Ministry of Education and Science of the Donetsk People's Republic

State vocational educational institution

« Donetsk transport and uh conom ichesk th college »

Methodical development

literary evening

"Love in the Poetry of the Silver Age"

Teacher

Russian language

and literature

Povoroznyuk I.V.

Donetsk

2016

Topic: "Love in the poetry of the Silver Age"

Targets and goals:

Tutorials:

To form the ability to create an oral public and monologue speech.

To expand students' knowledge about the personalities and work of the poets of the Silver Age.

Activate the creative imagination of students.

Developing:

Develop students' memory.

Improve students' speech for their successful learning and adaptation in society.

Develop skills expressive reading, speech etiquette.

Educators:

Through a theatrical performance, to contribute to the formation of the aesthetic taste of students.

To instill in students an interest in literature, music, art.

To form love and reverent attitude to the Russian word.

Goals for the teacher:

Organize the study of material on the topic: “Poetry silver age”,

using individual and differentiated approach and method.

Create a creative, comfortable, friendly atmosphere in the classroom.

Visibility: exhibition of books by poets of the Silver Age, portraits of poets, video materials, audio recordings.

Equipment: computer, multimedia installation, projector, presentation, book exhibition; figurines, candlesticks.

Christmas time was warmed by bonfires,

And carriages fell from the bridges,

And the whole mourning city floated

For an unknown destination

Along the Neva or against the current, -

Just away from your graves.

On Galernaya arch blackened,

On Summer, the weather vane sang subtly,

And the silver moon is bright

Over the Silver Age froze ...

V. Gorodetsky.

Leading: The beginning of the 20th century absorbed as many events as the entire history of one state could absorb. Two decades included three revolutions and a civil war - dramas and tragedies on a global scale.

Presenter: The beginning of the century gave such a number of talented poets that their number could be compared with a scattering of hundreds of stars on the black velvet of the night sky, and every second one can be called the Mozart of verse.

Leading: Poets form many literary movements: symbolism, acmeism, futurism, imagism. Their divine poetic gift remained unchanged, thanks to which they brought the verse in the poetic sense to perfection: sound, all the subtlest shades of feelings acquired hitherto unheard-of musicality.

Presenter: Poets of the Silver Age are a whole constellation in the Russian national galaxy: A. Blok, I. Severyanin, A. Akhmatova, N. Gumilyov, V. Mayakovsky, V. Khlebnikov, young B. Pasternak and M. Tsvetaeva, N. Klyuev and S Yesenin.

Leading: We invite you to one of the most famous literary and artistic cabaret in the city of St. Petersburg called "Stray Dog".

Georgy Ivanov: “There were only three rooms in the Stray Dog. Buffet and two halls. This is a former basement. Now the walls are brightly painted, instead of a chandelier there is a golden hoop. A huge brick fireplace burns brightly. The rooms are vaulted, magical from the glare.

Presenter: Yes, I loved them - those gatherings at night,

On a low table - glasses of ice,

Over black coffee odorous thin steam,

Fireplace red heavy winter heat,

The gaiety of a caustic literary joke...

Presenter: The cafe was located in the second courtyard of the corner house on Mikhailovskaya Square, in the basement. The current address of the house is 5 Arts Square. The initiators of the creation of the cafe were the writer A.N. Tolstoy and a group of contemporary artists. They dreamed of creating a kind of club where figures of literature and art - actors, artists, writers - could creatively communicate.

Leading: Director N. Petrov tells about the origin of the name of the cafe:

… “on one of the days, when we were looking for a free basement from one gateway to another, A.N. Tolstoy suddenly said:

– But do we not now resemble stray dogs who are looking for shelter?

– You have found the name of our venture, - exclaimed N.N. Evreinov.

– Let this cellar be called Stray Dog!

Everyone loved the title."

Presenter: "Stray dog"
And that you are good
That every with every
Here the soul will meet"
V. Gorodetsky

Leading: It took place on December 31, 1911.

In those years, the literary and artistic cabaret was officially called the Artistic Society of the Intimate Theater. Then it was a club of writers, artists, artists. The name implied that any wandering, but necessarily creative people, could come to the basement and warm up.

Presenter: A hammer and a board were attached to the wall near the entrance door, on which the guests were supposed to knock. Going down a steep staircase of ten steps, the visitors found themselves in the “main hall”, at the entrance to which lay a large “Pig Book” (its spine was bound in pigskin). /. Over time, this folio turned into a kind of chronicle of the institution, written and drawn, it included not only poetic sketches and caricatures, musical notes of impromptu and caricatures, musical notes of impromptu and caricatures. The “Pig Book” lay at the entrance, over which its own coat of arms flaunted - a sitting dog, putting its paw on an antique mask - a portrait of the poodle Boris Pronin, the ideological inspirer and director of the Stray Dog.

Leading: By the opening of the institution, M. Kuzmin wrote the anthem of the Stray Dog.

In the second courtyard is a cellar;
It has a dog shelter.
Anyone who got here
Just a stray dog.
But that is pride, but that is honor,
To get into that basement!

Presenter: Literary evenings were held in Stray Dog, lectures were held on new phenomena in literature and art.Inspired faces, on the stage someone reads poetry, he is interrupted by music and a piano. Someone quarrels, someone declares his love.

Leading: Love and poetry of the Silver Age... They deserve each other. Poetry illuminated by love, and love elevated by poetry to the heights of the human spirit:

Presenter: Love in the poetry of the Silver Age:

Leading: Blokovsky: "a silver lyre in your outstretched hand"

Presenter: Akhmatovsky: "silver month over the silver age"

Leading: All Tsvetaeva's poems are "silver rattles":

Presenter: Death and time reign on earth -

You do not call them masters;

Everything, spinning, disappears into the mist,

Only the sun of love is motionless.

(Vladimir Solovyov)

Leading: Bryusov's love is simple, sincere.Valery Bryusov managed throughout his life to maintain deep respect for women in his heart, he bowed to them and, by his own definition, felt like a fool in their society, who could not understand the highest of this world. However, despite the fact that many novels were attributed to the poet during his lifetime, it is known for certain that until his death he remained faithful to his wife, considering her an unattainable ideal.

Reading by heart a poem by V. Bryusov " Woman"

woman

You are a woman, you are a book between books,

You are a rolled up, sealed scroll;

In his lines there are an abundance of thoughts and words,

In his sheets every moment is insane.

You are a woman, you are a witch's drink!

It burns with fire as soon as it penetrates the mouth;

But the flame drinker stifles the cry

And glorify furiously in the midst of torture.

You are a woman and you are right about that.

From the century removed the crown of the stars,

You are the image of a deity in our abyss!

We draw an iron yoke for you,

We serve you, crushing the mountains,

And we pray - from the century - for you!

Presenter: Two stars of Silver Age poetry: they met in the summer of 1888 and married a few months later. They lived together for 52 years, never parting for a single day. In 1889 Merezhkovsky married Zinaida Gippius. This spiritual andGippius described the creative union in her unfinished book “DmitryMerezhkovsky.

Reading by heart D. Merezhkovsky's poem "Silence".

Silence

How often do I want to express my love,
But I can't say anything
I only rejoice, suffer and keep silent:
As if ashamed of me - I dare not speak.

And in the proximity of your living soul to me
So everything is mysterious, so everything is extraordinary, -
What is too terrible a divine secret
It seems to me love to talk about it.

In us, the best feelings are bashful and silent,
And all the sacred embraces silence:
While the sparkling waves are roaring above,
The deep sea is silent.

Leading: Zinaida Gippius was a mystery to everyone around. She attracted people not only by her appearance and poetic fame, but also by her extraordinary energy and political passion. And repelled with arrogance, mockery, captiousness:

Presenter: Many have tried to find the key to understanding her personality. But Zinaida Gippius knew best of all, of course, Merezhkovsky, who was touchingly in love with his wife until his last days.Hardly survived the death of her husband in 1941, Zinaida Nikolaevna tried to commit suicide. For Gippius, love is life itself, carrying immortality in itself. "Not to love" for her meant "not to live." But true love is impossible without freedom, equality and fidelity to the truth, including the truth of one's own "I".

Reading by heart the poem by Z. Gippius "One Love".

Love is one

A single time boils foam

And the wave breaks.

The heart cannot live by betrayal,

There is no betrayal: love is One.

We are indignant, or we play,

Or we lie - but there is silence in the heart.

We never change:

One soul - one love.

Monotonous and deserted

Monotony is strong

Life passes ... And in a long life

Love is one, always one.

Only in the immutable - infinity,

Only in constant depth.

And everything is clearer: love is one.

We pay for love with our blood,

But a faithful soul is faithful,

And we love with one love...

Love is one, as death is one.

Leading: The cycle "Poems about the Beautiful Lady" marked the beginning of the creative path of Alexander Blok as an already established and independent artist. This cycle was inspired by the beloved and wife of the poet - the daughter of the great Russian scientist Lyubov Dmitrievna Mendeleeva.

Presenter: "The Sun of Love" illuminated the whole life of the great Russian symbolist poet. Seventeen-year-old Blok saw sixteen-year-old Lyuba in the spring garden, strewn with apple-tree petals. I saw and fell in love for life.In his poems, Blok builds a beautiful temple of love, the deity in which is Woman, Girl.

Reading by heart A. Blok's poem "About valor, about exploits, about glory ...".

“About valor, about exploits, about glory…”

About valor, about exploits, about glory
I forgot in the woeful land
When your face is in a simple frame
In front of me shone on the table.

But the hour has come, and you left the house.
I threw the cherished ring into the night.
You gave your fate to another
And I forgot the beautiful face.

The days flew by, spinning like a cursed swarm ...
Wine and passion tormented my life...
And I remembered you before the lectern,
And he called you, like his youth ...

I called you but you didn't look back
I shed tears, but you did not descend.
You sadly wrapped yourself in a blue cloak,
On a damp night, you left the house.

I don't know where your pride is
You, dear, you, gentle, found ...
I sleep soundly, I dream of your blue cloak,
In which you went into the damp night ...

No longer dream of tenderness, of glory,
Everything is over, youth is gone!
Your face in its simple frame
I removed the table with my hand.

Leading: As in the work of Blok, in the poetry of Konstantin Balmont, the feminine element, the worship of the “eternally feminine”, played an important role.

Presenter: His romantic stories are known, in which a sincere feeling for a woman was the stimulus of his inspiration. In the late 1920s, Balmont lived through his last novel, a novel in letters. It ended tragically. In one of the letters, the poet says: “The last 7-8 weeks have been a time of continuous spiritual torture for me. It takes a long time to tell how it happened that the young Russian girl Tanya Osipova, living in Finland, in Terioki, became inexplicably dear to me. She was a poetess, and she was my fairy tale. For a whole year my love for her and her love for me bewitched death. It seems to me that my heart is pierced and devastated. I am full of unbearable longing for my only Tanya. There has never been such a loss in my life and my tears there is no end."

Leading: He dedicated poems to her: "Mine - not mine - mine", "Not seen, but recognized", "Their ring", "First rain", "White light", "This night", "I love flowers:"

Reading by heart the poems of K. Balmont "Playing love games ...", "Sorrow of the moon."

Playing games of love

There are kisses - like free dreams,

blissfully bright, to frenzy.

There are kisses - as cold as snow.

There are kisses - as an insult.

Oh, kisses are forcibly given,

Oh, kisses - in the name of revenge!

How hot, how strange

With their flash of happiness and disgust!

Run away with trembling from frenzy,

There is no measure for my dreams, and there is no name.

I am strong - by the will of my love,

I am strong in audacity - indignation!

Sorrow of the moon

You were my sister, sometimes tender, sometimes passionate,

And I loved you, and I love you.

You are a dear ghost... pale... indistinct...

Oh, in this lunar hour I mourn for you!

I want the night, spreading its wings,

Air silence united us.

I want me, filled with powerlessness,

The fire of loving eyes streamed into your eyes.

I want you, all pale with flour,

I froze under the caress, and I would kiss

Your face, eyes and little hands

And you would whisper to me: "Look, I'm all yours!"

I know all the flowers for us could arise,

Love trembles in me like a moonbeam in a wave.

And I want to moan, go crazy, exclaim:

"You will forever be love torture to me!"

Presenter: One winter evening at the Stray Dog, the congregation recites poetry in a circle and pronounces sentences, mostly murderous. The easiest approval is rare. Both celebrities and beginners read.

Leading: The queue reaches a young lady, thin and swarthy. Black, as if varnished, bangs cover the forehead to the eyebrows, swarthy-pale cheeks. The eyes look cold and motionless - as if they do not see the surroundings. Angular mouth, angular curve of the back. Even the rise of thin, long legs is an angle. Are there such women in life? This is the work of an artist! No, this is a living Akhmatova.

Reading by heart the poems of Anna Akhmatova “She squeezed her hands under a dark veil ...”.

She clenched her hands under a dark veil

She clasped her hands under a dark veil...
"Why are you pale today?" -
From the fact that I am tart sadness
Got him drunk.

How can I forget? He walked out, staggering
Mouth twisted painfully...
I ran away without touching the railing
I followed him to the gate.

Breathless, I shouted: "Joke
All that has gone before. If you leave, I'll die."
Smiled calmly and creepily
And he said to me, "Don't stand in the wind."

Presenter: Anna Akhmatova admired her poems, she admired her dignity, her high Spirit.

Reading by heart a poem by Anna Akhmatova "In the evening"

In the evening

The music rang in the garden
Such unspeakable grief.
Fresh and pungent smell of the sea
Oysters on ice on a platter.

He told me: "I am a true friend!"
And touched my dress...
How not like hugs
The touch of these hands.

So they stroke cats or birds,
So slender look at riders ...
Only laughter in the eyes of his calm
Under the light gold of the eyelashes.

Romance by N. Noskov to verses by Nikolai Gumilyov "Monotonous flicker"

Leading: Nikolai Gumilyov, poet, founder of a new artistic direction in poetry - acmeism, the first husband of Anna Akhmatova, deserves special attention. The poetry of the Silver Age is inconceivable without his name.

Presenter: The dream of exploits, the muse of distant wanderings, never left Gumilyov. He is a famous traveler who went on distant expeditions 3 times (his African ethnographic collections are kept in the museum). He is the only poet of the Silver Age who voluntarily went to the front in 1914, became a cold-blooded scout and was twice awarded the St. George Cross for his exploits.

Leading: In life, Gumilyov was loving. He passionately fell in love, made proposals to his beloved girls and was terribly worried about refusals (it even came to suicide attempts).

Presenter: Love in Gumilyov's life is obvious and secret, silent and verbose, bright and fading.

Leading: Anna Akhmatova is dedicated to the poetry books "Romantic Flowers", "Alien Sky" and an album of love lyrics, created in Paris in 1917 and released after the death of the poet under the title "To the Blue Star".

Presenter: Nikolai Gumilyov is a knight not only in poetry, but also in life, who knew how to love deeply. His name is next to the name of A. Akhmatova. He brought her into poetry, and she became the queen of it.

Reading by heart the poem by N. Gumilyov “She” .

She is

I know a woman: silence,
Fatigue bitter from words
Lives in a mysterious shimmer
Her dilated pupils.

Her soul is open eagerly
Only the copper music of the verse,
Before life, valley and comfort
Arrogant and deaf.

Inaudible and unhurried,
So strangely smooth is her step,
You can't call her beautiful.
But in it all my happiness.

When I crave willfulness
And dared and proud - I'm going to her
Learn to wise sweet pain
In her languor and delirium.

She is bright in the hours of languor
And holds lightning bolts in his hand,
And her dreams are clear, like shadows
On heavenly fiery sand.

Leading: “Although Anna Andreevna became my wife, she forever remained a mystery to me.

Presenter: Akhmatova never had her own house, she called herself just that - homeless. But her homelessness was of a special kind: wherever she appeared - whether in the salon, in the theater, in the night cabaret, she immediately found herself in the center of attention. “Wrapped in black silk, with a large oval cameo at her waist, Akhmatova floated out.”

Reading by heart the poem by N. Gumilyov "Dream".

Dream

I groaned from a bad dream

And woke up, grieving heavily;

I dreamed - you love another

And that he offended you.

I ran from my bed

Like a murderer from his block,

And watched how dimly shone

Lanterns through the eyes of animals.

Oh, probably so homeless

Not a single person wandered

This night through the dark streets

Like the beds of dry rivers.

Here I stand at your door,

No other way was given to me

Even though I know I won't dare

Never enter this door.

He hurt you, I know

Even though it was just a dream

But I still die

In front of your closed window.

Leading: Anna Andreevna Akhmatova is beautiful, victorious, regal, accepting poems with dedications, chores, worship of close and distant people. And - quite different - Tsvetaeva.

Video from the film "Cruel Romance". Romance "Under the caress of a plush blanket."

Leading: One day a petite, with the figure of an Egyptian boy, a fair-haired young woman appeared in a cafe. The clear green of her eyes, clouded by a short-sighted look, has something magical in it. She does not like the word "poetess". She is a poet.

Presenter: In the great galaxy of poets of the Silver Age, M.I. Tsvetaeva occupies a special place.

Leading: In the fate of Marina Tsvetaeva there was only one love, only one man - Sergey Efron, husband, father of her children ...

Reading by heart the poem by M. Tsvetaeva “I will win you back ...”

(+ video by I. Allegrova)

I will take you back...

I will win you back from all lands, from all skies,
Because the forest is my cradle, and the grave is a forest,
Because I'm standing on the ground - with only one foot,
Because I'll sing to you - like no other.

I will win you back from all times, from all nights,
All golden banners, all swords,
I'll throw the keys and drive the dogs off the porch -
Because in the earthly night I am more true than a dog.

I will win you back from all the others - from that one,
You will not be anyone's fiance, I will be nobody's wife,
And in the last dispute I will take you - shut up! -
The one with whom Jacob stood in the night.

But until I cross my fingers on your chest -
O curse! - you stay - you:
Your two wings, aimed at the ether, -
Because the world is your cradle, and the grave is the world!

Presenter: Boris Pasternak ... "This is a secret script, allegory, cipher," M. Tsvetaeva said about him. How deeply he could talk about the soul, about God, about love. Deep and simple:

I'm done, and you're alive...
And the wind, complaining and crying,
Rocks the forest and the cottage ...

February... Get ink and cry...

Let's drop the words
Like a garden - amber and zest
Absent-mindedly and generously, barely, barely, barely...
Leading: Highly acclaimed in world literature by the Nobel Prize. And only in 89 it was handed over to Pasternak's son. And then they forced to refuse the award, adding pain and bitterness to this already difficult life. And he gave us the light of his soul generously, for centuries.Performance of the song by I. Skazina on verses B. Pasternak "The candle burned ...".

Presenter: In the love lyrics of the Silver Age, Sergei Yesenin occupies a special place. His poems, imbued with burning feelings, heartfelt truth, hit the strings human soul and keep ringing in our heartsfor over 90 years.

Reading by heart the poems of S. Yesenin “Do not wander, do not crush in the bushes ...”, “The blue fire swept through”

«…»

Do not wander, do not crush in the crimson bushes
Swans and do not look for a trace.
With a sheaf of your oatmeal hair
You touched me forever.

With scarlet berry juice on the skin,
Gentle, beautiful, was
You look like a pink sunset
And, like snow, radiant and bright.

The grains of your eyes crumbled, withered,
The thin name melted like a sound,
But remained in the folds of a crumpled shawl
The smell of honey from innocent hands.

In a quiet hour, when the dawn is on the roof,
Like a kitten, it washes its mouth with its paw,
I hear a meek talk about you
Water honeycombs singing with the wind.

Let sometimes the blue evening whisper to me,
That you were a song and a dream
All the same, who invented your flexible camp and shoulders -
He put his mouth to the bright secret.

Do not wander, do not crush in the crimson bushes
Swans and do not look for a trace.
With a sheaf of your oatmeal hair
You touched me forever.

“A blue fire was swept…”

A blue fire swept
Forgotten relatives gave.

I was all - like a neglected garden,
He was greedy for women and potion.
Enjoyed drinking and dancing
And lose your life without looking back.

I would just look at you
To see the eye of a golden-brown whirlpool,
And so that, not loving the past,
You couldn't leave for someone else.

Tread gentle, light camp,
If you knew with a stubborn heart,
How does a bully know how to love,
How can he be humble.

I would forever forget taverns
And I would give up writing poetry.
Just to gently touch the hand
And your hair color in autumn.

I would follow you forever
At least in their own, even in others they gave ...
For the first time I sang about love,
For the first time I refuse to scandal.

Letter to a woman

Do you remember,
Of course, you remember everything
How I stood
Approaching the wall
You excitedly walked around the room
And something sharp
They threw it in my face.
You said:
It's time for us to part
What tormented you
My crazy life
That it's time for you to get down to business,
And my destiny -
Roll on, down.
Darling!
You didn't love me.
You did not know that in the host of people
I was like a horse driven in soap
Spurred by a brave rider.
You didn't know
That I'm in solid smoke
In a life torn apart by a storm
That's why I suffer that I do not understand -
Where the rock of events takes us.
Face to face
Can't see faces.

Big is seen from a distance.
When the sea surface boils -
The ship is in a sorry state.
Earth is a ship!
But suddenly someone
For new life, new glory
In the midst of storms and blizzards
He directed it majestically.

Well, which of us is big on deck
Didn't fall, vomit, or swear?
They are few, with an experienced soul,
Who remained strong in pitching.

Then I too
Under the wild noise
But maturely knowing the work,
Went down into the ship's hold,
To avoid watching human vomit.

That hold was -
Russian kabak.
And I bent over the glass
So that, without suffering for anyone,
destroy yourself
In a frenzy drunk.

Darling!
I tortured you
you had longing
In the eyes of the weary
What am I showing to you
He wasted himself in scandals.
But you didn't know
What's in the smoke
In a life torn apart by a storm
That's why I suffer
What I don't understand
Where the rock of events takes us...

Now the years have passed.
I'm at a different age.
I feel and think differently.
And I say over the festive wine:
Praise and glory to the helmsman!
Today I
In the midst of tender feelings.
I remembered your sad tiredness.
And now
I'm rushing to let you know
What was I
And what happened to me!

Darling!
Nice to say to me:
I avoided falling off the cliff.
Now in the Soviet side
I am the most furious fellow traveler.
I became not the one
Who was then.
I wouldn't torment you
As it was before.
For the banner of liberty
And bright work
Ready to go even to the English Channel.
Forgive me...
I know you are not the one
Do you live
With a serious, intelligent husband;
That you do not need our maeta,
And I myself to you
Not a bit needed.
Live like this
How the star guides you
Under the tabernacle of the renewed canopy.
Greetings,
always remembering you
Your friend
Sergey Yesenin.

Leading: The fate of the creators of the beginning of the century ...

Presenter: They were bright, unusual, tragic, different…

Leading: The fate of everyone is a whole book ...

Presenter: And creativity is a gift for us, because everyone will find their own melody in the silver placer of poetry.

Leading: They were going to the Stray Dog.

Presenter: They were young and talented. They were cheerful and serious.

Age of silver, Age of light ...

Age of poetry, Age of dreams,

Age of being, Age of Man,

Thoughts of the age and the age of beauty ...

Age of the Soul, age of the Poet ... Age of sound, Age of words ...

How many secrets and names! I am in love with this age.

My silver age
Your silver age
Our Silver Age...
How many secrets and names!
I am in love with this age.

Acmeism, imagism, symbolism, futurism are literary trends that arose in the late 19th and early 20th centuries in Russian poetry. Which Russian poets of the Silver Age are their most prominent representatives, and who forever became one of the most important pages of poetry of the last century, without belonging to any of the modernist trends? Read on.

Alexander Blok

Alexander Blok is a poet of the Silver Age, whose work, full of mystical symbols and mysteries, still continues to attract more and more new fans.

Throughout 1908-1916, the theme of the Motherland was the main one for Blok. Moreover, Blok argued: the poet must identify himself with his native land th, to represent it as a kind of living organism, with which it is inextricably linked.

Blok was also worried about the study of the human soul. He very often wrote his works in the first person, passing all the plots through himself - as if dissolving his own "I" in many others. It doesn't matter if he wrote about biblical, real or fictional characters, he imagined himself in their place and tried to experience all the emotions with them. So he writes a cycle of poems "A terrible world."

Another, no less important theme of Blok's creativity is love. In the cycle "Poems about the Beautiful Lady" he dedicated poems beautiful lady, waiting for your ideal of beauty. And in the cycle "On the Kulikovo Field" Blok even compared the image of Russia with the image of a woman.

Alexander Blok, like the poets of the Silver Age Valery Bryusov, Konstantin Balmont and others, belonged to the modernist trend of symbolism. Some of the most famous works of Alexander Blok are also the poem "The Twelve", the cycle of poems "Motherland", the poems "The Stranger", "On Valor, About Feats, About Glory ...", "Night, Street, Lantern, Pharmacy" and others .

Anna Akhmatova

The next poet of the Silver Age is Akhmatova Anna Andreevna. Even as a child, little Anna Gorenko (the real name of the poetess) dreamed of writing poetry. In her life she has seen two different Russia- pre-revolutionary and Soviet period, while in her work she sought to protect and preserve the traditions of classical Russian culture.

Thanks to her own restraint, femininity and apolitical creativity, the person of Akhmatova ideally embodied the tragic spirit of Russia in the 20th century. Like the poets of the Silver Age Nikolai Gumilyov, Mikhail Zenkevich, Osip Mandelstam, Mikhail Lozinsky and others, at one time the poetess adjoined the literary direction of the Silver Age called acmeism.

Akhmatova's work was also characterized by reflections on life, and on love, on the beauty of nature, and on history. But the main theme was still love, which allowed the poetess to create a special female image, with inner strength, versatility, firmness, but at the same time tenderness. The poetic heroine of Akhmatova is always straightforward, there is no affectation in her, and she openly shares her personal tragedies and experiences with the reader.

Another important theme of lyrics for Akhmatova is love for the motherland. Thoughts about leaving Russia, she considered unworthy for someone who is called a poet (she talks about this, for example, in the poem “I am not with those who left the earth ...”) - in her opinion, poets soul and heart must be tied to their land and to their people.

Particularly popular are Akhmatova’s poems “I learned to live simply, wisely ...”, “I don’t ask for your love ...”, “I squeezed my hands under a dark veil ...”, “Like a heavy huge hammer ...” and the poem “ Requiem".

Sergey Yesenin

Sergei Yesenin is a poet of the Silver Age, who, despite a short creative activity (he passed away when he was only thirty years old), managed to leave a rich poetic legacy. In it, Yesenin managed to vividly portray peasant Russia, which he madly loved.

The poet gave a central place in his work to the theme of the Motherland. He was called the singer of peasant Russia. Every now and then he returned in poems to the village of Konstantinovo, where he was born and lived, sang the beauty of Russian nature and peasant life. But after the revolution, everything became different: Yesenin could not accept Soviet Russia. At that time, he hardly writes about the peasantry and his native village, but mainly addresses the theme of love in his poetry, which, nevertheless, continues to be intertwined with the theme of the Motherland.

After moving to Moscow, Yesenin was accepted into their ranks by poets who adjoined literary movement called Imagism. During that period, he wrote one of his most famous creations - "Confessions of a bully." The best poems of Sergei Yesenin are also considered “Letter to a Woman”, “I have only one fun left ...”, “Goy you, Russia, my dear ...”, “Golden grove dissuaded ...”, “Goodbye, my friend , goodbye ... "," You do not love me, do not regret ... "and many others.

Vladimir Mayakovsky

The scale of the creative personality of this poet is difficult to deny. The first stage of Mayakovsky's work is characterized by futuristic ideas. He himself and the poets David Burliuk, Alexei Kruchenykh, Velimir Khlebnikov created a manifesto of cubo-futurism, a modernist literary trend of the Silver Age called "Slap in the Face of Public Taste". This trend implied a creative figure, in particular, a poet as a fighter for the future, which was art.

However, after the revolution, a new stage began in Mayakovsky's work - the Soviet one. Mayakovsky looked back at pre-revolutionary Russia with hatred. His poems were filled with a thirst for the destruction of the old way of life and the creation of a new one. He considers inaction and indifference to be a terrible sin, only moving forward and fighting were his motto.

The main theme of Mayakovsky was not only the revolution, but also love - often they were even intertwined with each other in strange ways. It can be argued that the maximalist author himself acted as the lyrical hero of almost all his love poems. Mayakovsky did not know how and did not want to keep within himself the feelings that he always boldly expressed in his work, often even exaggerating them, which contributed to the transformation of love poems into public poems.

The most famous poems of Mayakovsky: “Nate!”, “Could you?”, “Listen!”, “To you”, “What is good and what is bad”, “Loves? Does not love? I break my hands ... "," Lilichka "," Cloud in pants "," Attitude to the young lady.

Marina Tsvetaeva

One of the most beautiful pages of Russian poetry of the 20th century is the work of Marina Tsvetaeva. Surprisingly lively, bright and sincere were her poems, almost always aimed at creating a dialogue: in them Tsvetaeva addressed all her readers, contemporaries and those who would later turn to her work.

The theme of creativity ran like a red thread through the works of the poetess. From the poems "Roland's Horn" and "Poets" one can understand Tsvetaeva's thought: despite the fact that they have readers, poets, like many creative personalities are inherently alone. The poetess was not afraid to openly admire the work of her colleagues, and even recognized Alexander Pushkin and Anna Akhmatova as her inspirations. That's just the concept of a muse in Tsvetaeva is extremely rare - she is grateful to her own work for her work to a greater extent than to her.

One of the main themes of Marina Tsvetaeva's work is the theme of love and human relationships. Moreover, while many other poets were rather addicted personalities, Tsvetaeva devoted almost all her poems about love to only one person - her own husband. These poems are like all other creations of the poetess - just as sincere, strong and emotional.

Tsvetaeva did not belong to any of the popular modernist movements of the Silver Age. Today she is known for many poems, for example, “To my poems written so early ...”, “To Byron”, “Anna Akhmatova”, “Books in red binding”, “I wear his ring with a challenge ...”, “I like that you sick not by me…”, “Under the caress of a plush blanket…” and others.

We invite you to watch the following video about the Silver Age of Russian poetry, which highlights the literary trends of that period in more detail:

The Silver Age is the era of modernism, captured in Russian literature. This is the period when innovative ideas captured all spheres of art, including the art of the word. Although it lasted only a quarter of a century (starting in 1898, ending around 1922), its legacy is a golden Ford Russian poetry. Until now, the poems of that time do not lose their charm and originality, even against the background of contemporary creativity. As we know, the works of the Futurists, Imagists and Symbolists became the basis of many famous songs. Therefore, in order to understand the current cultural realities, it is necessary to know the primary sources that we have listed in this article.

The Silver Age is one of the main, key periods of Russian poetry, covering the period of the late XIX - early XX century. The debate about who was the first to use this term is still going on. Some believe that the "Silver Age" belongs to Nikolai Avdeevich Otsup, a well-known critic. Others are inclined to believe that the term was introduced thanks to the poet Sergei Makovsky. But there are also options regarding Nikolai Alexandrovich Berdyaev, a famous Russian philosopher, Razumnikov Vasilyevich Ivanov, a Russian literary critic, and the poet Vladimir Alekseevich Piast. But one thing is certain: the definition was coined by analogy with another, no less important period - the Golden Age of Russian literature.

As for the time frame of the period, they are arbitrary, since it is difficult to establish the exact dates for the birth of the Silver Age of poetry. The beginning is usually associated with the work of Alexander Alexandrovich Blok and his symbolism. The end is attributed to the date of the execution of Nikolai Stepanovich Gumilyov and the death of the previously mentioned Blok. Although echoes of this period can be found in the work of other famous Russian poets - Boris Pasternak, Anna Akhmatova, Osip Mandelstam.

Symbolism, Imagism, Futurism and Acmeism are the main currents of the Silver Age. All of them belong to such a direction in art as modernism.

The main philosophy of modernism was the idea of ​​positivism, that is, hope and faith in the new - in a new time, in a new life, in the formation of the newest / modern. People believed that they were born for something high, they have their own destiny, which they must fulfill. Now culture is aimed at eternal development, constant progress. But all this philosophy collapsed with the advent of wars. It was they who forever changed the worldview and attitude of people.

Futurism

Futurism is one of the directions of modernism, which is an integral part of the Russian avant-garde. For the first time, this term appeared in the manifesto "Slap in the face of public taste", written by members of the St. Petersburg group "Gileya". It included Vladimir Mayakovsky, Vasily Kamensky, Velimir Khlebnikov and other authors, who were most often called "budetlyane".

Paris is considered the ancestor of futurism, but its founder comes from Italy. However, it was in France in 1909 that Filippo Tommaso Marinetti's manifesto was published, skimping on the place of this movement in literature. Further, futurism "came" to other countries. Marinetti has shaped attitudes, ideas and thoughts. He was an eccentric millionaire, most of all fond of cars and women. However, after the accident, when the man lay next to the pulsating heart of the engine for several hours, he decided to sing the beauty of an industrial city, the melody of a rumbling car, the poetics of progress. Now the ideal for man was not the surrounding natural world, but the urban landscape, the noise and roar of the bustling metropolis. The Italian also admired the exact sciences and came up with the idea of ​​composing poetry using formulas and graphs, created a new “ladder” size, etc. However, his poetry turned out to be something like another manifesto, a theoretical and lifeless rebellion against old ideologies. From the point of view of artistry, a breakthrough in futurism was made not by its founder, but by the Russian admirer of his discovery - Vladimir Mayakovsky. In 1910, a new literary trend comes to Russia. Here it is represented by the four most influential groups:

• Moscow group "Centrifuge" (Nikolai Aseev, Boris Pasternak, etc.);
• The previously mentioned St. Petersburg group "Gileya";
• Petersburg group "Moscow Egofuturists" under the control of the publishing house "Petersburg Herald" (Igor Severyanin, Konstantin Olimpov, etc.);
• Moscow group "Moscow ego-futurists" under the control of the publishing house "Mezzanine of Art" (Boris Lavrenev, Vadim Shershenevich, etc.).

Since all these groups had a huge influence on futurism, it developed heterogeneously. There were such offshoots as egofuturism and cubofuturism.

Futurism influenced not only literature. He also had a great influence on painting. A characteristic feature of such canvases is the cult of progress and protest against traditional artistic canons. This trend combines the features of cubism and expressionism. The first exhibition took place in 1912. Then in Paris they showed paintings that depicted various means movement (cars, planes, etc.). Futurist artists believed that technology would take the lead in the future. The main innovative move was an attempt to depict movement in statics.

The main features of this trend in poetry are as follows:

• the denial of everything old: the old way of life, the old literature, the old culture;
• orientation to the new, the future, the cult of change;
• feeling of imminent change;
• creation of new forms and images, countless and radical experiments:
• the invention of new words, speech turns, sizes.
• desemantization of speech.

Vladimir Mayakovsky

Vladimir Vladimirovich Mayakovsky (1893-1930) is a famous Russian poet. One of the greatest representatives of futurism. He began literary experiments in 1912. Thanks to the poet, such neologisms as “nate”, “hollow-shtanny”, sickle” and many others were introduced into the Russian language. Vladimir Vladimirovich also made a huge contribution to versification. His "ladder" helps to correctly place accents when reading. And the lyrical lines in the creation “Lilichka! (Instead of a letter) "became the most poignant love confessions in the poetry of the 20th century. We have discussed it in detail in a separate article.

To the most famous works the poet can include the following examples of futurism: the previously mentioned "", "V.I. Lenin", "", poems "I get out of wide trousers", "Could you? (Listen!) ”,“ Poems about the Soviet passport ”,“ Left March ”,“ ”, etc.

Mayakovsky's main themes include:

• the place of the poet in society and his mission;
• patriotism;
• glorification of the socialist system;
• revolutionary theme;
• love feelings and loneliness;
• purposefulness on the way to a dream.

After October 1917, the poet (with rare exceptions) was inspired only by revolutionary ideas. He sings of the power of change, the Bolshevik ideology and the greatness of Vladimir Ilyich Lenin.

Igor Severyanin

Igor Severyanin (1887 - 1941) is a famous Russian poet. One of the representatives of egofuturism. First of all, he is known for his outrageous poetry, where his own personality is sung. The Creator was sure that he was a pure incarnation of genius, so he often behaved selfishly and arrogantly. But that was only in public. In ordinary everyday life, Severyanin was no different from others, and after emigrating to Estonia, he completely “tied up” with modernist experiments and began to develop in line with classical poetry. His most famous works are the poems "!", "Nightingales of the monastery garden", "Classic roses", "Nocturne", "A girl cried in the park" and the collections "The Thundering Cup", "Victoria regia", "Zlatolira". We have covered it in detail in another article.

The main themes of Igor Severyanin's work:

• technical progress;
• own genius;
• the poet's place in society;
• love theme;
• satire and scourging of social vices;
• politics.

He was the first poet in Russia to boldly call himself a futurist. But in 1912, Igor Severyanin founded a new, own trend - egofuturism, which is characterized by the use foreign words and having a sense of selfishness.

Alexey Kruchenykh

Alexey Eliseevich Kruchenykh (1886 - 1968) - Russian poet, journalist, artist. One of the representatives of Russian futurism. The creator became famous for bringing “zaum” into Russian poetry. “Zaum” is an abstract speech, devoid of any meaning, which allows the author to use any words (strange combinations, neologisms, parts of words, etc.). Aleksey Kruchenykh even issues his own “Declaration of the abstruse language”.

The most famous poem of the poet is “Dyr bul shchyl”, but there are other works: “Reinforced concrete weights - at home”, “Left”, “Rainforest”, “In the gambling house”, “Winter”, “Death of the artist, “Rus” and others.

The main themes of Khlebnikov's work include:

• the theme of love;
• the theme of the language;
• creation;
• satire;
• food theme.

Velimir Khlebnikov

Velimir Khlebnikov (1885 - 1922) - a famous Russian poet, one of the main figures of the avant-garde in Russia. He became famous, first of all, for being the founder of futurism in our country. Also, one should not forget that it was thanks to Khlebnikov that radical experiments began in the field of “creativity of the word” and the previously mentioned “zaumi”. Sometimes the poet was also called "the chairman the globe". The main works are poems, poems, superstories, autobiographical materials and prose. Examples of futurism in poetry include:

• "Bird in a cage";
• "Vremysh - reeds";
• "Out of the bag";
• "Grasshopper" and others.

For poems:

• "Menagerie";
• "Forest longing";
• “Love comes like a terrible whirlwind”, etc.

Super stories:

• "Zangezi";
• "War in the Mousetrap".
• "Nikolai";
• “Great is the day” (Imitation of Gogol);
• "Cliff from the future".

Autobiographical materials:

• "Autobiographical note";
• "Answers to the questionnaire of S. A. Vegnerov."

The main themes of V. Khlebnikov's work:

• the theme of the revolution and its glorification;
• the theme of predestination, rock;
• connection of times;
• the theme of nature.

Imagism

Imagism is one of the currents of the Russian avant-garde, which also appeared and spread in the Silver Age. The concept originated from English word"image", which translates as "image". This direction is an offshoot of futurism.

Imagism first appeared in England. The main representatives were Ezra Pound and Percy Wyndham Lewis. Only in 1915 did this trend reach our country. But Russian Imagism differed significantly from English. In fact, only the name remained from it. For the first time the Russian public heard the works of Imagism on January 29, 1919 in the building of the All-Russian Union of Poets in Moscow. It provides that the image of the word rises above the idea, the idea.

For the first time the term "Imagism" appears in Russian literature in 1916. It was then that Vadim Shershenevich's book "Green Street ..." was published, in which the author announced the emergence of a new trend. More extensive than futurism.

Just like Futurism, Imagism influenced painting. The most popular artists are: Georgy Bogdanovich Yakulov (avant-garde artist), Sergey Timofeevich Konenkov (sculptor) and Boris Robertovich Erdman.

The main features of Imagism:

• dominance of the image;
• extensive use of metaphors;
• content of the work = development of the image + epithets;
• epithet = comparisons + metaphors + antithesis;
• poems perform, above all, an aesthetic function;
• one work = one figurative catalogue.

Sergey Yesenin

Sergei Alexandrovich Yesenin (1895 - 1925) - a famous Russian poet, one of the most popular representatives of Imagism, an outstanding creator of peasant lyrics. we described in an essay about his contribution to the culture of the Silver Age.

For so short life he managed to become famous for his outstanding creativity. Everyone read his heartfelt poems about love, nature, the Russian village. But the poet was also known for being one of the founders of Imagism. In 1919, he, along with other poets - V.G. Shershenevich and A.B. Mariengof - for the first time told the public about the principles of this trend. The main feature was that the poems of the Imagists can be read from the bottom up. At the same time, the essence of the work does not change. But in 1922, Sergei Alexandrovich realized that this innovative creative association was very limited, and in 1924 he wrote a letter announcing the closure of the Imagist group.

The main works of the poet (it should be noted that not all of them are written in the style of Imagism):

• “Goy you, Russia, my dear!”;
• "Letter to a woman";
• "Hooligan";
• “You don’t love me, you don’t regret ...”;
• "I have one fun left";
• Poem "";

The main themes of Yesenin's work:

• theme of the Motherland;
• the theme of nature;
• love lyrics;
• longing and spiritual crisis;
• nostalgia;
• rethinking the historical transformations of the 20th century

Anatoly Mariengof

Anatoly Borisovich Mariengof (1897 - 1962) - Russian imaginist poet, playwright, prose writer. Together with S. Yesenin and V. Shershenevich, he founded a new direction of avant-garde - imaginism. First of all, he became famous for his revolutionary literature, since most of his works praise this political phenomenon.

The main works of the poet include such books as:

• "A novel without lies";
• "" (1991 a film adaptation of this book was released);
• "Shaved Man";
• "Immortal Trilogy";
• "Anatoly Mariengof about Sergei Yesenin";
• "Without a fig leaf";
• "Showcase of the Heart"

To poems-examples of Imagism:

• "Meeting";
• "Jugs of Memory";
• "March of revolutions";
• "Hands with a tie";
• "September" and many others.

Themes of Mariengof's works:

• revolution and its chanting;
• the theme of "Russianness";
• bohemian life;
• socialist ideas;
• anticlerical protest.

Together with Sergei Yesenin and other Imagists, the poet participated in the creation of issues of the magazine "Hotel for Travelers in Beauty" and the book "Imagists".

Symbolism

- a trend headed by an innovative image-symbol that replaced the artistic one. The term "symbolism" comes from the French "symbolisme" and the Greek "symbolon" - a symbol, a sign.

France is considered to be the ancestor of this trend. After all, it was there, in the 18th century, that the famous French poet Stéphane Mallarmé united with other poets to create a new literary movement. Then the symbolism "migrated" to other European countries, and already in late XVIII century came to Russia.

For the first time this concept appears in the works of the French poet Jean Moreas.

The main features of symbolism include:

• dual world - division into reality and the illusory world;
• musicality;
• psychologism;
• the presence of a symbol as the basis of meaning and idea;
• mystical images and motives;
• reliance on philosophy;
• cult of individuality.

Alexander Blok

Alexander Alexandrovich Blok (1880-1921) is a famous Russian poet, one of the most important representatives of symbolism in Russian poetry.

The block belongs to the second stage of development of this trend in our country. He is a "junior symbolist", who embodied in his works the philosophical ideas of the thinker Vladimir Sergeevich Solovyov.

The main works of Alexander Blok include the following examples of Russian symbolism:

• "On the railway";
• "Factory";
• “Night, street, lamp, pharmacy…”;
• "I enter dark temples";
• "The girl sang in the church choir";
• "I'm scared to meet you";
• "Oh, I want to live crazy";
• poem "" and much more.

Blok's themes:

• the theme of the poet and his place in the life of society;
• the theme of sacrificial love, love-worship;
• the theme of the Motherland and understanding of its historical fate;
• beauty as an ideal and the salvation of the world;
• the theme of the revolution;
• mystical and folklore motifs

Valery Bryusov

Valery Yakovlevich Bryusov (1873 - 1924) - Russian symbolist poet, translator. One of the most famous representatives of the Silver Age of Russian poetry. He stood at the origins of Russian symbolism along with A.A. Block. The success of the creator began with the scandal associated with the monostich "Oh, close your pale legs." Then, after the publication of even more defiant works, Bryusov finds himself at the epicenter of fame. He is invited to various secular and poetic evenings, and his name becomes a real brand in the art world.

Examples of symbolist verses:

• "Its end";
• "In the past";
• "Napoleon";
• "Woman";
• "Shadows of the Past";
• "Mason";
• "Tormenting gift";
• "Clouds";
• "Images of Time".

The main themes in the work of Valery Yakovlevich Bryusov:

• mysticism and religion;
• problems of personality and society;
• departure to a fictional world;
• the history of homeland.

Andrey Bely

Andrey Bely (1880 - 1934) - Russian poet, writer, critic. Just like Blok, Bely is considered one of the most famous representatives of symbolism in our country. It is worth noting that the creator supported the ideas of individualism and subjectivism. He believed that symbolism represents a certain worldview of a person, and not just a trend in art. He considered the language of signs to be the highest manifestation of speech. The poet was also of the opinion that all art is a kind of spirit, the mystical energy of higher powers.

He called his works symphonies, including "Dramatic", "Northern", "Symphonic" and "Return". Famous poems include: “And the water? The moment is clear ... "," Asya (Azure is pale), "Balmont", "Madman" and others.

Themes in the poet's work are:

• the theme of love or passion for a woman;
• struggle against petty-bourgeois vulgarity;
• ethical and moral aspects of the revolution;
• mystical and religious motives;

Konstantin Balmont

Konstantin Dmitrievich Balmont (1867 - 1942) - Russian symbolist poet, literary critic and writer. He became famous for his "optimistic narcissism". According to the famous Russian poet Anninsky, he raised the most important philosophical questions in his works. The main works of the poet are the collections "Under the Northern Sky", "We'll Be Like the Sun" and "Burning Buildings" and the well-known poems "Butterfly", "In the Blue Temple", "There is no day that I do not think about You ...". These are very illustrative examples of symbolism.

The main themes in the work of Balmont:

• the sublime place of the poet in society;
• individualism;
• the theme of infinity;
• questions of being and non-being;
• beauty and mystery of the surrounding world.

Vyacheslav Ivanov

Vyacheslav Ivanovich Ivanov (1866 - 1949) - poet, critic, playwright, translator. Although he survived the heyday of symbolism much, he still remained true to his aesthetic and literary principles. The creator is known for his idea of ​​Dionysian symbolism (he was inspired by the ancient Greek god of fertility and wine, Dionysus). His poetry was dominated by ancient images and philosophical questions posed by ancient Greek philosophers like Epicurus.

Ivanov's main works:

• "Alexander Blok";
• "The ark";
• "News";
• "Scales";
• "Contemporaries";
• "Valley - temple";
• "The Sky Lives"

Topics of creativity:

• the secret of natural harmony;
• the theme of love;
• the theme of life and death;
• mythological motives;
• true nature of happiness.

Acmeism

Acmeism is the last trend that made up the poetry of the Silver Age. The term comes from the Greek word "acme", which means the dawn of something, the peak.

As a literary manifestation, acmeism was formed at the beginning of the 20th century. Beginning in 1900, young poets began to gather in the apartment of the poet Vyacheslav Ivanov in St. Petersburg. In 1906-1907 a small group broke away from everyone and formed a "circle of young people". He was distinguished by the desire to move away from symbolism and form something new. Also, the literary group "Workshop of Poets" made a great contribution to the development of acmeism. It included such poets as Anna Akhmatova, Osip Mandelstam, Georgy Adamovich, Vladimir Narbut and others. The workshop was headed by Nikolay Gumilyov and Sergey Gorodetsky. After 5 - 6 years, another part separated from this group, which began to call themselves acmeists.

Acmeism is also reflected in painting. The views of such artists as Alexandre Benois (“Marquise’s Bath” and “The Venetian Garden”), Konstantin Somov (“The Mocked Kiss”), Sergei Sudeikin and Leon Bakst (all of whom were part of the art group of the late 19th century “The World of Arts”) were similar to the views of acmeist writers. In all the pictures we can see how modern world opposed to the world of the past. Each canvas is a kind of stylized decoration.

The main features of acmeism:

• rejection of the ideas of symbolism, opposition to them;
• return to the origins: connection with past poets and literary movements;
• the symbol is no longer a way to influence / influence the reader;
• the absence of everything mystical;
• connection of physiological wisdom with the inner world of man.
• Striving for simplicity and ultimate clarity of the image, theme, style.

Anna Akhmatova

Anna Andreevna Akhmatova (1889 - 1966) - Russian poetess, literary critic, translator. She is also a nominee for Nobel Prize in the field of literature. As a talented poetess, the world recognized her in 1914. It was in this year that the collection "Rosary" was released. Further, her influence in bohemian circles only increased, and the poem "" provided her with scandalous fame. In the Soviet Union, criticism did not favor her talent, mainly her fame went underground, to samizdat, but the works from her pen were copied by hand and learned by heart. It was she who patronized Joseph Brodsky on early stages his creativity.

Significant creations include:

• “I learned to live simply, wisely”;
• “She clenched her hands over a dark veil”;
• “I asked the cuckoo…”;
• "Grey-eyed king";
• "I'm not asking for your love";
• “And now you are heavy and dull,” and others.

Poetry themes include:

• the theme of conjugal and maternal love;
• the theme of true friendship;
• topic Stalinist repressions and the suffering of the people;
• the theme of the war;
• the place of the poet in the world;
• reflection on the fate of Russia.

Basically, the lyrical works of Anna Akhmatova are written in the direction of acmeism, but sometimes there are manifestations of symbolism, most often against the background of some kind of action.

Nikolay Gumilyov

Nikolai Stepanovich Gumilev (1886 - 1921) - Russian poet, critic, prose writer and literary critic. At the beginning of the 20th century, he was already part of the “Workshop of Poets” already known to you. It was thanks to this creator and his colleague Sergei Gorodetsky that acmeism was founded. They spearheaded this pioneering separation from the general group. Gumilyov's poems are understandable and transparent, there is no pomposity and zaum in them, so they are still rehearsed and played on stages and music tracks. He speaks simply, but beautifully and sublimely about complex feelings and thoughts. For his connection with the White Guards, he was shot by the Bolsheviks.

The main works include:

• "Giraffe";
• "The Lost Tram";
• “Remember more than once”;
• "From a bouquet of a whole lilac";
• "Comfort";
• "The escape";
• "I laughed at myself";
• "My Readers" and much more.

The main theme of Gumilyov's poetry is overcoming life's failures and obstacles. They also touched upon the philosophical, love, military theme. His view of art is curious, because for him creativity is always a sacrifice, always an anguish, to which you surrender without a trace.

Osip Mandelstam

Osip Emilievich Mandelstam (1891 - 1938) - a famous poet, literary critic, translator and prose writer. He is the author of original love lyrics, dedicated many poems to the city. His work is distinguished by a satirical and clearly oppositional orientation in relation to the current authorities at that time. He was not afraid to touch on topical issues and ask uncomfortable questions. For his caustic and insulting "dedication" to Stalin, he was arrested and convicted. The mystery of his death in the labor camp remains unsolved to this day.

Examples of acmeism can be found in his works:

• Notre Dame;
• “We live without feeling the country under us”;
• "Insomnia. Homer. Tight sails…”;
• Silentium;
• "Self-portrait";
• “The evening is gentle. Twilight is important…”;
• "You smile" and much more.

Themes in the work of Mandelstam:

• the beauty of Petersburg;
• the theme of love;
• the place of the poet in public life;
• the theme of culture and freedom of creativity;
• political protest;
• poet and power.

Sergei Gorodetsky

Sergei Mitrofanovich Gorodetsky (1884 - 1967) - Russian poet - acmeist, translator. His work is characterized by the presence of folklore motifs, he was fond of folk epos and ancient Russian culture. After 1915 he became a peasant poet, describing the customs and life of the village. While working as a war correspondent, he created a cycle of poems dedicated to the Armenian genocide. After the revolution, he was mainly engaged in translations.

Significant works of the poet, which can be considered examples of acmeism:

• "Armenia";
• "Birch";
• cycle "Spring";
• "Town";
• "Wolf";
• “My face is a hiding place of births”;
• "Remember, the blizzard came";
• "Lilac";
• "Snow";
• "Series".

The main themes in the poems of Sergei Gorodetsky:

• the natural splendor of the Caucasus;
• the theme of the poet and poetry;
• Armenian genocide;
• the theme of the revolution;
• the theme of the war;
• love and philosophical lyrics.

Creativity of Marina Tsvetaeva

Marina Ivanovna Tsvetaeva (1892-1941) is a well-known Russian poetess, translator, prose writer. First of all, she is known for her love poems. She also tended to reflect on the ethical aspects of the revolution, and nostalgia for the old times was traced in her works. Perhaps that is why she was forced to leave the country of the Soviets, where her work was not appreciated. She knew other languages ​​brilliantly, and her popularity spread not only to our country. The talent of the poetess is admired in Germany, France and the Czech Republic.

The main works of Tsvetaeva:

• "Come, you look like me";
• “I will win you back from all lands, from all heavens ..”;
• "Homesickness! For a long time…";
• “I like that you are not sick with me”;
• "I would like to live with you";

The main themes in the work of the poetess:

• theme of the Motherland;
• the theme of love, jealousy, separation;
• theme of home and childhood;
• the theme of the poet and his significance;
• the historical fate of the fatherland;
• spiritual relationship.

One amazing feature of Marina Tsvetaeva is that her poems do not belong to any literary movement. All of them are outside any direction.

The work of Sofia Parnok

Sofia Yakovlevna Parnok (1885 - 1933) - Russian poetess, translator. She gained fame thanks to a scandalous friendship with the famous poetess Marina Tsvetaeva. The fact is that communication between them was attributed to something more than friendly relations. Parnok was also awarded the nickname "Russian Sappho" for her statements about the right of women to non-traditional love and equal rights with men.

Main works:

• "White Night";
• “In a barren land no grain can grow”;
• “Not yet spirit, almost not flesh”;
• "I love you in your space";
• "How bright the light is today";
• "Divination";
• "The lips were too tight."

The main themes in the work of the poetess are prejudice-free love, spiritual connection between people, independence from public opinion.

Parnok does not belong to a certain direction. All her life she tried to find her special place in literature, not tied to a particular trend.

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The writing

Recently, we are discovering more and more writers and poets. And we can no longer imagine our spiritual world without Alexander Blok, Igor Severyanin, Nikolai Gumilyov. All of them are poets of the Silver Age. Their work is great and deserves discussion, but I would like to talk about women.

It just so happened that in Russia two female names in poetry for a long time eclipsed others with their significance. female names. This is Anna Akhmatova and Marina Tsvetaeva. I would immediately like to note that poems were often dedicated to these poetesses. The sensitive heart of Boris Pasternak opened with special warmth to meet women, whose souls were equal to him in artistic perception of the world and love.
I think I'll pick up the words
Similar to your originality.
And I'm wrong - it's a thorn-grass for me,
I still don't get rid of the error.

The poet dedicated these lines to Anna Akhmatova. With what admiration for the immensity of the spiritual beauty of these women, initiations flow! The greatness of the human soul in love and nobility does not depend on any external circumstances other than God, and God is always for love. This is emphasized in the words given to Marina Tsvetaeva:
You have the right, turning out your pocket,
To say: search, rummage, rummage.
I don't care than the cheese mist.
Any true story, like a morning in March.

The creativity of the poetesses is great, their poems are admired today, and it seems to me that in a hundred years these women will not be forgotten. Their desire to open up to people will not be forgotten either.

I like love poems. They disturb, excite the soul. Especially when a woman writes about this delightful feeling. In the poetry of Anna Akhmatova and Marina Tsvetaeva, one can single out " love lyrics", but it will take a lot of time. Both poetesses wrote a lot on this topic, and most of their poems are dedicated to love.
I pray to the window beam -
He is pale, thin, straight.
Today I am silent in the morning
And the heart is cut in half.

It would seem that in this poem by Anna Andreevna about love - not a word. But there is an impression of a secret, hidden from prying eyes, love drama, perhaps played alone, love longing for a person. This poetess' poems are permeated with tenderness, and sometimes with pity. Tsvetaeva, in her poetry, is always strong, courageous, powerful, she dreams of uniting with an equal. But the meeting of the strong, even destined for each other, always turns into a struggle.

It is their contradiction that attracts me. One is feminine, sensitive, frank, the other has a courageous, strong-willed character. If I had to compare them with each other, I would not be able to do it. It seems to me that this is impossible. It is impossible to connect such two different, but partly identical personalities. Therefore, I would like to consider the work of Anna Akhmatova and Marina Tsvetaeva separately, but both deserve attention.

I'll start with the one that, in terms of the strength of her talent, skill and talent, stands next to the brilliant Pushkin. Anna Akhmatova's poetry deeply expresses a woman's heart, love feeling, tragic mental breakdowns, great maternal love and sadness. But love in her poems is not always bright, often it brings grief. The lyrical heroine of the Russian Sappho, as the young poetess was called, is rejected, out of love, but she experiences it with dignity, with proud humility, without humiliating herself or her lover.
In the fluffy muff, the hands went cold.
I was scared, I was kind of confused.
Oh how to get you back, fast weeks
His love, airy and minute!

Akhmatova poetically explores the complex, contradictory transitions between love and prelove, play and authenticity. After all, what seemed to be in a fit of love may turn out to be then just a game, and what began as a game will still respond with a real impulse and real pain. And what should it be, love, necessarily stinging? Is it necessary to fight? Or different at different times?
Oh no, I didn't love you
Scorched with sweet fire.
So explain what power
In your sad name.

This sympathy, empathy in love-pity makes many of Anna Andreevna's poems truly folk.

How many-sided love is in the poems of the poetess! In tones and semitones. In tender and terrible faces. But in her poetry there is another love - for the native land, for the Motherland, for Russia.
I am not with those who left the earth
At the mercy of enemies.
I will not heed their deep flattery,
I won't give them my songs.

Akhmatova's world is a tragic world. The motives of misfortune, tragedy are heard in many poems. And with this motif is connected the Requiem cycle, which, in violation of tradition, is dedicated to the living and the dead. the main idea the poem "Requiem" is an expression of people's grief, boundless grief. The suffering of the people and the lyrical heroine merge. In the work of the poetess, an amazing unity of two tragedies is felt: personal and concerning the country and people.
The poetry of Anna Akhmatova ennobles feelings, elevates, cleanses the soul. It has become the most precious property of the mind and heart of many readers. Reading her poems, as if leafing through the confession of the female soul. Life and love are intertwined in one thread. These concepts become inseparable. Anna Andreevna's poems attract with their simplicity, there is nothing supernatural in them. My most favorite poem- The Gray-Eyed King. I don't know why, but I like it. I have admired him since childhood.

Another, no less beloved of my poetess is Marina Tsvetaeva. All her hard creative way crowned with legends and appears before us as an extraordinary story of life.

Liveliness, attentiveness, the ability to get carried away and captivate, a warm heart that always yearns for love and friendship, the ability to become attached to a person with all the forces of the soul, a burning temperament - these are doubtful and character traits lyrical heroine Tsvetaeva. She is the Tsar Maiden from ancient Russian epics; equal to her betrothed and even superior to him. But:
Not destined to equal with equal ...
That's how we make out.

The poetess herself understands this, and therefore the struggle is often shown in her poems: the struggle on the battlefield, as in Achilles with Panthecilia, the struggle on the marriage bed, the struggle and mystery, as in Siegfried and Brunhilde, the struggle of vanity and generosity, as in the Poem of the End ".

But there are other verses as well. Poems in which the beloved is weak. A woman in love sees in him not a husband, but a child. She does not dare to encroach on him, because she is afraid to appropriate him, to make him not equal, but her own. But still falls into the abyss, drawn by his charm. Anxiety grows and breaks into the hopelessness of parting.

But a weak lover, as a rule, does not just leave his beloved, he turns out to be a traitor, for the sake of rumor, to people who sacrifice her to their good glory. So does Stenka Razin from Tsvetaeva's cycle, So does Hamlet: “At the bottom, where there is silt and algae, she went to sleep in them, but there is no sleep there either. But I loved her as forty thousand brothers cannot love... Hamlet! At the bottom it is where silt, silt, and the last whisk surfaced on riverine logs ... But I loved her like forty thousand ... Less than all the same, than one lover ... "

The happiest love in this world is love for the departed. Truly, Marina Tsvetaeva’s first and unchanging love was A. S. Pushkin: “Since then, yes, since Pushkin in front of my eyes in Naumov’s painting - they killed, daily, hourly, continuously killed all my infancy, childhood, youth, - I divided the world into a poet - and I chose everyone - a poet, I chose a poet as my client: to protect - a poet - from everyone, no matter how they dress and call themselves.

The fate of the poetess was tragic. But she always said that "the depth of suffering cannot be compared with the emptiness of happiness." And, probably, only by suffering, you can fill your poems with such a word, such a feeling, like Marina Tsvetaeva. Fate led her to a fatal end, but the poet's death is a continuation of his life, life in time.

Marina Tsvetaeva has a poem called Rouen. I really like it, especially the first two quatrains.
And I came in, and I said: - Hello!
It's time, king, to France, home!
And I again lead you to the kingdom,
And you will deceive again, Charles the Seventh!
Do not wait, the prince is stingy and sad,
The bloodless prince who did not straighten his shoulders -
So that John fell out of love - voice,
To stop loving John - a sword.

Two women - two poetesses. How many troubles they were destined to endure before people turn to their work! But now their poems are being studied. Anna Akhmatova and Marina Tsvetaeva reached the summit. These two women deserve to be remembered. In our time, their poems have found a regular reader.

AT common history Russian poetry, these names will always occupy a special worthy place.

Embracing the boundless sea of ​​Russian poetry of the late 19th and early 20th centuries, we admire its extraordinary diversity and richness. This literature appeared at the turn of the century, in a difficult time of turning points and accomplishments. How similar those times are to ours! And maybe that's why we read these works with such interest? We still have to read, and discover, and admire the beautiful creations of the "Silver Age".

To replace the 19th century, which became a period of extraordinary take-off national culture and grandiose achievements in all spheres of art, the 20th century was complex, full of dramatic events and turning points. The Golden Age of Public and artistic life was replaced by the so-called silver, which gave rise to the rapid development of Russian literature, poetry and prose in new bright currents, 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 a special music of the verse and bright expression 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 reached its heyday by 1915. Public life and political situation characterized by a deep crisis, 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 February, October Revolution 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, riddles national character, the history of the country, the mutual influence of the worldly and the spiritual, the interaction of man 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 precisely to 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, template 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, conversely, are actively interested in 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: Centrifuge (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, civil war, 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.