova, as well as Osip Mandelstam, Mikhail Zenkevich, Georgy Ivanov and others joined the current.
Futurism.
Russian futurism.
Futurism was the first avant-garde movement 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 "Gilea". "Gilea" 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 Kiev, Kharkov, Odessa, Baku.
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 of occasionalisms. Within the framework of cubo-futurism, “abstruse poetry” developed. The Cubo-Futurist poets included Velimir Khlebnikov, Elena Guro, Davidi Nikolai Burliuki, Vasily Kamensky, Vladimir Mayakovsky, Alexei Kruchenykh, Benedict Livshits.
Egofuturism.
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 quite early stepped aside from the collective politics of the ego-futurists, and after the revolution he 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, Vadim Shershenevich, Rurik Ivnevi and others joined this trend at different times.
New peasant poetry.
The concept of "peasant poetry", which has become part of historical and literary usage, unites poets conditionally and reflects only some common features inherent in their worldview and poetic manner. They did not form a single creative school with a single ideological and poetic program. 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. The most famous peasant poets of the Silver Age period 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. The main expressive means of the Imagists is a metaphor, often metaphorical chains, comparing various elements of two images - direct and figurative. The creative practice of the Imagists is characterized by epatage and anarchist motives. The style and general behavior of Imagism was influenced by Russian Futurism. The founders of Imagism are Anatoly Mariengof, Vadim Shershenevichi, Sergei Yesenin. Rurik Ivnevi, Nikolai Erdman, also joined Imagism.
Symbolism. "Young symbolism".
Symbolism- the direction in literature and art first appeared in France in the last quarter of the 19th century and by the end of the century had spread to most European countries. But after France, it is in Russia that symbolism is realized as the most large-scale, significant and original phenomenon in culture. Many representatives of Russian symbolism bring new ones into this direction, often having nothing in common with their French predecessors. Symbolism becomes the first significant modernist movement in Russia; simultaneously with the emergence of symbolism in Russia, the Silver Age of Russian literature begins; in this era, all new poetic schools and individual innovations in literature are, at least in part, under the influence of symbolism - even outwardly hostile trends (futurists, "Forge", etc.) largely use symbolist material and begin with the negation of symbolism. But in Russian symbolism there was no unity of concepts, there was no single school, no single style; even among the symbolism rich in originals in France you will not find such a variety and such dissimilar examples. In addition to the search for new literary perspectives in form and subject matter, perhaps the only thing that united Russian symbolists was distrust of the ordinary word, the desire to express themselves through allegories and symbols. “A thought spoken is a lie” - a verse by the Russian poet Fyodor Tyutchev, the forerunner of Russian symbolism.
Young Symbolists (the second "generation" of Symbolists).
In Russia, junior symbolists are mainly called writers who published their first publications in the 1900s. Among them were really very young authors, like Sergei Solovyov, A. White, A. Blok, Ellis, and very respectable people, like the director of the gymnasium. Annensky, scientist Vyacheslav Ivanov, musician and composer M. Kuzmin. In the first years of the century, representatives of the young generation of symbolists create a romantically colored circle, where the skill of future classics matures, which became known as the "Argonauts" or Argonautism.
“I emphasize: in January 1901, a dangerous “mystical” firecracker was planted in us, which gave rise to so many rumors about the “Beautiful Lady” ... The composition of the circle of Argonauts, students in those years, was outstanding ... Lev Lvovich Kobylinsky (“Ellis”), in those same years who joined us and became the soul of the circle; he was literary and sociologically educated; an amazing improviser and mime ... S. M. Solovyov, a sixth-grade gymnasium student, surprising Bryusov, a young poet, philosopher, theologian ...
… Ellis called it a circle of Argonauts, coinciding with an ancient myth that tells about a group of heroes traveling on the Argo ship to a mythical country: behind the Golden Fleece… the “Argonauts” had no organization; the one who became close to us walked in the “argonauts”, often without suspecting that the “argonaut” ... Blok felt like an “argonaut” during his short life in Moscow ...
…and yet, the “Argonauts” left some mark on the culture of artistic Moscow in the first decade of the beginning of the century; they merged with the “symbolists”, considered themselves essentially “symbolists”, wrote in symbolic journals (I, Ellis, Solovyov), but differed, so to speak, in the “style” of their manifestation. There was nothing of literature in them; and there was nothing of the outward brilliance in them; meanwhile, a number of interesting personalities, original not in appearance, but in essence, passed through Argonautism ... ”(Andrei Bely,“ The Beginning of the Century ”- pp. 20-123).
In St. Petersburg at the beginning of the century, the “tower” of Vyach is most of all suitable for the title of “center of symbolism”. Ivanov, - the famous apartment on the corner of Tavricheskaya Street, among the inhabitants of which at different times were Andrei Bely, M. Kuzmin, V. Khlebnikov, A. R. Mintslova, which was visited by A. Blok, N. Berdyaev A. V. Lunacharsky, A. Akhmatova, "world of art" and spiritualists, anarchists and philosophers. The famous and mysterious apartment: legends are told about it, researchers study the meetings of secret communities that took place here (Haphysites, Theosophists, etc.), gendarmes organized searches and surveillance here, most of the famous poets of the era read their poems in this apartment for the first time, here for several For years, three completely unique writers lived at the same time, whose works often present fascinating riddles for commentators and offer readers unexpected language models - this is the unchanged "Diotima" of the salon, Ivanov's wife, L. D. Zinoviev-Annibal, composer Kuzmin (the author of romances at first, later - novels and poetry books), and - of course the owner. The owner of the apartment himself, the author of the book "Dionysus and Dionysianism", was called the "Russian Nietzsche". With the undoubted significance and depth of influence in culture, Vyach. Ivanov remains "a semi-familiar continent"; this is partly due to his long stays abroad, and partly to the complexity of his poetic texts, which, in addition to everything, require rare erudition from the reader.
In Moscow in the 1900s, the editorial office of the Scorpion publishing house, where Valery Bryusov became the permanent editor-in-chief, was without hesitation called the authoritative center of symbolism. This publishing house prepared issues of the most famous symbolist periodical - "Scales". Among the permanent employees of the "Libra" were Andrey Bely, K. Balmont, Jurgis Baltrushaitis; other authors regularly collaborated - Fedor Sologub, A. Remizov, M. Voloshin, A. Blok, etc., published many translations from the literature of Western modernism. There is an opinion that the history of "Scorpion" is the history of Russian symbolism, but this is probably an exaggeration.
The “younger symbolists”, following V. Solovyov, who had a serious influence on them, not only denied the modern world, but believed in the possibility of its miraculous transformation by Love, Beauty, Art ... For the “young symbolists”, Art, Beauty have a life-creating energy, the ability to change, improve reality, so they received another name - theurges (theurgy - a combination of art and religion in an effort to transform the world). This "aesthetic utopia", however, did not last long.
The religious and philosophical ideas of V. Solovyov were accepted by the Young Symbolist poets, including A. Blok in his collection Poems about the Beautiful Lady (1904). Blok sings of the feminine principle of love and beauty, bringing happiness to the lyrical hero and capable of changing the world. One of Blok's poems of this cycle is preceded by an epigraph from V. Solovyov, directly emphasizing the successive nature of Blok's poetic philosophy:
And the heavy dream of worldly consciousness
You will shake off, yearning and loving.
Vl. Solovyov
I anticipate you. Years pass by
All in the form of one I foresee you.
The whole horizon is on fire - and unbearably clear,
And silently I wait, yearning and loving.
The whole horizon is on fire, and the appearance is near,
But I'm afraid: you will change your appearance,
And daringly arouse suspicion,
Replacing the usual features at the end.
Oh, how I fall - both sad and low,
Not having overcome deadly dreams!
How clear is the horizon! And radiance is near.
But I'm afraid: you will change your appearance.
After the revolutionary events of 1905, after the revolutionary crisis, it becomes obvious that the "aesthetic rebellion" of the older symbolists and the "aesthetic utopia" of the young symbolists have exhausted themselves - by 1910, symbolism as a literary trend ceases to exist.
Symbolism as a frame of mind, as a literary movement with its vague hopes, is an art that could exist at the turn of the eras, when new realities are already in the air, but they have not yet been minted, not realized. A. Bely in the article “Symbolism” (1909) wrote: “Modern art is turned to the future, but this future is hidden in us; we eavesdrop in ourselves on the thrill of the new man; and we eavesdrop in ourselves on death and decay; we are the dead, decomposing the old life, but we are not yet born into the new life; our soul is fraught with the future: degeneration and rebirth are struggling in it... The symbolic current of modernity still differs from the symbolism of any art in that it operates on the border of two epochs: it is deadened by the evening dawn of the analytical period, it is revived by the dawn of a new day.
The Symbolists enriched Russian poetic culture with important discoveries: they gave the poetic word a previously unknown mobility and polysemy, taught Russian poetry to discover additional shades and facets of meaning in the word; the search for symbolists in the field of poetic phonetics became fruitful (see the masterful use of assonance and spectacular alliteration by K. Balmont, V. Bryusov, A. Bely); the rhythmic possibilities of Russian verse were expanded, the stanza became more diverse, the cycle was discovered as a form of organization of poetic texts; despite the extremes of individualism and subjectivism, the symbolists raised the question of the role of the artist in a new way; art, thanks to the symbolists, became more personal.
Andrey Bely.
Andrei Bely created his own special genre - the symphony - a special kind of literary presentation, mainly corresponding to the originality of his life perceptions and images. In form, it is a cross between verse and prose. Their difference from poetry is the absence of rhyme and meter. However, both that and another seem to involuntarily merge in places. From prose - also a significant difference in the special melodiousness of the lines. These lines have not only semantic, but also sound, musical matching to each other. This rhythm most expresses the iridescence and coherence of all the soulfulness and sincerity of the surrounding reality. This is exactly the music of life - and the music is not melodic ... but the most complex symphonic. Bely believed that the symbolist poet was a link between two worlds: earthly and heavenly. Hence the new task of art: the poet must become not only an artist, but also "an organ of the world soul ... a visionary and secret creator of life." From this, insights, revelations, which made it possible to imagine other worlds by weak reflections, were considered especially valuable.
The body of the elements. In an azure-lily petal, the world is wonderful. Everything is wonderful in the faery, veiny, serpentine world of songs. We - hung, Like a stream above the foamy abyss. Thoughts are pouring with flashes of flying rays.
The author is able to see beauty even in the most ridiculous, unpretentious objects: "In an azure-lily petal." In the first stanza, the author says that everything around is wonderful and harmonious. In the second stanza, with the lines “Like a stream over a foamy abyss. Thoughts are pouring with sparkles of flying rays ”the author paints a picture of a stream, a waterfall tumbling down into a foamy abyss, and from this thousands of small sparkling droplets scatter in different directions, so human thoughts pour.
Vyacheslav Ivanovich Ivanov.
Ancient sayings, unusual syntax, the need to capture the most obscure meanings of a word make Ivanov's poems very complex. Even in those verses that seem quite simple, there are many hidden meanings. But wise simplicity, which is understandable to anyone in them, is also found. Let's analyze the poem "Trinity Day".
The forget-me-not forester's daughter tore in the sedge On Trinity Day; Wreaths weaved over the river and bathed in the river On Trinity Day ... And a pale mermaid surfaced in a turquoise wreath. A resonant ax pounded on the forest aisle On Trinity Day; The forester with an ax went out behind a resinous pine On Trinity Day; He yearns and grieves and amuses the tar coffin. A candle in the room in the middle of a dark forest shines On Trinity Day; Under the image, a faded wreath over the dead is sad On Trinity Day. Bohr whispers softly. The river in the sedge rustles ...
