SYMBOLISM
SYMBOLISM - direction in European and Russian art of the 1870-1910s. It focuses mainly on artistic expression through the symbol of intuitively comprehended entities and ideas, vague, often sophisticated feelings and visions. The philosophical and aesthetic principles of symbolism go back to the works of A. Schopenhauer, E. Hartmann, F. Nietzsche, and the work of R. Wagner. In an effort to penetrate the secrets of being and consciousness, to see through the visible reality the supertemporal ideal essence of the world (“from the real to the most real”) and its “imperishable”, or transcendent beauty, the Symbolists expressed their rejection of bourgeoisness and positivism, longing for spiritual freedom, the tragic foreboding of world social -historical shifts. In Russia, symbolism was often conceived as "life-creation" - a sacred action that goes beyond art. The main representatives of symbolism in literature are P. Verlaine, P. Valery, A. Rimbaud, S. Mallarme, M. Maeterlinck, A. A. Blok, A. Bely, Vyach. I. Ivanov, F. K. Sologub. Fine arts: E. Munch, G. Moreau, M. K. Chyurlionis, M. A. Vrubel, V. E. Borisov-Musatov; close to symbolism is the work of P. Gauguin and the masters of the Nabis group, the graphics of O. Beardsley, the work of many masters of the Art Nouveau style. (Big Encyclopedic Dictionary)Russian symbolism as a literary trend developed at the turn of the 19th and 20th centuries.
The theoretical, philosophical and aesthetic roots and sources of creativity of writers-symbolists were very diverse. So V. Bryusov considered symbolism a purely artistic direction, Merezhkovsky relied on Christian teaching, Vyach. Ivanov was looking for theoretical support in the philosophy and aesthetics of the ancient world, refracted through the philosophy of Nietzsche; A. Bely was fond of Vl. Solovyov, Schopenhauer, Kant, Nietzsche.
The artistic and journalistic organ of the Symbolists was the journal Scales (1904-1909). “For us, representatives of symbolism, as a harmonious worldview,” wrote Ellis, “there is nothing more alien than the submission life ideas, the inner path of the individual - the external improvement of the forms of community life. For us, there can be no question of reconciling the path of an individual heroic individual with the instinctive movements of the masses, always subordinated to narrowly selfish, material motives.
These attitudes determined the struggle of the symbolists against democratic literature and art, which was expressed in the systematic slander of Gorky, in an effort to prove that, having become in the ranks of proletarian writers, he ended as an artist, in an attempt to discredit revolutionary democratic criticism and aesthetics, its great creators. - Belinsky, Dobrolyubov, Chernyshevsky. The Symbolists tried in every possible way to make “their own” Pushkin, Gogol, called by Vyacheslav Ivanov “a frightened spy on life”, Lermontov, who, according to the same Vyacheslav Ivanov, was the first to tremble “with a premonition of the symbol of symbols - Eternal Femininity”.
A sharp opposition between symbolism and realism is also connected with these attitudes. “While realist poets,” writes K. Balmont, “view the world naively, as mere observers, obeying its material basis, symbolist poets, recreating materiality with their complex impressionability, rule over the world and penetrate into its mysteries.” Symbolists seek to oppose reason and intuition. “... Art is the comprehension of the world in other, non-rational ways”, - says V. Bryusov and calls the works of the Symbolists “mystical keys of secrets”, which help a person to reach freedom.
The legacy of the Symbolists is represented by poetry, prose, and drama. However, the most characteristic is poetry.
V. Ya. Bryusov (1873 - 1924) passed a complex and difficult path of ideological searches. The revolution of 1905 aroused the admiration of the poet and contributed to the beginning of his departure from symbolism. However, Bryusov did not immediately come to a new understanding of art. Bryusov's attitude to the revolution is complex and contradictory. He welcomed the cleansing forces that rose to fight the old world, but believed that they only bring the element of destruction (1905):
I see a new fight in the name of a new will!
Break - I'll be with you! build - no!
The poetry of V. Bryusov of this time is characterized by the desire for a scientific understanding of life, the awakening of interest in history. A. M. Gorky highly valued the encyclopedic education of V. Ya. Bryusov, calling him the most cultured writer in Russia. Bryusov received and welcomed October revolution and actively participated in the construction of Soviet culture.
The ideological contradictions of the era (one way or another) influenced individual realist writers.
In the creative fate of L. N. Andreev (1871 - 1919), they affected a well-known departure from the realistic method. However, realism as a trend in artistic culture retained its position. Russian writers continued to be interested in life in all its manifestations, fate common man important issues in public life.
The traditions of critical realism continued to be preserved and developed in the work of the largest Russian writer I. A. Bunin (1870 - 1953). The most significant of his works of that time are the stories "The Village" (1910) and "Dry Valley" (1911).
1912 was the beginning of a new revolutionary upsurge in the social and political life of Russia.
D. Merezhkovsky, F. Sologub, Z. Gippius, V. Bryusov, K. Balmont and others are a group of “senior” symbolists who were the initiators of the movement. In the early 900s, a group of "junior" symbolists emerged - A. Bely, S. Solovyov, Vyach. Ivanov, "A. Blok and others.
The basis of the platform of the “younger” symbolists is the idealistic philosophy of Vl. Solovyov with his idea of the Third Testament and the advent of the Eternal Feminine. Vl. Solovyov argued that the highest task of art is “... the creation of a universal spiritual organism”, which piece of art it is an image of an object and phenomenon “in the light of the future world”, which is connected with the understanding of the role of the poet as a theurgist, a clergyman. This, according to A. Bely, "combines the heights of symbolism as an art with mysticism."
The recognition that there are “other worlds”, that art should strive to express them, determines the artistic practice of symbolism in general, the three principles of which are proclaimed in D. Merezhkovsky’s work “On the Causes of the Decline and New Trends in Modern Russian Literature”. It is “...mystical content, symbols and expansion of artistic impressionability”.
Based on the idealistic premise of the primacy of consciousness, the symbolists argue that reality, reality is the creation of an artist: My dream is all spaces, And all strings, The whole world is one of my decorations, My traces (F. Sologub) “Having broken the fetters of thought, to be shackled is a dream,” calls K. Balmont. The vocation of the poet is to connect the real world with the world beyond.
The poetic declaration of symbolism is clearly expressed in the poem by Vyach. Ivanov “Among the Deaf Mountains”: And I thought: “Oh genius! Like this horn, You must sing the song of the earth, so that in the hearts Awaken another song. Blessed is he who hears."
And from behind the mountains there was an answering voice: “Nature is a symbol, like this horn. She Sounds for an echo. And the sound is god. Blessed is he who hears the song and hears the echo.”
Symbolist poetry is poetry for the elite, for the aristocrats of the spirit. A symbol is an echo, a hint, an indication; it conveys a hidden meaning. Symbolists strive to create a complex, associative metaphor, abstract and irrational. This is V. Bryusov’s “voicing-sounding silence”, Vyacheslav Ivanov’s “And bright eyes are dark rebelliousness”, A. Bely’s “dry deserts of shame” and his own: “Day - dull pearls - a tear - flows from sunrise to sunset ". Quite accurately, this technique is revealed in the poem 3. Gippius “Seamstress”:
The revolution of 1905 found a peculiar refraction in the work of the Symbolists.
Merezhkovsky greeted the year 1905 with horror, having witnessed with his own eyes the coming of the “coming boor” predicted by him. Blok approached the events excitedly, with a keen desire to understand. V. Bryusov welcomed the cleansing thunderstorm.
By the tenth years of the twentieth century, symbolism needed to be updated. “In the depths of symbolism itself,” V. Bryusov wrote in the article “The Meaning of Modern Poetry,” new currents arose that tried to infuse new forces into a decrepit organism. But these attempts were too partial, their initiators too imbued with the same traditions of the school, for the renovation to be of any significance.
The last pre-October decade was marked by searches in modernist art. The controversy surrounding symbolism that took place in 1910 among the artistic intelligentsia revealed its crisis. As N. S. Gumilyov put it in one of his articles, “symbolism has completed its circle of development and is now falling.” It was replaced by acmeism (from the Greek "acme" - highest degree something, blooming time).
To the point:
Home > Analysis- Anthology of Silver Age Poetry - 3 Comparison of acmeism and symbolism - 5 Futurism and its role in literature. My attitude is 8 D. Merezhkovsky. On the causes of decline and new trends in modern Russian literature - 11 Alexander Blok - 14 Analysis - 16 Terms - 18 References - 19 Application - 20
Anthology of Silver Age Poetry
The Silver Age is a special phenomenon of Russian spiritual life, manifested in philosophy, literature, and art. The term "Silver Age" first appeared in the works of the philosopher N. Berdyaev, but received its final form in the 60s, when the critic S Makovsky introduced it into literary circulation. Traditionally, the "Silver Age" is considered to be the end of the 19th - the beginning of the 20th century. The poetry of the Silver Age reflected the complex, multifaceted and contradictory process of "the socio-political, spiritual, moral and cultural development of Russia in a period marked by three revolutions, world and civil war. The Silver Age created its own worldview, the most important characteristics of which are considered: Nietzscheism, mysticism, a crisis of faith, spirituality, and conscience. Therefore, I see the poetry of this century in mental illness, psychological disharmony, internal chaos and confusion. However, despite the most difficult conditions in which the art of the Silver Age developed, this period is traditionally read as Russian spiritual resonance, one of the most refined eras in the history of Russian culture, “the era of awakening in Russia of independent philosophical thought, the flowering of poetry and the sharpening of aesthetic sensitivity, religious worries and quests…”. This dual face of the Silver Age reflected the features of the Russian philosophical and poetic Renaissance. Obviously, the inclination of the poets of the Silver Age to creative independence, freedom from aesthetic normativity. There is a change in the thematic range, a shift in poetic accents: not “social”, but “eternal” becomes the main motive for the work of poets. The complex and contradictory world becomes the object of artistic research in the lyrics of the Silver Age. human soul. The rhythmic and metrical range is expanding: the poets of the Silver Age use the widest range of meters and rhythms. The poetry of the Silver Age is characterized by the complexity and variety of trends and phenomena that make up its main features and distinguish this literary period from the previous one. In the presence of well-formed literary schools (symbolism, acmeism and futurism).
Comparison of acmeism and symbolism
Modernism, a new literary trend that emerged at the turn of the century, united many trends and schools with a variety of aesthetic orientations. Modernism, in contrast to realism, asserted the inherent value of the human personality, sought to develop a new universal worldview capable of creatively transforming the world. Three literary movements formed the basis of modernism: symbolism, acmeism, futurism.
Acmeism (from the Greek "acme" - point, peak) is a direction in Russian poetry. He appeared in the 10th odes of the 20th century and opposed mysticism and symbolism. Adherents of Acmeism believed that symbols distort the idea of the true meaning of things. The world of acmeistic lyrics is filled with ordinary feelings. For example:
I learned to live simply, wisely,
Look up to the sky and pray to God
And wander long before evening,
To relieve unnecessary anxiety.
(A. Akhmatova)
Acmeists strove for exquisite simplicity and clarity of language, and creativity was understood as a "craft", as work on verbal images. This is also indicated by the name of their literary organization - "The Workshop of Poets". It was headed by N. Gumilyov, who attracted A. Akhmatova, G. Adamovich, S. Gorodetsky, G. Ivanov, M. Lozinsky, O. Mandelstam, I. Odoevtseva and others to participate in this association. After the revolution, most of the acmeist poets turned out to be in exile. The concept of Acmeism is also relevant in the definition of some poetic texts of Russian literature of a later period. Over time, acmeistic poetry became more complex. So, the poems of A. Akhmatova and O. Mandelstam in the last years of their work contain, in addition to real meaning, also philosophical overtones, sometimes difficult to interpret.
Symbolism (from the Greek "symbolon" - a sign, a conventional sign) is a direction in the art of the late 19th - early 20th centuries, based on the idea of comprehension of the world, truth and beauty, unlike acmeists through symbols, signs. Symbolism was associated with decadence, but had a much deeper ideological and aesthetic concept. Symbolism arose in France in the 70s-80s of the 19th century, and in domestic literature it was formed at the turn of the century and is represented in the works of V. Bryusov, D. Merezhkovsky, Z. Gippius, K. Balmont, A. Bely, A. Blok, F. Sologub, V. Ivanov, S. Gorodetsky and others. Symbolism manifested itself most clearly in Russian poetry. He developed in his own way the traditions of A. Pushkin, V. Zhukovsky, E. Baratynsky, F. Tyutchev, A. Fet, as well as the German romantic poets I.V. Goethe, F.L. Novalis and others.
In contrast to the acmeists in symbolism, reality acts as a background against which the motives of mysticism, individualism, eroticism, the secrets of a large and hostile city develop. The worldviews of the two schools also differed. The Symbolists believed that it was impossible to know the world rationally, one should trust intuition, in which I somewhat agree with them. Therefore, in the verses of the authors of this trend, the specifics give way to hints, halftones, and the symbolists are the conductors of the true meaning. The aesthetic program of the Symbolists involved scrupulous work on the lyrical form. The works of the Symbolists are replete with metaphors, allegories, quotations, reminiscences. All this made their poetry multi-valued, not accessible to everyone. A trained reader, an “initiated” reader, could comprehend its depth, and the thoughts born during reading were not the experiences of the author, but his own. Among the works of these schools, I remember the most: “Song”, “Dedication” and Petersburg by Zinaida Gippius, as well as “Masquerade”, “Russian Revolution” by Mikhail Kuzmin. However, the ideological basis of both the Symbolists and the Acmeists was the same - both of them represented new era modernity in Russian literature. Examples of symbolic works that aroused my sympathy include the epic texts of A. Bely "Silver Dove" and V. Bryusov "Fiery Angel", rare for this trend. Symbolist poets published the magazines "World of Art", "Scales", "Golden Fleece", "Apollo".
Futurism and its role in literature. My attitude towards futurism
Futurism (from the Latin "futurism" - future) is an avant-garde trend in foreign and Russian literature of 1910-1920, mainly in poetry, expressed in the rejection of traditional forms of creativity in favor of experiments with syllable and versification, experiments to create the language of the future.
The emergence of futurism was influenced in a certain way by symbolism and impressionism, which also made a revolution in the field of the literary Russian language. Futurists tried to free the sound of the word and semantic content. This was caused by a violation of syntactic constructions (for example, in some poems D. Burliuk refused prepositions, and words and phrases were connected musically - poetic sound and arbitrary intonation), the creation of neologisms, figurative versification and others. It can be said that the futurists subordinated the creative act to anarchist and technological trends, inventing a new language - "zaum". So, V. Khlebnikov in 1909. Wrote:
Bobeobi lips sang.
Veomi's eyes sang.
Pieeo eyebrows sang.
Leeey sang a face.
Gzi - gzi - gzeo the chain was sung.
So on the canvas, some correspondences
Outside the extension lived the Face.
Here, it seems to me, the futurists "went too far" in their utopian ideas of the "language of the future". The Russian language is already very flexible, and such distortions cannot be called the “liberation” of sounds and meanings. After all, our classics were able to convey the necessary feelings to us without distorting linguistic forms. I consider Mayakovsky a master of this style, who created his own style of verse tempo.
One of the first to appear was a group of so-called cubo-futurists (in 1910), which included V. Khlebnikova, D. and N. Burliuk, A. Kruchenykh, E. Guro. A little later, V. Mayakovsky entered, who published a manifesto “A Slap in the Face of Public Taste” two years later, where it was stated that they were the face of the Time, and offered to throw Pushkin, Dostoevsky, Tolstoy, etc. painting of cubism (hence the name of the group). Cubo-futurists, or buddlyans, as Khlebnikov called them, sought to convey in verse the rhythm and image of modernity. I generally consider this position absurd, it is not surprising that futurism did not last long. For "thrown off the ship of modernity" those poets, thanks to which Russian literature appeared in general and was able to reveal itself in full splendor, gaining worldwide fame, is tantamount to renouncing one's roots.
In 1911, egofuturism, founded by I. Severyanin, took shape. It advocated individualism and the abolition of aesthetic restrictions in creativity (hence the name, ego - I). I cannot agree with the position of Severyanin due to the uncertainty about the viability of his idea. Such a “man of the future”, cut off from ongoing phenomena and not recognizing social aesthetic restrictions, is unlikely to be in demand by the same society and will not be rejected by it .... It included K. Olimpov, V. Bayan, G. Ivanov and others. Some of them later joined the movement of the Imagists. The third notable association in Futurism was made up of the authors of Centrifuge, who developed a new poetic imagery. It included S. Bobrov, B. Pasternak, N. Aseev, and others. In the 1920s, Futurism ceased to exist, as it was criticized by the Soviet system, although individual manifestations of its aesthetics can be found in the later texts of the listed authors.
D. Merezhkovsky. On the causes of decline and new trends in modern Russian literature.
… Wherever we go, no matter how we hide behind the dam of scientific criticism, with our whole being we feel the proximity of the mystery, the proximity of the ocean. No barriers! No mysticism of past ages can compare with this horror. People have not yet felt the need to believe in their hearts, and so they did not understand with their minds the impossibility of believing. Here lies the most feature mystical need of the 19th century. Our time is of extreme materialism and passionate ideal impulses of the spirit. We are witnessing a great struggle between two views on life. This mental struggle could not but be reflected in modern literature. Realism prevails. The vulgar side of denial, the absence of a higher ideal culture among the grandiose scientific achievements- set a seal on art. Recently, E. Zola said about the Symbolists: “What do they propose to replace us? The etiquette of "symbolism" covers mediocre verses, its devotees are not worthy, to complete the grandiose 19th century. Author Rougon-Maccarov triumphs. Zola's novels "Nana" and "Nakip" are translated into Russian with great zeal, while classics of the past remain untranslated. Of course, Zola and Paul Verlaine, also a symbolist, are far from academic chairs next to P. Loti. Artistic idealism is not an invention of Parisian fashion, but something eternal and undying. The strength of the symbolists is only in indignation, and lyrical lines can be more beautiful and truer than grandiose novels. This is what the rebels are terrible for Zola, who do not care about his condition. In essence, the generation of the 19th century is against positivism in literature. It is very possible that they will not be able to do anything, but others will come and the work will be continued, it is alive. The words of the author of Faust begin to come true: "Pure and noble people will soon be sought." Goethe formulated the idea of the superiority of idealism over materialism more clearly: “The more incommensurable and incomprehensible for the mind is a given poetic work, the more beautiful it is” (From “Goethe’s Conversations with Eckermann”). What is a symbol? Looking at the frescoes in the Acropolis above the architrave of the Parthenon, we feel in it the influence of an ideal human culture, a symbol of the free Hellenic spirit. Man tames the beast, this is the revelation of the spirit. This symbolism pervades all creatures. Greek culture. Symbolists must involuntarily pour out from the depths of reality, otherwise it is a dead allegory. Not the last minutes of agony rising sun, nor a crazy night, nor will they give us those feelings like the works of Ibsen and Flaubert. "Thought spoken is a lie." In poetry, what is not said and flickers through the symbol acts more strongly on the heart than words. Symbolism is not a style, it makes the very essence of poetry in it, transparent, in which a flame is kindled. Characters can also be characters. Sancho - Panza and Faust - an example of this. Symbols here express the limitless side of thought, which words will only define and limit. But we cannot be content with crude precision. We foresee, as hinted at by Flaubert, Maupassant, Turgenev, Ibsen, impressions not yet discovered. This is the greed for the untested, the pursuit of the elusive in our unconscious life - a characteristic feature of the coming ideal life. This new, according to Baudelaire and Poe, should surprise, be unexpected and rare. French critics called this trait Impressionism. These are the three main elements of the new art: mystical content, symbols, and the resolution of artistic impressionability. Alexander Blok. A.A. Blok is a great Russian poet, his work covered a period of global upheavals in the life of Russia. At the beginning creative way(1898 - 1903) Blok, a romantic and symbolist, is influenced by the philosophy of the famous mystic and idealist Vladimir Solovyov, recognized as the fathers of the "junior symbolists". The theme of the World Soul, Eternal Femininity becomes the central theme of Blok's early lyrics. She received the most complete embodiment in the cycle of poems "Poems about a Beautiful Lady" (1901-1902). It reflected the personal experiences of the poet, his love for L. D. Mendeleeva. This is a kind of love - lyrical diary. In the lyrics of the early Blok, another artistic pole is immediately determined, directly opposite to the theme. beautiful lady. Its center is the poem "Factory" (1903), included in the cycle "Crossroads". Works with features of the social in the subject are drawn to this center. There is a transformation of the images of the central characters. He is also a knight of the Beautiful Lady, but already - "the image of a devilish and quiet", Harlequin, a man with a two-faced soul. The world in which the heroes live is changing even more, now the theme of human suffering in it appears. Already in the early lyrics, Blok's originality is visible: bright lyricism, a maximalist-exacerbated worldview, a reverent attitude to the cultural traditions of Russia and Europe. The poetics of this period is characterized by a metaphorical language, with a complex structure of images, an inclination towards color and sound expressiveness. In the second period of creativity (1904 - 1907) falls on the years of preparation for the first Russian revolution. The collections "Unexpected Joy" (1907) and "Snow Mask" (1907), a trilogy of lyrical dramas ("The Pavilion", "The King in the Square", "The Stranger" - 1906) and others are published. The theme of Blok's lyrics is changing, he responded to the revolution 1905-1907 ("Her Arrival", "Rally"). Expressing his sympathy for the rebels, he sees in the revolution the elements of destruction "The bark of life has risen ..." (1904). A significant place in the work of this period is occupied by poems about nature - the cycle "Bubbles of the Earth", about the city - the cycle "City", about life " little man"- "Attic cycle" of 1096. The world now amazes Blok with its inconsistency - "The Stranger" of 1096. The poem "Autumn Will" (1095) was the first embodiment of the theme of the Motherland in Blok's lyrics. The development of this theme gives the poem "Rus" (1906), where the image of Russia is multifaceted. The third period (1908 - 1917) - the time of the creation of the final works: "Retribution" (1910), "The Twelve" (1918), "Yambas" and others. The central theme of this period is the Motherland. Central issues cycle - Russia and the people, the history of national self-knowledge, they are connected with the problems of the "terrible world" - "Sin shamelessly, unprobably ...". In January 1918, Blok wrote Scythians. Last years Blok acts as a publicist, critic and theatrical figure.
Analysis
In conclusion, I want to analyze the poem "The Twelve". The poem "The Twelve" was written in January 1918, published in the February newspaper Znamya Truda, and in May it was published as a separate book. It was a response to the 1917 revolution. main topic the theme of the revolution. Here the author sees in the revolution a destructive force, in the fire of which the old world. At the heart of the poem is the reception of the contrasting resistance of the two worlds. The old world has many faces and many voices. This is an old woman, “Oh, Mother Intercessor! “Oh, the Bolsheviks will drive you into a coffin!”; bourgeois at the crossroads; lady in doodle with companions; writer-vitiya, speaking in a low voice, five street prostitutes; tramp. All of them mourn the departing Russia, the symbol of which is the rootless dog. A new world - twelve Red Guards, a patrol, which is supposed to restore order in the country. Their appearance is contradictory. These are poor people who are ready to decisively give their lives for the still unclear goals of fanning the world fire in the whole world of God.
We are on the mountain to all bourgeois
Let's fan the world fire
World fire in the blood -
God bless!
On the other hand, this is a violent freemen, even outwardly she resembles criminals. They are based on feelings, not reason. The action of the poem unfolds on two planes - cosmic and earthly. Cosmic elements - a blizzard, a blizzard - dominate the world, in the sky there is a battle between the forces of good and evil, and the projection of this struggle is earthly battles. The revolution gave vent to animal hidden feelings. The end of the poem is significant. Why does Christ appear in the final scene and where does he lead his twelve apostles? I believe that Blok took the image of Christ in order to justify the revolution as the highest justice. The poem here is the apotheosis of the revolution. The poem is not large in volume and consists of twelve chapters. There is no plot, as such, the plot can be defined as psychological. The poem does not lend itself to a strict genre definition. Blok uses a synthesis of a wide variety of genres - literary and non-literary. The lyrical-epic beginning is combined with a narrative-dramatic plot. The poem is written mainly in iambic tetrameter, but it is not the size of the verse that creates the rhythm. In "The Twelve" a whole symphony of rhythms is used - marching, song, ditty, dance. Such polyphony gives the poem a dynamic character. evolution. Here the author sees the revolution as destructive. 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 Terms Existentialism (existence) is a trend in philosophy and modernism that affirms the absolute uniqueness of human existence. The world here seems chaotic and hostile to man. The hero is in a state of spiritual crisis, experiencing fear, longing, loneliness. In modern literature, existentialism is a complex and ambiguous phenomenon. In foreign existentialism, two groups are distinguished: religious (K. Jaspers) and atheistic (A. Camus). Impressionism (impression) is a trend in art at the turn of the 19th and 20th centuries. In the art of the word, impressionism has become more of a style than a trend. HE originated from the French painters E. Degas. It is determined by the fuzziness of the form, the transfer of the subject with strokes. Reproduces a fleeting impression. Authors and realists resorted to impressionistic style. Examples of creativity include A. Fet. Leitmotif (leading, main) - a theme, image, mood that repeats throughout the work. For example, the motif of the wind in Blok's poem "The Twelve". Terms: modernism, acmeism, symbolism, futurism were analyzed earlier.
The program of the discipline "Literature and History of the Silver Age and the Russian Diaspora" discipline program
Prerequisites for the emergence of Russian symbolism. Russian symbolism and its forerunners. Manifestos of symbolism in Russia. "Senior Symbolists". "Young Symbolists".
Silver Age Silhouette
DocumentThe Russian poetic “silver age” traditionally fits into the beginning of the 20th century, in fact, its source is the 19th century, and it has all its roots in the “golden age”, in the work of A.
Literary method, style, or literary movement are often treated as synonyms. It is based on a similar type of artistic thinking in different writers. Sometimes a modern author does not realize in which direction he is working, and a literary critic or critic evaluates his creative method. And it turns out that the author is a sentimentalist or an acmeist ... We present to your attention the literary trends in the table from classicism to modernity.
There were cases in the history of literature when representatives of the writing fraternity themselves realized theoretical basis their activities, promoted them in manifestos, united in creative groups. For example, the Russian futurists, who appeared in the press with the manifesto "Slap in the face of public taste."
Today we are talking about the established system of literary trends of the past, which determined the features of the development of the world literary process, and are studied by the theory of literature. The main literary trends are:
- classicism
- sentimentalism
- romanticism
- realism
- modernism (divided into currents: symbolism, acmeism, futurism, imagism)
- social realism
- postmodernism
Modernity is most often associated with the concept of postmodernism, and sometimes socially active realism.
Literary trends in tables
| Classicism | Sentimentalism | Romanticism | Realism | Modernism | |
|---|---|---|---|---|---|
periodization |
literary movement XVII - early XIX centuries, based on imitation of antique samples. | Literary direction of the second half of XVIII- the beginning of the 19th century. From the French word "Sentiment" - feeling, sensitivity. | literary direction late XVIII- second half of the 19th century Romanticism arose in the 1790s. first in Germany, and then spread throughout the Western European cultural region. The greatest development was in England, Germany, France (J. Byron, W. Scott, V. Hugo, P. Merimee) | a direction in the literature and art of the 19th century, which aims to faithfully reproduce reality in its typical features. | literary movement, aesthetic concept that was formed in the 1910s. The founders of modernism: M. Proust "In Search of Lost Time", J. Joyce "Ulysses", F. Kafka "The Process". |
Signs, features |
|
Particular attention is paid to the spiritual world of a person. The main thing is the feeling, the experience of a simple person, and not great ideas. Characteristic genres - elegy, epistle, novel in letters, diary, in which confessional motives prevail | Heroes are bright, exceptional personalities in unusual circumstances. Romanticism is characterized by an impulse, an extraordinary complexity, an inner depth of human individuality. The romantic work is characterized by the idea of two worlds: the world in which the hero lives, and another world in which he wants to be. | Reality is a means of man's knowledge of himself and the world around him. Typification of images. This is achieved through the veracity of details in specific conditions. Even in a tragic conflict, art is life-affirming. Realism is inherent in the desire to consider reality in development, the ability to detect the development of new social, psychological and social relations. | The main task of modernism is to penetrate into the depths of consciousness and subconsciousness of a person, to transfer the work of memory, the peculiarities of perception of the environment, in how the past, present and the future are refracted in “instant moments of being”. The main technique in the work of modernists is the "stream of consciousness", which allows you to capture the movement of thoughts, impressions, feelings. |
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Features of development in Russia |
An example is Fonvizin's comedy "Undergrowth". In this comedy, Fonvizin tries to implement the main idea of classicism - to re-educate the world with a reasonable word. | An example is the story of N.M. Karamzin " Poor Lisa", which, in contrast to rational classicism with its cult of reason, affirms the cult of feelings, sensuality. | In Russia, romanticism was born against the backdrop of a national upsurge after the war of 1812. It has a pronounced social orientation. He is imbued with the idea of civic service and love of freedom (K. F. Ryleev, V. A. Zhukovsky). | In Russia, the foundations of realism were laid in the 1820s and 1830s. Pushkin's work ("Eugene Onegin", "Boris Godunov" Captain's daughter", late lyrics). this stage is associated with the names of I. A. Goncharov, I. S. Turgenev, N. A. Nekrasov, A. N. Ostrovsky and others. critical. | In Russian literary criticism, it is customary to call 3 literary movements that declared themselves in the period from 1890 to 1917 modernist. These are symbolism, acmeism and futurism, which formed the basis of modernism as a literary movement. |
Modernism is represented by the following literary movements:
Symbolism
(Symbol - from the Greek. Symbolon - a conventional sign)- The central place is given to the symbol *
- The striving for the highest ideal prevails
- The poetic image is intended to express the essence of a phenomenon.
- Characteristic reflection of the world in two plans: real and mystical
- Elegance and musicality of the verse
Acmeism
(From the Greek "acme" - a point, the highest point). The literary current of acmeism arose in the early 1910s and was genetically associated with symbolism. (N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam, M. Zenkevich and V. Narbut.) M. Kuzmin's article "On Fine Clarity", published in 1910, had an influence on the formation. In the programmatic article of 1913, “The Legacy of Acmeism and Symbolism,” N. Gumilyov called symbolism “a worthy father,” but emphasized that the new generation had developed a “courageously firm and clear outlook on life”- Orientation towards classical poetry of the 19th century
- Acceptance of the earthly world in its diversity, visible concreteness
- Objectivity and clarity of images, sharpness of details
- In rhythm, acmeists used dolnik (Dolnik is a violation of the traditional regular alternation of stressed and unstressed syllables. The lines coincide in the number of stresses, but stressed and unstressed syllables are freely located in the line.), which brought the poem closer to live colloquial speech
Futurism
Futurism - from lat. futurum, the future. Genetically, literary futurism is closely connected with the avant-garde groupings of artists of the 1910s - primarily with the groups Jack of Diamonds, Donkey's Tail, and the Union of Youth. In 1909, in Italy, the poet F. Marinetti published the article "Manifesto of Futurism." In 1912, the manifesto “Slapping the Face of Public Taste” was created by Russian futurists: V. Mayakovsky, A. Kruchenykh, V. Khlebnikov: “Pushkin is more incomprehensible than hieroglyphs.” Futurism began to disintegrate already in 1915-1916.- Rebelliousness, anarchic worldview
- Rejection of cultural traditions
- Experiments in the field of rhythm and rhyme, figured arrangement of stanzas and lines
- Active word creation
Imagism
From lat. imago - image A literary trend in Russian poetry of the 20th century, whose representatives stated that the purpose of creativity was to create an image. Main means of expression Imagists - a metaphor, often metaphorical chains, juxtaposing various elements two images - direct and figurative. Imagism arose in 1918, when the "Order of Imagists" was founded in Moscow. The creators of the "Order" were Anatoly Mariengof, Vadim Shershenevich and Sergei Yesenin, who was previously a member of the group of new peasant poets
Symbolism- a non-realistic trend in art and literature of the 1870-1920s, focused mainly on artistic expression with the help of a symbol of intuitively comprehended entities and ideas. Symbolism made itself known in France in the 1860s-1870s in the poetic works of A. Rimbaud, P. Verlaine, S. Mallarme. Then, through poetry, symbolism connected itself not only with prose and dramaturgy, but also with other forms of art. The French writer C. Baudelaire is considered the ancestor, founder, "father" of symbolism.
At the heart of the worldview of symbolist artists is the idea of the unknowability of the world and its laws. They considered the spiritual experience of a person and the creative intuition of the artist to be the only "tool" for understanding the world.
Symbolism was the first to put forward the idea of creating art free from the task of depicting reality. Symbolists argued that the purpose of art is not to depict the real world, which they considered secondary, but to convey a "higher reality". They intended to achieve this with the help of a symbol. A symbol is an expression of the poet's supersensible intuition, to whom, in moments of insight, the true essence of things is revealed. The Symbolists developed a new poetic language that did not directly name the subject, but hinted at its content through allegory, musicality, color scheme, and free verse.
Symbolism- the first and most significant of the modernist movements that arose in Russia. The first manifesto of Russian symbolism was D. S. Merezhkovsky’s article “On the Causes of the Decline and New Trends in Modern Russian Literature”, published in 1893. It identified three main elements of the "new art": mystical content, symbolization and "expansion of artistic impressionability."
Symbolists are usually divided into two groups, or currents:
1) "senior" symbolists (V. Bryusov, K. Balmont, D. Merezhkovsky, Z. Gippius, F. Sologub
and others), who debuted in the 1890s;
2) "younger" symbolists who began their creative activity in the 1900s and significantly updated the appearance of the current (A. Blok, A. Bely, V. Ivanov and others).
It should be noted that the "senior" and "junior" symbolists were separated not so much by age as by the difference in attitudes and the direction of creativity.
The Symbolists believed that art is, first of all, “comprehension of the world in other, non-rational ways” (Bryusov). After all, only phenomena that are subject to the law of linear causality can be rationally comprehended, and such causality operates only in the lower forms of life (empirical reality, everyday life). The Symbolists were interested in the higher spheres of life (the area of "absolute ideas" in Plato's terms or "world soul", according to V. Solovyov), not subject to rational knowledge. It is art that has the ability to penetrate into these spheres, and the images-symbols with their infinite ambiguity are able to reflect the entire complexity of the world universe. The Symbolists believed that the ability to comprehend the true, higher reality is given only to the elect, who, in moments of inspired insights, are able to comprehend the “higher” truth, absolute truth.
The image-symbol was considered by the symbolists as more effective than an artistic image, a tool that helps to “break through” through the cover of everyday life (lower life) to a higher reality. The symbol differs from the realistic image in that it conveys not the objective essence of the phenomenon, but the poet's own, individual idea of the world. In addition, the symbol, as the Russian symbolists understood it, is not an allegory, but, first of all, an image that requires the reader to respond creatively. The symbol, as it were, connects the author and the reader - this is the revolution produced by symbolism in art.
The image-symbol is fundamentally polysemantic and contains the prospect of an unlimited deployment of meanings. This trait of his was repeatedly emphasized by the symbolists themselves: “A symbol is only a true symbol when it is inexhaustible in its meaning” (Vyach. Ivanov); “A symbol is a window to infinity” (F. Sologub).
Acmeism(from the Greek act - the highest degree of something, blooming power, peak) - modernist literary movement in Russian poetry of the 1910s.
Representatives: S. Gorodetsky, early A. Akhmatova, L. Gumilyov, O. Mandelstam. The term "acmeism" belongs to Gumilyov. The aesthetic program was formulated in Gumilyov's articles "The Legacy of Symbolism and Acmeism", Gorodetsky's "Some Trends in Contemporary Russian Poetry" and Mandelstam's "Morning of Acmeism".
Acmeism stood out from symbolism, criticizing its mystical aspirations for the “unknowable”: “Among the Acmeists, the rose again became good in itself, with its petals, smell and color, and not with its conceivable similarities with mystical love or anything else” (Gorodetsky) . Acmeists proclaimed the liberation of poetry from symbolist impulses to the ideal, from the ambiguity and fluidity of images, complicated metaphor; talked about the need to return to the material world, the subject, the exact meaning of the word. Symbolism is based on the rejection of reality, and the acmeists believed that one should not abandon this world, one should look for some values in it and capture them in their works, and do this with the help of accurate and understandable images, and not vague symbols.
Actually, the acmeist current was small, did not last long - about two years (1913-1914) - and was associated with the "Workshop of Poets". The "Workshop of Poets" was created in 1911 and at first united a fairly large number of people (not all of them later became involved in acmeism). This organization was much more cohesive than the disparate symbolist groups. At the meetings of the "Workshop" poems were analyzed, problems of poetic mastery were solved, and methods for analyzing works were substantiated. The idea of a new direction in poetry was first expressed by Kuzmin, although he himself did not enter the "Workshop". In his article “On Beautiful Clarity”, Kuzmin anticipated many declarations of acmeism. In January 1913, the first manifestos of acmeism appeared. From this moment, the existence of a new direction begins.
Acmeism proclaimed “beautiful clarity” as the task of literature, or clarism (from Latin clarus - clear). Acmeists called their current Adamism, linking the idea of a clear and direct view of the world with the biblical Adam. Acmeism preached a clear, “simple” poetic language, where words would directly name objects, declare their love for objectivity. So, Gumilyov urged to look not for “unsteady words”, but for words “with a more stable content”. This principle was most consistently realized in Akhmatova's lyrics.
Futurism- one of the main avant-garde trends (avant-garde is an extreme manifestation of modernism) in European art of the early 20th century, which was most developed in Italy and Russia.
In 1909, in Italy, the poet F. Marinetti published the Futurist Manifesto. The main provisions of this manifesto: the rejection of traditional aesthetic values and the experience of all previous literature, bold experiments in the field of literature and art. As the main elements of futuristic poetry, Marinetti calls "courage, audacity, rebellion." In 1912, the Russian futurists V. Mayakovsky, A. Kruchenykh, V. Khlebnikov created their manifesto "Slap in the face of public taste". They also sought to break with traditional culture, welcomed literary experiments, sought to find new means speech expressiveness(proclamation of a new free rhythm, loosening of syntax, destruction of punctuation marks). At the same time, Russian futurists rejected fascism and anarchism, which Marinetti declared in his manifestos, and turned mainly to aesthetic problems. They proclaimed a revolution of form, its independence from content (“what is important is not what, but how”) and the absolute freedom of poetic speech.
Futurism was a heterogeneous direction. Within its framework, four main groups or currents can be distinguished:
1) "Hilea", which united cubo-futurists (V. Khlebnikov, V. Mayakovsky, A. Kruchenykh
and others);
2) "Association of Egofuturists" (I. Severyanin, I. Ignatiev and others);
3) "Mezzanine of poetry" (V. Shershenevich, R. Ivnev);
4) "Centrifuge" (S. Bobrov, N. Aseev, B. Pasternak).
The most significant and influential group was the "Gilea": in fact, it was she who determined the face of Russian futurism. Its participants released many collections: "The Garden of Judges" (1910), "Slap in the Face of Public Taste" (1912), "Dead Moon * (1913)," Took "(1915).
The Futurists wrote in the name of the man of the crowd. At the heart of this movement was the feeling of "the inevitability of the collapse of the old" (Mayakovsky), the awareness of the birth of a "new humanity". Artistic creativity, according to the futurists, should not be an imitation, but a continuation of nature, which creates through the creative will of man " new world, today, iron ... "(Malevich). This is the reason for the desire to destroy the "old" form, the desire for contrasts, the attraction to colloquial speech. Relying on living colloquial, futurists were engaged in "word-creation" (created neologisms). Their works were distinguished by complex semantic and compositional shifts - a contrast between the comic and the tragic, fantasy and lyrics.
Futurism began to disintegrate already in 1915-1916.
Ticket number 16
1. Comparison, epithet, metaphor.
2. Narrative and artistic time in a literary work.
3. Literary directions and creative method. Symbolism.
1. Comparison, epithet, metaphor.
In vocabulary, the main means of expression are tropes (translated from Greek - turn, turn, image) - special figurative and expressive means of the language based on the use of words in a figurative sense.
The main types of trails are : epithet, comparison, metaphor, personification, metonymy, synecdoche, paraphrase (paraphrase), hyperbole, litote, irony.
Comparison- This is a visual technique based on the comparison of one phenomenon or concept with another.
Unlike metaphor, comparison is always binomial: it names both compared objects (phenomena, signs, actions).
For example: Villages are burning, they have no protection. The sons of the fatherland are defeated by the enemy, And the glow, like an eternal meteor, Playing in the clouds, frightens the eye. (M. Yu. Lermontov)
Comparisons are expressed in various ways:
Form of the instrumental case of nouns.
For example: Nightingale stray Youth flew by, Wave in bad weather Joy subsided. (A. V. Koltsov) The moon slides like a pancake in sour cream. (B. Pasternak) Foliage flew like a starfall. (D. Samoilov) In the sun flying rain sparkles with gold. (V. Nabokov) Icicles hang like a glass fringe. (I. Shmelev) A rainbow hangs from birch trees like a patterned clean towel. (N. Rubtsov)
form comparative degree adjective or adverb.
For example: These eyes are greener than the sea and our cypresses are darker. (A. Akhmatova) Girl's eyes are brighter than roses. (A. S. Pushkin) But the eyes are bluer than the day. (S. Yesenin) Bushes of mountain ash are more foggy than depth. (S. Yesenin) Youth is more free. (A. S. Pushkin) Truth is more precious than gold. (Proverb) Lighter than the sun is the throne room. M. Tsvetaeva)
Comparative turnovers with unions like, as if, as if, as if, etc.
For example: Like a predatory beast, the winner bursts into a humble abode with bayonets ... (M. Yu. Lermontov) April looks at a bird's flight With blue eyes like ice. (D. Samoilov) Here, every village is so loving, As if it contains the beauty of the whole universe. (A. Yashin) And they stand behind the oak nets Like forest evil spirits, hemp. (S. Yesenin) Like a bird in a cage, the heart will jump. (M. Yu. Lermontov) My poems, like precious wines, Will have their turn. (M. I. Tsvetaeva) Noon is near. The fire is burning. Like a plowman, the battle rests. (A. S. Pushkin) The past, like the bottom of the sea, Spreads like a pattern in the distance. (V. Bryusov)
Beyond the river in restlessness
cherry blossomed,
Like snow across the river
Filled the stitch.
Like light blizzards
Rushed with all their might
Like swans were flying
Dropped fluff. (A. Prokofiev)
With the help of words similar, similar, this.
For example: Your eyes look like the eyes of a cautious cat (A. Akhmatova);
With the help of comparative clauses.
For example: Golden foliage swirled In pinkish water on a pond, Like butterflies, a light flock With fading flies to a star. (S. A. Yesenin) The rain sows, sows, sows, It has been drizzling since midnight, Like a muslin curtain Hanging behind the windows. (V. Tushnova) Heavy snow, spinning, covered the Sunless heights, As if hundreds of white wings rushed silently. (V. Tushnova) As a tree quietly drops leaves, So I drop sad words. (S. Yesenin) As the tsar loved rich palaces, So I fell in love with ancient roads And blue eyes of eternity! (N. Rubtsov)
