Silver Age of Russian Poetry block. See what “Russian poets of the Silver Age” are in other dictionaries. The work of Marina Tsvetaeva

The emergence of new directions, trends, styles in art and literature is always associated with an understanding of the place and role of man in the world, in the Universe, with a change in man’s self-awareness. One of these turning points occurred at the end of the 19th and beginning of the 20th centuries. Artists of that time advocated a new vision of reality, looking for original artistic media. The outstanding Russian philosopher N.A. Berdyaev called this short but surprisingly bright period the Silver Age. This definition primarily applies to Russian poetry of the early twentieth century. The Golden Age is the age of Pushkin and Russian classics. It became the basis for revealing the talents of the poets of the Silver Age. In Anna Akhmatova’s “Poem without a Hero” we find the lines:

And the silver moon is bright
Floated over the Silver Age.

Chronologically silver Age lasted one and a half to two decades, but in terms of intensity it can safely be called a century. It turned out to be possible thanks to the creative interaction of people of rare talents. The artistic picture of the Silver Age is multi-layered and contradictory. Various artistic movements, creative schools, and individual non-traditional styles arose and intertwined. The art of the Silver Age paradoxically united the old and the new, the passing and the emerging, turning into a harmony of opposites, forming a culture of a special kind. During that turbulent time, a unique overlap occurred between the realistic traditions of the outgoing golden age and new artistic movements. A. wrote: “The sun of naive realism has set.” It was a time of religious quest, fantasy and mysticism. The synthesis of arts was recognized as the highest aesthetic ideal. Symbolist and futurist poetry arose, music that pretended to be philosophy, decorative painting, a new synthetic ballet, decadent theater, architectural style"modern". The poets M. Kuzmin and B. composed music. Composers Scriabin, Rebikov, Stanchinsky practiced some in philosophy, some in poetry and even prose. The development of art occurred at an accelerated pace, with great intensity, giving birth to hundreds of new ideas.
By the end of the 19th century, symbolist poets, who later began to be called “senior” symbolists, loudly declared themselves - Z. Gippius, D. Merezhkovsky, K. Balmont, F. Sologub, N. Minsky. Later, a group of “young symbolist” poets arose - A. Bely, A. Blok, Vyach. Ivanov. A group of Acmeist poets was formed - N., O., S. Gorodetsky, A. and others. Poetic futurism appears (A. Kruchenykh, V., V. Mayakovsky). But despite all the diversity and variety of manifestations in the work of artists of that time, similar trends are observed. The changes were based on common origins. The remnants of the feudal system were disintegrating, and there was a “ferment of minds” in the pre-revolutionary era. This created a completely new environment for the development of culture.
In poetry, music, and painting of the Silver Age, one of the main themes was the theme of freedom of the human spirit in the face of Eternity. Artists sought to unravel the eternal mystery of the universe. Some approached this from a religious position, others admired the beauty of the world created by God. Many artists perceived death as another existence, as a happy deliverance from the torment of the suffering human soul. The cult of love, intoxication with the sensual beauty of the world, the elements of nature, and the joy of life were unusually strong. The concept of “love” was deeply labored. Poets wrote about love for God and for Russia. In the poetry of A. Blok, Vl. Solovyov, V. Bryusov Scythian chariots rush, pagan Rus' reflected on the canvases of N. Roerich, Petrushka dances in the ballets of I. Stravinsky, a Russian fairy tale is recreated (“Alyonushka” by V. Vasnetsov, “Leshy” by M. Vrubel).
At the beginning of the twentieth century, Valery became a generally recognized theorist and leader of Russian symbolism. He was a poet, prose writer, literary critic, scientist, encyclopedic educated person. The beginning creative activity Bryusov published three collections of “Russian Symbolists”. He admired the poetry of the French symbolists, which was reflected in the collections “Masterpieces”, “This Is Me”, “The Third Watch”, “To the City and the World”.
Bryusov showed great interest in other cultures, ancient history, by antiquity, created universal images. In his poems, the Assyrian king Assargadon appears as if alive, the Roman legions and the great commander Alexander the Great pass through, medieval Venice, Dante and much more are shown. Bryusov headed the large Symbolist magazine “Scales”. Although Bryusov was considered a recognized master of symbolism, the principles of writing of this direction had a greater impact on early poems, such as “Creativity” and “To the Young Poet”.
Idealistic thinking soon gave way to earthly, objectively significant topics. Bryusov was the first to see and predict the onset of the cruel industrial age. He praised human thought, new discoveries, was interested in aviation, and predicted space flights. For his amazing performance, she called Bryusov a “hero of labor.” In the poem “Work” he formulated his life goals:

I want to know the secrets
Life wise and simple.
All paths are extraordinary
The path of labor is like a different path.

Bryusov remained in Russia until the end of his life; in 1920 he founded the Institute of Literature and Art. Bryusov translated the works of Dante, Petrarch, and Armenian poets.
Konstantin was widely known as a poet, enjoyed enormous popularity in the last ten years of the 19th century, and was an idol of youth. Balmont's work lasted more than 50 years and fully reflected the state of transition at the turn of the century, the fermentation of the minds of that time, the desire to withdraw into a special, fictional world. At first creative path Balmont wrote many political poems, in which he created a cruel image of Tsar Nicholas II. They were secretly passed from hand to hand, like leaflets.
Already in the first collection, “Under the Northern Sky,” the poet’s poems acquire grace of form and musicality.
The theme of the sun runs through the poet’s entire work. His image of the life-giving sun is a symbol of life, living nature, organic connection with which he always felt:

I came to this world to see the Sun
And a blue outlook.
I came into this world to see the Sun.
And the heights of the mountains.
I came to this world to see the Sea
And the lush color of the valleys.
I made peace. In one glance,
I am the ruler...

In the poem “Bezverbnost” Balmont brilliantly notices the special state of Russian nature:

There is a tired tenderness in Russian nature,
The silent pain of hidden sadness,
The hopelessness of grief, voicelessness, vastness,
Cold heights, receding distances.

The very title of the poem speaks of the absence of action, of the immersion of the human soul in a state of wise contemplation. The poet conveys various shades of sadness, which, growing, pours out in tears:

And the heart forgave, but the heart froze,
And he cries, and cries, and cries involuntarily.

The poets of the Silver Age were able to use bright strokes to add capacity and depth to the content of poems that reflected the flow of feelings and emotions, Difficult life souls.

"Silver Age"... The atmosphere of this period was created not only by the creative artists themselves. But also the organizers artistic life, famous philanthropists. If you believe the legend, this golden page of Russian culture was called the “Silver Age” philosopher Nikolay Berdyaev. The poetry of the “Silver Age” was marked by a spiritual surge unprecedented in the history of culture. We know only a small part of the cultural wealth accumulated by humanity. Poets and philosophers of the “Silver Age” strove to master all layers of world culture.

It is customary to define the boundaries of the “Silver Age” by just a quarter of a century: 1890-1913. However, these boundaries are highly controversial on both sides. In scientific works, the beginning is usually taken to be the middle of 1890 - Merezhkovsky and early Bryusov. Anthologies - starting from the time of the famous anthologies of Yezhov and Shamurin - usually begin with Vl. Solovyov, whose poetics were formed back in the 1870s. The collection “Sonnet of the Silver Age” opens with Pleshcheev. At the beginning of the century, Gogol, Tupgenev, and Dostoevsky were considered the predecessors of modernism. The symbolists placed at the origins of their school either Sluchevsky and Fofanov, or Aeschylus - and almost the poetry of Atlantis.

To the question: “When did the “Silver Age” end? a normal, average intelligent person will answer: “October 25, 1917.” Many will call 1921 - marked by the death of Blok and Gumilyov. But the poets of the “Silver Age” include Akhmatova, Mandelstam, Pasternak, Tsvetaeva, who created their poems both after 1920 and after 1930.

The work of some poets of the post-revolutionary era does not fit into the framework of socialist realism. Therefore, it would be more correct to determine the poet’s attribution to the “Silver Age” not by dates, but by poetics.

The poets of the “Silver Age” were interested in the poetic possibilities of the word, subtle shades of meaning in poems. Epic genres are rare in this era: the poem “The Twelve” by A. Blok, “The Trout Breaks the Ice” by M. Kuzmin, but these works lack a coherent plot.

Form in the “Silver Age” plays main role, poets experiment with words and rhymes. Each author is clearly individual: you can immediately determine who owns certain lines. But everyone strives to make the verse more tangible, so that everyone can feel every line.

Another feature of the poetry of the “Silver Age” is the use of mystical meanings and symbols. Mysticism colored eternal themes: love, creativity, nature, homeland. Even small details in the poems were given a mystical meaning...

The poetry of the “Silver Age” is tragic, imbued with a feeling of universal catastrophe, motives of death, destruction, withering - hence the term “decadence”. But the ending is always the beginning, and in the minds of the poets of the “Silver Age” there is a premonition of the beginning of a new life, grandiose, glorious.

The complexity and ambiguity of the worldviews of the “Silver Age” gave rise to many poetic movements: symbolism, acmeism, futurism.

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The chronological framework of the Silver Age of Russian culture cannot be established with complete accuracy. The beginning of this period should be dated back to the 1890s. between the manifestos of Nikolai Minsky “In the light of conscience” (1890) and Dmitry Merezhkovsky “Oh ... ... Wikipedia

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Russian Acmeist poets are poets of the Silver Age who wrote in Russian, whose work in the 1910s or early 1920s. was associated with Acmeism. Within the Acmeistic direction there are different so-called. “senior” acmeists associated ... Wikipedia

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The Silver Age is the heyday of Russian poetry at the beginning of the 20th century, characterized by the appearance large quantity poets, poetic movements that preached a new aesthetic, different from the old ideals. The name “Silver Age” is given by analogy... Wikipedia

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Books

• Literary estates of Russia, Bobrov Alexander Alexandrovich. The number of literary places, family nests and estates where great Russian poets and writers lived and worked is incalculable. Therefore, the famous poet and publicist Alexander Bobrov...
• Literary estates of Russia, Bobrov A.. The number of literary places, family nests and estates where great Russian poets and writers lived and worked is incalculable. Therefore, the famous poet and publicist Alexander Bobrov...
• Russian poets of the "Silver Age". Collection of poems in two volumes. Volume 1, . The collection (vol. 1) “Symbolists” includes the most characteristic examples of poetic creativity of the leading masters of the Russian symbolist school of the early 20th century: D. Merezhkovsky, Z. Gippius, A.…

In place of the 19th century, which became a period of extraordinary rise national culture and grandiose achievements in all spheres of art, came a complex, full of dramatic events and turning points XX century The golden age of social and artistic life gave way to the so-called silver age, which gave rise to the rapid development of Russian literature, poetry and prose in new bright trends, and subsequently became the starting point of its fall.

In this article we will focus on the poetry of the Silver Age, consider it and talk about the main directions, such as symbolism, acmeism and futurism, each of which was distinguished by its special verse music and vivid expression of experiences and feelings lyrical hero.

Poetry of the Silver Age. A turning point in Russian culture and art

It is believed that the beginning of the Silver Age of Russian literature falls on the 80-90s. XIX century At this time, the works of many wonderful poets appeared: V. Bryusov, K. Ryleev, K. Balmont, I. Annensky - and writers: L. N. Tolstoy, F. M. Dostoevsky, M. E. Saltykov-Shchedrin. The country is going through difficult times. During the reign of Alexander I, first there was a strong patriotic upsurge during the War of 1812, and then, due to a sharp change earlier liberal politics king, society experiences a painful loss of illusions and severe moral losses.

The poetry of the Silver Age reached its peak by 1915. Public life and the political situation is characterized by a deep crisis, a turbulent, seething atmosphere. Mass protests are growing, life is becoming politicized, and at the same time personal self-awareness is strengthening. Society is making intense attempts to find a new ideal of power and social order. And poets and writers keep up with the times, mastering new artistic forms and offering bold ideas. The human personality begins to be perceived as a unity of many principles: natural and social, biological and moral. During the years of the February and October revolutions and the Civil War, the poetry of the Silver Age was in crisis.

A. Blok’s speech “On the appointment of a poet” (February 11, 1921), delivered by him at a meeting on the occasion of the 84th anniversary of the death of A. Pushkin, becomes the final chord of the Silver Age.

Characteristics of literature of the 19th - early 20th centuries.

Let's look at the features of the poetry of the Silver Age. Firstly, one of the main features of the literature of that time was the huge interest in eternal themes: search for the meaning of life for an individual and all humanity as a whole, riddles national character, the history of the country, the mutual influence of the worldly and the spiritual, the interaction of man and nature. Literature at the end of the 19th century. becomes more and more philosophical: the authors reveal themes of war, revolution, personal tragedy of a person who, due to circumstances, lost peace and inner harmony. In the works of writers and poets, a new, brave, extraordinary, decisive and often unpredictable hero is born, stubbornly overcoming all adversities and hardships. In most works, close attention is paid to how the subject perceives tragic social events through the prism of his consciousness. Secondly, a feature of poetry and prose has become an intensive search for original artistic forms, as well as means of expressing feelings and emotions. Poetic form and the rhyme was played especially important role. Many authors abandoned the classical presentation of the text and invented new techniques, for example, V. Mayakovsky created his famous “ladder”. Often, to achieve a special effect, authors used speech and language anomalies, fragmentation, alogisms, and even allowed

Thirdly, the poets of the Silver Age of Russian poetry freely experimented with the artistic possibilities of the word. In an effort to express complex, often contradictory, “volatile” emotional impulses, writers began to treat words in a new way, trying to convey the subtlest shades of meaning in their poems. Standard, template definitions of clear objective objects: love, evil, family values, morality - have become replaced by abstract psychological descriptions. Precise concepts gave way to hints and understatements. Such instability and fluidity of verbal meaning was achieved through the most vivid metaphors, which often began to be built not on the obvious similarity of objects or phenomena, but on non-obvious signs.

Fourthly, the poetry of the Silver Age is characterized by new ways of conveying the thoughts and feelings of the lyrical hero. Poems by many authors began to be created using images, motifs from various cultures, as well as hidden and explicit quotes. For example, many word artists included scenes from Greek, Roman and, a little later, Slavic myths and legends in their creations. In the works of M. Tsvetaeva and V. Bryusov, mythology is used to build universal psychological models that allow us to comprehend human personality, in particular its spiritual component. Each poet of the Silver Age is brightly individual. You can easily understand which of them belongs to which verses. But they all tried to make their works more tangible, alive, full of colors, so that any reader could feel every word and line.

The main directions of poetry of the Silver Age. Symbolism

Writers and poets who opposed realism announced the creation of a new, modern art - modernism. There are three main poetry of the Silver Age: symbolism, acmeism, futurism. Each of them had its own striking features. Symbolism originally arose in France as a protest against the everyday reflection of reality and dissatisfaction with bourgeois life. The founders of this trend, including J. Morsas, believed that only with the help of a special hint - a symbol - can one comprehend the secrets of the universe. In Russia, symbolism appeared in the early 1890s. The founder of this movement was D. S. Merezhkovsky, who proclaimed in his book three main postulates of the new art: symbolization, mystical content and “expansion of artistic impressionability.”

Senior and Junior Symbolists

The first symbolists, later called the elders, were V. Ya. Bryusov, K. D. Balmont, F. K. Sologub, Z. N. Gippius, N. M. Minsky and other poets. Their work was often characterized by a sharp denial of the surrounding reality. They portrayed real life as boring, ugly and meaningless, trying to convey the subtlest shades of their feelings.

Period from 1901 to 1904 marks the advent of a new milestone in Russian poetry. The poems of the Symbolists are imbued with a revolutionary spirit and a premonition of future changes. Younger symbolists: A. Blok, V. Ivanov, A. Bely - do not deny the world, but utopianly await its transformation, chanting divine beauty, love and femininity, which will certainly change reality. It was with the appearance on the literary arena junior symbolists The concept of symbol enters literature. Poets understand it as a multidimensional word that reflects the world of “heaven,” the spiritual essence and at the same time the “earthly kingdom.”

Symbolism during the Revolution

Poetry of the Russian Silver Age in 1905-1907. is undergoing changes. Most symbolists, focusing on the socio-political events taking place in the country, reconsider their views on the world and beauty. The latter is now understood as the chaos of struggle. Poets create images of a new world that replaces the dying one. V. Ya. Bryusov creates the poem “The Coming Huns”, A. Blok - “The Barge of Life”, “Rising from the Darkness of the Cellars...”, etc.

The symbolism also changes. Now she turns not to the ancient heritage, but to Russian folklore, as well as Slavic mythology. After the revolution, the Symbolists split into those who wanted to protect art from the revolutionary elements and, on the contrary, those who were actively interested in the social struggle. After 1907, the Symbolist debate exhausted itself and was replaced by imitation of the art of the past. And since 1910, Russian symbolism has been going through a crisis, clearly displaying its internal inconsistency.

Acmeism in Russian poetry

In 1911 N. S. Gumilev organizes literary group- "Workshop of Poets." It included the poets O. Mandelstam, G. Ivanov and G. Adamovich. This new direction did not reject the surrounding reality, but accepted reality as it is, affirming its value. The “Workshop of Poets” began to publish its own magazine “Hyperborea”, as well as publish works in “Apollo”. Acmeism, originating as literary school to find a way out of the crisis of symbolism, he united poets who were very different in their ideological and artistic attitudes.

Features of Russian futurism

The Silver Age in Russian poetry gave birth to another interesting movement called “futurism” (from the Latin futurum, that is, “future”). The search for new artistic forms in the works of the brothers N. and D. Burlyuk, N. S. Goncharova, N. Kulbin, M. V. Matyushin became a prerequisite for the emergence of this trend in Russia.

In 1910, the futuristic collection “The Fishing Tank of Judges” was published, which collected the works of such outstanding poets as V.V. Kamensky, V.V. Khlebnikov, the Burliuk brothers, E. Guro. These authors formed the core of the so-called Cubo-Futurists. Later V. Mayakovsky joined them. In December 1912, the almanac “A Slap in the Face of Public Taste” was published. The cubo-futurists' poems "Lesiny Bukh", "Dead Moon", "Roaring Parnassus", "Gag" became the subject of numerous disputes. At first they were perceived as a way to tease the reader's habits, but a closer reading revealed a keen desire to show a new vision of the world and a special social involvement. Anti-aestheticism turned into a rejection of soulless, fake beauty, the rudeness of expressions was transformed into the voice of the crowd.

Egofuturists

In addition to cubo-futurism, several other movements arose, including ego-futurism, led by I. Severyanin. He was joined by such poets as V. I. Gnezdov, I. V. Ignatiev, K. Olimpov and others. They created the publishing house “Petersburg Herald”, published magazines and almanacs with original titles: “Sky Diggers”, “Eagles over the Abyss” , “Zakhara Kry”, etc. Their poems were extravagant and were often composed of words they themselves created. In addition to the ego-futurists, there were two more groups: “Centrifuge” (B. L. Pasternak, N. N. Aseev, S. P. Bobrov) and “Mezzanine of Poetry” (R. Ivnev, S. M. Tretyakov, V. G. Sherenevich).

Instead of a conclusion

The Silver Age of Russian poetry was short-lived, but it united a galaxy of the brightest, talented poets. Many of them had tragic biographies, because by the will of fate they had to live and work in such a fatal time for the country, a turning point of revolutions and chaos in the post-revolutionary years, civil war, collapse of hopes and revival. Many poets died after tragic events(V. Khlebnikov, A. Blok), many emigrated (K. Balmont, Z. Gippius, I. Severyanin, M. Tsvetaeva), some committed suicide, were shot or perished in Stalin’s camps. But they all managed to make a huge contribution to Russian culture and enrich it with their expressive, colorful, original works.

VSEVOLOD SAKHAROV

The Silver Age of Russian Literature... This is what is commonly called the period in the history of Russian poetry, which occurs at the beginning of the twentieth century.

A specific chronological framework has not yet been established. Many historians and writers from all over the world argue about this. The Silver Age of Russian literature begins in the 1890s and ends in the first decade of the twentieth century. It is the end of this period that causes controversy. Some researchers believe that it should be dated to 1917, others insist on 1921. What is the reason for this? Started in 1917 Civil War, and the Silver Age of Russian literature as such ceased to exist. But at the same time, in the 20s, those writers who created this phenomenon continued their work. There is a third category of researchers, which argues that the end of the Silver Age occurs in the period from 1920 to 1930. It was then that Vladimir Mayakovsky committed suicide and the government did everything to strengthen ideological control over literature. Therefore, the time limits are quite extensive and amount to approximately 30 years.

As in any period of development of Russian literature, the Silver Age is characterized by the presence of different literary movements. They are often identified with artistic methods. Each movement is characterized by the presence of common fundamental spiritual and aesthetic principles. Writers unite in groups and schools, each of which has its own programmatic and aesthetic setting. The literary process develops following a clear pattern.

DECADENCE

At the end of the 19th century, people began to abandon civil ideals, finding them unacceptable for themselves and society as a whole. They refuse to believe in reason. The authors feel this and fill their works with the individualistic experiences of the characters. More and more are appearing literary images, which express a socialist position. The artistic intelligentsia tried to disguise the difficulties real life in a fictional world. Many works are filled with features of mysticism and unreality.

MODERNISM

Under this movement lie a wide variety of literary trends. But Russian literature of the Silver Age is characterized by the manifestation of completely new artistic and aesthetic qualities. Writers are trying to expand the scope of a realistic vision of life. Many of them want to find a way to express themselves. As before, Russian literature of the Silver Age occupied an important place in cultural life the entire state. Many authors began to unite in modernist communities. They differed in their ideological and artistic appearance. But they are united by one thing - they all see literature as free. The authors want her not to be influenced by moral and social rules.

At the end of the 1870s, Russian literature of the Silver Age was characterized by such a direction as symbolism. The authors tried to focus on artistic expression and used intuitive symbols and ideas to achieve this. The most sophisticated feelings were used. They wanted to know all the secrets of the subconscious and see what is hidden from view ordinary people. In their works they focus on candle beauty. The Symbolists of the Silver Age expressed their rejection of the bourgeoisie. Their works are imbued with a longing for spiritual freedom. This is exactly what the authors missed so much! Different writers perceived symbolism in their own way. Some – as an artistic direction. Others - how theoretical basis philosophy. Third - how Christian teaching. The Silver Age of Russian literature is represented by many symbolist works.

At the beginning of 1910, the authors began to move away from the pursuit of the ideal. Their works were endowed with material features. They created a cult of reality; their heroes had a clear view of what was happening. But at the same time, writers avoided describing social problems. The authors fought to change lives. Acmeism in Russian literature of the Silver Age was expressed by a certain doom and sadness. It is characterized by such features as intimate themes, unemotional intonations and psychological emphasis on the main characters. Lyricism, emotionality, belief in spirituality... All this is characteristic of the Soviet period of development of literature. The main goal of the Acmeists was to return the image to its former concreteness and take on the shackles of fictitious encryptedness.

FUTURISM

Following Acmeism, a direction such as futurism began to develop in Russian literature of the Silver Age. It can be called avant-garde, the art of the future... The authors began to deny traditional culture and endow their works with the features of urbanism and machine industry. They tried to combine the incompatible: documentary materials and fiction, experimenting with the linguistic heritage. And we must admit that they succeeded. The main feature of this period of the Silver Age of Russian literature is contradiction. Poets, as before, united into various groups. A revolution of form was proclaimed. The authors tried to free it from content.

Imagism

In Russian literature of the Silver Age there was also such a movement as imagism. It manifested itself in the creation of a new image. The main emphasis was on metaphor. The authors tried to create real metaphorical chains. They compared the most diverse elements of opposing images, endowing words with direct and figurative meaning. The Silver Age of Russian literature in this period was characterized by shocking and anarchic features. The authors began to move away from rudeness.

The Silver Age is characterized by heterogeneity and diversity. The peasant theme is especially evident. It can be observed in the works of such writers as Koltsov, Surikov, Nikitin. But it was Nekrasov who aroused a special surge of interest. He created real sketches of village landscapes. The theme of the peasant people in Russian literature of the Silver Age was played out from all sides. The authors talk about the difficult fate of ordinary people, how hard they have to work and how bleak their life looks in the future. Nikolai Klyuev, Sergei Klychkov and other authors who themselves come from the village deserve special attention. They did not confine themselves to the theme of the village, but tried to poeticize village life, crafts and environment. Their works also reveal the theme of centuries-old national culture.

The revolution also had a significant influence on the development of Russian literature of the Silver Age. Peasant poets received it with great enthusiasm and completely devoted themselves to it within the framework of their creativity. But during this period creativity was not in the first place, it was perceived in second place. The first positions were occupied by proletarian poetry. She was declared the front line. After the completion of the revolution, power passed to the Bolshevik Party. They tried to control the development of literature. Driven by this idea, the poets of the Silver Age spiritualized revolutionary struggle. They glorify the power of the country, criticize everything old and call for the party leaders to come forward. This period is characterized by the glorification of the cult of steel and iron. The turning point of traditional peasant foundations was experienced by such poets as Klyuev, Klychkov and Oreshin.

The Silver Age of Russian literature is always identified with such authors as K. Balmont, V. Bryusov, F. Sologub, D. Merezhkovsky, I. Bunin, N. Gumilev, A. Blok, A. Bely. To this list we can add M. Kuzmin, A. Akhmatova, O. Mandelstam. No less significant for Russian literature are the names of I. Severyanin and V. Khlebnikov.

Conclusion

Russian literature of the Silver Age is endowed with the following features. This is love for the small Motherland, following ancient folk customs and moral traditions, the widespread use of religious symbols, etc. Christian motives and pagan beliefs were traced in them. Many authors tried to turn to folk stories and images. The urban culture that everyone is tired of has acquired the features of denial. It was compared to the cult of instruments and iron. The Silver Age left Russian literature a rich heritage and replenished the stock of Russian literature with bright and memorable works.

© Vsevolod Sakharov. All rights reserved.