What are the main features of 20th century literature? Literature of the late 19th - early 20th centuries general characteristics

Russian literature of the 20th century: general characteristics

Description of the literary process of the 20th century, presentation of the main literary movements and trends. Realism. Modernism (symbolism, acmeism, futurism). Literary avant-garde.

Late XIX - early XX centuries. became a time of bright flourishing of Russian culture, its “silver age” (the “golden age” was called Pushkin's time). In science, literature, and art, new talents appeared one after another, bold innovations were born, and different directions, groups, and styles competed. At the same time, the culture of the “Silver Age” was characterized by deep contradictions that were characteristic of all Russian life of that time.

Russia's rapid breakthrough in development and the clash of different ways of life and cultures changed the self-awareness of the creative intelligentsia. Many were no longer satisfied with the description and study of visible reality, analysis social problems. I was attracted by deep, eternal questions - about the essence of life and death, good and evil, human nature. Interest in religion revived; The religious theme had a strong influence on the development of Russian culture at the beginning of the 20th century.

However, the turning point not only enriched literature and art: it constantly reminded writers, artists and poets of impending social explosions, of the fact that the entire familiar way of life, the entire old culture, could perish. Some awaited these changes with joy, others with melancholy and horror, which brought pessimism and anguish into their work.

At the turn of the 19th and 20th centuries. literature developed under different historical conditions than before. If you look for a word that characterizes the most important features period under review, then the word “crisis” will be used. Great scientific discoveries shook the classical ideas about the structure of the world and led to the paradoxical conclusion: “matter has disappeared.” A new vision of the world, thus, will determine the new face of realism of the 20th century, which will differ significantly from the classical realism of its predecessors. The crisis of faith also had devastating consequences for the human spirit (“God is dead!” exclaimed Nietzsche). This led to the fact that the person of the 20th century began to increasingly experience the influence of irreligious ideas. The cult of sensual pleasures, the apology for evil and death, the glorification of the self-will of the individual, the recognition of the right to violence, which turned into terror - all these features indicate a deep crisis of consciousness.

In Russian literature of the early 20th century, a crisis of old ideas about art and a feeling of exhaustion of past development will be felt, and a revaluation of values ​​will take shape.

The renewal of literature and its modernization will cause the emergence of new trends and schools. The rethinking of old means of expression and the revival of poetry will mark the advent of the “Silver Age” of Russian literature. This term is associated with the name of N. Berdyaev, who used it in one of his speeches in the salon of D. Merezhkovsky. Later, the art critic and editor of Apollo S. Makovsky consolidated this phrase, calling his book about Russian culture at the turn of the century “On Parnassus of the Silver Age.” Several decades will pass and A. Akhmatova will write “... silver month bright / Cold over the silver age."

The chronological framework of the period defined by this metaphor can be designated as follows: 1892 - exit from the era of timelessness, the beginning of social upsurge in the country, manifesto and collection "Symbols" by D. Merezhkovsky, the first stories of M. Gorky, etc.) - 1917. According to another point of view, the chronological end of this period can be considered 1921-1922 (the collapse of former illusions, the mass emigration of Russian cultural figures from Russia that began after the death of A. Blok and N. Gumilyov, the expulsion of a group of writers, philosophers and historians from the country).

Russian literature of the 20th century was represented by three main literary movements: realism, modernism, and the literary avant-garde. Schematic development literary trends beginning of the century can be shown as follows:

Representatives of literary movements

Senior Symbolists: V.Ya. Bryusov, K.D. Balmont, D.S. Merezhkovsky, Z.N. Gippius, F.K. Sologub et al.

• God-seeking mystics: D.S. Merezhkovsky, Z.N. Gippius, N. Minsky.

  Decadent individualists: V.Ya. Bryusov, K.D. Balmont, F.K. Sologub.

Junior Symbolists: A.A. Blok, Andrey Bely (B.N. Bugaev), V.I. Ivanov and others.

Acmeism: N.S. Gumilev, A.A. Akhmatova, S.M. Gorodetsky, O.E. Mandelstam, M.A. Zenkevich, V.I. Narbut.

Cubo-futurists(poets of "Gilea"): D.D. Burlyuk, V.V. Khlebnikov, V.V. Kamensky, V.V. Mayakovsky, A.E. Twisted.

Egofuturists: I. Severyanin, I. Ignatiev, K. Olimpov, V. Gnedov.

Group“Mezzanine of Poetry”: V. Shershenevich, Chrysanf, R. Ivnev and others.

Association "Centrifuge": B.L. Pasternak, N.N. Aseev, S.P. Bobrov and others.

One of the most interesting phenomena in the art of the first decades of the 20th century was the revival of romantic forms, largely forgotten since the beginning of the last century. One of these forms was proposed by V.G. Korolenko, whose work continues to develop at the end of the 19th and the first decades of the new century. Another expression of the romantic was the work of A. Green, whose works are unusual for their exoticism, flights of fancy, and ineradicable dreaminess. The third form of the romantic was the work of revolutionary worker poets (N. Nechaev, E. Tarasov, I. Privalov, A. Belozerov, F. Shkulev). Turning to marches, fables, calls, songs, these authors poeticize heroic feat, use romantic images of glow, fire, crimson dawn, thunderstorm, sunset, limitlessly expand the range of revolutionary vocabulary, and resort to cosmic scales.

A special role in the development of literature of the 20th century was played by such writers as Maxim Gorky and L.N. Andreev. The twenties are a difficult, but dynamic and creatively fruitful period in the development of literature. Although many figures of Russian culture were expelled from the country in 1922, and others went into voluntary emigration, artistic life in Russia does not freeze. On the contrary, many talented young writers are emerging, recent participants Civil War: L. Leonov, M. Sholokhov, A. Fadeev, Y. Libedinsky, A. Vesely and others.

The thirties began with the “year of the great turning point,” when the foundations of the previous Russian way of life were sharply deformed, and the party began to actively intervene in the sphere of culture. P. Florensky, A. Losev, A. Voronsky and D. Kharms were arrested, repressions against the intelligentsia intensified, which claimed the lives of tens of thousands of cultural figures, two thousand writers died, in particular N. Klyuev, O. Mandelstam, I. Kataev, I. Babel, B. Pilnyak, P. Vasiliev, A. Voronsky, B. Kornilov. Under these conditions, the development of literature was extremely difficult, tense and ambiguous.

The work of such writers and poets as V.V. deserves special consideration. Mayakovsky, S.A. Yesenin, A.A. Akhmatova, A.N. Tolstoy, E.I. Zamyatin, M.M. Zoshchenko, M.A. Sholokhov, M.A. Bulgakov, A.P. Platonov, O.E. Mandelstam, M.I. Tsvetaeva.

The Holy War, which began in June 1941, put forward new tasks for literature, to which the country's writers immediately responded. Most of them ended up on the battlefields. More than a thousand poets and prose writers joined the ranks of the active army, becoming famous war correspondents (M. Sholokhov, A. Fadeev, N. Tikhonov, I. Erenburg, Vs. Vishnevsky, E. Petrov, A. Surkov, A. Platonov). Works of various kinds and genres joined the fight against fascism. First among them was poetry. Here it is necessary to highlight the patriotic lyrics of A. Akhmatova, K. Simonov, N. Tikhonov, A. Tvardovsky, V. Sayanov. Prose writers cultivated their most operative genres: journalistic essays, reports, pamphlets, stories.

The next major stage in the development of literature of the century was the period of the second half of the 20th century. Within this large period of time, researchers identify several relatively independent periods: late Stalinism (1946-1953); "thaw" (1953-1965); stagnation (1965-1985), perestroika (1985-1991); modern reforms (1991-1998) Literature developed in these very different periods with great difficulties, experiencing alternately unnecessary guardianship, destructive leadership, commanding shouts, relaxation, restraint, persecution, emancipation.

Bryusov - the founder of Russian symbolism One of the founders of Russian symbolism and a characteristic representative of the poetry of the “silver” age was V. Ya. Bryusov (1873-1924). Difficult to communicate, with his own attitude towards many phenomena in art, V. Bryusov is one of the founders of modernist poetry in Russia. In 1894-95, Valery Yakovlevich published three collections “Russian Symbolists”, the main author of which was the poet himself, who presented examples of “new poetry”. This was the first collective declaration of modernism in Russia. According to Bryusov, symbolism should become “poetry of shades,” expressing “subtle, subtle moods.” By the end of the 90s of the 19th century, V. Bryusov became one of the most prominent poets of symbolist orientation. In 1900, the poetry collection “The Third Watch” was published, which comprehends modernity through delving into history and mythology. The collection of poetry “To the City and the World” (1903) reflects the impressions and reflections caused by a trip to Italy and France, where V. Bryusov became acquainted with the culture of the Renaissance. The collection was built on the principle of a single compositional whole (which became important for the practice of symbolist poets in general), and was distinguished by genre and thematic diversity. A. Blok spoke enthusiastically about the book, noting that it “has a continuity from Pushkin - and in a straight line.” In the lyrics of V. Ya. Bryusov, two leading themes stand out: historical and mythological and the theme of the city. The symbolist poet perceives the modern world as “shamefully petty, wrong, ugly.” By combining the past, present and future, Bryusov tries to find connecting thread stories. The textbook poem on this topic is “Assargadon,” in which a strong, extraordinary personality, the Assyrian conqueror king of the 7th century BC, was chosen as the lyrical hero. Assargadon, or rather Esarhaddon. There are inscriptions on a wall in Syria about his crushing victories. The pathos of the poem is the statement of an extraordinary personality, prone to proud solitude, since “he has exhausted you to the bottom, earthly glory! The lyrical hero, King Assargadon, is a commander who, with the help of his mind, strength, and energy, can influence the course of history, the movement of time: As soon as I took power, Sidon rose up against us. I overthrew Sidon and threw stones into the sea. To Egypt, my speech sounded like a law, Elam read fate in my single gaze... The hero is “intoxicated with the greatness” of his victories, knows no defeats, military failures, but is alone: ​​And here I stand alone, intoxicated with greatness... Characterizing the king as an overly proud, forgetful man about ordinary people who dream of exploits as child's play, the poet reveals tragic essence strong personality. The poem is written in the form of a sonnet. In the first two stanzas, the author asserts the power of Assargadon, describing his crushing victories over entire peoples, countries, and cities. The last two stanzas of the sonnet are a disappointing result of the destructive campaigns of the tsar-commander. The pathos of most of the poetic works of V.Ya. Bryusov on historical themes (“Assargadon”, “Antony”, “Alexander the Great”, etc.) - the affirmation of a strong personality, whose actions often do not lead to creation and progress, but destroy the very foundation of human society. V. Ya. Bryusov represented the movement of history as a change of cultural eras, occurring under the influence of the internal decay of the old world and under the onslaught of uncivilized tribes, barbarians, designed to destroy the past. V. Ya. Bryusov is concerned about the high pace of development of civilization, general mechanization, the flourishing of cities and, in connection with this, the loss of moral values ​​and moral guidelines by man. A modern city with a rapidly developing industry, with the replacement of manual labor by machine production, arouses the poet’s fears: The street was like a storm. The crowds passed, As if they were pursued by an inevitable Doom. Omnibuses, cabs and cars rushed by, and the furious stream of people was inexhaustible. The “steel”, “brick”, “glass” city, with “iron veins”, rules over people, being the focus of vice: anger, poverty, debauchery. In the poetic world of Valery Bryusov, the city, combining all the horrors of civilization, becomes its own executioner and causes irreparable harm to itself: An insidious snake with a magical look! In a fit of blind rage, you raise the knife with your deadly poison above yourself. (“To the City”) Attracting a person with its ephemeral grandeur and scale (You are a tireless charmer, / You are a never-weakening magnet...), the city is also the center of existing science and industry: The moons burn with electricity On long curved stems; Telegraph strings are ringing in invisible and tender hands... (“Twilight”) The poet’s ambivalent attitude towards the city forces V. Bryusov to look for ways out of this situation. And here the artist comes to the rescue strong personality, which will intervene in the process of mechanization of life, challenge the depravity of modern civilization, overcome everything, and life will again be filled with the energy of struggle, strive for renewal, become capable of changing the world, and will cause progress in world science, art, and industry. And as a result, there will be a flourishing of civilization that will reach unprecedented heights: But as soon as I heard the cherished call of the trumpet, As soon as the fiery banners spread out, I shout to you in response, I am the songwriter of the struggle, I echo the thunder from the sky. The Dagger of Poetry! Bloody lightning light, As before, ran across this faithful steel, And again I am with people - because I am a poet. Then the lightning flashed. (“Dagger”) In Bryusov’s poetry, the urban theme echoes the search for a bright, strong personality, capable not only of rebirth and personal rebirth, but also of changing modern civilization, of overcoming the imaginary, empty relationship between the world and art. IN last years During his life, Bryusov is engaged in translations, writes articles on the theory of versification, the study of Pushkin’s works, and Russian literature. In his work, V. Ya. Bryusov combined the strict precepts of classical literature with the search for new ones poetic means. The poet said the following about his own place in literature: “I want there to be two lines about me in the history of universal literature. And they will." "Everyone is his own destiny!" (The theme of a person’s moral choice in the works of M. Gorky.)

In the understanding of M. Gorky, only ardent love for people, for one’s work, for one’s native land can give a person firmness in life’s trials. Danko, who sacrifices himself for the sake of others, is stronger than Larra. In this regard, the most important question arises: how does a truly strong person relate to others? This is one of the main questions that all world literature is not able to answer. Gorky's position here is clear. The apparent strength of Larra, who supposedly does not need people, does not stand the test of loneliness. In his later works, Gorky complicates the question: is loneliness among people a consequence of strength or weakness? And he gives the answer: the strong cannot be alone, he is always among people - albeit alien to him in spirit, but suffering. And Satin understands this after meeting Luka. But the views of these heroes still differ on the main points. Luke believes that the weak must find support in life and the duty of the strong is to help him in this. Satin is sure that in fact the strong do not need support and waiting for a better future in inaction is not for a real person. He does not come to this conviction immediately. We can follow his development as the play progresses. In one of his monologues, Satin says: “The old man is not a charlatan? What is truth? Man is the truth! He understood this... don’t you?” This, probably, is the main, key point of the work: the combination of the “truth” of Satin, who justifies Luke, with the “lie in the name of salvation” of Luke. The direction of this amazing play-parable is not only not some kind of accidental for Gorky, but, on the contrary, is extremely characteristic of him, connected with something secret in his talent. For Gorky, it was important not only “what to do?”, but also “how to do it?”, how to make a dream come true. That’s why he, an active, revolutionary humanist writer, is so intimate and convincing in that complex, confused life General philosophical themes were voiced: truth is the god of a free man, lie is the religion of slaves and masters. That enormous truth of life that Gorky greedily collected and carried in his mind, the everyday, psychological, moral, social truth was most naturally embodied in the broad, capacious, free forms of prose storytelling, in the forms of realism, which at the heights of its maturity was socialist realism for Gorky . As a merciless realist writer, Gorky created an entire encyclopedia of Russian life - an artistic encyclopedia of the late 19th - early 20th centuries. Among his heroic seekers, he invariably gave preference to the growing man. He once wrote about it like this: “My task is to awaken a person’s pride in himself, to tell him that he is the best, most significant, most precious, sacred thing in life and that besides him, there is nothing worthy of attention. Peace - the fruit of his creativity, God is a particle of his heart and mind." The world of Gorky’s works is a world that is constantly changing, in which the processes of “destruction” and “creation” of individuals are irreversibly carried out. Here, too, Gorky kept pace with his times: just as in his fatherland everything “moved” from a fixed point towards the future, so he, the son of his century, was embraced by this process of finding a new truth, a new faith. Only a strong person, Gorky argues, is able to face reality. But without a goal in life, without confidence in his abilities to change the world, he is not able to change the world, just as he is not able to withstand adversity. In the play "At the Bottom" we see people who are strong in spirit, but who do not know their duty to themselves and others. Bubnov, to whom much has been given, has already lost himself. The Baron mocks everyone and quickly loses his human traits. Satin is only at the beginning of this path. Who knows what fate would have awaited him if Luka had not appeared in the shelter... No wonder Satin would later say that Luka affected him like acid on a tarnished coin. Satin understands that the purpose of the strong is not to console the suffering, but to eradicate suffering and evil. This is one of Gorky’s firmest convictions. For Gorky, strength lies in the desire to move forward “towards freedom, towards light.” Only a warm heart and a strong will, faith in victory will help you go this path. And the memory of those who sacrificed themselves for the sake of others along this path, like the stars - the sparks of Danko's heart - will illuminate the road for those who follow.

Russian literature of the 20-90s of the XX century: main patterns and trends

In the late 10s and 20s of the 20th century, literary scholars sometimes counted the latest Russian literature from 1881 - the year of Dostoevsky’s death and the assassination of Alexander II. It is now generally accepted that the “20th century” came into literature in the early 90s of the 19th century., A.P. Chekhov is a transitional figure, unlike L.N. Tolstoy, he not only biographically, but also creatively belongs to both the 19th and 20th centuries. It is thanks to Chekhov that the epic genres - the novel, the story; and the story - began to be differentiated in the modern understanding as large, medium and small genres. Before that, they were differentiated virtually regardless of length by the degree of “literaryness”: a story was considered less “literary” than a novel, a short story was in this sense even freer, and on the verge of non-fiction was an essay, i.e. "sketch". Chekhov became a classic of the small genre and thus placed it on the same hierarchical level with the novel (which is why volume became the main distinguishing feature). His experience as a narrator did not pass without a trace. He was also a reformer of drama and theater. However, his last play, “The Cherry Orchard” (1903), written later than Gorky’s “At the Lower Depths” (1902), seems in comparison with Gorky’s to be the end of the traditions of the 19th century, and not the entry into a new century. Symbolists and subsequent modernist movements. Gorky, Andreev, even the nostalgic Bunin - this is already the indisputable 20th century, although some of them began in the calendar 19th.

However, in Soviet time The “silver age” was defined purely chronologically as the literature of the late 19th - early 20th centuries, and Soviet literature, supposedly arose immediately after the 1917 revolution, was considered fundamentally new on the basis of an ideological principle. Independently-minded people understood that the “old” had already ended with the World War, that 1914 was a milestone - A. Akhmatova in “Poem without a Hero”, where the main action takes place in 1913, wrote: “And along the legendary embankment / The non-calendar century was approaching - / The Real Twentieth Century.” However, official Soviet science divided not only the history of Russian literature, but also the civil history of the whole world along one milestone - 1917.

Ideological dogmas have collapsed, and it is now obvious that fiction cannot be measured primarily by ideological or even primarily political standards. But we cannot ignore them either. Due to a grandiose political cataclysm, the unified national literature was divided into three branches (an unprecedented case in history): literature called Soviet, “detained” (within the country) and Russian literature abroad. They have quite different artistic principles, themes, composition of authors, and periodization. The revolution determined a great deal in all three branches of literature. But the great split did not occur in October-November 1917. Having enjoyed benefits from the new authorities, the “proletarian” poetry that arose earlier, despite all efforts, remained on the periphery of literature, and its face was determined by the best poets of the “Silver Age”:

A. Blok, N. Gumilev, A. Akhmatova, V. Khodasevich, M. Voloshin, V. Mayakovsky, S. Yesenin, seemingly hidden M. Tsvetaeva and B. Pasternak. The devastation of the first post-revolutionary years almost completely destroyed fiction(V. Korolenko, M. Gorky, I. Bunin wrote journalistic works immediately after the revolution) and drama, and one of the first novels after the hard times of the civil war was “We” (1920) E. Zamyatin - turned out to be the first major, “delayed” work, which opened a whole branch of Russian literature, as if not having its own literary process: such works over time, sooner or later, were included in the literary process abroad or in the metropolis. Emigrant literature was finally formed in 1922-1923, in 1923 L. Trotsky clearly gloated prematurely, seeing it as a “round zero,” however, stipulating that “ours has not yet given anything that would be adequate to the era.”

At the same time, this author immediately noted: “Literature after October wanted to pretend that nothing special had happened and that this did not concern it at all. But somehow it turned out that October began to manage literature, sort and shuffle it - and not only in an administrative sense, but also in some deeper sense.” Indeed, the first poet of Russia A. Blok not only accepted the revolution, although he did not understand it in the Bolshevik way, but also with his “Twelve”, “Scythians”, articles “Intellectuals and Revolution”, which were not at all “Soviet” in the precise sense, nevertheless laid the foundation for future Soviet literature. Its founder was Blok, and not Gorky, to whom this merit was attributed, but who, with his “Untimely Thoughts,” founded precisely anti-Soviet literature, and joined the Soviet literature and headed it much later, so that of the two formulas defining Russian literature after 1917, , - “From Blok to Solzhenitsyn” and “From Gorky to Solzhenitsyn” - the first one is more correct. At the origins of Soviet literature were two more major and very different Russian poets - V. Mayakovsky and S. Yesenin. The latter’s creativity after the revolution, with all its tossing and experiences, is larger and deeper than the pre-revolutionary one. Ultimately, all three founders of Soviet poetry became victims of Soviet reality, like V. Bryusov, who accepted the revolution in the second half of 1918, and many other poets and prose writers. But they did the work entrusted to them by history: in Soviet country At first, more or less “our own” appeared, and then truly its own high literature, with which the efforts of the “proletarian poets” could not be compared.

Thus, literature from the end of 1917 (the first “swallows” - “Eat pineapples, chew hazel grouse, / your last day is coming, bourgeois” and “Our March” by Mayakovsky) to the beginning of the 20s is a small, but very important transition period. From the literary point of view, as emigrant criticism correctly noted, this was a direct continuation of pre-revolutionary literature. But qualitatively new features matured in it, and a great split into three branches of literature occurred in the early 20s.

“The turning point,” wrote one of the best Soviet critics of the 20s, V. Polonsky, “was 1921, when the first books of two thick magazines appeared, which opened Soviet period history of Russian literature. Before “Krasnaya Novy” and “Print and Revolution” we had many attempts to revive the “thick” and “thin” magazines, but these attempts were not successful. Their age was short: the old reader moved away from literature, a new one had not yet been born. The old writer, with a few exceptions, stopped writing; there were still few new cadres.” The predominantly poetic period gave way to a predominantly prose one. Three years ago, prose decisively ordered poetry to clear the room,” Yu wrote in the 1924 article “The Interval,” dedicated to poetry. Tynyanov, using rather a poetic metaphor. In the 20s, before Mayakovsky’s death, poetry was still able to compete with prose, which, in turn, took a lot from the poetic arsenal.Vl. Lidin stated that “the new Russian literature, which emerged after three years of silence, in 21, by the force of its nature, had to accept and assimilate the new rhythm of the era. The literary herald (prophetically) of this new rhythm was, of course, Andrei Bely. He brilliantly tore apart the texture of the narrative and crossed the chaff of the canonical form with planes. It was that literary maximalism (not from formulas and room calculations) that corresponded to the rhythm of our revolutionary years.” At that time, to the first Soviet writers, “the exploded world seemed not destroyed, but only brought into accelerated motion,” and to a large extent it really was like that: on the not yet completely destroyed cultural soil of the “Silver Age,” a grandiose social cataclysm gave rise to exceptional enthusiasm and creative energy not only among supporters of the revolution, and the literature of the 20s, and to a large extent also of the 30s, indeed turned out to be extremely rich.

The originality of Russian literature of the early 20th century. Periodization, main trends.

Late XIX - early XX centuries. became a time of bright flourishing of Russian culture, its “silver age” (the “golden age” was called Pushkin’s time). At the turn of the 19th and 20th centuries. literature developed under different historical conditions than before. If you look for a word that characterizes the most important features of the period under consideration, it will be the word “crisis”. A new vision of the world, thus, will determine the new face of realism of the 20th century, which will differ significantly from the classical realism of its predecessors. The crisis of faith also had devastating consequences for the human spirit (“God is dead!” exclaimed Nietzsche). This led to the fact that the person of the 20th century began to increasingly experience the influence of irreligious ideas. The cult of sensual pleasures, the apology for evil and death, the glorification of the self-will of the individual, the recognition of the right to violence, which turned into terror - all these features indicate a deep crisis of consciousness.

In Russian literature of the early 20th century, a crisis of old ideas about art and a feeling of exhaustion of past development will be felt, and a revaluation of values ​​will take shape.

The renewal of literature and its modernization will cause the emergence of new trends and schools. The rethinking of old means of expression and the revival of poetry will mark the advent of the “Silver Age” of Russian literature. This term is associated with the name N. Berdyaeva, who used it in one of his speeches in the salon of D. Merezhkovsky. Later, the editor of Apollo, S. Makovsky, consolidated this phrase, calling his book about Russian culture at the turn of the century “On Parnassus of the Silver Age.”

Chronological framework period can be denoted as follows: 1892 – 1917 - exit from the era of timelessness (the beginning of social upsurge in the country, the manifesto and collection “Symbols” by D. Merezhkovsky, the first stories of M. Gorky, etc.). According to another point of view, the chronological end of this period can be considered 1921-1922 (the collapse of former illusions, the mass emigration of Russian cultural figures from Russia that began after the death of A. Blok and N. Gumilyov, the expulsion of a group of writers, philosophers and historians from countries). Russian literature of the 20th century was represented by three main literary trends: realism, modernism, literary avant-garde.

Representatives of literary movements

‣‣‣Senior Symbolists: V.Ya. Bryusov, K.D. Balmont, D.S. Merezhkovsky, Z.N. Gippius, F.K. Sologub et al.

◦Mystics-seekers of God: D.S. Merezhkovsky, Z.N. Gippius, N. Minsky.

◦Decadent individualists: V.Ya. Bryusov, K.D. Balmont, F.K. Sologub.

‣‣‣Junior Symbolists: A.A. Blok, Andrey Bely (B.N. Bugaev), V.I. Ivanov and others.

‣‣‣Acmeism: N.S. Gumilev, A.A. Akhmatova, S.M. Gorodetsky, O.E. Mandelstam, M.A. Zenkevich, V.I. Narbut.

‣‣‣Cubo-futurists (poets of “Hilea”): D.D. Burlyuk, V.V. Khlebnikov, V.V. Kamensky, V.V. Mayakovsky, A.E. Twisted.

‣‣‣Egofuturists: I. Severyanin, I. Ignatiev, K. Olimpov, V. Gnedov.

‣‣‣Group "Mezzanine of Poetry": V. Shershenevich, Khrisanf, R. Ivnev and others.

‣‣‣Association "Centrifuge": B.L. Pasternak, N.N. Aseev, S.P. Bobrov and others.

Special role Writers such as Maxim Gorky and L.N. played a role in the development of literature of the 20th century. Andreev. The twenties are a difficult, but dynamic and creatively fruitful period in the development of literature. Although many figures of Russian culture were expelled from the country in 1922, and others went into voluntary emigration, artistic life in Russia does not freeze. On the contrary, many talented young writers appear, recent participants in the Civil War: L. Leonov, M. Sholokhov, A. Fadeev, etc.

The thirties began with the “year of the great turning point,” when the foundations of the previous Russian way of life were sharply deformed, and the party began to actively intervene in the sphere of culture. P. Florensky, A. Losev, A. Voronsky and D. Kharms were arrested, repressions against the intelligentsia intensified, which claimed the lives of tens of thousands of cultural figures, two thousand writers died, in particular N. Klyuev, O. Mandelstam , I. Kataev, I. Babel, B. Pilnyak, P. Vasiliev, A. Voronsky, B. Kornilov. Under these conditions, the development of literature was extremely difficult, tense and ambiguous.

The work of such writers and poets as V.V. deserves special consideration. Mayakovsky, S.A. Yesenin, A.A. Akhmatova, A.N. Tolstoy, E.I. Zamyatin, M.M. Zoshchenko, M.A. Sholokhov, M.A. Bulgakov, A.P. Platonov, O.E. Mandelstam, M.I. Tsvetaeva.

The originality of Russian literature of the early 20th century. Periodization, main trends. - concept and types. Classification and features of the category "Originality of Russian literature of the early 20th century. Periodization, main trends." 2017, 2018.

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The main directions of Russian literature of the 20th century. Literature of the early 20th century. introductory lesson literature in 11th grade

“No other world literature has had such a boundless experience of anxiety, hope, heightened moral quest, pain for the fate of the native people in the hour of danger...” V.A. Chalmaev Three revolutions: 1905, February, October 1917, Russian-Japanese War of 1904-1905. First World War 1914-1918, Civil War Stalinist repressions World War II Environmental disasters Literature of the 20th century

“Our time is a bit difficult for the pen...” V.V. Mayakovsky “Not a single world literature of the 20th century, except Russian, knew such an extensive list of cultural masters who passed away untimely and early...” V.A. Chalmaev “The 20th century broke us all...” M.I. Tsvetaeva Literature of the 20th century

Periodization of literature of the 20th century Russian literature silver Age(1900 – 1917) First decades Soviet literature(1917 - 1941) literature during the Second World War (1941 -1945) literature of the mid-century (50s - 70s) literature of the 80s - 90s modern literature Emigrant literature (literature of Russian diaspora)

Silver Age “The Silver Age is not so much time and individual creative personalities, as much as a holistic worldview, a picture of the world in which personality and creativity are united...” V.A. Chalmaev “...they wrote as they lived, they lived as they wrote” V.A. Chalmaev

Historical situation in Russia at the beginning of the 20th century The last years of the 19th century became turning points for Russian and western cultures. Since the 1890s. and up to October revolution Literally every aspect of 1917 changed Russian life, ranging from economics, politics and science, to technology, culture and art. The new stage of historical and cultural development was incredibly dynamic and, at the same time, extremely dramatic. It can be said that Russia, at a turning point for it, was ahead of other countries in the pace and depth of changes, as well as in the enormity of internal conflicts.

The most important historical events in Russia at the beginning of the 20th century? Three revolutions: 1905, February, October 1917, Russo-Japanese War 1904-1905 World War I 1914-1918, Civil War Stalinist repressions

“Cultural Renaissance” “This was the era of the awakening in Russia of independent philosophical thought, the flourishing of poetry and heightened aesthetic sensitivity, religious anxiety and quest, interest in mysticism and the occult. New souls appeared, new sources were discovered creative life, new dawns were seen, feelings of sunset and death were combined with a feeling of sunrise and hope for the transformation of life” N. Berdyaev

Literary polyphony What is art? What is the role of art in society? What is the influence of art on a person? What is the connection between art and life? What should the art of the future be like? What should a creator be like?

Main literary movements of the 20th century Critical realism. Decadence. Modernist movements: symbolism acmeism futurism Socialist realism.

Critical realism (XIX century - early XX century) A truthful, objective reflection of reality in its historical development. Continuation of Russian traditions literature of the 19th century century, critical understanding of what is happening. Human character is revealed in organic connection with social circumstances. Close attention to the inner world of a person.

Decadence (late 19th - early 20th centuries) From the French. decadence; from medieval lat. decadentia - decline. Mood of passivity, hopelessness, rejection public life, the desire to withdraw into the world of one’s emotional experiences. Opposition to generally accepted “philistine” morality. The cult of beauty as a self-sufficient value. Nihilistic hostility to society, lack of faith and cynicism, a special “feeling of the abyss.”

Decadent lyric A desert ball in an empty desert, Like the Devil's meditation... It has always hung, it hangs to this day... Madness! Madness! A single moment froze - and lasts, Like eternal repentance... You can neither cry nor pray... Despair! Despair! Someone scares you with the torment of hell, Then promises salvation... Neither lies nor truth are needed... Oblivion! Oblivion! Close your empty eyes tighter and quickly turn into aphids, dead man. There are no mornings, no days, there are only nights. End. Z. Gippius

Decadent lyric So life is scary with nothingness, And not even struggle, not torment, But only endless boredom And full of quiet horror, That it seems - I don’t live, And my heart has stopped beating, And it’s only in reality I keep dreaming about the same thing. And if where I am, the Lord punishes me, as here, - Then death will be like my life, And death will not tell me anything new. D.S. Merezhkovsky

Modernism (from the French moderne - modern) The concept of “modernism” was applied to all art movements of the 20th century that did not correspond to the canons of socialist realism. The collective name of artistic trends that established themselves in the second half of the 19th century in the form of new forms of creativity, where it was no longer so much following the spirit of nature and tradition that prevailed, but the free gaze of a master free to change visible world at your own discretion, following a personal impression, an inner idea or a mystical dream. New artistic movements usually declared themselves as highly “modern” art (hence the very origin of the term), most sensitive to the rhythm of the “current” time that embraces us every day.

Silver Age - poetry of the early 20th century. Symbol cultural era in the history of Russia at the turn of the 19th – 20th centuries. and entered into criticism and scholarship from the late 1950s to early 1960s. The term arose by analogy with the “Golden Age”. The “Silver Age” formula was of an evaluative nature. In the 1920-1930s. it was contrasted with the “Golden Age” as an era bearing undoubted features of secondary, and at the same time, sophistication. The poets of the Silver Age created a new concept of the world and man in this world: not everything created by people is realized; there are areas inaccessible to the analytical mind.

Symbolism (1870-1910) Expression of ideas through symbols. “Poetry of hints”, metaphor, allegory, cult of impression. The inner world of a person is an indicator of a common tragic world doomed to death. Existence in two planes: real and mystical.

Valery Bryusov “To a Woman” You are a woman, you are a book between books, You are a rolled up, imprinted scroll; In his lines there is an abundance of thoughts and words, in his pages every moment is insane. You are a woman, you are a witch's drink! It burns with fire as soon as it enters your mouth; But the one who drinks the flame suppresses the cry And praises madly amidst the torture. You are a woman, and you are right. From time immemorial you have been adorned with a crown of stars, You are the image of a deity in our abysses! We draw an iron yoke for you, We serve you, crushing the firmament of the mountains, And we pray - from eternity - for you!

Acmeism (formed in 1910) Derived from the Greek. “acme” - “edge”, “peak”, “blooming power”, “highest degree”. Clarity, affirmation of real life, cult of feelings over everything else. Returning the word to its original, non-symbolic meaning.

Anna Akhmatova “Before spring there are days like this” Before spring there are days like this: The meadow is resting under the dense snow, The trees are cheerfully dry and rustling, And the warm wind is gentle and elastic. And your body marvels at its lightness, And you don’t recognize your home, And you sing the song that you were tired of before, Like a new one, with excitement.

Futurism (beginning of 1910) Restructuring of Russian literature, “the art of the future” (from the Latin f and t and r and m - future). An avant-garde movement that denies artistic and moral heritage. Creation of an “abstruse language”, a play on words and letters. Admiring a word, regardless of its meaning. Word creation and word innovation.

Velimir Khlebnikov “The Spell of Laughter” Oh, laugh, laughers! Oh, laugh, you laughers! That they laugh with laughter, that they laugh with laughter, Oh, laugh with laughter! Oh, the laughter of the mockers - the laughter of the clever laughers! Oh, laugh with laughter, the laughter of the laughing ones! Laugh, laugh, laugh, laugh, laugh, laugh. Laughers, laughers. Oh, laugh, you laughers! Oh, laugh, you laughers!

Socialist realism (October 1917) A truthful, historically specific depiction of reality in its revolutionary development. The main task: ideological transformation and education of workers in the spirit of socialism. A writer is an “exponent”, “representative”, “teacher”. Real heroes are fighters for the idea, hard workers, honest and fair people, brave and courageous.

Outside literary styles and directions I the last poet villages, The plank bridge is modest in songs. At the farewell mass of the birch trees burning with leaves. The candle made of flesh wax will burn out with a golden flame, And the wooden moon clock will wheeze my twelfth hour. On the path blue field The Iron Guest will be out soon. Oatmeal, spilled at dawn, will be collected by a black handful. Not living, alien palms, These songs cannot live with you! Only the horses will grieve about the old owner. The wind will suck their neighing, celebrating a funeral dance. Soon, soon the wooden clock will wheeze my twelfth hour! S.A. Yesenin

Outside of literary styles and trends, the veins have been opened: life is unstoppably, irreparably gushing. Set out bowls and plates! Every plate will be shallow, and every bowl will be flat. Over the edge - and past into the black ground, to feed the reeds. Irreversibly, unstoppably, Irreversibly lashes the verse. M.I. Tsvetaeva

Outside of literary styles and trends, the stories “Epiphanian Locks”, “City of Gradov”, “Potudan River”, “Pit Pit”, “Juvenile Sea” “Dzhan” novels “Chevengur”, “Happy Moscow”

Outside of literary styles and trends, the stories “Diaboliad”, “Fatal Eggs”, “ dog's heart» novels “The White Guard”, “The Master and Margarita” plays “Cabal of the Saint”, “Days of the Turbins”, “Running”

Literature of the early 20th century “This time - the Silver Age - brought forward writers who were amazing in their diversity, courage, sharpness of vision of life and spirituality of feeling... They largely did the work that was necessary for Russia for its self-knowledge at the coming turning point in history” L. B. Voronin

Russian literature of the 20th century: general characteristics

Descriptionliterary process of the 20th century, presentation of the main literary movements and directions. Realism. Modernism (symbolism, acmeism, futurism). Literary avant-garde.

Late XIX - early XX centuries. became a time of bright flourishing of Russian culture, its “silver age” (the “golden age” was called Pushkin’s time). In science, literature, and art, new talents appeared one after another, bold innovations were born, and different directions, groups, and styles competed. At the same time, the culture of the “Silver Age” was characterized by deep contradictions that were characteristic of all Russian life of that time.

Russia's rapid breakthrough in development and the clash of different ways of life and cultures changed the self-awareness of the creative intelligentsia. Many were no longer satisfied with the description and study of visible reality, or the analysis of social problems. I was attracted by deep, eternal questions - about the essence of life and death, good and evil, human nature. Interest in religion revived; religious theme had a strong influence on the development of Russian culture at the beginning of the 20th century.

However, the turning point not only enriched literature and art: it constantly reminded writers, artists and poets of impending social explosions, of the fact that the entire familiar way of life, the entire old culture, could perish. Some awaited these changes with joy, others with melancholy and horror, which brought pessimism and anguish into their work.

At the turn of the 19th and 20th centuries. literature developed under different historical conditions than before. If you look for a word that characterizes the most important features of the period under consideration, it will be the word “crisis”. Great scientific discoveries shook the classical ideas about the structure of the world and led to the paradoxical conclusion: “matter has disappeared.” A new vision of the world, thus, will determine the new face of realism of the 20th century, which will differ significantly from the classical realism of its predecessors. The crisis of faith also had devastating consequences for the human spirit (“God is dead!” exclaimed Nietzsche). This led to the fact that the person of the 20th century began to increasingly experience the influence of irreligious ideas. The cult of sensual pleasures, the apology for evil and death, the glorification of the self-will of the individual, the recognition of the right to violence, which turned into terror - all these features indicate a deep crisis of consciousness.

In Russian literature of the early 20th century, a crisis of old ideas about art and a feeling of exhaustion of past development will be felt, and a revaluation of values ​​will take shape.

The renewal of literature and its modernization will cause the emergence of new trends and schools. The rethinking of old means of expression and the revival of poetry will mark the advent of the “Silver Age” of Russian literature. This term is associated with the name of N. Berdyaev, who used it in one of his speeches in the salon of D. Merezhkovsky. Later, the art critic and editor of Apollo S. Makovsky consolidated this phrase, calling his book about Russian culture at the turn of the century “On Parnassus of the Silver Age.” Several decades will pass and A. Akhmatova will write “...the silver month is bright / Cold over the silver age.”

The chronological framework of the period defined by this metaphor can be designated as follows: 1892 - exit from the era of timelessness, the beginning of social upsurge in the country, manifesto and collection "Symbols" by D. Merezhkovsky, the first stories of M. Gorky, etc.) - 1917. According to another point of view, the chronological end of this period can be considered 1921-1922 (the collapse of former illusions, the mass emigration of Russian cultural figures from Russia that began after the death of A. Blok and N. Gumilyov, the expulsion of a group of writers, philosophers and historians from the country).

Russian literature of the 20th century was represented by three main literary movements: realism, modernism, and the literary avant-garde. The development of literary trends at the beginning of the century can be shown schematically as follows:

Representatives of literary movements

• 
  Senior Symbolists: V.Ya. Bryusov, K.D. Balmont, D.S. Merezhkovsky, Z.N. Gippius, F.K. Sologub et al.
  • 
    God-seeking mystics: D.S. Merezhkovsky, Z.N. Gippius, N. Minsky.
  • 
    Decadent individualists: V.Ya. Bryusov, K.D. Balmont, F.K. Sologub.
• 
  Junior Symbolists: A.A. Blok, Andrey Bely (B.N. Bugaev), V.I. Ivanov and others.
• 
  Acmeism: N.S. Gumilev, A.A. Akhmatova, S.M. Gorodetsky, O.E. Mandelstam, M.A. Zenkevich, V.I. Narbut.
• 
  Cubo-futurists(poets of "Gilea"): D.D. Burlyuk, V.V. Khlebnikov, V.V. Kamensky, V.V. Mayakovsky, A.E. Twisted.
• 
  Egofuturists: I. Severyanin, I. Ignatiev, K. Olimpov, V. Gnedov.
• 
  Group“Mezzanine of Poetry”: V. Shershenevich, Chrysanf, R. Ivnev and others.
• 
  Association "Centrifuge": B.L. Pasternak, N.N. Aseev, S.P. Bobrov and others.

One of the most interesting phenomena in the art of the first decades of the 20th century was the revival of romantic forms, largely forgotten since the beginning of the last century. One of these forms was proposed by V.G. Korolenko, whose work continues to develop at the end of the 19th and the first decades of the new century. Another expression of the romantic was the work of A. Green, whose works are unusual for their exoticism, flights of fancy, and ineradicable dreaminess. The third form of the romantic was the work of revolutionary worker poets (N. Nechaev, E. Tarasov, I. Privalov, A. Belozerov, F. Shkulev). Turning to marches, fables, calls, songs, these authors poeticize the heroic feat, use romantic images of glow, fire, crimson dawn, thunderstorm, sunset, limitlessly expand the range of revolutionary vocabulary, and resort to cosmic scales.

A special role in the development of literature of the 20th century was played by such writers as Maxim Gorky and L.N. Andreev. The twenties are a difficult, but dynamic and creatively fruitful period in the development of literature. Although many figures of Russian culture were expelled from the country in 1922, and others went into voluntary emigration, artistic life in Russia does not freeze. On the contrary, many talented young writers appear, recent participants in the Civil War: L. Leonov, M. Sholokhov, A. Fadeev, Yu. Libedinsky, A. Vesely and others.

The thirties began with the “year of the great turning point,” when the foundations of the previous Russian way of life were sharply deformed, and the party began to actively intervene in the sphere of culture. P. Florensky, A. Losev, A. Voronsky and D. Kharms were arrested, repressions against the intelligentsia intensified, which claimed the lives of tens of thousands of cultural figures, two thousand writers died, in particular N. Klyuev, O. Mandelstam, I. Kataev, I. Babel, B. Pilnyak, P. Vasiliev, A. Voronsky, B. Kornilov. Under these conditions, the development of literature was extremely difficult, tense and ambiguous.

The work of such writers and poets as V.V. deserves special consideration. Mayakovsky, S.A. Yesenin, A.A. Akhmatova, A.N. Tolstoy, E.I. Zamyatin, M.M. Zoshchenko, M.A. Sholokhov, M.A. Bulgakov, A.P. Platonov, O.E. Mandelstam, M.I. Tsvetaeva.

The Holy War, which began in June 1941, put forward new tasks for literature, to which the country's writers immediately responded. Most of them ended up on the battlefields. More than a thousand poets and prose writers joined the ranks active army, becoming famous war correspondents (M. Sholokhov, A. Fadeev, N. Tikhonov, I. Erenburg, Vs. Vishnevsky, E. Petrov, A. Surkov, A. Platonov). Works of various kinds and genres joined the fight against fascism. First among them was poetry. Here it is necessary to highlight the patriotic lyrics of A. Akhmatova, K. Simonov, N. Tikhonov, A. Tvardovsky, V. Sayanov. Prose writers cultivated their most operative genres: journalistic essays, reports, pamphlets, stories.

The next major stage in the development of literature of the century was the period of the second half of the 20th century. Within this large period of time, researchers identify several relatively independent periods: late Stalinism (1946-1953); "thaw" (1953-1965); stagnation (1965-1985), perestroika (1985-1991); modern reforms (1991-1998) Literature developed in these very different periods with great difficulties, experiencing alternately unnecessary guardianship, destructive leadership, commanding shouts, relaxation, restraint, persecution, emancipation.

“Our time is a bit difficult for the pen...” V.V. Mayakovsky “Not a single world literature of the 20th century, except Russian, knew such an extensive list of cultural masters who passed away untimely and early...” V.A. Chalmaev “The 20th century broke us all...” M.I. Tsvetaeva Literature of the 20th century

Historical situation in Russia at the beginning of the 20th century The last years of the 19th century became a turning point for Russian and Western cultures. Since the 1890s. and right up to the October Revolution of 1917, literally every aspect of Russian life changed, from economics, politics and science, to technology, culture and art. The new stage of historical and cultural development was incredibly dynamic and, at the same time, extremely dramatic. It can be said that Russia, at a turning point for it, was ahead of other countries in the pace and depth of changes, as well as in the enormity of internal conflicts.

I. Early 1890s – 1905 1892 Code of laws Russian Empire: “the obligation of complete obedience to the king,” whose power was declared “autocratic and unlimited” is developing rapidly industrial production. The social consciousness of a new class, the proletariat, is growing. The first political strike at the Orekhovo-Zuevskaya manufactory. The court recognized the workers' demands as fair. Emperor Nicholas II. The first ones were formed political parties: 1898 – Social Democrats, 1905 – Constitutional Democrats, 1901 – Social Revolutionaries

Revolutions Historical upheavals of the early 20th century February bourgeois-democratic revolution October socialist revolution First Russian revolution

Nikolai Berdyaev “This was the era of the awakening in Russia of independent philosophical thought, the flowering of poetry and the sharpening of aesthetic sensitivity, religious anxiety and quest, interest in mysticism and the occult.” “This was the era of the awakening of independent philosophical thought in Russia, the flowering of poetry and the sharpening of aesthetic sensitivity, religious anxiety and quest, interest in mysticism and the occult.”

Nineteenth century…. The fragments of superstition fell into the dust, Science turned the dream into truth: Into steam, into the telegraph, into the phonograph, into the telephone, Having learned the composition of stars and the life of bacteria. The ancient world led to eternal secrets; The new world gave the mind power over nature; Centuries of struggle crowned everyone with freedom. All that remains is to combine knowledge with mystery. We're nearing the end and new era Do not drown out the aspirations for a higher sphere. (V.Bryusov)

Russian literature at the turn of the century is called the Silver Age - 1920.

The beginning of the “Silver Age” of Russian poetry is considered to be D. Merezhkovsky’s article “Symbols”. The father of the “term” is the Russian philosopher Nikolai Berdyaev, who called the “Silver Age” a reflection, a revival of the “Golden Age”. One of the most likely reasons is the crisis of the era, the tense historical situation.

The beginning of the era 1890 Nikolai Minsky “With the light of conscience” (1890) Dmitry Merezhkovsky “On the reasons for the decline of modern Russian literature"(1893) Valery Bryusov" Russian Symbolists"(1894) End of an era 1921 death of Alexander Blok and death of Nikolai Gumilyov in 1921

From French decadence; from medieval lat. decadentia decline. A mood of passivity, hopelessness, rejection of social life, a desire to withdraw into the world of one’s emotional experiences. Opposition to generally accepted “philistine” morality. The cult of beauty as a self-sufficient value. Nihilistic hostility to society, lack of faith and cynicism, a special “feeling of the abyss.” Decadence (late 19th early 20th centuries)

Decadent lyric A deserted ball in an empty desert, Like the Devil's thoughts... It hung forever, it hangs to this day... Madness! B madness! One moment froze - and lasts, Like eternal repentance... You can’t cry, you can’t pray... Despair! Oh despair! He frightens someone with torment, yes, then with salvation... There is no need for lies, nor truth... Oblivion! Forgetfulness! Close the empty eyes of the aphids and barks, dead man. There are no mornings, no days, there are only nights. End. Z. Gippius

Likewise, life is terrible with nothingness, And not even a struggle, not a silent torment, But only endless boredom And a quiet horror is full, That it seems I am not alive, And my heart has stopped to beat, And this is only in reality I still dream about the same thing. And if where I am, the Lord punishes me as here, then death will be like my life, and death will tell me nothing new. D. S. M Erezhkovsky

Critical realism (XIX century - early XX century) A truthful, objective reflection of reality in its historical development. Continuation of the traditions of Russian literature of the 19th century, critical understanding of what is happening. Human character is revealed in organic connection with social circumstances. Close attention to the inner world of a person. A.P. Chekhov L.N. Tolstoy A.I. Kuprin I.A. Bunin

Genre – story and short story. The storyline has been weakened. He is interested in the subconscious, and not in the “dialetics of the soul”, the dark, instinctive sides of the personality, spontaneous feelings that are not understood by the person himself. The image of the author comes to the fore, the task is to show his own, subjective perception of life. No direct author's position– everything goes into subtext (philosophical, ideological) The role of detail increases. Poetic devices turn into prose. Realism (neorealism)

All modernist movements are very different, have different ideals, pursue different goals, but they agree on one thing: to work on rhythm, on words, to bring the play of sounds to perfection. At this time, the realistic era of Russian culture was replaced by a modernist one. Modernism – common name different directions in the art of the late 19th and early 20th centuries, who proclaimed a break with realism, a rejection of old forms and a search for new aesthetic principles.

Symbolism D. MerezhkovskyD. Merezhkovsky, Z. Gippius Z. Gippius, F. Sologub, F. Sologub, V. BryusovV. Bryusov, K. Balmont, K. Balmont A. BlokA. Blok, A. Bely, A. White e gg. From gr. symbolon - sign, symbol.

Symbolism originated in France in the years. XIX century.

The origins of Russian symbolism in France. Arthur Rimbaud Paul Verlaine Charles Baudelaire Stéphane Mallarmé Founder of symbolism - Charles Baudelaire

Literary manifestos 1893. Article by D. S. Merezhkovsky “On the causes of the decline and new trends in modern Russian literature.” Modernism receives theoretical justification. Three main elements of “new art”: – mystical content, – symbolization – “expansion of artistic impressionability” 1903. Article by Bryusov “The Keys of Secrets”. Literature should be close to music in its impact. Poetry is the expression of the poet’s soul, the secrets of the human spirit.

Symbolic landscape Sound recording. The music of the word is important. “Priest language”: complicated, metaphorical. Revival of the sonnet, rondo, terza... Peculiarity of poetics Antithesis of 2 worlds (two worlds): imperishable and real Color symbolism blue - disappointment, separation, surrounding, material world... white - ideal, femininity, love, dream... yellow - morbidity, madness, deviation... black - mystery, duality... red - blood, disaster...

The symbol is an image that has an unlimited number of meanings - “A symbol is true only when it is inexhaustible in its meaning” (Vyach. Ivanov) - “A symbol is a window to infinity” (F. Sologub) conveys not the objective essence of the phenomenon, but the poet’s individual idea of the world; an image that requires co-creation from the reader. “Symbols do not speak, but silently nod” (Vyach. Ivanov) M. Vrubel. Rose

Peculiarities of worldview The world is unknowable. It is possible to rationally comprehend only the lower forms of life, and not the “highest reality” (the area of ​​“absolute ideas”, “world soul”) V. Soloviev. Art is not an image of reality, but “comprehension of the world in other, non-rational ways” (V.Ya. Bryusov) - through the spiritual experience of a person and the creative intuition of the artist. K. Somov “Blue Bird”. 1918 The poet’s hypersensitive intuition is expressed through a symbol, which seeks to designate the elusive

Senior Symbolists 1903 Bryusov “Keys of Secrets”: The purpose of art is to express the “movement of the soul” of the poet, the secrets of the human spirit. The essence of the world is unknowable by reason, but cognizable by intuition. Art is the comprehension of the world in other, non-rational ways. The task of art is to capture moments of insight and inspiration. Creations of art are ajar doors to Eternity V. BryusovK. BalmontD. MerezhkovskyZ. GippiusF. Sologub

Young Symbolists 1900 - turn of the century Philosophy of Vladimir Solovyov ... We approached - and the waters were blue, like two spilled walls. And now in the distance the tabernacle turns white, And the dim distances are visible... the divine unity of the Universe The soul of the world is the Eternal Femininity The society is built on spiritual principles V. IvanovA. BelyA. Block

II.1905 - 1911 1905 is one of the key years in the history of Russia. This year the revolution took place, which began with “Bloody Sunday” on January 9, the first tsarist manifesto was published, limiting the power of the monarchy in favor of its subjects, proclaiming the Duma the legislative body of power, approving civil freedom, the creation of a council of ministers headed by Witte, an armed uprising took place in Moscow, which was the peak of the revolution, an uprising in Sevastopol, etc.

Years. Russo-Japanese War

Peculiarities of poetics Subjectivity and clarity of images (“beautiful clarity”) Accuracy of details that create a specific picture Not “shaky words”, but words “with a more stable content” Genre-madrigal Cult of “beautiful clarity”: poetry should be understandable, images should be clear. Refusal of mystery, vagueness, ambiguity. Refusal of dual worlds and acceptance of reality in all its manifestations.

Worldview The world is material, objective; you need to look for values ​​in the world and capture them with the help of accurate and understandable images. Love is an earthly feeling, not an insight into other worlds K.M. Roerich “Overseas Guests” “Among the Acmeists, the rose again became good in itself, with its petals, smells and color, and not with its conceivable likenesses with mystical love or anything else” (S. Gorodetsky)

Representatives of the “Workshop of Poets” N. Gumilyov. AkhmatovaO. MandelstamS. Gorodets Acmeism stood out from symbolism. Criticizes the vagueness of the symbolist language. Liberation of poetry from symbolist impulses towards the “ideal”, from the polysemy of images. Return to the material world, an object, the exact meaning of a word

Crisis of symbolism year. Article by A. Blok “About current state Russian symbolism" 1911. The most radical direction appears, denying all previous culture, the avant-garde - futurism. In Khlebnikov, V. Mayakovsky, I. Severyanin. III – 1920s V KhlebnikovV. Mayakovsky I. Severyanin

Futurism (from Latin futurum - future) V. Mayakovsky V. Khlebnikov I. Severyanin years

Futurism originated in Italy in the 1920s.

The origins of Russian futurism Italy year F. Marinetti “Manifesto of Futurism”: rejection of traditional aesthetic values and the experience of all previous literature “Until now, literature has glorified thoughtful inaction, sensitivity and sleep, we proclaim aggressive action, feverish insomnia, gymnastic gait, a dangerous leap, a slap in the face and a blow of the fist.” "Racing car… more beautiful than Niki Samothrace..." courage, audacity, rebellion "From now on, there is no beauty outside of struggle. There is no masterpiece if it does not have an aggressive spirit..." literary experiments

Literary manifestos are rejected literary tradition We order that the rights of poets be respected: To increase the vocabulary in its volume with arbitrary and derivative words (Word-innovation) year. “A slap in the face to public taste” “The past is cramped. The Academy and Pushkin are more incomprehensible than hieroglyphs. Abandon Pushkin, Dostoevsky, Tolstoy, etc. from the Steamship of Modernity." Reinventing art

A slap in the face to public taste Reading our New First Unexpected. Only we are the face of our Time. The horn of time blows for us in the art of words. The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs. Abandon Pushkin, Dostoevsky, Tolstoy, etc. from the Steamship of Modernity. Whoever does not forget his first love will not know his last. Who, gullible, will turn his last Love to Balmont's perfume fornication? Is it a reflection of the courageous soul of today? Who, the coward, would be afraid to steal the paper armor from the black coat of the warrior Bryusov? Or are they the dawns of unknown beauties? Wash your hands that have touched the dirty slime of the books written by these countless Leonid Andreevs. To all these Maxim Gorkys, Kuprins, Bloks, Sollogubs, Remizovs, Averchenks, Chernys, Kuzmins, Bunins and so on. and so on. All you need is a dacha on the river. This is the reward that fate gives to tailors. From the heights of skyscrapers we look at their insignificance!...

We order that the rights of poets be respected: 1. To increase the vocabulary in its volume with arbitrary and derivative words (Word-innovation). 2. An insurmountable hatred of the language that existed before them. 3. With horror, remove from your proud brow the wreath of penny glory you made from the bath brooms. 4. Stand on the rock of the word “we” amid a sea of ​​whistles and indignation. And if the dirty stigmas of your “common sense” and “good taste” still remain in our lines, then for the first time the Lightnings of the New Coming Beauty of the Self-Valuable (Self-Valuable) Word are already fluttering on them. D. Burliuk, Alexander Kruchenykh, V. Mayakovsky, Viktor Khlebnikov Moscow December

Aesthetic principles futurism 1. Attitude to previous and other cultures, eras and traditions: a declarative “break” with the previous tradition; revolutionary innovation in poetry; destruction of old norms. 2.Attitude to reality: revolutionary transformation. 3. A look at the vocation of a poet: poet-rebel, revolutionary, co-creator new reality. 4.Look at historical process: eternal progress, denial of the past in the name of the present and the present in the name of the future. 5. A related type of art: painting. 6. The problem of the relationship between “name” and “thing”: the collision of naming and showing a thing, metaphorization of reality.

Main features: Denial of the value of classical literature. The cult of technology and industrialization. Shocking behavior, shocking behavior, scandal as the main means of achieving popularity. The cult of word creation: “new” people need a “new”, “abstruse” language. Refusal of traditions. Destruction existing system genres.

I. Severyanin Egofuturism Bunin I.A.: “What have we not done in recent years with our literature? And they reached the most flat hooliganism, called the absurd word “futurism”. Northerner remained the only ego-futurist to go down in the history of Russian poetry. His poems, for all their pretentiousness and often vulgarity, were distinguished by their unconditional melodiousness, sonority and lightness.

In a noisy dress of moire, in a noisy dress of moire Along the sun-lit alley you pass the sea... Your dress is exquisite, Your talma is azure. And the sandy path is patterned with leaves - Like spider legs, like jaguar fur. For a sophisticated woman, the night is always newlywed... The rapture of love is destined for you by fate... In a noisy moire dress, in a noisy moire dress -

Literary manifestos largely influenced the development of the movement theoretical works and the poetic creativity of S.A. Yesenin, who was part of the backbone of the association. In the theoretical work “The Keys of Mary” (1920), Yesenin builds his poetics of the image: “The image from the flesh can be called a splash screen, the image from the spirit is a ship, and the third image from the mind is angelic.” Like other imagist declarations, “The Keys of Mary” is polemical: “Following Klyuev, stupid futurism broke its neck.” Folk mythology was one of the main sources of Yesenin’s imagery, and the mythological parallel “nature - man” became fundamental for his poetic worldview. The publishing house "Imaginists" published his collections "Treryaditsa", "Radunitsa", "Transfiguration" (all - 1921) and the dramatic poem "Pugachev" (1922).

Nikolai Alekseevich Klyuev Oreshin Pyotr Vasilievich Yesenin Sergey Alexandrovich We are the early morning clouds, the dawns of dewy spring N. Gumilyov Neo-peasant poets