What is the poetry of the Silver Age. The Silver Age of Russian Poetry is the Silver Age of Russian Poetry. Symbolism during the Revolution

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WITH SIBERRY AGE OF RUSSIAN POETRY.

The Silver Age is a term that, according to the prevailing Russian criticism of the 20th century. traditions, designate the art (primarily the poetry of modernism, i.e. new, modern) of Russia at the turn of the 19th–20th centuries. or early 20th century.

The boundaries of the designated period are defined by different researchers in different ways. The beginning of the Silver Age is dated by most scientists to the 1890s, some to the 1880s. Differences regarding its final border are great: from 1913–1915 to the middle of the 20th century. However, the point of view is gradually being established that " silver Age came to an end in the early 1920s.
Vadim Kreid, a Russian poet and literary critic, believed: “It all ended after 1917, with the start of the civil war. There was no Silver Age after that. In the twenties, inertia still continued, for such a wide and powerful wave as our silver age was, could not stop moving for a while before crashing and breaking. Most of the poets, writers, critics, artists, philosophers, directors, composers were still alive, whose individual creativity and common work created the Silver Age, but the era itself ended. By inertia, some associations also continued - such as, for example, the House of Arts, the House of Writers, "World Literature" in Petrograd, but this postscript of the Silver Age was cut off in mid-sentence when a shot was fired that killed Gumilyov (the poet was shot in 1921).
The Silver Age emigrated - to Berlin, to Constantinople, to Prague, to Sofia, Paris... But even in the Russian diaspora, despite complete creative freedom, despite the abundance of talents, he could not be revived. The Renaissance needs a national soil and an air of freedom. Emigrant artists lost their native soil, those who remained in Russia lost the air of freedom.

The Silver Age was represented by various currents:

SYMBOLISM - one of the modernist trends in Russian poetry at the turn of the century (1890-1910)

- Art, from the point of view of symbolist poets, is "comprehension of the world in other, non-rational ways",the opportunity to see behind the outside world a "mystically see through essence".

–– Symbol (Greek symbolon –– symbol) is a poetic image that expresses the essence of a phenomenon. “A symbol is a window to infinity” (F. Sologub). “A symbol is only a true symbol when it is inexhaustible and limitless in its meaning” (Vyach. Ivanov).
So, Blok's "Stranger" can be read as a story in verse about a meeting with a charming woman. At the same time, the Stranger is a symbol in which the author's anxiety about the fate of beauty in the world of earthly vulgarity, and disbelief in the possibility of a miraculous transformation of life, and the dream of other worlds, and a dramatic understanding of the inseparability of "dirt" and "purity" in this world …

Characteristic poetry of the Symbolists
☺ understatement, concealment of meaning;

 transmission of the subtlest movements of the soul, the music of the verse, the maximum use of the sound and rhythmic means of poetry.

 Elitism. The work of the Symbolists was originally addressed to the elite, the initiates. The poet counted on the reader-co-author, not trying to be understood by everyone.
Publishing house "Scorpion"; Almanac "Northern Flowers"; magazines "Scales", "Golden Fleece".
"Senior Symbolists" - their works reflected despondency, disbelief in human capabilities, fear of life.

Gippius Zinaida Nikolaevna (1869–1945)

Merezhkovsky Dmitry Sergeevich

Bryusov Valery Yakovlevich (1873–1924)

Balmont Konstantin Dmitrievich

Sologub Fyodor (Fyodor Kuzmich Teternikov) (1863–1927)

"Junior Symbolists" - in their poetry, the desire for a higher ideal, faith in the higher purpose of art.

Bely Andrey (Boris Nikolaevich Bugaev)

Blok A.A. (1880–1921)

Ivanov Vyacheslav Ivanovich (1866–1949)

ACMEISM (Greek akme - highest degree something) is a modernist trend that was formed as a reaction to the extremes of symbolism.It acquires the main importance in poetry, according tothoughts of theorists of acmeism,artistic exploration of the diverse and vibrant earthly world. S. Gorodetsky wrote: "The struggle between acmeism and symbolism ... is, first of all, the struggle for this world, sounding, colorful, having shapes, weight and time ..."

Basic principles of acmeism.

–– Rejection of the mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness.

–– Objectivity and clarity of images, sharpness of details.

–– A call to the past literary epochs.

Literary association "Workshop of poets", magazine "Apollo",

Akhmatova Anna Andreevna (Gorenko) (1889-1966)

Gumilyov Nikolai Stepanovich (1886–1921)

Gorodetsky Sergey Mitrofanovich

Zenkevich Mikhail Alexandrovich (1891–1973)

Mandelstam Osip Emilievich (1891–1938)

FUTURISM (lat. futurum - future) - avant-garde movement of the early twentieth century (1910).

The main features of futurism.

–– Rebelliousness, anarchic outlook, expression of the mass mood of the crowd.

–– Rejection of cultural traditions, an attempt to create art directed towards the future.

–– Experimentation in the field of rhythm, rhyme, orientation to the spoken verse, slogan, poster.

–– The search for a “liberated”, “self-made” word, experiments to create an “abstruse” language.
In futurism, a kind of shocking repertoire has developed. Biting names were used: "Chukuryuk" - for the picture; "Dead Moon" - for a collection of works; "Go to hell!" - for a literary manifesto. Derogatory reviews of the previous cultural tradition and contemporary art were given. For example, "contempt" for Gorky, Andreev, Bryusov, and Blok, who were deliberately lumped together, was expressed in the manifesto "A Slap in the Face of Public Taste" in this way: "From the height of skyscrapers, we look at their insignificance!" D. Burliuk's assessment of outstanding contemporary artists could seem even more insulting: "Serov and Repin are watermelon peels floating in a garbage tub." The public speeches of the futurists were defiantly designed: the beginning and end of speeches were marked by gong strikes, K. Malevich appeared with a wooden spoon in his buttonhole, V. Mayakovsky - in a "female" according to the then criteria yellow jacket, A. Kruchenykh wore a sofa cushion on a cord around his neck, etc. . P.

Burliuk David Davidovich (1882–1967)

Kamensky Vasily Vasilyevich (1884–1961

Kruchenykh Alexey Eliseevich (1886–1968)

Mayakovsky V.V. (1893–1930)

Khlebnikov Velimir (1885–1922) (Viktor Vladimirovich Khlebnikov)

MINISTRY OF AGRICULTURE

RUSSIAN FEDERATION

INSTITUTE OF AGROECOLOGY - BRANCH FGBOU VPO "CHGAA"

DEPARTMENT OF MECHANIZATION AND ELECTRIFICATION

AGRICULTURAL PRODUCTION

TOPIC: "Russian poetry of the Silver Age"

Completed by: Sitdikova Alina

Checked: st. Teacher

Shulakova E.L.

Introduction

Late 19th - early 20th century The feeling of an approaching catastrophe: retribution for the past and hope for a great turning point was in the air. The time was felt as borderline, when not only the old way of life, relationships, but also the system of spiritual values ​​itself requires radical changes.

Socio-political tensions arise in Russia: a general conflict, in which protracted feudalism and the inability of the nobility to act as an organizer of society and develop a national idea, and the age-old hatred of the peasant for the master, who did not want concessions, intertwined - all this gave the intelligentsia a sense of impending upheavals.

And at the same time a sharp surge, the flourishing of cultural life. Russian poetry developed especially dynamically at that time. Later, the poetry of this period was called the "poetic renaissance" or "silver age". This phrase was initially used to characterize the peak phenomena of the poetic culture of the early 20th century. However, gradually the term "Silver Age" began to refer to that part of the entire artistic culture of Russia at the end of the 19th and beginning of the 20th century, which was associated with symbolism, acmeism, "neo-peasant" and partly futuristic literature.

A new trend is developing in literature - modernism. In turn, it is divided into the following areas: symbolism, acmeism, futurism.

Symbolism

Symbolism (from the Greek. Symbolon - a conventional sign) is a literary and artistic direction, which considered the goal of art to be an intuitive comprehension of world unity through symbols. The unifying point is earthly semblance of divine creativity . The key concept of symbolism is a symbol - a multi-valued allegory (F. Sologub: a symbol is a window to infinity). The symbol reflects the comprehension of the unity of life, its true, hidden essence.

Aesthetics of symbolism:

) Behind the rough and boring everyday life lies a mysterious ideal world that can only be revealed with the help of hint symbols;

) The task of poetry is to express all life through these symbols in a special language, rich in poetic intonations;

) Only art is given to penetrate into the essence of being, since it is able to comprehend the world with omnipotent intuition.

The main features of symbolism:

Dual world: avoiding the real earthly and creating an ideal world of dreams and mysticism, existing according to the laws of Eternal Beauty;

Images-symbols: the language of premonitions, hints, generalizations, mysterious visions, allegories;

Symbolism of color and light: azure, purple, gold, shadows, shimmer;

The poet is the creator of ideal worlds - mystical, cosmic, divine;

Language: focus on classical verse, exquisite figurativeness, musicality and lightness of style, attitude to the word as to a cipher, symbolic content of ordinary words.

The symbolist movement arose as a protest against the impoverishment of Russian poetry, as a desire to say a fresh word in it, to restore its vitality. Russian symbolism differed sharply from the Western in all its appearance - spirituality, a variety of creative units, the height and richness of its achievements.

Symbolist poets were Bryusov, Merezhkovsky, Blok, Balmont, Gippius, Ivanov, Andrei Bely, Baltrushaitis. Their ideologist was D. Merezhkovsky, and their teacher was V. Bryusov.

Merezhkovsky outlined his views first in a report (1892), and then in the book On the Causes of the Decline and New Trends in Modern Russian Literature (1893). These thoughts were caused by the feeling of insoluble spiritual contradictions of the time. The way out of this situation was predicted through the rise to the "ideal human culture" as a result of the discovery of the divine essence of the world. This goal was to be realized by art with the help of symbols pouring out from the depths of the artist's consciousness. Merezhkovsky established three main elements of the latest poetry: "mystical content, symbols and the expansion of artistic impressionability." He developed his concept in journalistic articles and a trilogy of vivid historical novels "Christ and Antichrist" (1896-1905).

K. Balmont defended a different idea of ​​the new literature in the article "Elementary words about symbolic poetry" (1900). The main thing here was the desire for "more refined ways of expressing feelings and thoughts" in order to "announce" - "as if against the will" of the author - the mysterious "speech of the elements" of the Universe, world chaos. Artistic creativity was seen as "a mighty force, striving to guess new combinations of thoughts, colors, sounds", to express by these means the indistinct hidden beginnings of the cosmos. Such refined craftsmanship appeared in the rich, mobile, poetic world of Balmont himself.

V. Bryusov in the article “Keys of Secrets” (1904) wrote: “Art is the comprehension of the world in other, non-rational ways. Art is what in other areas we call revelation.” Science was opposed to intuitive insight at the moment creative inspiration. And symbolism was understood as a special literary school.

A. Bely put forward his view of the new poetry. In the article "On Religious Experiences" (1903), the inspirer of the "Young Symbolists" asserted "the mutual contact of art and religion." In later memoirs, A. Bely clearly defined the awakening of the “Young Symbolists” of the early 900s: “to approach the soul of the world”, to convey Her voice in subjective lyrical publications.” Dreams of the future soon cleared up.

A. Bely responded to politics (the events of 1905) with the article “Green Meadow”, where, relying on Gogol’s “terrible revenge”, he drew an image-symbol: Russia is “a sleeping beauty that will never be awakened from sleep.” A. Bely called for mystical comprehension of the soul of the motherland, “the consciousness of the modern soul”, and called his concept “the religion of life”.

All symbolic programs were perceived as a new word in aesthetics. However, they were closely connected with world culture: German idealistic philosophy (I. Kant, A. Schopenhauer), French poetry (Sh Bolder. P. Verpen), with the symbolic language of O. Wilde, M. Maeterlinck, late H. Ibsen.

Domestic literary classics gave the Symbolists the main thing - an understanding of a person and their homeland, its culture. In the work of the XIX century. These sacred values ​​were acquired.

In the legacy of Pushkin, the symbolists saw a merger with the kingdom of divine harmony, at the same time - bitter reflections on Russian history, the fate of the individual in the city of the Bronze Horseman. The great poet attracted with insights in the ideal and real spheres of life. The "demonic" theme in Lermontov's poetry possessed special power, attracting to heavenly and earthly secrets. Magnetism came from Gogol's concept of Russia in its unstoppable movement towards the future. Duality as a gloomy phenomenon of the human spirit, discovered by Lermontov, Gogol, Dostoevsky, determined almost the leading search for poets of the turn of the century. In the philosophical and religious revelations of these Russian geniuses, the Symbolists found a guiding star for themselves. Tyutchev, Fet, Polonsky responded differently to their thirst for touching the “secret secrets”. Tyutchev's comprehension of the connections between "these" and "these" worlds, the correlation of reason, faith, intuition, creativity clarified a lot in the aesthetics of symbolism. Fet was dear to the image of an artist leaving his "native limits" in pursuit of an ideal that transforms a boring reality with an unstoppable dream.

The immediate forerunner of the Symbolists was Vl. Solovyov. In reality, he believed, chaos suppresses "our love and does not allow its meaning to be realized." Revival is possible in rapprochement with the Soul of the World, eternal femininity. It is She who connects natural life with Divine Being, earthly beauty with heavenly truth. A special role in the ascent to such heights was assigned to art, since it "abolishes the contradiction between the ideal and the sensual, between the soul and the thing."

The name "acmeism" comes from the Greek. acme - point, pinnacle.

The theoretical basis is the article by N. Gumilyov "The legacy of symbolism and acmeism." Acmeists: N. Gumilyov, A. Akhmatova, S. Gorodetsky, M. Kuzmin.

Acmeism is a modernist trend that declared a concrete-sensory perception of the outside world, a return to the word of its original, non-symbolic meaning.

The actual acmeist association was small and existed for about two years (1913-1914).

At the beginning of their career, young poets, future acmeists, were close to symbolism, visited Ivanovo environments - literary collections at the St. Petersburg apartment of Vyach. Ivanov, named tower . IN tower classes were held with young poets, where they studied versification. In October 1911, the listeners of this poetry academy founded a new literary association Workshop of poets . Shop was a school of professional skill, and young poets N. Gumilyov and S. Gorodetsky became its leaders. They are in January 1913 in the magazine Apollo published declarations of the acmeist group.

The new literary trend, which rallied great Russian poets, did not last long. The creative searches of Gumilyov, Akhmatova, Mandelstam went beyond the framework of acmeism. But the humanistic meaning of this trend was significant - to revive a person's thirst for life, to return a sense of its beauty. It also included A. Akhmatova, O. Mandelstam, M. Zenkevich, V. Narbut and others.

Acmeists are interested in the real, and not the other world, the beauty of life in its concrete - sensual manifestations. Nebula and hints of symbolism were opposed by a major perception of reality, the authenticity of the image, and the clarity of the composition. In some ways, the poetry of acmeism is a revival golden age , the time of Pushkin and Baratynsky.

The highest point in the hierarchy of values ​​for them was culture, identical to universal human memory. Therefore, acmeists often turn to mythological plots and images. If the Symbolists in their work focused on music, then the Acmeists - on spatial arts: architecture, sculpture, painting. The attraction to the three-dimensional world was expressed in the acmeists' passion for objectivity: a colorful, sometimes exotic detail could be used for a purely pictorial purpose.

Aesthetics of acmeism:

the world must be perceived in its visible concreteness, its realities must be valued, and not taken off the ground;

it is necessary to revive love for one's body, the biological principle in a person, to appreciate a person, nature;

the source of poetic values ​​is on earth, and not in the unreal world;

in poetry, 4 principles must be merged together:

) traditions of Shakespeare in the image inner peace person;

) traditions of Rabelais in the chanting of the body;

) Villon's traditions in chanting the joys of life;

) Gauthier's tradition of celebrating the power of art.

Basic principles of acmeism:

the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it;

rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness;

the desire to give the word a specific, precise meaning;

objectivity and clarity of images, sharpness of details;

an appeal to a person, to the "authenticity" of his feelings;

poetization of the world of primordial emotions, the primitive biological natural principle;

echoes of past literary epochs, the broadest aesthetic associations, “longing for world culture”.

Distinctive features of acmeism:

hedonism (enjoyment of life), adamism (animal essence), clarism (simplicity and clarity of language);

lyrical plot and depiction of the psychology of experience;

colloquial elements of the language, dialogues, narratives.

In January 1913 appeared in the magazine "Apollo" declarations of the organizers of the acmeist group N. Gumilyov and S. Gorodetsky. It also included Akhmatova, O. Mandelstam, M. Zenkevich and others.

In the article “The Legacy of Symbolism and Acmeism”, Gumilyov criticized the mysticism of Symbolism, its passion for the “region of the unknown”. Unlike his predecessors, the leader of the Acmeists proclaimed "the intrinsic value of each phenomenon", in other words, the meaning of "all phenomena-brothers". And he gave two names-interpretations to the new trend: acmeism and adamism - "a courageously firm and clear outlook on life."

Gumilyov, however, in the same article approved the need for acmeists "to guess what the next hour will be for us, for our cause, for the whole world." Consequently, he did not refuse the insights of the unknown. As he did not refuse art in its “world significance to ennoble human nature”, which he later wrote about in another work. The continuity between the programs of the symbolists and acmeists was clear

The direct forerunner of the Acmeists was Innokenty Annensky. “The source of Gumilyov's poetry,” Akhmatova wrote, “is not in the verses of the French Parnassians, as is commonly believed, but in Annensky. I lead my "beginning" of Annensky's poems. He possessed an amazing gift that attracted acmeists to artistically transform the impressions of an imperfect life.

The Acmeists spun off from the Symbolists. They denied the mystical aspirations of the Symbolists. Acmeists proclaimed the high inherent value of the earthly, local world, its colors and forms, called to “love the earth”, to talk as little as possible about eternity. They wanted to glorify the earthly world in all its multiplicity and power, in all its carnal, weighty certainty. Among the acmeists are Gumilyov, Akhmatova, Mandelstam, Kuzmin, Gorodetsky.

Futurism

Futurism (from lat. Futurum - future) common name artistic avant-garde movements of the 1910s - early 1920s. XX century., First of all, in Italy and Russia.

The Futurists entered the literary arena somewhat earlier than the Acmeists. They declared the classics and all old literature to be dead. “Only we are the face of our time,” they argued. Russian futurists are an original phenomenon, like a vague premonition of great upheavals and expectations of grandiose changes in society. This must be reflected in new forms. “It is impossible,” they argued, “to convey the rhythms of a modern city with a Onegin stanza.”

Futurists generally denied the former world in the name of creating the future; Mayakovsky, Khlebnikov, Severyanin, Guro, Kamensky belonged to this current.

In December 1912, the first declaration of the Futurists was published in the collection Slap in the Face of Public Taste, which shocked the reader. They wanted to "throw the classics of literature off the ship of modernity", expressed "irresistible hatred for the existing language", called themselves "the face of the times", the creators of a new "self-valuable Word". In 1913, this scandalous program was concretized: the denial of grammar, syntax, spelling of the native language, the glorification of "the secret of imperious insignificance."

The true aspirations of the futurists, i.e. "beetlyans," V. Mayakovsky revealed: "become a doer of one's own life and a legislator for the lives of others." The art of the word was given the role of a transformer of beings. In a certain area - the "big city" - the "birthday of a new man" was approaching. For which it was proposed to increase the "dictionary with new words" in accordance with the "nervous" urban environment, to convey the pace of traffic with "disheveled syntax."

The Futurist movement was quite broad and multidirectional. In 1911, a group of ego-futurists arose: I. Severyanin, I. Ignatiev, K. Olimpov and others. Since the end of 1912, the Gileya association (cubo-futurists) has developed: V. Mayakovsky and N. Burliuk, V. Khlebnikov, V. Kamensky. In 1913 - "Centrifuge": B. Pasternak, N. Aseev, I. Aksenov.

All of them are characterized by an attraction to the nonsense of urban reality, to word creation. Nevertheless, the Futurists in their poetic practice were by no means alien to the traditions of Russian poetry.

Khlebnikov largely relied on the experience of ancient Russian literature. Kamensky - on the achievements of Nekrasov and Koltsov. I. Severyanin highly honored A.K. Tolstoy, A.M. Zhemchuzhnikov and K. Fofanov, Mirra Lokhvitskaya. The poems of Mayakovsky and Khlebnikov were literally "stitched" with historical and cultural reminiscences. And Mayakovsky called Chekhov the urbanist the forerunner of cubo-futurism.

E ?gofuturi ?zm - Russian literary movement of the 1910s, which developed within the framework of futurism. In addition to the general futuristic writing, egofuturism is characterized by the cultivation of refined sensations, the use of new foreign words, ostentatious selfishness.

In 1909, a circle of Petersburg poets formed around Igor Severyanin, which in 1911 adopted the name "Ego", and in the same year I. Severyanin independently published and sent to newspaper offices a small brochure entitled "Prologue (Egofuturism)". In addition to Severyanin, the group included poets Konstantin Olimpov, Georgy Ivanov, Stefan Petrov (Grail-Arelsky), Pavel Kokorin, Pavel Shirokov, Ivan Lukash and others. All together they found a society of ego-futurists, publish several leaflets and manifestos, formulated in extremely abstract and esoteric terms (for example, "The Prism of Style - Restoration of the Spectrum of Thought"); such poets of the "old school" as Mirra Lokhvitskaya and Olympov's father Konstantin Fofanov were declared the forerunners of the ego-futurists. Members of the group called their poems "poets". The first collective of ego-futurists soon disintegrates. In the autumn of 1912, Igor Severyanin separated from the group, quickly gaining popularity among Russian Symbolist writers and then the general public.

The organization and promotion of ego-futurism was undertaken by the 20-year-old poet Ivan Ignatiev, who founded the Intuitive Association. Ignatiev actively got down to business: he wrote reviews, poems, the theory of ego-futurism. In addition, in 1912 he founded the first ego-futuristic publishing house "Petersburg Herald", which published the first books by Rurik Ivnev, Vadim Shershenevich, Vasilisk Gnedov, Graal-Arelsky and Ignatiev himself. Egofuturists were also published in the newspapers Dachnitsa and Nizhegorodets. For the first time, ego-futurism was opposed to cubo-futurism (budetlyantstvo) on a regional (Petersburg and Moscow) and stylistic basis. In 1914, the first general performance of the ego-futurists and the Budtulyans took place in the Crimea; at the beginning of this year, Severyanin briefly speaks with the Cubo-Futurists, but then decisively dissociates himself from them. After the suicide of Ignatiev, the "Petersburg Herald" ceases to exist. The main ego-futuristic publishing houses are the Moscow "Mezzanine of Poetry" by Vadim Shershenevich and the Petrograd "The Enchanted Wanderer" by Viktor Hovin.

Egofuturism was a short-term and uneven phenomenon. Bo ?Most of the attention of critics and the public was transferred to Igor Severyanin, who quite early stepped aside from the collective policy of ego-futurists, and after the revolution he completely changed the style of his poetry. Most ego-futurists either quickly outlived the style and moved on to other genres, or left literature completely in a hurry. Imagism in the 1920s was largely prepared by ego-futurist poets.

According to Andrei Krusanov, a researcher of the Russian avant-garde, an attempt to continue the traditions of ego-futurism was made in the early 1920s. members of the Petrograd literary groups "Abbey Gaer" and "Ring of Poets. K.M. Fofanov". If the Gaer Abbey was just a circle that brought together the young poets Konstantin Vaginov, the brothers Vladimir and Boris Smirensky, K. Mankovsky and K. Olympov, and little is known about its activities, then the Ring of Poets created in 1921 (V. and B. Smirensky, K. Vaginov, K. Olimpov, Graal-Arelsky, D. Dorin, Alexander Izmailov) tried to organize high-profile performances, announced a broad publishing program, but was closed by order of the Petrograd Cheka on September 25, 1922.

New peasant poetry

The concept of "peasant poetry", included in the historical and literary bypass, unites poets conditionally and reflects only some common features inherent in their worldview and poetic manner. They did not form a single creative school with a single ideological and poetic program. How the genre of "peasant poetry" was formed by Surikov. They wrote about the work and life of the peasant, about the dramatic and tragic collisions of his life. Their work reflected both the joy of merging workers with the natural world, and a feeling of dislike for the life of a stuffy, noisy city alien to wildlife. The most famous peasant poets of the Silver Age period were: Spiridon Drozhzhin, Nikolai Klyuev, Pyotr Oreshin, Sergey Klychkov. Sergei Yesenin also joined this trend.

Imagism

Imagini ?zm (from lat. imago - image) - a literary trend in Russian poetry of the 20th century, whose representatives stated that the goal 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. The creative practice of the Imagists is characterized by outrageous, anarchist motives.

Imagism as a poetic movement arose in 1918, when the "Order of Imagists" was founded in Moscow. The creators of the "Order" were Anatoly Mariengof, who came from Penza, the former futurist Vadim Shershenevich, and Sergei Yesenin, who was previously a member of the group of new peasant poets. Features of a characteristic metaphorical style were contained in the earlier work of Shershenevich and Yesenin, and Mariengof organized a literary group of Imagists back in his native city. The Imagist Declaration, published on January 30, 1919 in the Voronezh magazine Sirena (and on February 10 also in the newspaper Sovetskaya Strana, whose editorial board included Yesenin), was also signed by the poet Rurik Ivnev and the artists Boris Erdman and Georgy Yakulov. On January 29, 1919, the first literary evening of the Imagists took place in the Union of Poets. Poets Ivan Gruzinov, Matvey Roizman, Alexander Kusikov, Nikolai Erdman, Lev Monoszon also joined Imagism.

In 1919-1925. Imagism was the most organized poetic movement in Moscow; they organized popular creative evenings in artistic cafes, published many author's and collective collections, the magazine "Hotel for Travelers in the Beautiful" (1922-1924, 4 issues were published), for which the publishing houses "Imagists", "Pleiada", "Chihi- Pikha” and “Sandro” (the last two were led by A. Kusikov). In 1919, the Imagists entered the literary section of the Literary Train. A. Lunacharsky, which gave them the opportunity to travel and perform throughout the country and in many ways contributed to the growth of their popularity. In September 1919, Yesenin and Mariengof developed and registered with the Moscow Council the charter of the Association of Freethinkers, the official structure of the Order of the Imagists. The charter was signed by other members of the group and approved by the People's Commissar of Education A. Lunacharsky. On February 20, 1920, Yesenin was elected chairman of the "Association".

In addition to Moscow (“Order of Imagists” and “Association of Freethinkers”), centers of Imagism existed in the provinces (for example, in Kazan, Saransk, in the Ukrainian city of Alexandria, where the Imagist group was created by the poet Leonid Chernov), as well as in Petrograd-Leningrad. The emergence of the Petrograd "Order of Militant Imagists" was announced in 1922 in the "Manifesto of Innovators", signed by Alexei Zolotnitsky, Semyon Polotsky, Grigory Shmerelson and Vlad. Royal. Then, instead of the departed Zolotnitsky and Korolevich, Ivan Afanasiev-Soloviev and Vladimir Richiotti joined the Petrograd imagists, and in 1924 Wolf Erlich.

Some of the poets-Imagists spoke with theoretical treatises (“Keys of Mary” by Yesenin, “Buyan-Island” by Mariengof, “2x2 = 5” by Shershenevich, “Major Imagism” by Gruzinov). The Imagists also gained notoriety for their outrageous antics, such as the "renaming" of Moscow streets, the "trials" of literature, the painting of the walls of the Strastnoy Monastery with anti-religious inscriptions.

Imagism actually collapsed in 1925: in 1922 Alexander Kusikov emigrated, in 1924 Sergei Yesenin and Ivan Gruzinov announced the dissolution of the Order, other Imagists were forced to move away from poetry, turning to prose, drama, cinema, largely for the sake of earning money. Imagism was criticized in the Soviet press. Yesenin was found dead in the Angleterre Hotel, Nikolai Erdman was repressed.

The activities of the "Order of Militant Imagists" ceased in 1926, and in the summer of 1927 the liquidation of the "Order of Imagists" was announced. The relationship and actions of the Imagists were then described in detail in the memoirs of Mariengof, Shershenevich, Roizman.

Russian poetry silver age

Conclusion

The names of such remarkable poets as Blok, Annensky, Georgy Ivanov, Balmont, Mayakovsky, Esenin, Mandelstam, Akhmatova, Gymilev, Boloshin, Pastern are associated with the Silver Age k, Severyanin, Bryusov, Tsvetaeva, Bely and other secondary literary scholars claim that everything is over after 1917, with the beginning of the civil war. There was no Silver Age after that. In the twenties, the inertia of the former emancipation of poetry still continued. There were some literary associations, for example, the House of Arts, the House of Writers, the "World Literature" in Petrograd, but these echoes of the silver century are gone sewed a shot that ended Gumilyov's life. The brandy age emigrated - to Berlin, to Kokstantinopol, to Prague, Sofia, Belgrade, Rome , Harbin, Paris. But in the Russian diaspora, despite the complete creative freedom and abundance of talents, the Silver Age could not be revived. Apparently, in human culture there is a law according to which renaissance is impossible outside the national soil. And the artists of Russia have lost such soil. To its credit, emigration took care of preserving the spiritual values ​​of the recently resurgent Russia. In many ways, this mission was fulfilled by the memyapny genre. In foreign literature, these are whole volumes of memoirs, signed by the big names of Russian writers.

The retribution was cruel: many poets died, many died in exile, and their ashes are now in a foreign land. But in this beautiful and dramatic epic of the Silver Age, there remains the magical beauty and nobility of the thoughts of the Russian soul, which we, modern Russians, will look back at all the time in a nostalgic impulse.

List of sources used

1.Allenov M.V. Mikhail Vrubel. - M., 1996.

.Asafiev B. Russian painting ..-M .: Art, 1966.

.Boreev Yu.B. Aesthetics: Textbook / Yu.B. Boreev - M.: Higher school, 2002.

.Danilov A.A. History of Russia, XX century: Textbook for 9th class. - M.: Enlightenment, 2001.

.Martynov V.F. Culturology. Theory of culture: textbook./V.F. Martynov - Higher School, 2008.

.Mezhuev V.M. Culture as a problem of philosophy// Culture, man and picture of the world. - M.: Enlightenment, 1987.

.Silver Age. Memoirs. (Collection) Comp. T. Dubinskaya-Jalilova. - M.: Izvestia, 1990.

.The Silver Age of Russian Poetry. Comp., intro. st., note. N.V. Bannikova; - M.: Enlightenment, 1993.

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Attention! The slide preview is for informational purposes only and may not represent the full extent of the presentation. If you are interested in this work, please download the full version.

The purpose of the lesson: give an interpretation of the concept of "Silver Age"; to review the poetry of the Silver Age, to acquaint students with the main trends and representatives of the era; to update students' knowledge about the work of poets of the Silver Age in order to further perceive the poems of this period.

Equipment: Power Point presentation, poem tests, textbook, workbooks

During the classes

And the silver moon is bright
Over the silver age froze ...
A.A. Akhmatova

Organizational moment. Target setting.

slide 2.

What is the history of the development of literature in the 20th century?

(The fate of the literature of the 20th century is tragic: the blood, chaos and lawlessness of the revolutionary years and the civil war destroyed the spiritual basis of its existence. The post-revolutionary biography of most poets and writers turned out to be difficult. Gippius, Balmont, Bunin, Tsvetaeva, Severyanin and others left their homeland. In the years “ Red Terror" and the Stalinists were shot or exiled to camps and Gumilyov, Mandelstam, Klyuev died there. Yesenin, Tsvetaeva, Mayakovsky committed suicide. Many names were forgotten for many years. And only in the 90s did their works begin to return to the reader.)

The mood of many creative people of the early 20th century was reflected in A. Blok's poem from the "Retribution" cycle:

Twentieth century... even more homeless
More scarier than life haze,
Even blacker and bigger
Shadow of Lucifer's wing.
And disgusted with life
And crazy love for her
And passion, and hatred for the Fatherland...
And black earth blood
Promises us, inflating veins,
All destroying the frontiers,
Unheard of changes
Unforeseen riots...

Late XIX - early XX centuries. became the time of the bright flowering of Russian culture, its "silver age". The rapid breakthrough of Russia in development, the clash of different ways and cultures changed the self-consciousness of the creative intelligentsia. Many were attracted by deep, eternal questions - about the essence of life and death, good and evil, human nature. In Russian literature of the beginning of the 20th century, a crisis of old ideas about art and a sense of the exhaustion of past development will be felt, a reassessment of values ​​will be formed.

The rethinking of the old means of expression and the revival of poetry will mark the onset of the "silver age" of Russian literature. Some researchers associate this term with the name of N. Berdyaev, others Nikolai Otsup.

The Silver Age of Russian poetry (the term in literature is mainly associated with poetry) is the only century in history that lasted a little more than 20 years. 1892 - 1921?

For the first time in literary work, the expression "Silver Age" was used by A. Akhmatova in "A Poem Without a Hero". (Epigraph) slide 4(1)

Renewal of literature, its modernization have led to the emergence of new trends and schools. slide 5

The poetry of the Silver Age is diverse: it includes the works of proletarian poets (Demyan Bedny, Mikhail Svetlov, etc.), and peasant (N. Klyuev, S. Yesenin), and works of poets representing modernist movements: symbolism, acmeism, futurism, which are associated with the main achievements of the poetry of the Silver Age, and poets who did not belong to any literary movement.

On the board - a table (students fill it out during the lecture)

Slide 6. Representatives symbolism: V. Bryusov, K. Balmont. D.Merezhkovsky, Z.Gippius (senior), A.Bely, A.Blok (junior).

Slide 7. Symbolism is a literary and artistic direction, which considered the goal of intuitive comprehension of world unity through symbols. Symbolists believed that the poet unraveled the mysteries of the word. A symbol is a multi-valued allegory (allegories are unambiguous). The symbol contains the prospect of a limitless expansion of meanings. Allusions and allegory became a feature of the works of the Symbolists.

We have been familiar with the poems of symbolist poets since the 5th grade. - Reading by heart and analysis of A. Blok's verse. (d / s)

Slide 8. Representatives acmeism: N. Gumilyov, A. Akhmatova, O. Mandelstam. Acmeism - slide 9. denial of the mystical, full of vague allusions to the art of the Symbolists. They emphasized the simplicity and clarity of the word. Proclaimed the high intrinsic value of the earthly, real world. They wanted to glorify the earthly world in all its diversity. Passion for colorful, exotic details in the search for vivid epithets was characteristic of acmeist poets.

Reading and analysis by A. Akhmatova. (d/z)

Slide 10. Representatives of futurism: V. Khlebnikov, I. Severyanin, B. Pasternak, V. Mayakovsky.

Slide 11. Futurism - denied the artistic and moral heritage, proclaimed the destruction of the forms and conventions of art. F. put a person in the center of the world, refused nebula, innuendo, mysticism. They put forward the idea of ​​art - to really transform the world with a word. They sought to update the poetic language, searched for new forms, rhythms, rhymes, distorted words, introduced their own neologisms into poems.

Slide 12. Imagism - S. Yesenin. The purpose of creativity is to create an image. The main means of expression is metaphor. Outrageousness is characteristic of the creativity of the Imagists. outrageous- defiant behavior; scandalous stunt. Deviant behavior.

Reading and analysis of S. Yesenin's verse

Slide 13. Poets outside the directions: I. Bunin, M. Tsvetaeva.

Slide 14. What unites all literary movements? Working with a table.

I dreamed of catching the departing shadows,
The fading shadows of the fading day,
I climbed the tower, and the steps trembled,

And the higher I went, the clearer they were drawn,
The clearer the outlines were drawn in the distance,
And some sounds were heard around
Around me resounded from Heaven and Earth.

The higher I climbed, the brighter they sparkled,
The brighter the heights of the dormant mountains sparkled,
And with a farewell radiance, as if caressed,
As if gently caressing a misty gaze.

And below me the night has already come,
The night has already come for the sleeping Earth,
For me, the daylight shone,
The fire luminary burned out in the distance.

I learned how to catch the shadows that are leaving
The fading shadows of a faded day,
And higher and higher I walked, and the steps trembled,
And the steps trembled under my feet.
(1894)

What is this poem about?

What is the size of the poem? What does it give? (trisyllabic anapaest - leisurely movement)

How are the lines similar? What technique does the poet use? (repeat) What is his role? What feelings does the reception evoke? What does it look like? (hypnosis, divination)

What did you see in the verse? What pictures appeared before you? (A tower, a spiral staircase, a vertical road, it leaves the ground, but does not leave, it is within sight. There are no people. ONE - I - INDIVIDUALITY OF KNOWLEDGE)

Can you determine the time of the action in the work? Historical time? (transitional time of the day, no more. There is no everyday life, living conditions. We cannot say when this happens. The lyrical hero is in a special conditional world, perhaps in an ideal one).

Find the words that define the internal state of the hero (no, except dream)

What actions does the lyrical hero perform (work with verbs of movement in stanzas)?

Compare line 1 of stanza 1 and line 1 of the last stanza. How are they similar and how are they different? (the process of cognition and the moment of cognition)

Ring composition - return to the beginning of the path (the path of spiritual knowledge is endless)

What do you think is the idea of ​​the verse-i? (knowing yourself, you know the world)

Slide 18, 19. The results of the lesson.

What is the Silver Age? What are the main modernist currents of the Silver Age. What are their features?

The Silver Age is not just a scientific term, it is an era that gave the world amazingly bright artistic and intellectual values, distinguished by restlessness of thought and refinement of forms.

D/W: Message about the life and work of A. Blok. Learn by heart and analyze one of the poems of your choice.

The Silver Age of Russian poetry does not quite deserve this name. After all, the discoveries and innovations that arose at that time can rightfully be called golden. It was at that time that cinema appeared in Russia, art reached highest point its dawn, the era of modernism is coming - a completely new cultural phenomenon that was not understood by many, but carried great ideas. Creators appeared in literature, painting and music, whose names we know today, and we study with interest the details of their lives. Despite the fact that this time was crossed out by the war and terrible revolutionary events, this does not prevent us from talking about those wonderful things that appeared then.

It is impossible to overestimate the achievements of the Silver Age. Never before in the history of culture has there been such a rich and tragic period at the same time. The life of many writers and artists was broken by the revolution, and most of them, unfortunately, could not withstand its atrocities, both in the moral and physical sense.

It all started in the 20th century, which, according to dating, coincided with the emergence of modernism. It was then that an atmosphere of incredible creative upsurge arose. At that time in Russia, people have the opportunity to get an education that has become available not only to the wealthy segments of the population. Many famous scientists make discoveries in the field of medicine, botany, unexplored secrets of space are discovered, world travel. But still, the era of the Silver Age most revealingly manifested itself in literature. It was a period when different trends arose, writers united in groups in order to create art and discuss the ripened fruits.

Naturally, it is almost impossible to single out a specific reference point for the Silver Age. At the beginning of the 20th century, authors who were still trying to maintain the spirit of realism (Chekhov, Tolstoy) maintained their strong positions and remained at the peak of popularity. But the galaxy of young writers who tried to overthrow the canons and create a new art approached with terrifying swiftness. The traditional culture had to be displaced, the classical authors eventually left the pedestal and gave way to a new trend. One can probably say that it all started in 1987, when one of the main theorists of symbolism, Solovyov, published the book Justification of the Good. It is in it that all the basic philosophical ideas that the writers of the Silver Age took as a basis are contained. But everything was not so simple. Young writers did not just appear in the cultural environment, it was a reaction to the changes that were brewing in the country. At that moment, ideas, moral values, human orientations were changing. And such a total change in all aspects of life literally forced the creative intelligentsia to talk about it.

The stages of the Silver Age can be divided into:

• -90s 19th century - the beginning of the first Russian revolution of 1905 - 1907. – there is a turn from the reaction of the 80s. to a social upsurge, accompanied by new phenomena in culture;
• -1905 - 1907, when the revolution became the most important factor in the cultural process;
• -1907 - 1917 - a time of acute ideological and artistic struggle and revision of traditional values;
• -1917 - the end of the 20s. XX century, when pre-revolutionary culture, in part, preserved the traditions of the “Silver Age. Russian emigration declares itself.

currents

The Silver Age stands out very sharply against the background of all other cultural phenomena with the presence of many currents. All of them were very different from each other, but in their essence they were related, since one came from the other. Symbolism, acmeism and futurism stood out most clearly. To understand what each of the directions carried in itself, it is worth delving into the history of their occurrence.

Symbolism

1980 - mid 19th century. What was the worldview of man at that time? He was confident in himself through knowledge. The theories of Darwin, the positivism of Auguste Comte, the so-called Eurocentrism, created solid ground under their feet. But at the same time, an era of great discoveries began. Because of this, the European man could no longer feel as confident as he used to be. New inventions and changes made him feel lost in abundance. And at this moment comes the era of denial. Decadence took possession of the minds of the cultural part of the population. Then Mallarme, Verlaine and Rimbaud became popular in France - the first poets who dared to find a different way to display the world. Russian poets will very soon learn about these most important figures and begin to follow their example.

From this moment the symbolism begins. What is the main idea behind this direction? Symbolist poets argued that with the help of a symbol, you can explore the world around you. Of course, throughout the history of the world, all writers and artists have used symbolism. But modernists looked at this phenomenon differently. A symbol for them is an indication of what is beyond human understanding. The symbolists believed that reason and rationalism could never help in comprehending beautiful world art. They began to focus their attention on the mystical component of their own works.

Signs:

• The main theme of their work is religion.
• The main characters of their works are now martyrs or prophets.
• Symbolism refuses a concrete representation of reality and content. It is rather a representation of the objective world with the help of symbols.
• Symbolist poets kept their distance and did not interfere in the social and political life of society.
• Their main motto was the phrase: "We attract the elect", that is, they deliberately repelled readers so as not to be a mass cultural phenomenon.

The main symbolists include such writers as:

• Bryusov,
• Balmont,
• Merezhkovsky,
• Gippius.

The aesthetics of symbolism is the aesthetics of allusion. The author does not depict the world of things, does not express his opinion, he only writes about his associations that he has with this or that subject. That is why the Symbolists valued music so much. S. Baudelaire considered symbolism as the only possible way to display reality.

Acmeism

Acmeism is the most mysterious phenomenon of the Silver Age. It originates in 1911. But some researchers and philologists sometimes claim that there was no acmeism at all and that it is a kind of continuation of symbolism. But there are still differences in these directions. Acmeism became a new, more recent trend and appeared at a time when symbolism began to outlive itself and a split was brewing in its midst. Young poets, who initially wanted to classify themselves as symbolists, were disappointed by this event and decided to create a new grouping. In 1911, Gumilyov organized the "Poets Workshop" when he felt that he had enough experience and strength to teach others. Gorodetsky joins him. Together, they want to attach to themselves as many "motley" poets as possible. As a result, this happened: Khlebnikov, Klyuev and Burliuk visited the “Workshop”, such writers as Mandelstam and Akhmatova came out from under the wing of Gumilyov. Young poets needed a professional environment, and they got it when they joined the "Tsekha" community.

Acmeism - beautiful word, which translates as "top" or "point". What are the main differences between symbolism and acmeism?

• First of all, it consists in the fact that the works of acmeist poets were simpler and did not carry such a deep sacred meaning as those of the symbolists. The theme of religion was not so intrusive, the theme of mysticism also faded into the background. More precisely, the acmeists wrote about the earthly, but they suggested not to forget that the unreal side also exists.
• If symbolism carried the idea of ​​​​an incomprehensible mystery, then acmeism is more of a riddle that you should think about, and you will definitely find the answer.

But the acmeists were in a hurry, and the movement did not last as long as its participants wanted. Already in the first years, a manifesto of acmeism was written, which, for all its richness, did not particularly correspond to reality. The work of the poets of the "Workshop" did not always carry all the ideas of the manifesto, and critics were very unhappy with this fact. And in 1914 the war began, and acmeism was soon forgotten, without having time to blossom.

Futurism

Futurism was not an integral aesthetic school and included various trends: cubo-futurism, ego-futurism, poetry mezzanine, etc. Its name comes from the English word "future", which means "future". David Davidovich Burliuk - one of the main representatives, the "father of futurism", as he liked to call himself, hated borrowing from the language and called the futurists "budetlyans".

Signs and features:

• Futurists, unlike other trends, focused on different types of culture. The poet has formed a new role, he simultaneously became a destroyer and a creator.
• Futurism, as an avant-garde phenomenon, sought to shock the public. Marcel Duchamp, who brought a urinal to the exhibition and called it his own creation, depicting his signature on it, was the first to make such a scandalous attack on the creative intelligentsia.
• Some philologists argue that acmeism and futurism are not separate movements, but only a reaction to what representatives of symbolism did in their time. Indeed, in the poems of many symbolists, for example, in Blok or Balmont, one can find lines that sound very avant-garde.
• If the Symbolists considered music to be the main art, then the Futurists, first of all, were guided by painting. No wonder many of the poets were originally artists, for example, D. Burliuk and his brother, Mayakovsky and Khlebnikov. After all, the art of futurism is the art of depiction, the words were depicted on posters or propaganda sheets so that the public could see and remember the main message of the poets.
• The Futurists proposed to finally forget traditional art. "Throw Pushkin off the ship of modernity" is their main motto. Marinetti also called for "daily spitting on the altar of art."
• Futurists paid more attention not to symbolism, but specifically to the word. They tried to modify it, sometimes not in the most understandable and aesthetic way, in order to offend the reader. They were interested in the historical basis of the word, its phonetics. This was necessary in order for the words to literally “stick out” from the text.

The origins of Futurism were greatly influenced by the activities of the Italian Futurists, in particular by the manifesto of Filippo Tomaso Marinetti, which was written in 1910.

In 1910, a group of the Burliukov brothers, Velimir Khlebnikov and the poetess Elena Guro, who, unfortunately, lived a very short life, but showed great promise as a creator, gathered. They appoint the house of David Burliuk as a place for creativity and create a collection of "Judges' Garden". They printed it on the cheapest paper (wallpaper) and came to the famous "Wednesdays" to V. Ivanov. The whole evening they sat rather quietly, but they left earlier, after stuffing the same collections into the pockets of other people's coats. It was from this unusual incident, in fact, that Russian futurism began.

In 1912, "A Slap in the Face of Public Taste" was created, which shocked readers. Half of this collection consisted of poems by V. Khlebnikov, whose work was greatly appreciated by the futurists.

Futurists called for the creation of new forms in art. The main motives of their work were:

• exaltation of one's own "I",
• fanatical worship of war and destruction,
• contempt for the bourgeoisie and weak human effeminacy.

It was important for them to attract as much attention as possible to themselves, and for this the futurists were ready for anything. They dressed in strange clothes, painted symbols on their faces, hung posters and walked around the city like that, chanting their own works. People reacted differently, someone looked admiringly, surprised at the courage of the aliens, and someone could pounce with their fists.

Imagism

Some features of this trend are very similar to futurism. The term first appeared in the English poets T. Eliot, W. Lewis, T. Hume, E. Pound and R. Aldington. They decided that poetry needed more imagery (“image” in English means “image”). They sought to create a new poetic language in which there is no place for clichéd phrases. Russian poets first learned about Imagism from Zinaida Vengerova, at that time one of the most famous literary critics. In 1915, her article "The English Futurists" was published, and then the young poets thought that they could borrow the name from the British, but at the same time create their own trend. Then the former futurist Vladimir Shershnevich in 1916 wrote the "Green Book", in which he first uses the term "Imagism" and states that the image should stand above the content of the work.

Then, in 1919, the "Declaration" of the Imagist Order was published in the Sirena magazine. It indicated the basic rules and philosophical concepts of this movement.

Imagism, like the Surrealist movement in France, was the most organized movement in existence. Its members often literary evenings and meetings, published a large number of collections. They published their own magazine, which was called "Hotel for travelers in the beautiful." But, despite such cohesion, the Imagist poets had absolutely different views for creativity. For example, the poetry of Anatoly Mariengof or Vladimir Shernevich was characterized by decadent moods, personal feelings, and pessimism. And at the same time, Sergei Yesenin was in their circle, for whom the theme of the homeland becomes a key one in his work. In part, it was the image of a simpleton peasant boy, which he himself invented in order to become more popular. After the revolution, Yesenin will completely abandon him, but the very fact of how heterogeneous the poets of this trend were, and how they approached the creation of their works, is important here.

It was this difference that eventually led to the split of Imagism into two different groups, and later the movement broke up altogether. In their circle at that time, various kinds of polemics and disputes began to arise more often. The poets contradicted each other, expressing their thoughts, and could not find a compromise that would smooth out the conflict.

egofuturism

A kind of futuristic current. Its name carries the main idea ("Egofuturism" is translated as "I am the future"). Its history began in 1911, but this trend did not last long. Igor Severyanin became the poet who decided to independently come up with his own trend and embody his idea with the help of creativity. In St. Petersburg, he opens the "Ego" circle, from which ego-futurism began. In his collection Prologue. Egofuturism. Poetry grandos. Apotheotic notebook of the third volume” the name of the movement was heard for the first time.

Severyanin himself did not draw up any manifestos and did not write a creative program for his own movement, he wrote about him like this:

Unlike the Marinetti school, I added to this word [futurism] the prefix "ego" and in brackets "universal" ... The slogans of my ego-futurism were: 1. The soul is the only truth. 2. Self-affirmation of personality. 3. Searching for the new without rejecting the old. 4. Meaningful neologisms. 5. Bold images, epithets, assonances and dissonances. 6. The fight against "stereotypes" and "screensavers". 7. Variety of meters.

In 1912, in the same St. Petersburg, the "Academy of Egopoetry" was created, to which the young and completely inexperienced G. Ivanov, Grail-Arelsky (S. Petrov) and K. Olympov joined. The leader was still Severyanin. Actually, of all the poets named above, he became the only one whose work is still not forgotten and is actively studied by philologists.

When the very young Ivan Ignatiev joined the current of egofuturism, the “Intuitive Association of Egofuturists” was created, which included P. Shirokov, V. Gnedov and D. Kryuchkov. This is how they characterized the movement of egofuturism in their manifesto: "The incessant striving of every Egoist to achieve the possibilities of the Future in the Present through the development of egoism."

Many works of ego-futurists served not for reading, but for exclusively visual perception of the text, about which the authors themselves warned in notes to poems.

Representatives

Anna Andreevna Akhmatova (1889-1966)

A poetess, translator and literary critic, her early work is usually attributed to the current of acmeism. She was one of Gumilyov's students, whom she later married. In 1966 she was nominated for Nobel Prize. The main tragedy of her life, of course, was the revolution. Repression took from her the most dear people: the first husband of Nikolai Gumilyov, who was shot in 1921, after their divorce, the son of Lev Gumilyov, who spent more than 10 years in prison, and, finally, the third husband of Nikolai Punin, who was arrested three times and died in the camp in 1953. Akhmatova put all the pain of these terrible losses into the poem "Requiem", which became the most significant work in her work.

The main motives of her poems are connected with love, which manifests itself in everything. Love for the motherland, for the family. Surprisingly, despite the temptation to join the emigration, Akhmatova decides to stay in the outraged country. To save her. And many contemporaries recall that the light in the windows of her house in Petrograd inspired hope for the best in their souls.

Nikolai Stepanovich Gumilyov (1886-1921)

Founder of the school of acmeism, prose writer, translator and literary critic. Gumilyov has always been distinguished by his fearlessness. He was not ashamed to show that he was not good at something, and this always led him to victory, even in the most hopeless situations. Very often, his figure looked rather comical, but this had a positive effect on his work. The reader could always put himself in his place and feel a certain similarity. Poetic art for Gumilyov is, first of all, a craft. He sang in his work of artists and poets who worked hard to develop their skills, because they did not believe in the triumph of a born genius. His poems are often autobiographical.

But there is a period of absolutely new poetics, when Gumilyov finds his own special style. The poem "The Lost Tram" is an emblem reminiscent of the work of C. Baudelaire. Everything earthly in the space of the poem becomes metaphysical. During this period, Gumilyov defeats himself. During the revolution, while in London, he nevertheless decides to return to Russia and, unfortunately, this decision becomes fatal for his life.

Marina Ivanovna Tsvetaeva (1892-1941)

Tsvetaeva really did not like the use of feminitives in her address, therefore, let's say about her this way: a poet of the Silver Age, a prose writer, a translator. She was the author who cannot be attributed to a specific course of the Silver Age. She was born in prosperous family and childhood was the happiest period in her life. But parting with a carefree youth becomes a real tragedy. And we can notice the echoes of these experiences in all the mature poems of Tsvetaeva. Her 1910 collection, The Red-Bound Book, just describes all those beautiful, inspiring impressions of a little girl. She writes with love about children's books, music, going to the skating rink.

In life, Tsvetaeva could be called a maximalist. She always went all the way to the end. In love, she gave all of herself to the person for whom she had feelings. And then I hated it just as much. When Marina Ivanovna realized that childhood time was gone forever, she was disappointed. With the help of the main sign of her poems - a dash, she seemed to oppose two worlds. In her late poetry there is an extreme despair, God no longer exists for her, and the words about the world have too cruel a connotation.

Sergei Mitrofanovich Gorodetsky (1884-1967)

Russian poet, prose writer, playwright, critic, publicist, artist. He began to engage in creativity after rapprochement with A.A. Block. In his first experiments, he was guided by him and Andrei Bely. But, on the other hand, the young poet became close to the ordinary peasant people during his trip to the Pskov province. There he hears many songs, jokes, epics and absorbs folklore, which would later be fully reflected in his work. He is enthusiastically received in the "tower" of Vyacheslav Ivanov, and Gorodetsky for some time becomes the main guest on the famous "Wednesdays".

But later the poet began to pay too much attention to religion, and this caused a negative reaction from the symbolists. In 1911, Gorodetsky broke off relations with them and, having enlisted the support of Gumilyov, became one of the organizers of the "Workshop of Poets". In his poems, Gorodetsky called for the development of the ability to contemplate, but he tried to show this idea without excessive philosophy. Throughout his life, he did not stop working and improving his poetic language.

Vladimir Vladimirovich Mayakovsky (1893-1930)

One of the most significant poets of the 20th century, who distinguished himself in the field of cinema, drama, screenwriting. He was also an artist and magazine editor. He was a representative of futurism. Mayakovsky was a rather complex figure. His works were forcibly forced to read, and therefore the intelligentsia developed a strong dislike for everything that the poet did.

He was born in countryside, in Georgia, and this fact radically influenced his further fate. He put more effort into getting noticed, and this was reflected in his work and in the way he knew how to present it. After imprisonment, Mayakovsky retires from political life and devotes himself entirely to art. Enters the Art Academy, where he meets D. Burliuk, and this fateful meeting forever determined the nature of his occupation. Mayakovsky was a poet-orator who tried to convey new truths to the public. Not everyone understood his work, but he did not stop confessing his love to the reader and turning his ideas to him.

Osip Emilievich Mandelstam (1908-1916)

Russian poet, prose writer and translator, essayist, critic, literary critic. He belonged to the current of acmeism. Mandelstam becomes a mature writer quite early. But still, researchers are more interested in the later period of his work. It is surprising that he was not perceived as a poet for a long time, his works seemed to many empty imitations. But, having joined the "Workshop of Poets", he finally finds like-minded people.

Often Mandelstam relies on references to other works of classical poetry. Moreover, he does it quite subtly so that only a well-read and intelligent person can understand the true meaning. His poems seem a little dull to readers, since he did not like excessive exaltation. Reflections on God and the eternal is a frequent motif of his works, which is closely intertwined with the motif of loneliness. The author said about the process of creativity: "The poetic word is a bundle, and the meaning sticks out of it in different directions." It is these meanings that we can consider in each line of his poems.

Sergei Alexandrovich Yesenin (1895-1925)

Russian poet, representative of the new peasant poetry and lyrics, and in a later period of creativity - Imagism. A poet who knew how to frame his work and surround his own figure with a veil of secrecy. That is why literary critics are still arguing about his personality. But one fact that all the poet's contemporaries spoke about is absolutely clear - he was an extraordinary person and creator. His early work is striking in its poetic maturity. But behind this lies a certain deception, when Yesenin collected the last collection of his poems, he realized that it was necessary to include in it the works that he wrote, being an experienced poet. It turns out that he himself substituted the necessary verses in his biography.

The appearance of Yesenin in the poetic circle became a real holiday, as if they were waiting for him. Therefore, he created for himself the image of a simple guy who can talk about life in the village. He was specifically interested in folklore in order to write folk poems. But by 1917 he was tired of this image and scandalously refuses it. Having entered the circle of imagists, he begins to play the role of a Moscow hooligan, and the motives of his work change dramatically.

Velimir Khlebnikov (1885-1922)

Russian poet and prose writer, one of the largest figures in the Russian avant-garde. He was one of the founders of Russian futurism; reformer of poetic language, experimenter in the field of word creation and zaumi, "chairman the globe". Most interesting poet of his era. He was the main figure of Cubo-Futurism.

Despite external image calm and quiet person, was very ambitious. He tried to change the world with his poetry. Khlebnikov really wanted people to stop seeing boundaries. “Out of space and out of time” is the main motto of his life. He was trying to create a language that could bring us all together. Each of his works was an attempt to create such a language. Also, in his work, one can trace some kind of mathematics, apparently, this was influenced by the fact that he studied at the Faculty of Mathematics at Kazan University. Despite the external complexity of his poems, each one can be read between the lines and understand what exactly the poet wanted to say. Difficulties in his works are always present intentionally, so that the reader each time solves a kind of riddle while reading it.

Anatoly Borisovich Mariengof (1897-1962)

Russian poet-imaginist, art theorist, prose writer and playwright, memoirist. He wrote poetry from childhood, as he was a well-read child and was fond of Russian classics. After the appearance of the symbolists on the literary arena, he falls in love with the work of A.A. Blok. In his early works, Mariengof tried to imitate him.

But his real and full-fledged literary career began from the moment he met Yesenin. They were very friendly, their biographies literally intertwined with each other, they rented an apartment together, created together, and shared all their sorrows. After meeting Shershnevich and Ivnev, they decide to create a group of Imagists in 1919. It was a period of unprecedented creative activity in the life of Mariengof. The publication of the novels "Cynics" and "The Shaved Man" was accompanied by loud scandals which gave the writer a lot of inconvenience. His personality was persecuted in the USSR, works for a long time were banned and read only abroad. The novel "Cynics" aroused great interest among Brodsky, who wrote that this book is the best work of Russian literature.

Igor Severyanin (1887-1941)

Real name - Igor Vasilyevich Lotarev. Russian poet, representative of egofuturism. Charming and bright, even V.V. himself envied his popularity. Mayakovsky.

He was made famous by Lev Nikolayevich Tolstoy, or, more precisely, his review of the poem, which begins with the words "Put the corkscrew into the elasticity of the cork ...". That morning at Yasnaya Polyana, everyday readings aloud were held, and when Severyanin's poem was read, those present noticeably perked up and began to praise the young poet. Tolstoy was amazed at this reaction and said the words that were later replicated in all the newspapers: "Around the gallows, murders, funerals, and they have a corkscrew in a traffic jam." After that, the personality and work of Severyanin were on everyone's lips. But it was hard for him to find allies in the literary environment, he rushed between different groups and movements, and as a result decided to create his own - egofuturism. Then he proclaims the greatness of his own "I" in his work and speaks of himself as a poet who changed the course of Russian literary history.

Sofia Yakovlevna Parnok (1885-1933)

Russian translator and poet. Many called her Russian Sappho, because she was the first to speak freely about same-sex love in the Soviet space. In every line of her poems, one feels a great and reverent love for women. She was not shy about talking about her inclinations, which manifested themselves quite early. In 1914, at the evening at Adelaide Gertsyk, the poetess met Marina Tsvetaeva, and at that moment both women realized that they were in love with each other. Since then, all further work of Parnok was filled with love for Tsvetaeva. Each meeting or joint trip gave both a surge of inspiration, they wrote poems to each other in which they talked about their feelings.

Unfortunately, they were visited by thoughts that sooner or later they would have to leave. Their relationship ended with the last bitter messages in verse after one major quarrel. Despite relationships with other women, Sofia Parnok believed that it was Tsvetaeva who left a deep mark on her life and work.

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The literature of the Silver Age in Russia, created at the turn of the 19th and 20th centuries, is an important part of the artistic heritage of our country. This time was characterized by the presence of many different directions and currents, ideological inconsistency, inherent not only in various authors, but also taking place even in the work of individual writers, composers, and artists. During this period, there was an update, a rethinking of many types and genres of creativity. As noted by M.V. Nesterov, there was a "general reassessment of values."

Even among progressive thinkers and cultural figures, there was an ambivalent attitude towards the creative heritage left by the revolutionary democrats.

Decadence

In general, and the literature of the Silver Age in Russia, in particular, at the turn of the 19th and 20th centuries, were marked by the widespread decadence (“decadence”), which proclaimed faith in reason, the loss of civic ideals, and withdrawal into personal, individual experiences. Thus, some part of the intelligentsia sought to "get away" from the difficulties of life into the world of irreality, dreams, and sometimes mysticism. This process took place, because at that time there was a crisis in public life, and artistic creativity only reflected it.

Decadence captured even the representatives of the realistic. However, most often such ideas were still characteristic of the representatives of the modernist trends.

Modernism and realism in art

The term "modernism" is used in relation to many types of art of the 20th century. It appeared at the beginning of the century, and its predecessor was realism. However, by that time the latter had not yet gone into the past, thanks to the influence of modernism, new features arose in it: the “framework” of the vision of life moved apart, and the search for means of self-expression of the individual in artistic creativity began.

The most important feature of the art of the early 20th century is the synthesis, the unification of various forms.

Turn of the century literature

Back in the 90s of the 19th century, directions were outlined in Russian literature that opposed the realism prevailing at that time. Chief among them was modernism. Many writers of the Silver Age (we will consider the list, directions and their main representatives below) one way or another left realism. They continued to create, creating new trends and directions.

Modernism

Literature of the Silver Age in Russia opens with modernism. It united various poets and writers, sometimes very different in their ideological and artistic appearance. At that time, active modernist searches began, which were largely inspired by F. Nietzsche, as well as some Russian writers, for example, A.A. Kamensky, M.P. Artsybashev and others. They proclaimed the freedom of literary creativity, called themselves its priests, preached the cult of the "superman" who renounced social and moral ideals.

Symbolism

As a direction, symbolism in Russia took shape at the turn of the 19th and 20th centuries. Allocate "senior" symbolists, which include V. Bryusov, F. Sologub, K. Balmont, Z. Gippius and others who were the first to create in this direction. The younger representatives include the Silver Age writers A. Bely, V. Ivanov, S. Solovyov, A. Blok and others. The theoretical, aesthetic and philosophical foundations of this trend were very diverse. For example, according to V. Bryusov, symbolism was a purely artistic direction, and Merezhkovsky took Christianity as a basis; Vyacheslav Ivanov relied on the aesthetics and philosophy of antiquity as interpreted by Nietzsche, and A. Bely was fond of the works of Schopenhauer, Nietzsche, Kant, V. Solovyov. The basis of the ideology of the "younger" symbolists is the philosophy of V. Solovyov with the idea of ​​the advent of Eternal Femininity and the Third Testament.

The Symbolists left as a legacy both poetry and prose, drama. But the most characteristic was poetry, in various genres of which many writers of the Silver Age worked in this direction.

V.Ya. Bryusov

Creativity V.Ya. Bryusov (1873-1924) is marked by many ideological searches. The revolutionary events of 1905 aroused his admiration and marked the beginning of the poet's departure from symbolism. However, Bryusov did not immediately choose a new direction, as he formed his own attitude towards the revolution, which was very contradictory. The poet joyfully welcomed the forces that, in his opinion, were to cleanse Russia of its former principles and beliefs and put an end to the old world. However, in his work, he also noted that this elemental force carries destruction in itself. "To break - I will be with you! To build - no!" - wrote V.Ya. Bryusov.

His work is characterized by a desire for a scientific understanding of life, a revival of interest in history, which was shared by other writers of the Silver Age (the list of representatives of symbolism was indicated above).

Realism

The ideological contradictions characteristic of the era as a whole also influenced some realist writers. For example, in the work of L.N. Andreev reflected a departure from realistic principles.

But in general, realism has not disappeared. The literature of the Silver Age, whose poets emerged from realism, retained this trend. The fate of an ordinary person, various social problems, life in many of its manifestations were still reflected in culture. One of the greatest representatives of realism at that time was the writer A. Bunin (1870-1953). In difficult pre-revolutionary times, he created the story "The Village" (in 1910) and "Dry Valley" (in 1911).

Acmeism

In 1910, there was a controversy around symbolism, and its crisis was outlined. This direction is gradually being replaced by acmeism ("acme" in Greek - the highest degree, blooming time). The founders of the new trend are considered to be N.S. Gumilyov and This group also included writers of the Silver Age O.E. Mandelstam, M.A. Kuzmin, V. Khodasevich, A.A. Akhmatova, M.A. Zenkevich and others.

In contrast to some obscurity, vagueness of symbolism, the acmeists proclaimed earthly existence, "a clear view of life" as their support. In addition, the acmeist literature of the Silver Age (whose poets and writers have just been listed) introduced an aesthetic-hedonistic function into art, trying to get away from public problems into poetry. In acmeism, decadent motifs are clearly audible, and philosophical idealism has become the theoretical support of this trend. Some Russian writers of the Silver Age went further in their work, which acquired new ideological and artistic qualities (for example, A.A. Akhmatova, M.A. Zenkevich, S.M. Gorodetsky).

In 1912, the collection "Hyperborea" was born, in which the new first declared itself. Acmeists considered themselves the successors of symbolism, about which Gumilyov said that he had "completed his circle of development", and proclaimed the rejection of rebellion, the struggle to change the conditions of life, which the literature of the Silver Age often expressed.

Writers - representatives of acmeism tried to revive the concreteness, objectivity of the image, to cleanse it of mysticism. However, their images are very different from realistic ones, as S. Gorodetsky put it, they seem to be "... born for the first time" and appear as something hitherto unseen.

A.A. Akhmatova

A.A. Akhmatova. The first collection of her poems "Evening" appeared in 1912. It is characterized by restrained intonations, psychologism, intimacy of themes, emotionality and deep lyricism. A.A. Akhmatova clearly started from the idea of ​​"original Adam" proclaimed by the Acmeists. Her work is characterized by love for a person, faith in his abilities and spiritual strength. The main part of the works of this poetess falls on the Soviet years.

Akhmatova's first two collections, the aforementioned "Evening" and "Rosary" (1914), brought her great fame. They reflect an intimate, narrow world, in which notes of sadness and sadness are guessed. The theme of love here, the most important and the only one, is closely related to the suffering caused by biographical facts from the life of a poetess.

N.S. Gumilyov

The artistic heritage of N.S. Gumilyov. In the work of this poet, the main themes were historical and exotic, and he also sang "a strong personality." Gumilyov developed the form of verse, made it more precise and precise.

The work of the acmeists was not always opposed to the symbolists, because in their works one can find "other worlds", longing for them. Gumilyov, who at first welcomed the revolution, a year later was already writing poems about the death of the world, the end of civilization. He suddenly understands the devastating consequences of the war, which can be fatal for humanity. In his poem "Worker" he seems to foresee his death from the proletarian's shot, a bullet "that will separate me from the earth." Nikolai Stepanovich was shot allegedly for participating in a counter-revolutionary conspiracy.

Some poets and writers of the Silver Age - representatives of acmeism subsequently emigrated. Others have never been able to do it. For example, Anna Andreevna Akhmatova, wife of N.S. Gumilyov, did not accept the Great October Revolution, but refused to leave her native country. These events left a big mark in her soul, and the poetess was not immediately able to return to creativity. However, the beginning of the Great Patriotic War again awakened in her a patriot, a poet, confident in the victory of his country (works "Courage", "Oath" and others).

Futurism

At the same time as acmeism (that is, in 1910-1912), futurism arises. He, like other directions, was heterogeneous, highlighting several currents. The largest of them, cubo-futurism, united the poets V.V. Mayakovsky, V.V. Khlebnikova, D.D. Burliuk, V.V. Kamensky, and others. Another variety of futurism was egofuturism, represented by the work of I. Severyanin. The Centrifuge group included poets who were beginning at that time and B.L. Pasternak, as well as other writers and writers of the Silver Age.

Futurism revolutionized form, which now became independent of content, proclaimed freedom of speech, completely abandoning literary continuity and traditions. The Futurists' Manifesto "Slapping the Face of Public Taste", published in 1912, called for the overthrow of such great authorities as Tolstoy, Pushkin and Dostoyevsky.

Writers of the Silver Age of Russian Literature V.V. Kamensky and V. Khlebnikov managed to conduct successful experiments with the word, which influenced further development Russian poetry.

V.V. Mayakovsky

Among the futurists, the great poet V.V. Mayakovsky (1893-1930). In 1912, his first poems were published. Mayakovsky was not only against "all kinds of junk", but also proclaimed the need to create a new one in public life. Vladimir Vladimirovich foresaw the October Revolution, denounced the kingdom of the "fat", which was reflected in his poems "War and Peace", "A Cloud in Pants", "Man", "Flute-Spine", in which the entire capitalist system was denied and faith in person.

Other poets and writers of the Silver Age

In the years preceding the revolution, there were other bright poets and writers of the Silver Age of Russian literature, who are difficult to attribute to one direction or another, for example, M.A. Voloshin and M.I. Tsvetaeva. The creativity of the latter is characterized by demonstrative independence, as well as rejection of generally accepted behavioral norms and ideas.

Russian culture of that time was the result of a long and difficult path. High humanism, nationalism and democracy, despite the high pressure of government reaction, remained its integral features. More detailed information can be found in any textbook ("Literature", grade 11), the Silver Age is necessarily included in the school curriculum.