Introduction.

The tram is one of the most outdated types of surface public transport; in many cities, it still continues to operate. The history of the tram begins at the end of the century in 1899 in Moscow, according to the memoirs of I. Ehrenburg, this event makes a vivid impression on people: “... we stood stunned in front of the miracle of technology, the sparks on the arc shocked no less than earth satellites shake people.” The stun was passed on to many, including poets. The tram becomes romantic, it seems to be a force that brought new things to the history of the state, by the age of 30 the attitude changes: such concepts as “tram boor” and “tram squabble” appear. In poetry, the tram is mentioned repeatedly, it becomes animated, acquires a certain character, its image becomes ambiguous.

The relevance of our study lies in the fact that before that the image of the tram in the literature was little studied. At the moment, the tram is becoming less and less popular among the townspeople, it was curious to know what place it occupied in culture and in people's lives at the time of its heyday. Relevance and personal interest determined the choice of the topic of the thesis.

Subject of research are poetic texts written in the first third of the 20th century by various authors, in which the tram performs an important semantic function, special attention is paid to the work of O. E Mandelstam.

Object of study- the structure and functions of the image of a tram in the lyrics of 1900-1930.

aim final qualifying work is an analysis of the content and functions of the image of a tram in the poems of poets of the first third of the XX century, as already mentioned, the work of O.E. Mandelstam.

In accordance with the goal, it is necessary to solve the following tasks:

to study the theoretical material on the literary trends of the early 20th century;

study the historical information related to the appearance of the tram;

consider what place the tram occupies in the work of poets and writers of the early 20th century, in more detail in the work of O.E. Mandelstam;

to analyze poetic texts, to identify the main functions of the tram in poetic texts;

make a classification of tram functions;

analyze the content and functions of this image in the poetry of O.E. Mandelstam

The source of texts in which there is an image of a tram was the site "National Corpus of the Russian Language", in which poems were selected for analysis.

The theoretical basis was scientific works devoted to the image of the tram in literature and the work of O. E. Mandelstam, such scientists as R.D. Timenchik “On the symbolism of the Russian tram”, I. V. Surat “Experiments about Mandelstam”, E. Slivkin “The final stop of death”, S. S. Averintsev “The life and work of O. Mandelstam”.

The thesis consists of an introduction, three chapters, conclusion and content. The first chapter is divided into two paragraphs: the first is "Literary currents of the early 20th century", the second - "The image of a tram in the works of poets of the early 20th century." The second chapter is also divided into two paragraphs: the first is “The image of a tram in adult poetry by O.E. Mandelstam", the second - "A tram in children's poetry by O. E. Mandelstam". The third chapter presents a lesson-lecture for senior classes.

The first chapter reveals the theoretical material on the literary movements of the beginning of the 20th century, and also gives a classification of the functions of the tram image.

The second chapter discusses the image of the tram, its place and features in the poems of O.E. Mandelstam for adults and children.

Chapter first.

1.1. Literary trends of the early 20th century.

First of all, it should be said about the significance of the ideological and artistic principles of the beginning of the literary movements of the early 20th century. The tram is found in the poems of symbolists, acmeists, futurists and representatives of other trends, therefore, in order to interpret this image, it is important for us to know what is the basis of this or that poetic work. (More on symbolism, acmeism and futurism)

At the beginning of the 20th century, first of all, we will talk about the formation of acmeism, about its principles, about the connection between symbolism and acmeism. This is due to the fact that this work analyzes mainly the poetic texts of these trends. The ideas of acmeism are set forth in Nikolai Gumilyov's article "The Legacy of Symbolism and Acmeism." Let us turn specifically to it, let's try to figure out what the works of acmeist poets are based on.

The word acmeism comes from the Greek akme, which means highest degree something, flourishing, maturity, top, tip. Another name is Adamism - a courageously clear, firm outlook on life. Acmeism originates from symbolism, a trend that Gumilev calls "a worthy father." The name "acmeism" appeared after the separation of some poets from the symbolists,

The “Workshop of Poets” was organized (autumn 1911) as a counterbalance to the “Academy of Verse” (association of symbolists) due to the defeat of the poem by N.S. Gumilyov "The Prodigal Son".

There were six most active participants in the current: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At various times, other poets joined them. The six main representatives were also divided into two camps: the first three classified themselves as “pure” Acmeism, the rest as Adamism. They belonged to the naturalistic wing of the current.

For the first time, the ideas of the new trend were outlined before it appeared. In M. Kuzmin's article "On Beautiful Clarity" in 1910, the author introduces such a concept as "clarism" (Greek clarity) - this is the basis of the work, the author or artist must convey it, clarify the world of things, seek harmony with others, adhere to style, follow the logic. "Beautiful clarity" became in demand by many participants in the "Workshop of Poets".

In January 1913, in the first issue of the Apollo magazine, the acmeists published their program articles: “The Heritage of Symbolism and Acmeism” by N. Gumilyov and “Some Trends in Modern Russian Poetry” by S. Gorodetsky. The first of them said that “symbolism is being replaced by a new direction, no matter how it is called, whether acmeism or adamism, in any case, requiring a greater balance of power and more accurate knowledge of the relationship between subject and object, there was something in symbolism . However, in order for that trend to assert itself in its entirety and be a worthy successor to the previous one, it is necessary that it accept its inheritance and answer all the questions posed by it.

N. Gumilyov declared that the “new trend” gives a decisive preference to the Romanesque spirit over the German one, which prevailed in symbolism. If the German spirit and symbolism are characterized by nebula, “the fusion of all images and things, the variability of their appearance”, then “the Romanesque spirit too loves the element of light that separates objects and clearly draws a line”. He defined it as a new poetry that replaces symbolism, which does not have the goal of penetrating into the beyond worlds and comprehending the unknowable, since this is an "unchaste occupation." Gumilyov oriented the new literary trend towards the perception of Western European artistic traditions. Unlike Gumilyov, S. Gorodetsky emphasized the Russian national principle in acmeism. He also rejected the artistic worldview of the Symbolists and their poetics. “The struggle between acmeism and symbolism, if it is a struggle, and not the occupation of an abandoned fortress, is, first of all, a struggle for this world, sounding, colorful, having shapes, weight and time. Symbolism, having filled the world with correspondences, turned it into a phantom, important only insofar as it sees through and shines through other worlds and belittled its high intrinsic value.

He suggests doing things that are understandable, but not reducing everything to practical goals.

If the Symbolists strove for something unsteady and super-real, for the ambiguity and fluidity of images, then the Acmeists - for the clarity of the image, the precision of the word. They were indifferent to political issues. Russian symbolism originates in France, where "purely literary tasks are put forward: free verse, a more peculiar and unsteady style, a metaphor elevated above all." Thanks to this, fleetingness, momentaryness, mystery, covered with a halo of mysticism, become the determining factor. Acmeists, on the other hand, have a realistic view of things. The hazy unsteadiness is replaced by precise verbal images. They most often turn to plots and images from mythology, they are guided by spatial arts: architecture, sculpture and painting. Symbolists prefer music.

Acmeism did not last long. In February 1914 there was a split. The "shop of poets" was closed. Acmeists managed to publish ten issues of their journal "Hyperborea" and several almanacs.

An attempt to resume the operation of the workshop was made more than once, the last one in 1920 belonged to Nikolai Gumilyov.

Despite its short existence, acmeism gave literature a lot. It has no analogues in other European literatures. N. Gumilyov, A. Akhmatova, O. Mandelstam are bright personalities who had a significant impact on the fate of Russian poetry of the 20th century.

In addition to symbolism and acmeism, futurism is an important direction for us. In the poems of V.V. Mayakovsky, B.L. Pasternak, N.N. Aseev, V. Shershenevich and other poets, the image of a tram is often found, so it is necessary to talk about the basic principles of the direction. Futurism (from Latin "futurus" - future) is of Italian origin. F. Marinetti is considered the founder. The essence of futurism in the mechanization of art, the deprivation of its spirituality, verbal delights were considered superfluous, and spirituality - an obsolete myth. Marinetti's ideas were picked up in Russia as well. The first futurists were the Burliuk brothers, then other poets rallied around them, their names are listed above. The first manifestos were shocking in nature, the name "Slap in the face of public taste" speaks for itself.

The Russian futurists “set out to create a new poetics, a new system of aesthetic values. The virtuoso play with the word, the aestheticization of everyday objects, the speech of the street - all this excited, shocked, resonated" (Nikolaev)

Futurism had several currents within itself, either converging or conflicting: cubo-futurism, ego-futurism (Igor Severyanin), the Centrifuga group (N. Aseev, B. Pasternak).

Very different from each other, these groups converged in a new understanding of the essence of poetry, in a craving for verbal experiments. Russian futurism gave the world several poets of enormous scale: Vladimir Mayakovsky, Boris Pasternak, Velimir Khlebnikov.

So, we repeat, solely in order to more clearly represent the principles of acmeism, relying on the articles of N. Gumilyov, O. Mandelstam and S. Gorodetsky, we will try to formulate them with theses.

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

rejection of the 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;

echoes of bygone literary epochs

Symbolism is an artistic movement that was formed in France in the 1870s-1890s and became widespread in literature, painting, music, and architecture in many European countries, including Russia, from the 1890s to the 1910s. Symbolism is closely connected with the national variants of the Art Nouveau style (Art Nouveau, Art Nouveau, Secession). His influence extended not only to the field of artistic creativity, but also to interior design, clothing style and, through various forms of life creation, to models of everyday behavior. The emergence of this first modernist stylistic formation was associated with a radical “revaluation of values” (the term of F. Nietzsche, one of the “spiritual fathers” of symbolism), which was subjected to at the end of the 19th century by positivism with its thesis “the world is knowable”, the theory of social progress, confessional forms of religious practice (historical Christianity), bourgeois morality. In the aesthetic sphere, life-writing realism, naturalism, and the stereotyped rhetoric of didactic and civic poetry were resolutely rejected. Instead, freedom of creative self-expression and religious and philosophical quests were put forward, preference for the intuitive way to the rational one, interest in the “unknowable” - in “other worlds”, in the experience of altered states of consciousness (sleep, daydream, ecstasy, visionary) and its comprehension in autoreflective strong forms. “Until recently, they thought - the world has been studied. All depth has disappeared from the horizon. The great plane was washed away. There were no eternal values ​​that opened prospects. Everything has depreciated. But the desire for the distant did not disappear in the hearts. I wanted perspective. Again the heart asked for eternal values. The whole being of a person is captured not by events, but by symbols of something else. In symbolism, as a method that connects the eternal with its spatial and temporal manifestations, we meet with the knowledge of Platonic ideas”1 - this is how Andrei Bely formulated the main worldview principles of the new literary trend in the program article “Symbolism as a world outlook” (1903). 12 An essential component of the symbolist credo - and this is especially characteristic of Russian symbolism - is the belief in the possibility of "transforming the world" through the efforts of an artist-theurge (magician) in an act of individual life-creation. The instrument of "theurgy" is called upon to become a symbol (from the Greek συµβολλον - a sign, an identification mark indicating a community, a connection). It is understood as a dynamic principle linking different facets of being and consciousness; in its ambiguity, through a chain of mediated meanings, by ascending “from the real to the most real”, it is correlated with the idea of ​​“universal unity” - the completeness of the cosmic and human universe. In addition to the inexhaustibility of meaning, the symbol conveys in the secret language of hint and suggestion something inexpressible, “unsaid”, that content that cannot be adequately conveyed by words of ordinary language. Hence - the desire for special expressiveness, musicality of the artistic image (mainly poetic), its suggestion, for what the Symbolists called "the magic of words." Turning into a symbol, the image becomes "transparent"; the meaning "shines" through it, being given precisely as a semantic perspective, where it turns out to be possible to unfold the symbol into a myth, i.e., myth-making. On Russian soil, such features of symbolism as the diversity of artistic thinking, the strengthening of religious and philosophical problems, the understanding of art as a way of knowing the world, the absolutization of the value of the creative act (life-creation), the ecstasy of experiences (“Dionysianism”), the dream of the synthesis of arts, deepening into the realm of the unconscious, neomythologism. The Russian version of symbolism was characterized by a particularly acute experience of modernity as a total crisis - a crisis of life, art, and consciousness. This was superimposed on the eschatological moods of its representatives, who caught signs of the approaching "end of history" in the phenomena of the real world. Belief in the implementation of the utopian project of re-creating society and man through "theurgic" creativity correlated with spiritual maximalism, with the perception of social revolutions as the triumph of the "revolution of the spirit". At present, the history of Russian symbolism has been reconstructed in detail in the general dynamics of the literary process; it has also been comprehended at the level of individual creative biographies of symbolist writers2. A significant body of new archival materials has been introduced into scientific circulation, the main works of the luminaries of the Symbolist movement (A. Blok, V. Bryusov, K. Balmont, A. Bely, Z. Gippius, D. Merezhkovsky, Vyach Ivanov, F. Sologub) and writers of the second and third series (L. Zinovieva-Annibal, G. Chulkov, Ellis (L. L. Kobylinsky), etc.), memoir literature. Thanks to generalizing academic works, authoritative dictionaries and reference publications, monographic studies, publishing projects of Russian and foreign literary scholars, the phenomenon of symbolism has been studied in sufficient detail and presented in the paradigm of various interpretative approaches: historical-literary, typological, mythopoetic, psychoanalytic, cultural but anthropological. Corrections have also been made to the traditional classification scheme for the development of symbolism, built on the principle of generational change (“older” / “junior” symbolists) or aesthetic and ideological programs (decadence / religious-philosophical symbolism; idealistic / realistic symbolism). Instead, a systematized concept of the evolution of symbolism is proposed, which is more adequate to the object under study. So, Z. G. Mints identifies three subsystems of symbolist "pan-aestheticism": 1) "aesthetic rebellion", or "decadence" (1890s); 2) "aesthetic utopia" (1901-1907); 3) "intrinsic aestheticism" (1908-1910)3. The Austrian Slavist A. Hansen-Löwe, who undertook the experience of a systematic study of the figurative-poetic and motivic structure of the main body of symbolist texts, distinguishes three typological models: 1) diabolic symbolism (from the Greek ϑιαβαλλειυ - bifurcation, separation); 2) mythopoetic symbolism; 3) grotesque carnival symbolism. Each of the models assumes the presence of two programs chronologically and evolutionarily related to each other: within the framework of the first model - "aestheticism" and "magic symbolism" of the 1890s - early 1900s; within the framework of the second - "positive mythopoetism" of the early 1900s and "negative mythopoetism" of 1903-1908; the third model, divided into “positive demythologization and remythologization” and “destruction and automythologization of heterogeneous symbolisms”, manifests itself in 1907-1908 and continues to exist until the 1920s4. In this chapter, for the convenience of presenting the material, a generalized scheme of the development of Russian symbolism will be presented with the allocation of three chronological stages, designated in accordance with their style and content dominants. The first stage - aestheticism - falls on the 1890s - early 1900s. During this period, the literature includes N. M. Minsky, D. S. Merezhkovsky, Z. N. Gippius, V. Ya. Bryusov, K. D. Balmont, F. K. Sologub, Yu. Baltrushaitis. The time of birth of Russian symbolism is clearly recorded: it is considered to be 1892, during which D. S. Merezhkovsky twice lectured in St. Petersburg “On the causes of the decline and on new trends in modern Russian literature”, an article by Z. A. Vengerova "Symbolist Poets in France", which introduced readers to new trends in Western European literature. Merezhkovsky's lecture, published in 1893 as a separate brochure, became the first literary manifesto of the emerging trend, it was here that the word "symbolism" was first heard. Declarative was 14 and the name of Merezhkovsky's poetry collection "Symbols" (1892); the epigraph from Goethe that preceded it, “Everything is transitory / There is only a symbol,” consecrated the first steps of the new school with a halo of continuity. Merezhkovsky supplemented reflections on the collapse of rationalism, positive knowledge and faith, common for the era of the “end of the century”, with judgments about the decline of modern literature, which abandoned “ancient, eternal, never-dying idealism” and gave preference to naturalism. Literature, in his opinion, can only be revived by a rush to the unknown, to "shrines that do not exist." Giving an objective assessment of the state of literary affairs in Russia and Europe, Merezhkovsky named the prerequisites for the victory of new literary movements: the thematic and aesthetic exhaustion of realistic literature, its forgetfulness of the “ideal”, which comes into conflict with the worldview of modern man with his craving for the “transcendental”. "and a sense of" the closeness of the mystery. It also defined the three main elements of the new art: "mystical content", "symbols" and "expansion of artistic impressionability". And although this aesthetic program was distinguished by fuzzy and blurred criteria, it responded to the aesthetic aspirations of the era and was enthusiastically responded to as preaching a “new idealism”. In 1894-1895, three thin collections of poems and translations under the title "Russian Symbolists" were published in Moscow - the first collective performance of the "new" poets. Most of the poems were written by V. Bryusov and published under pseudonyms, which gave the impression of the existence of an entire school. The goal was achieved: criticism began to speak about the Symbolists, the collections received scandalous fame, became the subject of parodies, the famous monostyric by V. Bryusov “O close your pale legs…” especially shocked the public. The desire of the young poet “to find a guiding star in the fog” was achieved: “... I see it: this is decadence. Yes! whether it is false, whether it is ridiculous, but it goes forward, develops, and the future will belong to it, especially when it finds a worthy leader. And I will be that leader!”5 he writes in his diary in 1893. For Bryusov, symbolism is an exclusively aesthetic phenomenon, and poetry is a tool for expressing the refined experiences of the modern soul, the “correspondence” of which can be the poetics of hint, understatement. Such is the poem "Creativity" (1895), which conveys the state of poetic dreams, expressing the idea of ​​intuition, lack of accountability of creative impulses, quirkiness of poetic imagination. The shadow of uncreated creatures sways in a dream, Like the blades of patching On an enamel wall. 15 Violet hands On the enamel wall Sleepily draw sounds In the sonorous silence. And transparent stalls, In the sonorous silence, Grow like sparkles, Under the azure moon. A naked moon rises Under the azure moon... Sounds hover half asleep, Sounds caress me. The secrets of created creatures caress me with caress, And the patchwork shadow trembles On the enamel wall. Complex metaphors, exoticisms, whimsical associations, the hypnotic effect of poetic rhythm, on the one hand, and on the other hand, demonstrative egocentrism (cf. the titles of Bryusov's first collections "Chefs d'oeuvre" - "Masterpieces" and "Me um esse" - “It’s Me”) and outrageous immorality (“I don’t believe in unshakable truth for a long time / I want the Free Boat to float everywhere / Both the Lord and the Devil

A complex of "decadent" (from French dcadence - decline, decline) aesthetic worldview is being formed and finds a poetic embodiment. Motives of isolation from the world, isolation of the individual in the "earthly prison", "tower", "cell" or, on the contrary, the infinite

POETRY OF THE “SILVER AGE”

MAIN CURRENTS AND VIEWS ON THEM.

“silver Age“Russian poetry” - this name has become stable to refer to Russian poetry of the late XIX - early XX century. It was given by analogy with the Golden Age - that was the name given to the beginning of the 19th century, Pushkin's time. There is an extensive literature about Russian poetry of the “Silver Age” - both domestic and foreign researchers wrote a lot about it, including such prominent scientists as V.M. Zhirmunsky, V. Orlov, L.K. Dolgopolov, continue to write to M.L. Gasparov, R.D. Timenchik, N.A. Bogomolov and many others. Numerous memoirs have been published about this era - for example, V. Mayakovsky (“On the Parnassus of the Silver Age”), and Odoevtseva (“On the Banks of the Neva”), three-volume memoirs by A. Bely; The book “Memories of the Silver Age” was published.

Russian poetry of the "Silver Age" was created in the atmosphere of a general cultural upsurge as a significant part of it. It is characteristic that at the same time such brightest talents as A. Blok and V. Mayakovsky, A. Bely and V. Khodasevich could create in one and the same country. This list goes on and on. In the history of world literature, this phenomenon was unique.

Late XIX - early XX century. in Russia - this is a time of change, uncertainty and gloomy omens, this is a time of disappointment and a sense of the approaching death of the existing socio-political system. All this could not but affect Russian poetry. It is with this that the emergence of symbolism is connected.

Symbolism was a heterogeneous phenomenon, uniting in its ranks poets who held the most contradictory views. Some of the symbolists, such as N.Minsky, D.Merezhkovsky, began their creative way as representatives of civil poetry, and then began to focus on the ideas of "god-building" and "religious community". The “senior symbolists” sharply denied the surrounding reality, they said “no” to the world:

I don't see our reality

I don't know our age...

(V.Ya.Bryusov)

Earthly life is only a “dream”, a “shadow” Reality is opposed to the world of dreams and creativity - a world where a person gains complete freedom:

There is only one eternal commandment - to live.

In beauty, in beauty no matter what.

(D. Merezhkovsky)

Real life portrayed as ugly, evil, boring, and pointless. Symbolists paid special attention to artistic innovation - the transformation of the meanings of a poetic word, the development of rhythm, rhyme, etc. the “senior symbolists” do not yet create a system of symbols; They are impressionists who strive to convey the subtlest shades of moods and impressions. The word as such lost its value for the symbolists. It became valuable only as a sound, a musical note, as a link in the overall melodic construction of a poem.

The new period in the history of Russian symbolism (1901-1904) coincided with the beginning of a new revolutionary upsurge in Russia. Pessimistic moods inspired by the era of reaction in the 1980s - early 1890s. and the philosophy of A. Schopenhauer, give way to premonitions of “unheard of changes”. “Junior Symbolists” enter the literary arena - followers of the idealist philosopher and poet Vl. Solovyov. old world on the verge of complete destruction, that the divine Beauty (Eternal Femininity, the Soul of the World) enters the world, which must “save the world”, connecting the heavenly (divine) beginning of life with the earthly, material, to create the “kingdom of God on earth”:

Know this: Eternal Femininity is now

He comes to earth in an incorruptible body.

In the light of the unfading new goddess

The sky merged with the abyss of water.

(Vl. Soloviev)

Love is especially attractive - eroticism in all its manifestations, starting with purely earthly voluptuousness and ending with romantic yearning for the Beautiful Lady, the Lady, the Eternal Femininity, the Stranger ... Eroticism is inevitably intertwined with mystical experiences. Symbolist poets also love the landscape, but not as such, but again as a means, as a means to reveal their mood. Therefore, so often in their poems is Russian, languidly sad autumn, when there is no sun, and if there is, then with sad faded rays, the falling leaves rustle softly, everything is shrouded in a haze of a slightly waving mist. The favorite motif of the “junior symbolists” is the city. A city is a living creature with a special form, a special character, often it is a “Vampire city”, “Octopus”, a satanic obsession, a place of madness, horror; the city is a symbol of soullessness and vice. (Blok, Sologub, Bely, S. Solovyov, to a large extent Bryusov).

The years of the first Russian revolution (1905-1907) again significantly change the face of Russian symbolism. Most poets respond to revolutionary events. Blok creates images of new people, people's world. V.Ya. Bryusov writes the famous poem "The Coming Huns", where he glorifies the inevitable end of the old world, to which, however, he counts himself and all the people of the old, dying culture. During the years of the revolution, F.K. Sologub creates a book of poems “Motherland” (1906), K.D. Balmont - a collection of "Songs of the Avenger" (1907), published in Paris and banned in Russia, etc.

More importantly, the years of the revolution rebuilt the symbolic artistic worldview. If earlier Beauty was understood as harmony, now it is associated with the chaos of struggle, with the elements of the people. Individualism is replaced by the search for a new personality, in which the flowering of the “I” is connected with the life of the people. The symbolism is also changing: previously associated mainly with the Christian, ancient, medieval and romantic tradition, now it turns to the heritage of the ancient “national” myth (V.I. Ivanov), to Russian folklore and Slavic mythology (A. Blok, M.M. .Gorodetsky) The mood of the symbol also becomes different. An increasingly important role in it is played by its earthly meanings: social, political, historical.

By the end of the first decade of the 20th century, symbolism, as a school, was in decline. Separate works of symbolist poets appear, but his influence, as a school, has been lost. Everything young, viable, vigorous is already outside of him. Symbolism no longer gives new names.

Symbolism has outlived itself, and this outliving has gone in two directions. On the one hand, the demand for obligatory "mysticism", "disclosure of secrets", "comprehension" of the infinite eventually led to the loss of the authenticity of poetry; The “religious and mystical pathos” of the luminaries of symbolism turned out to be replaced by a kind of mystical stencil, template. On the other hand, the passion for the “musical basis” of the verse led to the creation of poetry, devoid of any logical meaning, in which the word is reduced to the role of not a musical sound, but a tin, ringing trinket.

Accordingly, the reaction against symbolism, and subsequently the struggle against it, followed the same two main lines.

On the one hand, the “acmeists” opposed the ideology of symbolism. On the other hand, in defense of the word as such, the "futurists" who were also hostile to symbolism in ideology, came forward.

I will find another soul

Everything that teased, catching.

I bless the golden

The road to the sun from the worm.

(N.S. Gumilyov)

And the cuckoo clock of the night is happy

Everyone can hear their clear conversation.

I look through the crack: horse thieves

They light a fire under the hill.

(A.A. Akhmatova)

But I love casinos on the dunes

Wide view through a foggy window

And a thin beam on a crumpled tablecloth.

(O.E. Mandelstam)

These three poets, as well as S.M. Gorodetsky, M.A. Zenkevich, V.I. Naburt, in the same year called themselves acmeists (from the Greek akme - the highest degree of something, blooming time). Acceptance of the earthly world in its visible concreteness, a sharp look at the details of being, a lively and direct feeling of nature, culture, the universe and the material world, the idea of ​​the equality of all things - that was what united all six at that time. Almost all of them had previously been trained by the masters of symbolism, but at some point they decided to reject the aspiration towards “other worlds” characteristic of the symbolists and disregard for earthly, objective reality.

hallmark poetry of acmeism is its material reality, objectivity. Acmeism loved things with the same passionate, selfless love, as symbolism loved "correspondences", mysticism, mystery. For him, everything in life was clear. To a large extent, he was the same aestheticism as symbolism, and in this respect he undoubtedly is in succession with him, but the aestheticism of acmeism is of a different order than the aestheticism of symbolism.

Acmeists liked to derive their genealogy from the Symbolist Jn. Annensky, and in this they are undoubtedly right. In. Annensky stood apart among the Symbolists. Having paid tribute to early decadence and its moods, he almost did not reflect the ideology of late Moscow symbolism in his work, and while Balmont, and after him many other symbolist poets, got lost in “verbal balancing act”, - in the apt expression of A. Bely, drowned in the stream of formlessness and the “spirit of music” that flooded symbolic poetry, he found the strength in himself to follow a different path. The poetry of In. Annensky marked a revolution from the spirit of music and aesthetic mysticism to simplicity, conciseness and clarity of verse, to the earthly reality of themes and some earthly amistic heaviness of mood.

The clarity and simplicity of the construction of In. Annensky's verse was well mastered by the acmeists. Their verse acquired clarity of outline, logical force and material weight. Acmeism was a sharp and definite turn of Russian poetry of the twentieth century towards classicism. But it is only by turning, and not by completion - this must be kept in mind all the time, since acmeism still bore in itself many features of romantic symbolism that had not yet been completely outlived.

In general, the poetry of the acmeists was a model in most cases inferior to symbolism, but still of very high skill. This craftsmanship, in contrast to the ardor and expression of the best achievements of symbolism, carried a touch of some kind of self-contained, refined aristocracy, most often (with the exception of the poetry of Akhmatova, Narbut and Gorodetsky) cold, calm and impassive.

Among the acmeists, the cult of Theophile Gautier was especially developed, and his poem “Art”, beginning with the words “Art is the more beautiful, the more impassive the material taken”, sounded like a kind of poetic program for the older generation of the “Poets' Workshop”.

Just like symbolism, acmeism has absorbed many diverse influences and various groupings have been outlined in its environment.

It united all acmeists into one, their love for the objective, real world - not for life and its manifestations, but for objects, for things. This love manifested itself in different acmeists in different ways.

First of all, we see poets among the acmeists, whose attitude to the objects around them and admiring them bears the stamp of the same romanticism. This romanticism, however, is not mystical, but objective, and this is its fundamental difference from symbolism. Such is Gumilyov's exotic position with Africa, the Niger, the Suez Canal, marble grottoes, giraffes and elephants, Persian miniatures and the Parthenon bathed in the rays of the setting sun... Gumilyov is in love with these exotic objects of the surrounding world, pure in an earthly way, but this love is thoroughly romantic . Objectivity took the place of the mysticism of symbolism in his work. It is characteristic that in the last period of his work, in such things as The Lost Tram, The Drunken Dervish, The Sixth Sense, he again becomes close to symbolism.

There is something in the external fate of Russian futurism that is reminiscent of the fate of Russian symbolism. The same furious non-recognition at the first steps, the noise at birth (with the futurists, only much stronger, turning into a scandal). Rapid recognition of the advanced layers of literary criticism followed this, a triumph, great hopes. Sudden breakdown and fall into the abyss at the moment when it seemed unprecedented in Russian poetry opportunities and horizons.

That futurism is a significant and deep current is beyond doubt. It is also undoubtedly significant external influence(in particular Mayakovsky) on the form of proletarian poetry in the first years of its existence. But it is equally certain that Futurism could not bear the burden of the tasks assigned to it and completely collapsed under the blows of the revolution. The fact that the work of several futurists - Mayakovsky, Aseev and Tretyakov - has been permeated in recent years revolutionary ideology, speaks only of the revolutionary nature of these individual poets: having become singers of the revolution, these poets have lost their futuristic essence to a large extent, and futurism as a whole did not become closer to the revolution because of this, just as symbolism and acmeism did not become revolutionary because the members of the RCP and the singers of the revolution became Bryusov, Sergei Gorodetsky and Vladimir Narbut, or because almost every symbolist poet wrote one or more revolutionary poems.

Basically, Russian futurism was a purely poetic movement. In this sense, he is a logical link in the chain of those currents of twentieth-century poetry that put purely aesthetic problems at the head of their theory and poetic creativity. In futurism, the rebellious formal revolutionary element was strong, causing a storm of indignation and "shocking the bourgeois." But this "shocking" was a phenomenon of the same order as the "shocking" that the decadents evoked in their time. In the "rebelliousness" itself, in the "shocking of the bourgeois", in the scandalous cries of the futurists, there were more aesthetic emotions than revolutionary emotions.

The starting point of the technical searches of the futurists is the dynamics modern life, its rapid pace, the desire for maximum savings, “aversion to a curved line, to a spiral, to a turnstile, A tendency to a straight line. Aversion to slowness, to trifles, to verbose analyzes and explanations. Love for speed, for reduction, for summary and for synthesis: “Tell me quickly in a nutshell!” Hence - the destruction of the generally accepted syntax, the introduction of "wireless imagination", that is, "absolute freedom of images or analogies expressed by liberated words, without the wires of syntax and without any "punctuation", "condensed metaphors", "telegraphic images", "movements in two , three, four and five paces”, the destruction of quality adjectives, the use of verbs in an indefinite mood, the omission of conjunctions and so on - in a word, everything aimed at conciseness and increasing the “speed of style”.

The main aspiration of Russian "cubo-futurism" is a reaction against the "music of the verse" of symbolism in the name of the inherent value of the word, but the word is not as a weapon for expressing a certain logical thought, as was the case with classical poets and acmeists, but the word, as such, as an end in itself. In conjunction with the recognition of the absolute individualism of the poet (the Futurists attached great importance even to the poet's handwriting and published handwritten lithographic books and with the recognition of the role of the "creator of the myth" behind the word), this aspiration gave rise to an unprecedented word creation, which ultimately led to the theory of "abstruse language". An example is the sensational poem of the Kruchennykhs:

Hole, bul, schyl,

Word creation was the biggest achievement of Russian futurism, its central moment. In contrast to Marinetti's futurism, Russian "cubo-futurism" represented by its brightest representatives had little to do with the city and modernity. The same romantic element was very strong in him.

She had an effect in the sweet, half-childish, tender grumble of Elena Guro, who doesn’t fit the “terrible” word “cubo-futurist”, and in the early things of N. Aseev, and in the rollicking Volga prowess and the ringing sunshine of V. Kamensky, and the gloomy “ spring after death "Churilin, but especially strong in V. Khlebnikov. Khlebnikov is even difficult to connect with Western futurism. He himself stubbornly replaced the word "futurism" with the word "budetlyane". Like the Russian Symbolists, he (like Kamensky, Churilin and Bozhidar) absorbed the influence of previous Russian poetry, but not the mystical poetry of Tyutchev and Vl. Solovyov, and poetry "The Tale of Igor's Campaign" and the Russian epic epic. Even the events of the most immediate, immediate modernity - the war and the NEP - are reflected in Khlebnikov's work not in futuristic poems, as in "1915" Aseev, and in the romantically stylized in the old Russian spirit the wonderful "Combat" and "Oh, good fellows, merchants."

However, Russian futurism was not limited to one "word-creation". Along with the current created by Khlebnikov, there were other elements in it. More suitable for the concept of "futurism", related to Russian futurism with its Western counterpart.

Before talking about this trend, it is necessary to single out into a special group one more variety of Russian futurism - the "Ego-Futurists", who spoke in St. Petersburg somewhat earlier than the Moscow "Cubo-Futurists". I. Severyanin, V. Gnedov, I. Ignatieva K. Olimpov G. Ivnov (later an acmeist) and the future founder of "Imagism" V. Shershenevich were at the head of this trend.

"Ego-futurism" had essentially very little in common with futurism. This trend was some kind of mixture of epigonism of the early Petersburg decadence, bringing Balmont’s verse to the limitless limits of “song” and “musicality” (as you know, Severyanin did not recite, but sang his poems at “poetry concerts”), some kind of salon-perfumery eroticism , turning into slight cynicism, and the assertion of extreme solipsism - extreme egocentrism (“Egoism is individualization, awareness, worship and praise of the “I” ... “Ego-futurism is the unceasing striving of every egoist to achieve the future in the present”). This was combined with Marinetti's glorification of the modern city, electricity, railway, airplanes, factories, cars (from Severyanin and especially from Shershenevich). Thus, in “ego-futurism, there was everything: both echoes of modernity, and new, though timid, word-creation (“poetry”, “goof”, “mediocrity”, “olilien”, and so on), and successfully found new rhythms for transmission measured swaying of car springs (“Elegant Carriage” by Severyanin), and a strange for a futurist admiration for the salon poems of M. Lokhvitskaya and K. Fofanov, but most of all, love for restaurants, boudoirs of dubious growth, cafe-shantany, which became native elements for Severyanin. Apart from Igor Severyanin (soon, however, he abandoned ego-futurism), this movement did not produce a single bright poet.

Much closer to the West than Khlebnikov's futurism and Severyanin's "ego-futurism" was the bias of Russian futurism, found in the work of Mayakovsky, the last period of Aseev and Sergei Tretyakov. Taking in the field of technology the free form of verse, new syntax and bold assonances instead of the strict rhymes of Khlebnikov, paying a well-known, sometimes significant tribute to word creation, this group of poets gave in their work some elements of a truly new ideology. Their work reflected the dynamics, huge scope and titanic power of the modern industrial city with its noises, noises, noises, glowing lights of factories, street bustle, restaurants, crowds of moving masses.

In recent years, Mayakovsky and some other futurists have freed themselves from hysteria and anguish. Mayakovsky writes his "orders", in which everything is vivacity, strength, calls to fight, reaching the point of aggressiveness. This mood is expressed in 1923 in the declaration again organized group"Lef" ("Left Front of Art").

Not only ideologically, but also technically, all of Mayakovsky's work (with the exception of his first years), as well as the last period of the work of Aseev and Tretyakov, is already a way out of futurism, an entry on the path of a kind of neo-realism. Mayakovsky, who began under the undoubted influence of Whitman, in the last period develops completely special techniques, creating a kind of poster-hyperbolic style, restless, shouting out a short verse, sloppy, "torn lines", very successfully found to convey the rhythm and huge scope of the modern city, war, movement of millions of revolutionary masses. This is a great achievement of Mayakovsky, who has outgrown Futurism, and it is quite natural that the proletarian poetry of the first years of its existence, that is, of the very period when proletarian poets fixed their attention on the motives of the revolutionary struggle, Mayakovsky's technical methods had a significant impact.

Imagism was the last notably sensational school in Russian poetry of the 20th century. This direction was created in 1919 (the first "Declaration" of Imagism is dated January 30), therefore, two years after the revolution, but in all ideology this trend did not have a revolution.

Vadim Shershenevich, a poet who began with symbolism, from poems imitating Balmont, Kuzmin and Blok, in 1912 acted as one of the leaders of ego-futurism and wrote "poets" in the spirit of Severyanin and only in the post-revolutionary years created his "Imagist" poetry.

Just like Symbolism and Futurism, Imagism originated in the West and only from there was it transplanted by Shershenevich to Russian soil. And just like Symbolism and Futurism, it differed significantly from the Imagism of Western poets.

Imagism was a reaction both against the musicality of the poetry of symbolism and against the materiality of acmeism and the word-creation of futurism. He rejected any content and ideology in poetry, putting the image at the forefront. He was proud that he "has no philosophy" and "logic of thought."

The Imagists connected their apology for the image with the speed of the pace of modern life. In their opinion, the image is the clearest, most concise, most appropriate to the age of automobiles, radiotelegraphy, and airplanes. “What is an image? the shortest distance with the highest speed. In the name of the "speed" of conveying artistic emotions, the Imagists, following the futurists, break the syntax - throw out epithets, definitions, prepositions, predicates, put verbs in an indefinite direction.

In essence, there was nothing particularly new in the techniques, as well as in their "imagery". “Imagism”, as one of the methods of artistic creativity, was widely used not only by futurism, but also by symbolism (for example, in Innokenty Annensky: “Spring does not rule yet, but the snow cup is drunk by the sun” or in Mayakovsky: “A bald lantern voluptuously removed black from the street stocking"). What was new was the persistence with which the Imagists brought the image to the fore and reduced everything in poetry to it - both content and form.

Along with the poets associated with certain schools, Russian poetry of the 20th century produced a significant number of poets who did not adjoin them or adjoined for some time, but did not merge with them and ultimately went their own way.

The fascination of Russian symbolism with the past - the 18th century - and the love for stylization was reflected in the work of M. Kuzmin, the fascination with the romantic 20s and 30s - in the sweet intimacy and comfort of samovars and old corners of Boris Sadovsky. The same passion for “stylization” underlies the oriental poetry of Konstantin Lipskerov, Marieta Shaginyan and in the biblical sonnets of Georgy Shengeli, in the safic stanzas of Sofia Parnok and the subtle stylized sonnets from the Pleiades cycle by Leonid Grossman.

Fascination with Slavicisms and the Old Russian song warehouse, the craving for "artistic folklore" noted above as a characteristic moment of Russian symbolism, reflected in the sectarian motifs of A. Dobrolyubov and Balmont, in the popular prints of Sologub and in the ditties of V. Bryusov, in the ancient Slavic stylizations of V. Ivanov and in the entire first period of S. Gorodetsky's work, they fill the poetry of Lyubov Stolitsa, Marina Tsvetaeva and Pimen Karpov. It is just as easy to catch the echo of the poetry of the Symbolists in the hysterically expressive, nervous and sloppy, but strongly made lines of Ilya Ehrenburg, a poet who also belonged to the ranks of the Symbolists in the first period of his work.

A special place in the Russian lyrics of the twentieth century is occupied by the poetry of I. Bunin. Starting with lyrical poems written under the influence of Fet, which are the only examples of a realistic depiction of the Russian village and a poor landowner's estate, in the later period of his work, Bunin became a great master of verse and created beautiful in form, classically clear, but somewhat cold poems, reminiscent of , - as he himself characterizes his work, - a sonnet carved on a snowy peak with a steel blade. V. Komarovsky, who died early, is close to Bunin in restraint, clarity and some coldness. The work of this poet, whose first speeches date back to a much later period - by 1912, bears in a certain part the features of acmeism. So it began to play a rather prominent role in the poetry of classicism, or, as it is commonly called, "Pushkinism", approximately from 1910.

Around 1910, when the bankruptcy of the Symbolist school was discovered, there was, as noted above, a reaction against Symbolism. Above, two lines were outlined along which the main forces of this reaction were directed - acmeism and futurism. However, the protest against symbolism was not limited to this. It found its expression in the work of poets who did not adjoin either acmeism or futurism, but who defended the clarity, simplicity and strength of the poetic style with their work.

Despite the conflicting views of many critics, each of these movements produced many excellent poems that will forever remain in the treasury of Russian poetry and will find their admirers among future generations.

BIBLIOGRAPHY

1. "Anthology of Russian lyrics of the first quarter of the twentieth century."

I.S. Ezhov, E.I. Shamurin. "Amirus", 1991.

2. "Russian poetry of the 19th - early 20th centuries."

P. Nikolaev, A. Ovcharenko...

Publishing house "Fiction", 1987.

3. "Encyclopedic dictionary of a young literary critic."

Publishing house "Pedagogy", 1987.

4. "Methodological guide on literature for applicants to universities."

I.V. Velikanova, N.E. Tropkin. Publishing house "Teacher"

Tutoring

Need help learning a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.

In the late 19th and early 20th centuries, all aspects of Russian life were radically transformed: politics, economics, science, technology, culture, and art. There are various, sometimes directly opposite, assessments of the socio-economic and cultural prospects for the development of the country. The general feeling is the onset new era, bearing a change in the political situation and a reassessment of the old spiritual and aesthetic ideals. Literature could not but respond to the fundamental changes in the life of the country. There is a revision of artistic guidelines, a radical renewal of literary techniques. At this time, Russian poetry is developing especially dynamically. A little later, this period will be called the "poetic renaissance" or the Silver Age of Russian literature.

Realism in the early 20th century

Realism does not disappear, it continues to develop. L.N. is also actively working. Tolstoy, A.P. Chekhov and V.G. Korolenko, M. Gorky, I.A. Bunin, A.I. Kuprin ... Within the framework of the aesthetics of realism, the creative individualities of the writers of the 19th century, their civic position and moral ideals found a vivid manifestation. Dostoevsky to I.A. Bunin, and those for whom this worldview was alien - from V.G. Belinsky to M. Gorky.

However, at the beginning of the 20th century, many writers were no longer satisfied with the aesthetics of realism - new aesthetic schools began to emerge. Writers unite in various groups, put forward creative principles, participate in polemics - literary movements are affirmed: symbolism, acmeism, futurism, imaginism, etc.

Symbolism in the early 20th century

Russian symbolism, the largest of the modernist movements, was born not only as a literary phenomenon, but also as a special worldview that combines artistic, philosophical and religious principles. The date of the emergence of a new aesthetic system is considered to be 1892, when D.S. Merezhkovsky made a report "On the Causes of the Decline and New Trends in Modern Russian Literature". It proclaimed the main principles of the future symbolists: "mystical content, symbols and the expansion of artistic impressionability." The central place in the aesthetics of symbolism was given to a symbol, an image that has a potential inexhaustibility of meaning.

To the rational cognition of the world, the Symbolists opposed the construction of the world in creativity, the cognition of the environment through art, which V. Bryusov defined as "comprehension of the world in other, non-rational ways." In mythology different peoples symbolists found universal philosophical models, with the help of which it is possible to comprehend the deep foundations of the human soul and solve the spiritual problems of our time. Representatives of this trend also paid special attention to the heritage of Russian classical literature - new interpretations of the work of Pushkin, Gogol, Tolstoy, Dostoevsky, Tyutchev were reflected in the works and articles of the Symbolists. Symbolism gave culture the names of outstanding writers - D. Merezhkovsky, A. Blok, Andrei Bely, V. Bryusov; the aesthetics of symbolism had a huge impact on many representatives of other literary movements.

Acmeism in the early 20th century

Acmeism was born in the bosom of symbolism: a group of young poets first founded the literary association "Poets' Workshop", and then proclaimed themselves representatives of a new literary trend - acmeism (from the Greek akme - the highest degree of something, flourishing, peak). Its main representatives are N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam. Unlike the symbolists, who seek to know the unknowable, to comprehend the higher essences, the acmeists again turned to the value of human life, the diversity of the bright earthly world. The main requirement for the artistic form of the works was the picturesque clarity of images, verified and precise composition, stylistic balance, and sharpness of details. The acmeists assigned the most important place in the aesthetic system of values ​​to memory - a category associated with the preservation of the best domestic traditions and world cultural heritage.

Futurism in the early 20th century

Derogatory reviews of previous and contemporary literature were given by representatives of another modernist trend - futurism (from Latin futurum - future). A necessary condition for the existence of this literary phenomenon, its representatives considered an atmosphere of outrageousness, a challenge to public taste, a literary scandal. The futurists' craving for mass theatrical performances with dressing up, painting faces and hands was caused by the idea that poetry should come out of books into the square, sound in front of spectators-listeners. Futurists (V. Mayakovsky, V. Khlebnikov, D. Burliuk, A. Kruchenykh, E. Guro, and others) put forward a program for transforming the world with the help of a new art that abandoned the heritage of its predecessors. At the same time, unlike representatives of other literary movements, in substantiating creativity, they relied on fundamental sciences - mathematics, physics, philology. The formal and stylistic features of the poetry of futurism were the renewal of the meaning of many words, word creation, the rejection of punctuation marks, the special graphic design of poetry, the depoetization of the language (the introduction of vulgarisms, technical terms, the destruction of the usual boundaries between "high" and "low").

Output

Thus, in the history of Russian culture, the beginning of the 20th century is marked by the emergence of diverse literary movements, various aesthetic views and schools. However, original writers, true artists of the word, overcame the narrow framework of declarations, created highly artistic works that survived their era and entered the treasury of Russian literature.

The most important feature of the beginning of the 20th century was the general craving for culture. Not to be at the premiere of a performance in the theater, not to attend the evening of an original and already sensational poet, in literary drawing rooms and salons, not to read a book of poetry just published was considered a sign of bad taste, outdated, not fashionable. When culture becomes a fashionable phenomenon, this is a good sign. “Fashion for culture” is not a new phenomenon for Russia. So it was in the days of V.A. Zhukovsky and A.S. Pushkin: let's remember the "Green Lamp" and "Arzamas", "The Society of Lovers of Russian Literature", etc. At the beginning of the new century, exactly one hundred years later, the situation practically repeated itself. The Silver Age came to replace the Golden Age, maintaining and maintaining the connection of times.

silver Age- the heyday of Russian poetry at the beginning of the 20th century, characterized by the appearance of a large number of poets, poetic movements who preached a new, different from the old ideals, aesthetics. The name "Silver Age" is given by analogy with the "Golden Age" (the first half of the 19th century), the term was introduced by Nikolai Otsup. The Silver Age ran from 1892 to 1921. The path that Russia has traveled from the mid-90s to October 1917 is so grandiose that its content will unfold in a providential plan and in the living experience of mankind and man long time. Bunin, Bryusov, Balmont, Z. Gippius, Sologub, Bely, Kuzmin, Khodasevich, Gumilyov, Merezhkovsky, Tsvetaeva, Yesenin, Severyanin, Khlebnikov; Akhmatova, Adamovich, Pasternak, it was their work that turned out to be the pinnacle in Russian poetry of the 20s - 30s, 40s-60s. One or two generations of Russian artists experienced the greatest trials and shocks that changed the very system of world coordinates, the meaning of history, the purpose of man, the fate of culture: the defeat in the Russian-Japanese war, the first revolution, the world war, the February and October revolutions. This led to an incredible tension of feelings and thoughts. Hence the substantive and formal overcrowding of the Russian poetic word at the turn of the century. At this time, such literary movements as symbolism were formed: (mid-90s Bryusov, Sologub, Balmont, Gippius, Merezhkovsky, Blok, Bely, Solovyov) - basic principles: a) mystical content, b) expansion of artistic impressionability, c) a symbol, as the language of the new art has no clear boundaries; acmeism, which opposes symbolism and proclaims excellent clarity - N. Gumilyov, Akhmatova, Mandelstam, Mikhail Zenkevich; futurism (early 10s) - the basic principle "All words are shattered."

Acmeism (from Greek. The highest degree of something, blooming power. And it arose in defiance of symbolism.

Sergei Gorodetsky, Nikolai Gumilyov, Osip Mandelstam, Anna Akhmatova, Mikhail Zenkevich (+ Gippius, Ivanov, Narbut, Kuzmin) began to create mugs. Their main task is to work on the technique of verse. They parse at the meetings the poems of the members of the association. Acmeists also published their theoretical treatises: N. Gumilyov "The Legacy of Symbolism and Acmeism", Sergei Gorodetsky "Some Currents in Modern Russian Poetry", Kuzmin "On Beautiful Clarity".

Acmeists argue with the Symbolists. If symbolism looks into the unknowable, and the unknowable cannot be known, then there is nothing to write about. Acmeism proclaimed the rejection of the mysticism of the unknowable, the installation on the earthly, material perception of the world, on "a courageously firm and clear view of life", on the intrinsic value of "beautiful clarity". Acmeists accepted this world with all the beauties and ugliness. They didn't give up on eternity, they just didn't leave real reality. Exotics (animals from other countries) flooded into their pr-I. Acmeists called themselves Adamists - Adam comes to the new world and gives new names. What is important is the clarity of words and thoughts, simple, clear verses (clarism - clear). Acmeists take everyday objects, and put a person who lives on this earth in the center. A. brought a new hero. The symbolists have a weak, reflective, painfully perceiving. Acmeists have a healthy, courageous, courageous. Such a hero appeared in Gumilyov's projects (discoverers of new lands). A. as a language chooses thingness and objectivity. A. for a long time influenced the literature of the 20th century. Expressed longing for world culture.

§ Nikolay Gumilyov- the founder of Acmeism, the books "The Way of the Conquistadors", "Romantic Flowers", "Pearls", "Alien Sky", "Quiver", "Bonfire", "Tent", plays in verse (Don Juan in Egypt (1912), Game ( 1913, published 1916), Actaeon (1913)).

; The book of Chinese poems "Porcelain Pavilion" introduced a strong hero into literature, who is alien to relaxed energy, who courageously walks the earth. Gumilyov creates a dual world: the world of the hero and the world of other people who are afraid of life. For Gumilyov, a typical hero is as follows - an excerpt from the station "Captains": On the polar seas and in the southern ones / Along the bends of green swells / Between basalt and pearl rocks / The sails of ships rustle / / Captains lead the swift-winged ones / Discoverers of new lands / For whom they are not afraid hurricanes / Who has tasted the maelstrom and stranded / / Whose chest is saturated with the salt of the sea / Who with a needle on a torn map / Marks his audacious path / / And, having ascended the trembling bridge / Recalls the abandoned port / Shaking off the blows of the cane Shreds of foam from high over the knee boots / Or, discovering a riot on board / A pistol rips from behind a belt / So that gold pours from lace / From pinkish Brabant cuffs. St. "Pn swore in a strict temple" - G. Questions the myth of eternal femininity. He swore in a strict temple
In front of the Madonna statue
That he will be faithful to the lady
The one whose eyes are adamant... But, sad and stubborn,
He fell at the feet of the Madonna:
"I have not met a lady anywhere,
The one whose eyes are unshakable.

Anna Akhmatova (1889-1966) - the other side of the akm-ma, A. demanded new system forms. It is important that the world appear in its own flesh, and hence the poetics of detail is important. special sign double plot. Drama, psychologization of her projects. Meaning is formed by the brokenness of the rhythm. Akhm developed the genre of lyric pr-i, in which the lyric detail was the all-binding detail - the design of the meaning. Poems carry the drama of pain. St-e “In the Evening”: Music rang in the garden / With such inexpressible grief. / Sezho and sharply smelled of the sea / Oysters in ice on a platter. The world of her poetry is a world that the cat does not shy away from everyday rubbish. Revealing the drama of love, he uses everyday objects to reveal the meaning. In the 1910s Three collections were published: "Evening" 1912, "Rosary" 1914, "White Flock" 1917: the theme is love, love, like a fatal duel. Dramatic plots of unhappy love are presented: *** Limply ask for mercy / Eyes. What should I do with them / When they say / A short, sonorous name in front of me? I walk along the path in the field / Along the gray stacked logs / Here is a light wind at will / Fresh, uneven in spring. And the languid heart hears / The secret news of the distant / / I know: he is alive, he breathes / He dares not be sad. (rosary); *** Conducted a friend to the front / Stood in the golden dust / From the neighboring bell tower / Important sounds flowed / / Abandoned! Made up word - Am I a flower or a letter? And the eyes are already looking sternly / Into the darkened dressing table. ; *** She clenched her hands under a dark veil... "Why are you pale today?" - Because I am tart sadness / Got him drunk / How can I forget? He went out, staggering / His mouth twisted painfully ... I ran away, not touching the railing, I ran after him to the gate. Breathless, I shouted: “Joke Everything that was. If you leave, I will die." He smiled calmly and creepily And said to me: "Don't stand in the wind" (Sat Evening). In 10 years in her TV-ve came the period of his wife. In her poems comes the image of time breathing catastrophe. The theme of the war is the article “July 1914”, “in memory of July 19, 1914”. Endless Russian roads, along which recruits go, accompanied by the howling of their mothers. Intimate part of the motherland: “You know, I am languishing in captivity”, “I will come there, and languor will fly away.” St-e "Prayer" (1915) - with it she brought all the troubles on herself (the execution of Gumilyov, the detention of her son Leo).

O. Mandelstam his perception is characterized by a vivid picture of an evenly balanced world, which is important in itself, important for its real beauty - this materiality is extremely important for him. Predilection for trifles, he aestheticizes the cat. Aestheticization of details expressed M's appeal to the environment. Just like Ahm, he was not afraid of everyday (medium) objects, he liked to write about them. A vertical is being built, spiers play in the architecture of the city of Mandelstam, many architectural images that stretch the earthly space upwards, but determine the stability of the world. The collection "Stone" - art, the cat contains the spaces of different countries. The collection conjugates the singular, the coming and the eternal. In poems about Petersburg in his famous buildings he managed to embody the image of a majestic and beautiful city: And over the Neva, the embassies of half the world / Admiralty, the sun, silence! And the state's strong parfira, like a coarse sackcloth, is poor. In the first two lines, through tangible images, the beauty and grandeur of the city on the Neva is seen, the following lines reduce this beauty, but create the image of a harsh state. St-e “I am attached to a woodland” - conjugate 2 beginnings - earthly and worldly. Lear the hero admires the cathedrals, towers, crosses, the cat confirm the fortification of the world and bring consciousness beyond the limits of only earthly events. Acmeism is anthropocentric, people are an absolute value. M. expressed his longing for world culture. In his early projects, he showed that art is connected with world culture by natural connections - the article “I have not heard the stories of Ossian” - M, touching this chain, receives new knowledge, he restores the cultural chain ..

Conditionality of the term. The initial border of the “Silver Age” is not debatable (it approximately coincides with the chronological turn of the century, or refers to 1892, 1894, 1895), and the final is defined by researchers in different ways. Thus, In. Annensky passed away in 1909, and I .Bunin - in 1953, moreover, that both of them cannot be removed from the general context of the "Silver Age". Vadim Kreid interprets the final boundary of the phenomenon in historical terms: “Everything ended after 1917, with the beginning civil war. There was no Silver Age after that, no matter how they would like to assure us. In the 1920s, inertia continued, for such a wide and powerful wave as our Silver Age was, could not help but move for some time before collapsing or breaking ... Each of its active participants understood that, although people remained, a characteristic atmosphere the era in which talents grew like mushrooms after a mushroom rain has come to naught. There was a cold lunar landscape without atmosphere - and creative individuality - each in a separate closed cell of his creativity. By inertia, some more associations continued ... But this postscript of the Silver Age was cut off in mid-sentence, when a shot was fired that killed Gumilyov.

The greatest flourishing of the poetry of the silver section was in the 1910s.

At this time, literary cafes replaced the salons, where poems and reports were read and discussed.

In literary criticism, it is customary to call modernist, first of all, three currents that declared themselves in the period from 1890 to 1917. These are symbolism, acmeism and futurism, which formed the basis of modernism as a literary movement.

(Chronological span) (Direction)

1890-1917 MODERNISM

silver Age

Symbolism Acmeism Futurism (currents)

A modernist trend that considered the goal of art to comprehend world unity through symbols, where a symbol is a multi-valued allegory (“A symbol is a window to “infinity” by F. Sologub)

A modernist trend (from the Greek akme - a point, a pinnacle, the highest degree, a pronounced quality), declaring specifically the sensory perception of the outside world, the return to the word of its original, non-symbolic meaning.

A modernist movement that denied the artistic and moral heritage, preached the destruction of the forms and conventions of art in order to merge it with an accelerated life process.

The Silver Age, in fact, is the sum of modernist literary movements (symbolism, acmeism, futurism) and figures that do not fit into any of these movements. In parallel with the establishment of poetic schools, this time is characterized by the growth of the personal principle. Literary school and creative individuality are two key categories of the poetic process of that time.

21. The role of symbols in the poem by A.A. Block "Twelve".