Silver Age" of Russian poetry: symbolism, acmeism, futurism. Acmeism and Futurism: a modernist trend in Russian poetry Symbolism Acmeism Futurism as a literary movement

DECADE

In Russian artistic culture of the late 19th and early 20th centuries, the decadence became widespread, denoting such phenomena in art as the rejection of civic ideals and faith in reason, immersion in the sphere of individualistic experiences. These ideas were an expression of the social position of a part of the artistic intelligentsia, which tried to "get away" from the complexities of life into the world of dreams, irreality, and sometimes mysticism. But even in this way, she reflected in her work the crisis phenomena of the then social life.

Decadent moods captured the figures of various artistic movements, including the realistic one. However, more often these ideas were inherent in modernist movements.

DECADENCE (French decadence; from medieval Latin decadentia - decline) - designation of a trend in literature and art of the late 19th - early 20th centuries, characterized by opposition to the generally accepted "petty-bourgeois" morality, the cult of beauty as a self-sufficient value, often accompanied by the aestheticization of sin and vice, ambivalent experiences of disgust for life and refined enjoyment of it, etc. (French poets C. Baudelaire, P. Verlaine, A. Rimbaud and others; Decadent magazine, 1886-89; see Symbolism). The concept of decadence is one of the central ones in the criticism of culture by F. Nietzsche, who connected decadence with the increasing role of the intellect and the weakening of the original life instincts, "the will to power." (Big Encyclopedic Dictionary)

MODERNISM The concept of "MODERNISM" (French moderne - the latest, modern) included many phenomena of literature and art of the twentieth century, born at the beginning of this century, new in comparison with the realism of the previous century. However, even in the realism of this time, new artistic and aesthetic qualities appear: the “framework” of a realistic vision of life is expanding, and the search for ways of self-expression of the individual in literature and art is underway. characteristic features the arts become a synthesis, a mediated reflection of life, in contrast to the critical realism of the nineteenth century, with its inherent concrete reflection of reality. This feature of art is associated with the wide spread of neo-romanticism in literature, painting, music, the birth of a new stage realism. MODERNISM is a general designation of all avant-garde trends in the art culture of the 20th century, which programmatically opposed traditionalism as the only true "art of the present" or "art of the future". In a stricter historical sense - the early stylistic trends of this direction (impressionism, post-impressionism, symbolism, modern style), in which the break with tradition was not yet as sharp and fundamental as later. Thus, modernism is not so much a synonym for avant-garde, as its anticipation or early stage. (Big Encyclopedic Dictionary)

Russian literature continued to play an exceptionally important role in the cultural life of the country. Directions opposed to realism began to take shape in artistic culture in the 1990s. Modernism was the most significant of them, both in terms of the time of its existence and in terms of its distribution and influence on social and cultural life. Modernist groups and trends united writers and poets, different in their ideological and artistic appearance, further fate in literature. The strengthening of reactionary-mystical ideas in the public consciousness led to a certain revival of anti-realist trends in artistic culture.

SYMBOLISM

SYMBOLISM - a trend 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. IN fine arts: E. Munch, G. Moreau, M. K. Chiurlionis, 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 literary direction developed at the turn of the nineteenth and twentieth 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 subordination of the idea of life, the inner path of the individual, to 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”.

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 Rus'. Bryusov accepted and welcomed the October Revolution and actively participated in the construction 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, the fate of the common man, and the important problems of social 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 “. creation of a universal spiritual organism”, which piece of art it is an image of an object and a phenomenon “in the light of the future world”, which explains 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 as a whole, 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”. This - ". mystical content, symbols and expansion of artistic impressionability”.

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 “sonorous silence” by V. Bryusov, “And the rebelliousness of bright eyes is dark” by Vyacheslav Ivanov, “dry deserts of shame” by A. Bely and by him: “Day - dull pearls - a tear - flows from sunrise to sunset ". Quite accurately, this technique is revealed in the poem 3. Gippius “Seamstress”:

On all phenomena there is a seal. One seems to merge with the other. Having accepted one thing, I try to guess. Behind it is another, what is hidden.

Very great importance in the poetry of the Symbolists, it acquired the sound expressiveness of the verse, for example, from F. Sologub:

And two deep goblets Of thin-sounding glass You substituted for the bright bowl And sweet lila foam, Lila, lila, lila, shook Two dark scarlet glasses. Whiter, lily, alley gave Bela was you and ala.

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 bowels of symbolism itself,” wrote V. Bryusov in the article “The Meaning modern poetry”, - new currents arose, trying 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" - the highest degree of something, the flowering time).

On the subject: Symbolism in Literature: V. Bryusov, D. Merezhkovsky, Z. Gippius, K. Balmont, A. Bely, V. Ivanov

to the beginning ACMEISM

ACMEISM (from the Greek akme - the highest degree of something, blooming power), a trend in Russian poetry of the 1910s. (S. M. Gorodetsky, M. A. Kuzmin, early N. S. Gumilyov, A. A. Akhmatova, O. E. Mandelstam); proclaimed the liberation of poetry from symbolist impulses to the "ideal", from the ambiguity and fluidity of images, complicated metaphor, a return to the material world, the object (or element of "nature"), the exact meaning of the word. The "earthly" poetry of acmeism is characterized by individual modernist motifs, a tendency to aestheticism, intimacy, or to the poeticization of the feelings of primitive man. (Big Encyclopedic Dictionary) The founders of acmeism are such poets of the Silver Age as N. S. Gumilyov (1886 - 1921) and S. M. Gorodetsky (1884 - 1967). The new poetic group included A. A. Akhmatova, O. E. Mandelstam, M. A. Zenkevich, M. A. Kuzmin and others.

Acmeists, in contrast to the symbolist nebula, proclaimed the cult of real earthly existence, "a courageously firm and clear outlook on life." But at the same time, they tried to affirm, first of all, the aesthetic-hedonistic function of art, evading social problems in their poetry. In the aesthetics of acmeism, decadent tendencies were clearly expressed, and theoretical basis his philosophical idealism remained. However, among the acmeists there were poets who in their work were able to go beyond this “platform” and acquire new ideological and artistic qualities (A. A. Akhmatova, S. M. Gorodetsky, M. A. Zenkevich). In 1912, with the collection “Hyperborea”, a new literary trend declared itself, which appropriated the name acmeism (from the Greek acme, which means the highest degree of something, the time of prosperity). The “shop of poets”, as its representatives called themselves, included N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, G. Ivanov, M. Zenkevich and others. M. Kuzmin, M. Voloshin also joined this direction. , V. Khodasevich and others.

Acmeists considered themselves the heirs of a “worthy father” - symbolism, which, in the words of N. Gumilyov, “. has completed its circle of development and is now falling.” Approving the bestial, primitive principle (they also called themselves Adamists), the Acmeists continued to “remember the unknowable” and in its name proclaimed any refusal to fight for changing life. “To rebel in the name of other conditions of being here, where there is death,” writes N. Gumilyov in his work “The Legacy of Symbolism and Acmeism,” “is just as strange as a prisoner breaking a wall when in front of him - opened door". Acmeists sought to return to the image its living concreteness, objectivity, to free it from mystical encryption, which O. Mandelstam spoke very angrily, assuring that Russian symbolists “. they sealed all the words, all the images, designating them exclusively for liturgical use. It turned out to be extremely uncomfortable - neither pass, nor stand up, nor sit down. You can't dine on a table, because it's not just a table. You can’t light a fire, because this, perhaps, means such that you yourself will not be happy later. ” And at the same time, acmeists argue that their images are sharply different from realistic ones, because, in the words of S. Gorodetsky, they are “. are born for the first time” “as hitherto unseen, but now real phenomena.” This determines the sophistication and peculiar mannerism of the acmeistic image, in whatever deliberate bestial savagery it appears. For example, Voloshin:

People are beasts, people are reptiles, Like a hundred-eyed evil spider, Weave their glances into rings.

The range of these images is narrowed, which achieves extreme beauty, and which allows you to achieve ever greater sophistication when describing it:

The snow hive is slower, The crystal windows are more transparent, And the turquoise veil is casually thrown on a chair. Fabric, intoxicated with itself, Pampered by the caress of light, It experiences summer, No matter how it is touched by winter. And, if in ice diamonds Eternity frost flows, Here is the fluttering of dragonflies Fast-living, blue-eyed. (O. Mandelstam)

Significant in its artistic value is the literary heritage of N. S. Gumilyov. Exotic and historical themes prevailed in his work, he was a singer of a “strong personality”. Gumilyov played a large role in the development of the form of verse, which was distinguished by its sharpness and accuracy.

In vain did the Acmeists dissociate themselves so sharply from the Symbolists. We meet the same “other worlds” and longing for them in their poetry. Thus, N. Gumilyov, who hailed the imperialist war as a “holy” cause, asserting that “seraphim, clear and winged, visible behind the shoulders of warriors,” a year later wrote poems about the end of the world, about the death of civilization:

Peaceful roars of monsters are heard, Suddenly the rains are lashing furiously, And everything is being sucked in by fat light-green horsetails.

The once proud and brave conqueror understands the destructiveness of the enmity that has engulfed humanity:

Isn't it all the same? Let time roll, We understood you, earth: You are only a gloomy gatekeeper At the entrance to God's fields.

This explains their rejection October revolution 1917. But their fate was not uniform. Some of them emigrated; N. Gumilyov allegedly “accepted Active participation in a counter-revolutionary conspiracy” and was shot. In the poem "Worker" he predicted his end at the hands of the proletarian, who cast a bullet, "which will separate me from the earth."

And the Lord will reward me in full measure For my short and short age. This was done in a light gray blouse by a short old man.

Such poets as S. Gorodetsky, A. Akhmatova, V. Narbut, M. Zenkevich could not emigrate. For example, A. Akhmatova, who did not understand and did not accept the revolution, refused to leave her homeland:

I had a voice. He called consolingly, He said: “Come here, Leave your land deaf and sinful, Leave Russia forever. I will wash the blood from your hands, I will take out the black shame from your heart, I will cover the Pain of defeats and insults with a new name. But indifferently and calmly, I closed my hearing with my hands.

She did not immediately return to creativity. But Great Patriotic War reawakened in her a poet, a patriot poet, confident in the victory of his Motherland (“Myzhestvo”, “Oath”, etc.). A. Akhmatova in her autobiography wrote that for her in verse “. my connection with time, with new life my people."

to the top FUTURISM

FUTURISM (from lat. futurum - future), an avant-garde trend in European art in the 1910s and 1920s, mainly in Italy and Russia. In an effort to create "the art of the future", he declared (in the manifestos and artistic practice of the Italian poet F.T. Marinetti, Russian Cubo-Futurists from "Gilea", members of the "Association of Egofuturists", "Mezzanine of Poetry", "Centrifuge") the denial of traditional culture (heritage " past"), cultivated the aesthetics of urbanism and the machine industry. Painting (in Italy - U. Boccioni, G. Severini) is characterized by shifts, influxes of forms, repeated repetitions of motives, as if summing up the impressions received in the process of rapid movement. For literature - the interweaving of documentary material and fiction, in poetry (V. V. Khlebnikov, V. V. Mayakovsky, A. E. Kruchenykh, I. Severyanin) - linguistic experimentation ("words at liberty" or "zaum"). (Big Encyclopedic Dictionary) Simultaneously with acmeism in 1910–1912. futurism emerged. Like other modernist currents, it was internally contradictory. The most significant of the futuristic groups, which later received the name of cubo-futurism, united such poets of the Silver Age as D. D. Burliuk, V. V. Khlebnikov, A. Kruchenykh, V. V. Kamensky, V. V. Mayakovsky, and some others. A variety of futurism was the ego-futurism of I. Severyanin (I. V. Lotarev, 1887–1941). In a group of futurists called "Centrifuge" they began their creative way Soviet poets N. N. Aseev and B. L. Pasternak.

Futurism proclaimed a revolution of form, independent of content, the absolute freedom of poetic speech. Futurists abandoned literary traditions. In their manifesto with the shocking title "A Slap in the Face of Public Taste", published in a collection with the same name in 1912, they called for Pushkin, Dostoevsky, Tolstoy to be thrown off the "Steamboat of Modernity". A. Kruchenykh defended the poet's right to create an “abstruse” language that does not have a specific meaning. In his writings, Russian speech was indeed replaced by a meaningless set of words. However, V. Khlebnikov (1885 - 1922), V. V. Kamensky (1884 - 1961) managed in their creative practice to carry out interesting experiments in the field of the word, which had a beneficial effect on Russian and Soviet poetry.

Among the futurist poets, the creative path of V. V. Mayakovsky (1893 - 1930) began. His first poems appeared in print in 1912. From the very beginning, Mayakovsky stood out in the poetry of Futurism, introducing his own theme into it. He always spoke not only against "all sorts of junk", but also for the creation of a new one in public life.

In the Russian poetry of the pre-revolutionary years there were bright individualities that are difficult to attribute to a particular literary trend. Such are M. A. Voloshin (1877 - 1932) and M. I. Tsvetaeva (1892 - 1941). After 1910, another trend arose - futurism, which sharply opposed itself not only to the literature of the past, but also to the literature of the present, which entered the world with the desire to overthrow everything and everything. This nihilism was also manifested in the external design of futuristic collections, which were printed on wrapping paper or reverse side wallpaper, and in the titles - "Mare's Milk", "Dead Moon", etc.

“For the first time, the Futurists raised the form to its proper height,” asserts V. Shershenevich, “giving it the value of an end in itself, the main element of a poetic work. They completely rejected the verses that are written for the idea.” This explains the emergence of a huge number of declared formal principles, such as: “In the name of freedom of individual case, we deny spelling” or “We have destroyed punctuation marks, than the role of the verbal mass is put forward and realized for the first time” (“The Judges' Garden”).

Futurist theorist V. Khlebnikov proclaims that the language of the world's future "will be a 'transrational' language." The word is forfeited semantic meaning, acquiring a subjective coloring: “We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell.” V. Khlebnikov, in an effort to expand the boundaries of the language and its possibilities, proposes the creation of new words based on the root feature, for example: (roots: chur. and char.)

We are enchanted and shy. Enchanted there, shunning here, Now churahar, then charahar, Here churil, there charil. From the churyn, the gaze of the charyn. There is a churavel, there is a charavel. Charari! Churari! Churel! Charel! Chares and chures. And shy away and shy away. Futurists oppose deliberate de-aestheticization to the emphasized aestheticism of the poetry of the Symbolists and especially the Acmeists. So, in D. Burliuk, “poetry is a frayed girl”, “the soul is a tavern, and the sky is a tear”, in V. Shershenevich “in a spitting park”, a naked woman wants to “squeeze milk out of her saggy breasts”. In the review “The Year of Russian Poetry” (1914), V. Bryusov, noting the deliberate rudeness of the Futurists’ poems, rightly notes: “It is not enough to vilify everything that was, and everything that is outside your circle with swear words, in order to already find something new.” He points out that all their innovations are imaginary, because we met with some of them among the poets of the 18th century, with others at Pushkin and Virgil, that the theory of sounds - colors was developed by T. Gauthier.

It is curious that with all the denials of other trends in art, the futurists feel their continuity from symbolism. It is curious that A. Blok, who followed the work of Severyanin with interest, says with concern: “He has no theme,” and V. Bryusov, in an article of 1915 dedicated to Severyanin, points out: “Lack of knowledge and inability to think belittle the poetry of Igor Severyanin and extremely narrow its horizon. He reproaches the poet for bad taste, vulgarity, and especially sharply criticizes his military poems, which make a “painful impression”, “breaking the cheap applause of the public.” A. Blok doubted back in 1912: “I am afraid of the modernists that they have no core, but only talented curls around, emptiness.”

Russian culture on the eve of the October Revolution of 1917 was the result of a complex and vast journey. Its distinctive features have always been democracy, high humanism and genuine nationality, despite periods of cruel government reaction, when progressive thought and advanced culture were suppressed in every possible way.

richest cultural heritage pre-revolutionary times, cultural values created over the centuries constitute the golden fund of our national culture.

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 lies 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 does not directly name the subject, but hints at its content through allegory, musicality, color scheme, free verse.

Symbolism- the first and most significant of the modernist movements that arose in Russia. The first manifesto of Russian symbolism was the article by D. S. Merezhkovsky “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). Symbolists were interested higher spheres life (the area of "absolute ideas" in terms of Plato or "the 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 was given only to the elect, who, in moments of inspired insights, were 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, a symbol, as Russian symbolists understood it, is not an allegory, but, first of all, an image that requires a response from the reader. creative work. 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, flowering power, peak) - a modernist literary trend 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 Currents in Modern 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 "Poets Workshop" was established in 1911 and at first united quite a few a large number of people (not all of them later turned out to be 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 of speech expressiveness (proclaiming a new free rhythm, loosening syntax, destroying 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. Based on a living colloquial language, the 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 trends 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)

The form of the comparative degree of an 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 breaks 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)

Acmeism and Futurism: Modernist Movement in Russian Poetry

Literary trends in tables

	Classicism	Sentimentalism	Romanticism	Realism	Modernism
periodization	literary direction XVII- the beginning of the 19th century, based on imitation of antique samples.	Literary direction of the second half of the 18th - early 19th centuries. From 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 Greatest development received 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	Clearly divided into positive and negative. At the end of a classic comedy, vice is always punished and good triumphs. The principle of three unities: time (the action lasts no more than a day), place, action.	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.
Features of development in Russia	An example is Fonvizin's comedy "Undergrowth". In this comedy, Fonvizin tries to realize main idea classicism - to re-educate the world with a reasonable word.	An example is N.M. Karamzin's story "Poor Liza", 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" The 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 modernist 3 literary movements that declared themselves in the period from 1890 to 1917. 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)
1. The central place is given to the symbol *
2. The striving for the highest ideal prevails
3. The poetic image is intended to express the essence of a phenomenon.
4. Characteristic reflection of the world in two plans: real and mystical
5. Elegance and musicality of the verse
The founder was D. S. Merezhkovsky, who in 1892 delivered a lecture “On the Causes of the Decline and New Trends in Modern Russian Literature” (article published in 1893). Symbolists are divided into senior ones ((V. Bryusov, K. Balmont, D. Merezhkovsky, 3. Gippius, F. Sologub debuted in the 1890s) and younger (A. Blok, A. Bely, Vyach. Ivanov and others debuted in the 1900s)
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”
1. Focus on classical poetry 19th century
2. Adoption earthly world in its diversity, visible concreteness
3. Objectivity and clarity of images, sharpness of details
4. In rhythm, acmeists used dolnik (Dolnik is a violation of the traditional
Futurism
Futurism - from lat. futurum, the future. Genetically, literary futurism is closely connected with the avant-garde groups 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.
1. Rebelliousness, anarchic worldview
2. Rejection of cultural traditions
3. Experiments in the field of rhythm and rhyme, figured arrangement of stanzas and lines
4. 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, comparing the various elements of 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

Sections: Literature

The original task of Art is to
to capture moments of insight, inspiration...
V. Bryusov

Lesson Objectives:

Give the concept of words - terms: acmeism, futurism, symbolism, modernism, decadence.
To form an idea of complex phenomena in the literature of the last century.
to cultivate a tolerant attitude towards the work of poets of the beginning of the century, who created new concept world and man in this world.

During the classes

Equipment: on the board is a table with the main trends in the literature of this period.

written words and a brief description of words: decadence, symbolism, acmeism, futurism, modernism.

Repetition. general characteristics late 19th - early 20th century.

Teacher's word.

The famous Russian philosopher N. Berdyaev spoke of this era as “the era of awakening in Russia of independent philosophical thought, the flowering of poetry ...”

The era of three revolutions gave rise to a complex phenomenon in literature - decadence. Many poets and artists were at a loss before social reality. They did not understand the political and economic changes in society. Many went abroad. The term "decadence" (from the French word desadense - decline) in the 90s was more widespread than "modernism", but modern literary criticism is increasingly talking about modernism as a general concept covering all decadent movements - symbolism, acmeism and futurism . This is justified by the fact that the term "decadentism" was used in two senses at the beginning of the century - as the name of one of the currents within symbolism and as a generalized description of all decadent, mystical and aesthetic currents.
For some representatives of symbolism, acmeism and futurism, being in these groups marked only a certain (initial) period of creativity of their subsequent ideological and artistic searches (V, Mayakovsky, A. Blok, V. Bryusov, A. Akhmatova, M. Zenkevich, S. Gorodetsky, V. Rozhdestvensky), for others (D. Merezhkovsky, 3. Gippius, Ellis, G. Adamovich, G. Ivanov, V. Ivanov, M. Kuzmin, A. Kruchenykh, I. Severyanin, B. Sadovskoy and others. ) the fact of belonging to a certain modernist movement expressed the main focus of their work.

Decadence in Russia arose in the early 1990s and was a clear expression of the collapse of bourgeois-noble art. The founders of Russian decadence were N. Minsky (Vilenkin), D. Merezhkovsky, F, Sologub (pseudonym Teternikova), K. Balmont and others. But the history of Russian decadence is a complex phenomenon. It influenced such great poets as V. Bryusov and A. Blok, whose talents were immeasurably higher than the program settings of the decadents and broke the theoretical framework, in the creation of which these poets themselves participated.
So, decadence (French decadence, from late Latin decadentia - decline), the general name for the crisis phenomena of bourgeois culture of the late 19th and early 20th centuries, marked by moods of hopelessness, rejection of life, and individualism. A number of features of the decadent mentality also distinguish some areas of art, which are united by the term modernism (new, latest).

Decadence

(Additions from the Great Soviet Encyclopedia.)

Student. A complex and contradictory phenomenon, Decadence has its source in the crisis of bourgeois consciousness, the confusion of many artists before the sharp antagonisms of social reality, before the revolution, in which they saw only the destructive force of history. From the point of view of the decadents, any concept of social progress, any form of social class struggle pursues grossly utilitarian goals and must be rejected. “The greatest historical movements of mankind seem to them to be deeply “philistine” in nature” (Plekhanov G.V., Literature and aesthetics, vol. 2, 1958, p. 475). The refusal of art from political and civic themes and motives was considered by the decadents to be a manifestation of the freedom of creativity. The decadent understanding of individual freedom is inseparable from the aestheticization of individualism, and the cult of beauty as the highest value is often imbued with immorality; constant for decadence are the motives of non-existence and death. In Russia, decadence was reflected in the work of symbolist poets [primarily the so-called. "senior" symbolists of the 1890s: N. Minsky, the decadence of Merezhkovsky, Z. Gippius (for criticism, see Plekhanov's article "The Gospel of Decadence"), then V. Bryusov, K. Balmont], in a number of works by L. N. Andreev, in the works of F. Sologub and especially in naturalistic prose M.P. Artsybashev, A.P. Kamensky and others. Moods Decadence became especially widespread after the defeat of the Revolution of 1905-07. Realist writers (L.N. Tolstoy, V.G. Korolenko, M. Gorky), leading writers and critics (V.V. Stasov, V.V. Borovsky, G.V. Plekhanov) actively fought against the mood of decadence in Russian art and literature. After the October Revolution, these traditions were continued by Soviet literary and art criticism.

Teacher. Let's characterize the poetic currents, reflect on the problems of creativity of individual authors.

Symbolism.

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. Complex and hard way V. Ya. Bryusov (1873 - 1924) passed the ideological search.

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:

I see a new fight in the name of a new will!
Break - I'll be with you! build - no! (1905)

The sound expressiveness of the verse acquired a very great importance in the poetry of the Symbolists, for example, in F. Sologub:

And two deep glasses
From thin-voiced glass
You substituted for the light cup
And sweet lila foam,
Lila, lila, lila, rocked

Two dark scarlet glasses.
Whiter, lily, alley gave
Bela was you and ala...

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 trends 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. As N.S. Gumilyov, "symbolism has completed its circle of development and is now falling." It was replaced by acmeism (Greek "acme" - the highest degree of something, the flowering time). N. S. Gumilyov (1886 - 1921) and S. M. Gorodetsky (1884 - 1967) are considered the founders of acmeism. The new poetic group included A. A. Akhmatova, O. E. Mandelstam, M. A. Zenkevich, M. A. Kuzmin and others. Acmeism (French acmēisme, from Greek akmē - the highest degree of something, blooming power ), a trend in Russian poetry of the early 20th century that took shape in the conditions of the crisis of bourgeois culture and expressed a decadent mood. From the encyclopedia: Student: Acmeism arose as a reaction to symbolism. Representatives of Acmeism, united in the "Poets' Workshop" group and speaking in the Apollo magazine (1909-17), objected to the departure of poetry to "other worlds", to the "unknowable", against the ambiguous and fluid poetic images. Declaring the preference for real, earthly life and the return of poetry to the elements of "nature", however, the acmeists perceived life as extra-social and extra-historical. The person was excluded from the sphere of social practice. Acmeists opposed social conflicts aesthetic admiration of the little things of life, things (M. Kuzmin), the objective world, images of past culture and history (O. Mandelstam, the collection "Stone", 1913), the poeticization of the biological principles of being (M. Zenkevich, V. Narbut). The apology for a "strong personality" and "primitive" feelings, inherent in the early poetry of N. Gumilyov, left him within the framework of an anti-democratic, individualistic consciousness.

Acmeists constantly sound notes of doom and longing. Creativity A.A. Akhmatova (A. A. Gorenko, 1889 - 1966) occupies a special place in the poetry of acmeism. Her first poetry collection “Evening” was published in 1912. Critics immediately noted the distinctive features of her poetry: restraint of intonations, emphasized intimacy of themes, psychologism. early poetry Akhmatova is deeply lyrical and emotional. With her love for man, her faith in his spiritual powers and possibilities, she clearly departed from the acmeist idea of "original Adam." The main part of the work of A. A. Akhmatova falls on the Soviet period.

I'm cold...
Winged or wingless,

A. Akhmatova understands that “we live solemnly and difficultly”, that “somewhere there is simple life and light,” but she doesn’t want to give up this life: Yes, I loved them, those gatherings of the night – Ice-cold glasses on a small table, Odorous, thin steam over black coffee, Heavy red fireplace, winter heat, The caustic gaiety of a literary joke And a friend at first glance, helpless and creepy.

O. E. Mandelstam); proclaimed the liberation of poetry from symbolist impulses to the "ideal", from the ambiguity and fluidity of images, complicated metaphor, a return to the material world, the object (or element of "nature"), the exact meaning of the word. The "earthly" poetry of acmeism is characterized by individual modernist motifs, a tendency to aestheticism, intimacy, or to the poeticization of the feelings of primitive man. (Big Encyclopedic Dictionary)

In 1912 The collection "Hyperborea" declared itself a new literary trend, which appropriated the name acmeism (from the Greek acme, which means the highest degree of something, the time of prosperity). The “shop of poets”, as its representatives called themselves, included N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, G. Ivanov, M. Zenkevich and others. M. Kuzmin, M. Voloshin also joined this direction. , V. Khodasevich and others.

Acmeists considered themselves the heirs of a "worthy father" - symbolism, which, in the words of N. Gumilyov, "... completed its circle of development and is now falling." Approving the bestial, primitive principle (they also called themselves Adamists), the Acmeists continued to “remember the unknowable” and in its name proclaimed any refusal to fight for changing life. “To rebel in the name of other conditions of being here, where there is death,” writes N. Gumilyov in his work “The Legacy of Symbolism and Acmeism,” “is just as strange as a prisoner breaking a wall when there is an open door in front of him.”

S. Gorodetsky also affirms the same: “After all the “rejections”, the world is irrevocably accepted by acmeism, in the totality of beauties and ugliness.” Modern man felt like a beast, “deprived of both claws and wool” (M. Zenkevich “Wild Porphyry”), Adam, who “... looked around with the same clear, keen eye, accepted everything he saw, and sang hallelujah to life and the world ".

And at the same time, notes of doom and longing constantly sound among acmeists. The work of A. A. Akhmatova (A. A. Gorenko, 1889 - 1966) occupies a special place in the poetry of acmeism. Her first poetry collection “Evening” was published in 1912. Critics immediately noted the distinctive features of her poetry: restraint of intonations, emphasized intimacy of themes, psychologism. Akhmatova's early poetry is deeply lyrical and emotional. With her love for man, her faith in his spiritual powers and possibilities, she clearly departed from the acmeist idea of "original Adam." The main part of the work of A. A. Akhmatova falls on the Soviet period.

The first collections by A. Akhmatova "Evening" (1912) and "Rosary" (1914) brought her great fame. A closed, narrow intimate world is displayed in her work, painted in tones of sadness and sadness: I do not ask for wisdom or strength.

Oh, just let me warm myself by the fire!
I'm cold...
Winged or wingless,
The merry god will not visit me.

The theme of love, the main and only one, is directly related to suffering (which is due to the facts of the biography of the poetess): Let love lie on my life like a tombstone.

Describing the early work of A. Akhmatova, Al. Surkov says that she appears “... as a poet of a sharply defined poetic individuality and a strong lyrical talent ... emphatically “feminine” intimate lyrical experiences ...”.

A. Akhmatova understands that “we live solemnly and difficultly”, that “somewhere there is a simple life and light”, but she does not want to give up this life:

Yes, I loved them, those gatherings of the night -
Ice glasses on a small table,
Over black coffee odorous, thin steam,
Fireplace red heavy, winter heat,
The gaiety of a caustic literary joke
And a friend's first glance, helpless and creepy.

Acmeists sought to return to the image its living concreteness, objectivity, to free it from mystical encryption, about which O. Mandelstam spoke very angrily, assuring that the Russian symbolists “... sealed all words, all images, destining them exclusively for liturgical use. It turned out to be extremely uncomfortable - neither pass, nor stand up, nor sit down. You can't dine on a table, because it's not just a table. You can’t light a fire, because this, perhaps, means such that you yourself will not be happy later. ”

And at the same time, acmeists argue that their images are sharply different from realistic ones, because, in the words of S. Gorodetsky, they “... are born for the first time” “as hitherto unknown, but now real phenomena.” This determines the sophistication and peculiar mannerism of the acmeistic image, in whatever deliberate bestial savagery it appears. For example, Voloshin:

People are animals, people are reptiles,
Like a hundred-eyed evil spider,
Weave in rings looks.

The range of these images is narrowed, which achieves extreme beauty, and which allows you to achieve ever greater sophistication when describing it:

Slower snow hive
More transparent than crystal windows,
And a turquoise veil
Carelessly thrown on a chair.
Fabric intoxicated with itself
Indulged in the caress of light,
She experiences summer
As if untouched by winter.
And if in ice diamonds
Eternity frost flows,
Here is the flutter of dragonflies
Fast-living, blue-eyed
(O. Mandelstam).

In vain did the Acmeists dissociate themselves so sharply from the Symbolists. We meet the same “other worlds” and longing for them in their poetry. Thus, N. Gumilyov, who hailed the imperialist war as a “holy” cause, asserting that “seraphim are clear and winged, visible behind the shoulders of warriors,” a year later he writes poems about the end of the world, about the death of civilization: it rains furiously, And everyone is sucking in fat, light-green horsetails.

The once proud and brave conqueror understands the destructiveness of the enmity that has engulfed humanity:

Isn't it all the same?
Let the time roll
We understand you, earth:
You're just a gloomy porter
At the entrance to God's fields.

This explains their rejection of the October Revolution of 1917. But their fate was not uniform. Some of them emigrated; N. Gumilyov allegedly "took an active part in the counter-revolutionary conspiracy" and was shot. In the poem "Worker" he predicted his end at the hands of the proletarian, who cast a bullet, "which will separate me from the earth."

And the Lord will reward me in full
For my short and short century.
I did it in a light gray blouse
A short old man.

Such poets as S. Gorodetsky, A. Akhmatova, V. Narbut, M. Zenkevich could not emigrate.

For example, A. Akhmatova, who did not understand and did not accept the revolution, refused to leave her homeland:

I had a voice.
He called comfortingly
He said: "Come here,
Leave your land deaf and sinful,
Leave Russia forever.
I will wash the blood from your hands,
I will take out black shame from my heart,
I will cover with a new name
The pain of defeat and resentment.

But indifferently and calmly With my hands I blocked my hearing, She did not immediately return to creativity. But the Great Patriotic War again awakened in her a poet, a patriot poet, confident in the victory of his Motherland (“Myzhestvo”, “Oath”, etc.). A. Akhmatova wrote in her autobiography that for her in verse "... my connection with time, with the new life of my people."

Futurism

Futurism (from the Latin futurum - future), avant-garde art movements of the 10s - early 20s. 20th century in Italy and Russia. Being different, sometimes opposing ideological orientations, they were brought closer by some aesthetic declarations and partly by a range of motives; a number of features revealed commonality with avant-garde movements in Germany, France, England, Austria, Poland, Czechoslovakia. In Russia, the term "Futurism" soon also became a designation for the entire front of "left" art, a synonym for avant-garde in general.

Addition of students.

In Russia, the Futurism movement was clearly manifested in the literature and was a complex interaction of various groups: the most characteristic and radical - the St. Kamensky, A. E. Kruchenykh, B. K. Livshits; the first editions were the collections “The Garden of Judges”, 1910, “A Slap in the Face of Public Taste”, 1913), the St. Petersburg Association of Egofuturists (I. Severyanin, K. K. Olimpov and others; the first edition - "Prologue of egofuturism" by Severyanin, 1911), intermediate Moscow associations "Mezzanine of Poetry" (V. G. Shershenevich, R. Ivnev, B. A. Lavrenev) and "Centrifuge" (S. P. Bobrov , I. A. Aksenov, B. L. Pasternak, N. N. Aseev), as well as futuristic groups in Odessa, Kharkov, Kiev (including the work of M. V. Semenko), Tbilisi. Literature Futurism was associated with "leftist" trends in the visual arts (Gilei's contacts with the M group, Larionov's Futurism "Donkey's Tail" and the St. Petersburg Youth Union were especially close). The similarity of the ideological and aesthetic views of the poets and painters of the new formation, the interweaving of their creative interests (at the same time, the appeal of poets to painting, and painters to poetry), their frequent joint performances fixed the name "Futurism" for the "left" trends in painting. However, despite the arrangement under the sign of Futurism of a number of exhibitions (“Target”, 1913, “No. 4”, 1914, “Tram B”, “0, 10”, 1915, etc.), Futurism did not express itself in Russian painting in any Italian version (exception - individual works K. S. Malevich, Larionov, N. S. Goncharova, O. V. Rozanova, P. N. Filonov, A. V. Lentulov), nor any other complete system, capturing a wide range of phenomena as a general concept: the “post-Cezannism” of the “Jack of Diamonds”, the decorative national version of Cubism, the search, consonant with German expressionism and French Fauvism, or close to primitivism, “non-objectivity”, Dadaism.

Avant-garde trend in European art of 1910-20s, mainly in Italy and Russia. In an effort to create "the art of the future", he declared (in the manifestos and artistic practice of the Italian poet F.T. Marinetti, Russian Cubo-Futurists from "Gilea", members of the "Association of Egofuturists", "Mezzanine of Poetry", "Centrifuge") the denial of traditional culture (heritage " past"), cultivated the aesthetics of urbanism and the machine industry. Painting (in Italy - U. Boccioni, G. Severini) is characterized by shifts, influxes of forms, repeated repetitions of motives, as if summing up the impressions received in the process of rapid movement. For literature - the interweaving of documentary material and fiction, in poetry (V. V. Khlebnikov, V. V. Mayakovsky, A. E. Kruchenykh, I. Severyanin) - linguistic experimentation ("words at liberty" or "zaum"). (Big Encyclopedic Dictionary)

Simultaneously with acmeism in 1910 - 1912. futurism emerged. Like other modernist currents, it was internally contradictory. The most significant of the futuristic groups, which later received the name of cubo-futurism, united such poets as D. D. Burliuk, V. V. Khlebnikov, A. Kruchenykh, V. V. Kamensky, V. V. Mayakovsky, and some others. A variety of futurism was the ego-futurism of I. Severyanin (I. V. Lotarev, 1887 - 1941). The Soviet poets N. N. Aseev and B. L. Pasternak began their creative career in a group of futurists called “Centrifuga”.

In the years leading up to the Great October Revolution, Mayakovsky was a passionate revolutionary romantic, an accuser of the realm of the "fat", foreseeing a revolutionary thunderstorm. The pathos of the denial of the entire system of capitalist relations, the humanistic faith in man sounded with great force in his poems “A Cloud in Pants”, “Flute-Spine”, “War and Peace”, “Man”. Mayakovsky subsequently defined the theme of the poem “A Cloud in Pants”, published in 1915 in a truncated form by censorship, as four cries “Down with”: “Down with your love!”, “Down with your art!”, “Down with your system!”, “ Down with your religion!” He was the first of the poets who showed in his works the truth of the new society.

After 1910, another trend arose - futurism, which sharply opposed itself not only to the literature of the past, but also to the literature of the present, which entered the world with the desire to overthrow everything and everything. This nihilism was also manifested in the external design of futuristic collections, which were printed on wrapping paper or the reverse side of the wallpaper, and in the titles - "Mare's Milk", "Dead Moon", etc.

In the first collection “A Slap in the Face of Public Taste” (1912), a declaration signed by D. Burliuk, A. Kruchenykh, V. Khlebnikov, V. Mayakovsky was published. In it, the Futurists asserted themselves and only themselves as the only spokesmen for their era. They demanded “Give up Pushkin, Dostoevsky, Tolstoy and so on. and so on. from the Steamboat of our time”, they denied at the same time “Balmont’s perfumery fornication”, talked about the “dirty mucus of books written by the endless Leonid Andreevs”, indiscriminately discounted Gorky, Kuprin, Blok, etc.

Rejecting everything, they affirmed “The lightning of the new coming Beauty of the Self-valuable (self-sufficient) Word”. Unlike Mayakovsky, they did not try to overthrow the existing system, but only sought to update the forms of reproduction of modern life.

The basis of Italian futurism with its slogan “war is the only hygiene of the world” was weakened in the Russian version, but, as V. Bryusov notes in the article “The Meaning of Modern Poetry”, this ideology “... appeared between the lines, and the masses of readers instinctively avoided this poetry."

Futurist theorist V. Khlebnikov proclaims that the language of the world's future "will be a 'transrational' language." The word loses its semantic meaning, acquiring a subjective coloring: “We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell.” V. Khlebnikov, in an effort to expand the boundaries of the language and its possibilities, proposes the creation of new words based on the root feature, for example: (roots: chur ... and charm ...).

We are enchanted and shy.
Enchanting there, avoiding here,
Now churahar, then charahar,
Here churil, there charil.
From the churyn, the gaze of the charyn.
There is a churavel, there is a charavel.
Charari! Churari!
Churel! Charel!
Chares and chures.
And shy away and shy away.

Futurists oppose deliberate de-aestheticization to the emphasized aestheticism of the poetry of the Symbolists and especially the Acmeists. So, in D. Burliuk, “poetry is a frayed girl”, “the soul is a tavern, and the sky is a tear”, in V. Shershenevich “in a spitting park”, a naked woman wants to “squeeze milk out of her saggy breasts”. In the review “The Year of Russian Poetry” (1914), V. Bryusov, noting the deliberate rudeness of the Futurists’ poems, rightly notes: “It is not enough to vilify everything that was, and everything that is outside your circle with swear words, in order to already find something new.” He points out that all their innovations are imaginary, because we met with some of them among the poets of the 18th century, with others at Pushkin and Virgil, that the theory of sounds - colors was developed by T. Gauthier.

It is curious that with all the denials of other trends in art, the futurists feel their continuity from symbolism.

It is curious that A. Blok, who followed the work of Severyanin with interest, says with concern: “He has no topic,” and V. Bryusov, in an article of 1915 dedicated to Severyanin, points out: “The lack of knowledge and inability to think belittle the poetry of Igor Severyanin and extremely narrow its horizon. He reproaches the poet for bad taste, vulgarity, and especially sharply criticizes his military poems, which make a “painful impression”, “breaking the cheap applause of the public.”

A. Blok back in 1912. doubted: "About the modernists, I'm afraid that they have no core, but only - talented curls around, emptiness."

Let us return to the epigraph, to the words of V. Bryusov: “The original task of Art is to capture moments of insight, inspiration…”

Question for the class: Do you agree with the poet's opinion?

Teacher: Russian culture on the eve of the Great October Revolution was the result of a complex and long journey. Its distinctive features have always been democracy, high humanism and genuine nationality, despite periods of cruel government reaction, when progressive thought and advanced culture were suppressed in every possible way.

The richest cultural heritage of the pre-revolutionary period, the cultural values created over the centuries constitute the golden fund of our national culture.

Homework.

Learn by heart the poems for each of the studied movements. (See program.)
Write an essay and defend in class.
Abstract topics:
Symbolism is the "poetry of hints".
"The Theme of Dual Perception of Reality in the Poetry of Vladimir Solovyov".
New poetry cubo-futurist Vasily Kamensky.
New rhythms of Vladimir Mayakovsky's poetry.
The bright individuality of I. Severyanin's creativity.
Prepare for the erudite competition.
Ratings are given and commented on.

(Literary dictation.)

* Literary dictation is conducted according to the theory of literature. The students prepare it themselves. Students prepare 15 word meanings. The leader, by appointment of the teacher, goes to the blackboard and reads the meaning of the word; the rest write down the terms in the notebook, separated by commas. Who gets 15 words - score "5"; 13-14 words in the dictation - respectively, the mark is "4". Threes are not put, it is proposed to work additionally in the lesson.

Literature.

TSB, 3rd edition, 1970-1977
Bazin S.P., Semibratova I.V. The fate of the poets of the Silver Age. - M., 1993
Bely A., Symbolism as a worldview (series "Thinkers of the XX century"), Politizdat, Moscow 1994.
Memories of the Silver Age. - M., 1993.
Karetskaya I.V. Above the pages of Russian poetry and prose of the early twentieth century. - M., 1995.
Ehrenburg I., "Portraits contemporary poets", St. Petersburg," Magazine "Neva", 1999).

Silver Age" of Russian poetry: symbolism, acmeism, futurism. Acmeism and Futurism: a modernist trend in Russian poetry Symbolism Acmeism Futurism as a literary movement

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