Describe the main directions of the Silver Age poetry. The Silver Age of Russian Culture. Acmeism. Reached the heights
literary directionsandcurrents
XVII-X1X CENTURY
Classicism - direction in the literature of the XVII - early XIX century, focusing on the aesthetic standards of ancient art. The main idea is to affirm the priority of reason. At the heart of aesthetics is the principle of rationalism: a work of art must be reasonably constructed, logically verified, must capture the enduring, essential properties of things. The works of classicism are characterized by high civic themes, strict adherence to certain creative norms and rules, the reflection of life in ideal images that gravitate towards a universal model (G. Derzhavin, I. Krylov, M. Lomonosov, V. Trediakovsky,D. Fonvizin).
Sentimentalism - the literary movement of the second half of the 18th century, which established feeling, not reason, as the dominant of the human personality. The hero of sentimentalism is a "feeling person", his emotional world is diverse and mobile, and the wealth of the inner world is recognized for each person, regardless of his class affiliation (I. M. Karamzin."Letters from a Russian Traveler", "Poor Liza" ) .
Romanticism - a literary trend that emerged at the beginning of the 19th century. The principle of romantic double world became fundamental for romanticism, implying a sharp opposition of the hero, his ideal - to the surrounding world. The incompatibility of ideal and reality was expressed in the departure of romantics from modern themes to the world of history, legends and legends, dreams, dreams, fantasies, exotic countries. Romanticism takes a special interest in personality. The romantic hero is characterized by proud loneliness, disappointment, a tragic attitude and at the same time rebelliousness and rebellion of spirit (A.S. Pushkin."Kava captive of the Kazan ", « Gypsies»; M. Yu. Lermontov.« Mtsyri»; M. Gorky.« Song about the Falcon "," The old woman Izergil ").
Realism - a literary trend that took root in Russian literature at the beginning of the 19th century and passed through the entire 20th century. Realism asserts the priority of the cognitive capabilities of literature, its ability to explore reality. The most important subject of artistic research is the relationship between character and circumstances, the formation of characters under the influence of the environment. Human behavior, according to realist writers, depends on external circumstances, which, however, does not negate his ability to oppose them with his will. This determined the central conflict - the conflict of personality and circumstances. Realist writers depict reality in development, in dynamics, presenting stable, typical phenomena in their unique and individual embodiment (A.S. Pushkin.Eugene Onegin; novels I. S. Turgeneva, L. N. Tolstogo, F.M.Dostoevsky, A.M. Gorky,stories I. A. Bunina,A. I. Kuprin; N. A. Nekrasovand etc.).
Critical Realism - the literary direction, which is a subsidiary of the previous one, existed from the beginning of the 19th century to its end. It bears the main signs of realism, but differs in a deeper, critical, sometimes sarcastic author's view ( N.V. Gogol"Dead Souls"; Saltykov-Shchedrin)
XXCENTURY
Modernism - a literary trend of the first half of the 20th century, which opposed itself to realism and united many trends and schools with a very diverse aesthetic orientation. Instead of a rigid connection between characters and circumstances, modernism asserts the intrinsic value and self-sufficiency of the human personality, its irreducibility to a tedious series of causes and effects.
Avant-garde - a direction in literature and art of the XX century, uniting various trends, united in their aesthetic radicalism (surrealism, drama of the absurd, "new novel", in Russian literature -futurism).Genetically related to modernism, but absolutizes and takes to the extreme its desire for artistic renewal.
Decadence (decadence) -a certain state of mind, a crisis type of consciousness, expressed in a feeling of despair, powerlessness, mental fatigue with the obligatory elements of narcissism and aestheticization of the self-destruction of the individual. In works decadent in mood, fading, a break with traditional morality, and the will to death are aestheticized. The decadent perception of the world was reflected in the works of writers of the late 19th - early 20th centuries. F. Sologuba, 3. Gippius, L. Andreeva,and etc.
Symbolism - pan-European, and in Russian literature - the first and most significant modernist trend. Symbolism is rooted in romanticism, with the idea of \u200b\u200ba double world. The symbolists opposed the traditional idea of \u200b\u200bknowing the world in art to the idea of \u200b\u200bconstructing the world in the process of creativity. The meaning of creativity is a subconsciously intuitive contemplation of secret meanings, accessible only to the artist-creator. The main means of conveying rationally unknowable secret meanings is the symbol (signs) ("Senior symbolists": V. Bryusov, K. Balmont, D. Merezhkovsky, 3. Gippius, F. Sologub;"Young symbols": A. Blok,A. Bely, V. Ivanov, dramas by L. Andreev).
Acmeism - the course of Russian modernism, which arose as a reaction to the extremes of symbolism with its persistent tendency to perceive reality as a distorted likeness of higher essences. The main importance in the creativity of acmeists is the artistic development of the diverse and vibrant earthly world, the transmission of the inner world of a person, the assertion of culture as the highest value. Acmeistic poetry is characterized by stylistic balance, pictorial clarity of images, precise composition, sharpness of details (N. Gumilev, S. Gorodetskiy, A. Akhmatova, O. Mandelstam, M. Zenkevich, V. Narbut).
Futurism - avant-garde movement that emerged almost simultaneously in Italy and Russia. The main feature is the preaching of the overthrow of past traditions, the destruction of the old aesthetics, the desire to create new art, the art of the future, capable of transforming the world. The main technical principle is the principle of "shift", manifested in the lexical renewal of the poetic language due to the introduction of vulgarisms, technical terms, neologisms into it, in violation of the laws of lexical collocation of words, in bold experiments in the field of syntax and word formation (V. Khlebnikov, V. Mayakovsky, I. Severyaninand etc.).
Expressionism - modernist movement, formed in 1910 - 1920 in Germany. Expressionists sought not so much to depict the world as to express their thought about the unhappiness of the world and the suppression of the human personality. The stylistics of expressionism is determined by the rationalism of constructions, the gravitation towards abstractness, the acute emotionality of the statements of the author and the characters, the abundant use of fantasy and grotesque. In Russian literature, the influence of expressionism manifested itself in creativity L. Andreeva, E. Zamyatina, A. Platonesand etc.
Postmodernism - a complex set of ideological attitudes and cultural reactions in the era of ideological and aesthetic pluralism (late XX century). Postmodern thinking is fundamentally anti-hierarchical, opposes the idea of \u200b\u200bideological integrity, rejects the possibility of mastering reality using a single method or language of description. Writers - postmodernists consider literature, first of all, a fact of language, and therefore do not hide, but emphasize the "literary" nature of their works, combine in one text the stylistics of different genres and different literary eras (A. Bitov, Sasha Sokolov, D. A. Prigov, V. Pelevin, Ven. Erofeevand etc.).
The purpose of this lesson is to understand how the different branches of modernism differed from each other.
The main content of the current of symbolism is an attempt to find new expressions of language, the creation of a new philosophy in literature. The Symbolists believed to remind that the world is not simple and understandable, but filled with meaning, the depth of which is impossible to find.
Acmeism emerged as a way to drag poetry from the heavens of symbolism to earth. The teacher invites students to compare the works of the Symbolists and Acmeists.
The main theme of the next direction of modernism - futurism - is the desire to discern the future in modernity, to outline the gap between them.
All these directions of modernism brought radical updates to the language, marked the scrapping of eras, emphasized that old literature could not express the spirit of modernity.
Topic: Russian literature of the late XIX - early XX centuries.
Lesson: The main currents of Russian modernism: symbolism, acmeism, futurism
Modernism is a single artistic stream. The branches of modernism, symbolism, acmeism and futurism, had their own characteristics.
Symbolism as a literary movement originated in France in the 80s. 19th century The basis of the artistic method of French symbolism is sharply subjective sensationalism (sensuality). The Symbolists reproduced reality as a stream of sensations. Poetry avoids generalizations, looking not for the typical, but for the individual, the one of a kind.
Poetry takes on the character of improvisation, recording "pure impressions". The subject loses its clear outlines, dissolves in a stream of disparate sensations and qualities; the dominant role is played by the epithet, the colorful spot. Emotion becomes pointless and "inexpressible". Poetry seeks to enhance sensory saturation and emotional impact. The self-sufficient form is cultivated. Representatives of French symbolism are P. Verlaine, A. Rimbaud, J. Laforgue.
The dominant genre of symbolism was "pure" lyrics; novel, short story, and drama became lyrical.
In Russia, symbolism arose in the 90s. 19th century and at its initial stage (KD Balmont, early V. Ya. Bryusov and A. Dobrolyubov, and later - B. Zaitsev, IF Annensky, Remizov) develops the style of decadent impressionism, similar to French symbolism.
Russian Symbolists of the 1900s (V. Ivanov, A. Bely, A. A. Blok, as well as D. S. Merezhkovsky, S. Soloviev and others), trying to overcome pessimism, passivity, proclaimed the slogan of effective art, the predominance of creativity over knowledge.
The material world is drawn by symbolists as a mask through which the otherworldly shines through. Dualism finds expression in a two-dimensional composition of novels, dramas and "symphonies". The world of real phenomena, everyday life or conventional fiction is portrayed grotesquely, discredited in the light of "transcendental irony". Situations, images, their movement acquire a double meaning: in terms of what is depicted and in terms of what is signified.
A symbol is a bundle of meanings that diverge in different directions. The task of symbol_ is to match.
The poem (Baudelaire, "Correspondences" in translation by K. Balmont) shows an example of traditional semantic connections that give birth to symbols.
Nature is a strict temple, where the line of living columns
Sometimes a slightly audible sound will stealthily drop;
Walks through forests of symbols, drowns in their thickets
An embarrassed person, touched by their gaze.
Like echoes of echoes in one obscure chord,
Where everything is one, light and dark at night,
Fragrances and sounds and colors
It combines consonants in harmony.
There is a virgin smell; like a meadow, it is pure and holy,
Like a child's body, the high sound of the oboe;
And there is a solemn, depraved aroma -
A fusion of incense and amber and benzoy:
In it, the infinite is suddenly available to us,
It contains the highest thoughts of delight and the best feelings of ecstasy!
Symbolism also creates its own words - symbols. First, high poetic words are used for such symbols, then simple ones. The Symbolists believed that it was impossible to exhaust the meaning of the symbol.
Symbolism avoids the logical disclosure of the topic, turning to the symbolism of sensual forms, the elements of which receive a special semantic saturation. Logically inexpressible "secret" meanings "shine through" through the material world of art. Putting forward sensory elements, symbolism departs at the same time from the impressionistic contemplation of disparate and self-sufficient sensory impressions, into the motley stream of which symbolization brings a certain wholeness, unity and continuity.
The task of the Symbolists is to show that the world is full of secrets that cannot be discovered.
The lyrics of symbolism are often dramatized or acquire epic features, revealing the structure of "universally significant" symbols, rethinking the images of ancient and Christian mythology. A genre of religious poem, a symbolically interpreted legend (S. Soloviev, D. S. Merezhkovsky) was created. The poem loses its intimacy, becomes similar to a sermon, a prophecy (V. Ivanov, A. Bely).
German symbolism of the late 19th - early 20th centuries (S. Gheorghe and his Group, R. Demel and other poets) was the ideological mouthpiece of the reactionary block of the Junkers and the big industrial bourgeoisie. In German symbolism, aggressive and tonic aspirations, attempts to combat their own decadence, the desire to dissociate themselves from decadence and impressionism stand out in relief. German symbolism tries to resolve the consciousness of decadence, the end of culture in a tragic life-affirmation, in a kind of "heroic" of decline. In the struggle against materialism, resorting to symbolism, myth, German symbolism does not come to a sharply expressed metaphysical dualism, it retains Nietzsche's "loyalty to the earth" (Nietzsche, George, Demel).
New modernist trend, acmeism, appeared in Russian poetry in the 1910s. as a contrast to extreme symbolism. Translated from Greek, the word "akme" means the highest degree of something, flowering, maturity. Acmeists advocated the return of images and words to their original meaning, for art for the sake of art, for the poeticization of human feelings. The rejection of mysticism - this was the main feature of the Acmeists.
For Symbolists, the main thing is rhythm and music, the sound of the word, while for Acmeists it is form and eternity, objectivity.
In 1912, the poets S. Gorodetsky, N. Gumilev, O. Mandelstam, V. Narbut, A. Akhmatova, M. Zenkevich and some others united in the "Workshop of Poets" circle.
The founders of Acmeism were N. Gumilev and S. Gorodetsky. Acmeists called their work the highest point of achieving artistic truth. They did not deny Symbolism, but they were against the fact that the Symbolists paid so much attention to the world of the mysterious and unknown. Acmeists pointed out that the unknowable, by the very meaning of the word, cannot be known. Hence the desire of the Acmeists to free literature from those incomprehensibility that were cultivated by the Symbolists, and to restore clarity and accessibility to it. Acmeists tried with all their might to return literature to life, to things, to man, to nature. So, Gumilev turned to the description of exotic animals and nature, Zenkevich - to the prehistoric life of the earth and man, Narbut - to everyday life, Anna Akhmatova - to deep love experiences.
The striving for nature, for the "earth" led Acmeists to a naturalistic style, to concrete imagery, objective realism, which determined a number of artistic techniques. Acmeist poetry is dominated by "heavy, weighty words", the number of nouns significantly exceeds the number of verbs.
Having carried out this reform, the Acmeists otherwise agreed with the Symbolists, declaring themselves to be their disciples. The other world remains true for acmeists; only they do not make it the center of their poetry, although the latter is sometimes not alien to mystical elements. Gumilyov's works "The Lost Tram" and "At the Gypsies" are completely permeated with mysticism, and in Akhmatova's collections, like "Rosary", amorous and religious feelings prevail.
Poem by A. Akhmatova "Song of the last meeting":
So helplessly my chest grew cold
But my steps were easy.
I put it on my right hand
Left hand glove.
It seemed that there were many steps
And I knew - there are only three!
Acmeists brought back scenes from everyday life.
Acmeists were by no means revolutionaries in relation to symbolism, they never considered themselves such; their main task was to smooth out contradictions and introduce amendments.
In the part where the Acmeists rebelled against the mysticism of Symbolism, they did not oppose the latter to real real life. Rejecting mysticism as the main leitmotif of creativity, acmeists began to fetishize things as such, not being able to approach reality synthetically, to understand its dynamics. For acmeists, things of reality have a meaning by themselves, in a static state. They admire individual objects of being, and perceive them as they are, without criticism, without trying to understand them in a relationship, but directly, like an animal.
Basic principles of acmeism:
Rejection of symbolist appeals for the ideal, mystical nebula;
Acceptance of the earthly world as it is, in all its brilliance and diversity;
Returning a word to its original meaning;
An image of a person with his true feelings;
Poeticization of the world;
Incorporation of associations with previous eras into poetry.
Figure: 6. Umberto Boccioni. The street goes into the house ()
Acmeism did not last very long, but made a great contribution to the development of poetry.
Futurism (translated means the future) is one of the currents of modernism that originated in the 1910s. It is most clearly represented in the literature of Italy and Russia. On February 20, 1909, an article by TF Marinetti "Manifesto of Futurism" appeared in the Parisian newspaper Le Figaro. In his manifesto, Marinetti called for abandoning the spiritual and cultural values \u200b\u200bof the past and building a new art. The main task of the futurists is to mark the gap between the present and the future, to destroy everything old and build a new one. Provocations entered their lives. They opposed bourgeois society.
In Russia, Marinetti's article was published already on March 8, 1909 and laid the foundation for the development of his own futurism. The founders of the new trend in Russian literature were the brothers D. and N. Burliuk, M. Larionov, N. Goncharova, A. Exter, N. Kulbin. In 1910, one of the first futuristic poems by V. Khlebnikov, "The Curse of Laughter", appeared in the collection "Studio of the Impressionists". In the same year, a collection of futurist poets "The Catch of Judges" was published. It contained poems by D. Burliuk, N. Burliuk, E. Guro, V. Khlebnikov, V. Kamensky.
Futurists also came up with new words.
Evening. Shadows.
Seni. Leni.
We sat drunk in the evening.
In each eye is a deer running.
The futurists experience a deformation of language and grammar. Words are piled on top of each other, hastening to convey the author's momentary feelings, so the work looks like a telegraphic text. Futurists abandoned syntax and stanzas, invented new words that, in their opinion, better and more fully reflect reality.
The futurists attached particular importance to the seemingly meaningless title of the collection. The cage for them symbolized the cage into which the poets were driven, and they called themselves judges.
In 1910, the cubo-futurists united into a group. It consisted of the Burliuk brothers, V. Khlebnikov, V. Mayakovsky, E. Guro, A. E. Kruchenykh. Cubo-futurists defended the word as such, “words are higher than meaning”, “abstruse words”. Cubo-futurists destroyed the Russian grammar, replaced by phrases with a combination of sounds. They believed that the more clutter in a sentence, the better.
In 1911, I. Severyanin was one of the first in Russia to proclaim himself an ego-futurist. He added the word "ego" to the term "futurism". Egofuturism can literally be translated as "I am the future." A circle of followers of ego-futurism rallied around I. Severyanin, in January 1912 they proclaimed themselves the "Academy of Ego Poetry". Egofuturists have enriched their vocabulary with a large number of foreign words and new formations.
In 1912, the futurists united around the Petersburg Herald publishing house. The group included: D. Kryuchkov, I. Severyanin, K. Olimpov, P. Shirokov, R. Ivnev, V. Gnedov, V. Shershenevich.
In Russia, the futurists called themselves "Bulyans", the poets of the future. Futurists, captured by dynamism, were no longer satisfied with the syntax and vocabulary of the previous era, when there were no cars, no telephones, no phonographs, no cinematographs, no airplanes, no electric railways, no skyscrapers, no subways. The poet, filled with a new sense of the world, has a wireless imagination. The poet puts fleeting sensations into the jumble of words.
The Futurists were into politics.
All of these trends radically renew the language, the feeling that old literature cannot express the spirit of modernity.
List of references
1. Chalmaev V.A., Zinin S.A. Russian literature of the twentieth century .: Textbook for grade 11: 2 hours - 5th ed. - M .: OOO 2TID "Russian Word - RS", 2008.
2. Agenosov V.V . Russian literature of the 20th century. Methodical manual M. "Bustard", 2002
3. Russian literature of the 20th century. Textbook for those entering universities M. uch.-nauch. Center "Moscow Lyceum", 1995.
Tables and Presentations
Literature in tables and diagrams ().
"Poets of Poetry of the Silver Age" - Poets of the Silver Age. The wedding of Marina Tsvetaeva and Sergei Efron. Marina Tsvetaeva. Poetry of the Silver Age. 1. I. Annensky 7. N. Gumilev 2. K. Balmont 8. I. Severyanin 3. V. Bryusov 9. S. Klychkov 4. M. Voloshin 10. The work of M. Tsvetaeva. Anastasia and Marina Tsvetaeva. Passer-by, stop! " "I like…".
"Acmeism" - N. Gumilyov's article "The heritage of symbolism and acmeism" Criticism of symbolism for mysticism Proclamation of the "intrinsic value of each phenomenon." S. Gorodetsky "Some trends in modern Russian poetry" Criticism of the "blurring" of symbolism, the installation on the unknowability of the world. Romance, heroism, exoticism. Adamism Adam is a traveler, a conquistador, a man of strong will.
"Symbolism in literature" - The symbol increases, expands the meaning of each word. The poet in his poems addresses the “initiates”. "Senior Symbolists" and "Young Symbolists". K. Balmont 1902. From the history of symbolism. Everything has changed in Russia: political convictions, moral principles, culture, art. Context plays an important role in understanding symbols.
"Poets of the 20th century" - Constantin Balmont. Read in the Reader, part 1, an excerpt from the futurists' treatise "A slap in the face to public taste." In what lines does the poet's longing for the alien sound? I. Severyanin. F. Sologub. Why? A. Vertinsky. E. Kuzmina-Karavaeva. The main milestones of the Silver Age: How does the logical stress in a line change?
"Directions of the Silver Age" - The main directions of poetry of the Silver Age. A. Mezhirov. They exclaimed: "Futurist!" And they knocked their heads ... He left a standard sheet With non-standard words. What thought? The mountain air is clean and fresh With real words. I. Levitan "Golden Autumn". Place and time of origin. Goals and tasks. Motto. Characteristic features. Representatives.
"Symbolism" - Bryusov has always been close to the social and civil theme. My beloved fatherland is my desert soul. The collection of poems "Songs of Alexandria" (1921), "Trout breaks the ice" (1929). Moscow wing, headed by V. Brusov. Vocal works (many on their own texts), music for drama theater.
There are 12 presentations in total
The Silver Age in Russian Literature
The Russian poetic "Silver Age" traditionally fits into the beginning of the 20th century, in fact, its source is the 19th century, and all its roots go back to the "golden age", to the work of A.S. Pushkin, to the legacy of the Pushkin galaxy, to Tyutchev's philosophy, in the impressionistic lyrics of Fet, in the Nekrasov proseisms, in the borderline lines of K. Sluchevsky, full of tragic psychologism and vague forebodings. In other words, the 90s began to leaf through the drafts of the books that soon made up the library of the 20th century. Since the 90s, literary sowing began, which brought seedlings.
The term “Silver Age” itself is very arbitrary and covers a phenomenon with controversial outlines and uneven relief. For the first time this name was proposed by the philosopher N. Berdyaev, but it finally entered the literary circulation in the 60s of this century.
The poetry of this century was characterized primarily by mysticism and a crisis of faith, spirituality, and conscience. The lines became a sublimation of mental illness, mental disharmony, inner chaos and confusion.
All the poetry of the “Silver Age”, greedily absorbing the heritage of the Bible, ancient mythology, the experience of European and world literature, is closely connected with Russian folklore, with its songs, weeping, legends and ditties.
However, it is sometimes said that the “Silver Age” is a Westernizing phenomenon. Indeed, he chose Oscar Wilde's aestheticism, the individualistic spiritualism of Alfred de Vigny, the pessimism of Schopenhauer, the superman of Nietzsche as his guiding lines. The “Silver Age” found its ancestors and allies in various European countries and in different centuries: Villon, Mallarmé, Rimbaud, Novalis, Shelley, Calderon, Ibsen, Maeterlinck, d'Annuzio, Gaultier, Baudelaire, Verharne.
In other words, at the end of the 19th - beginning of the 20th centuries, there was a reassessment of values \u200b\u200bfrom the standpoint of Europeanism. But in the light of the new era, which was the complete opposite of the one that replaced it, national, literary and folklore treasures appeared in a different, brighter than ever, light.
It was a creative space full of sunshine, light and life-giving, longing for beauty and self-affirmation. And although we call this time the "Silver" and not the "Golden Age", perhaps it was this time that was the most creative era in Russian history.
“The Silver Age” is perceived by most readers as a metaphor for good, beloved writers of the early 20th century. Depending on personal taste, A. Blok and V. Mayakovsky, D. Merezhkovsky and I. Bunin, N. Gumilyov and S. Yesenin, A. Akhmatova and A. Kruchenykh, F. Sologub and A. Kuprin may be here.
"School literary criticism" for completeness of the picture is added by the named list of M. Gorky and a number of writers "Znanievites"
(artists grouped around the Gorky publishing house "Knowledge").
With this understanding, the Silver Age becomes synonymous with the long-existing and much more scientific concept of "literature of the late 19th - early 20th centuries."
The poetry of the Silver Age can be divided into several main trends such as: Symbolism ... (D. Merezhkovsky,
K. Balmont, V. Bryusov, F. Sologub, A. Blok, A. Bely), Predacmeism. Acmeism . (M. Kuzmin, N. Gumilyov,
A. Akhmatova, O. Mandelstam),
“ Peasant literature ” (N. Klyuev, S. Yesenin)
silver age futurists (I. Severyanin, V. Khlebnikov)
SYMBOLISM
Russian symbolism as a literary trend took shape at the turn of the 19th and 20th centuries.
The theoretical, philosophical and aesthetic roots and sources of creativity of the Symbolist writers were very diverse. So V. Bryusov considered symbolism to be a purely artistic direction, Merezhkovsky relied on Christian teaching, Viach. Ivanov looked for theoretical support in the philosophy and aesthetics of the ancient world, refracted through the philosophy of Nietzsche; A. Bely was fond of Vl. Soloviev, Schopenhauer, Kant, Nietzsche.
The artistic and publicistic organ of the Symbolists was the magazine Vesy (1904 - 1909). “For us, representatives symbolism, as a harmonious outlook, - wrote Ellis, - there is nothing more alien than the subordination of the idea of \u200b\u200blife, the inner path of the individual - to the external improvement of the forms of community. For us, there can be no question of reconciling the path of a separate heroic individual with the instinctive movements of the masses, always subordinate to narrowly egoistic, material motives. "
These attitudes determined the struggle of the Symbolists against democratic literature and art, which was expressed in a systematic slander against Gorky, in an effort to prove that, having become a proletarian writer, he ended as an artist, in attempts to discredit revolutionary democratic criticism and aesthetics, its great creators - Belinsky, Dobrolyubov, Chernyshevsky. The Symbolists tried in every possible way to make Pushkin, Gogol, named Vyach. Ivanov "frightened spy of life", Lermontov, who, according to the same Vyach. Ivanov, the first trembled with “a presentiment of the symbol of symbols - Eternal Femininity” c.
A sharp contrast between symbolism and realism is associated with these attitudes. “While realist poets,” writes K. Balmont, “view the world naively, as simple observers, submitting to its material basis, symbolist poets, re-creating materiality with their complex impressionability, rule over the world and penetrate into its mysteries”. Symbolists strive to oppose reason and intuition. "... Art is the comprehension of the world by other, not rational ways", - V. Bryusov asserts and calls the works of the Symbolists "mystical keys of secrets" that help a person to reach freedom. "
The legacy of the Symbolists is represented by poetry, prose, and drama. However, poetry is most characteristic.
V. Ya. Bryusov (1873 - 1924) traveled a difficult and difficult path of ideological quest. The 1905 revolution aroused the admiration of the poet and contributed to the beginning of his departure from symbolism. However, Bryusov did not immediately come to a new understanding of art. Bryusov's attitude to the revolution is complex and contradictory. He welcomed the cleansing forces that rose to fight the old world, but believed that they only carry the element of destruction:
I see a new fight in the name of a new will!
Breaking - I'll be with you! build - no!
V. Bryusov's poetry of this time was characterized by a striving for a scientific understanding of life, the awakening of interest in history. AM Gorky highly appreciated the encyclopedic education of V. Ya. Bryusov, calling him the most cultured writer in Russia. Bryusov accepted and welcomed the October Revolution and actively participated in the construction of Soviet culture.
The ideological contradictions of the era (one way or another) influenced individual realist writers. IN creative destiny LN Andreeva (1871 - 1919), they manifested themselves in a certain departure from the realistic method. However, realism as a trend in artistic culture has retained its position. Russian writers continued to be interested in life in all its manifestations, the fate of an ordinary person, and important problems of public life.
The traditions of critical realism continued to be preserved and developed in the work of the greatest Russian writer I. A. Bunin (1870 - 1953). His most significant works of that time were the novellas "Village" (1910) and "Sukhodol" (1911).
1912 marked the beginning of a new revolutionary upsurge in the social and political life of Russia.
D. Merezhkovsky, F. Sologub, 3. Gippius, V. Bryusov, K. Balmont and others - this is a group of “senior” Symbolists who were the pioneers of the trend. In the early 900s, a group of “younger” Symbolists emerged - A. Bely, S. Soloviev, Vyach. Ivanov, "A. Blok and others.
The platform of the “younger” Symbolists is based on the idealistic philosophy of Vl. Solovyov with his idea of \u200b\u200bthe Third Testament and the coming of the Eternal Femininity. Soloviev argued that the highest task of art is “... the creation of a universal spiritual organism”, that a work of art is an image of an object and phenomenon “in the light of the future world”, which is connected with the understanding of the role of the poet as a theurge, a clergyman. This, as explained by A. Bely, “the connection of the heights of symbolism as art with mysticism”.
The recognition that there are “other worlds”, that art should strive to express them, determines the artistic practice of symbolism as a whole, the three principles of which are proclaimed in the work of D. Merezhkovsky “On the causes of decline and new trends in modern Russian literature”. This is “... mystical content, symbols and expansion of artistic impressionability” .
Proceeding from the idealistic premise of the primacy of consciousness, the Symbolists argue that reality, reality is the creation of an artist:
My dream is all spaces
And all the sequences
The whole world is my only decoration
My footprints
(F. Sologub)
“Having broken the shackles of thought, to be chained - by a dream,” calls on K. Balmont. The poet's vocation is to connect the real world with the beyond.
The poetic declaration of symbolism is clearly expressed in the poem by Viach. Ivanova "Among the mountains of the deaf":
And I thought: “O genius! Like this horn,
You must sing the song of the earth so that in your hearts
To awaken a different song. Blessed is he who hears. "
And from behind the mountains an answering voice sounded:
“Nature is a symbol, like this horn. It
Sounds for echo. And the echo is god.
Blessed is he who hears the song and hears the echo ”".
The poetry of the Symbolists is poetry for the elite, for the aristocrats of the spirit.
A symbol is an echo, a hint, an indication; it conveys an innermost meaning.
Symbolists strive to create a complex, associative metaphor that is abstract and irrational. This is “sonorous silence” by V. Bryusov, “And light eyes are dark with rebellion” by Vyach. Ivanov, "dry deserts at a time" by A. Bely and by him: "Day - matt pearls - a tear - flows from sunrise to sunset." This technique is very accurately revealed in the poem 3. Gippius "The Seamstress".
All phenomena are stamped.
One with the other seems to be merged.
Having accepted one thing - I try to guess
Behind him is something else, something what is hidden ".
Highly great importance in the poetry of the Symbolists, it acquired the sonic expressiveness of the verse, for example, from F. Sologub:
And two deep glasses
Of thin-ringing glass
You substituted for the light bowl
And lila sweet foam,
Leela, leela, leela, rocked
Two dark crimson glasses.
Whiter, lily, gave alee
Bela was you and ala ... "
The revolution of 1905 found a peculiar refraction in the work of the Symbolists.
Merezhkovsky met with horror in 1905, personally convinced of the coming of the “coming boor” predicted by him. Excitedly, with a keen desire to understand, Blok approached the events. V. Bryusov greeted the cleansing thunderstorm.
By the tenth years of the twentieth century, symbolism needed updating. “In the depths of Symbolism itself,” wrote V. Bryusov in his article “The Meaning of Modern Poetry,” “new trends arose that tried to infuse new forces into the decrepit organism. But these attempts were too partial, their founders were too imbued with the same traditions of the school, so that the renewal could be any significant ”.
The last pre-October decade was marked by a quest for modernist art. The controversy surrounding Symbolism, which took place in 1910 among the artistic intelligentsia, revealed its crisis. As N. S. Gumilyov put it in one of his articles, “Symbolism has completed its development circle and is now falling.” He was replaced by acmeizl ~ (from the Greek "akme" - the highest degree of something, a blossoming time). The founders of Acmeism are considered N. S. Gumilev (1886 - 1921) and S. M. Gorodetsky (1884 - 1967). The new poetic group included A.A. Akhmatova, O. E. Mandelstam, M. A. Zenkevich, M. A. Kuzmin and others.
ACMEISM
Acmeists, in contrast to the symbolist nebula, proclaimed the cult of real earthly existence, "a masculinely firm and clear view of life." But at the same time they tried to assert, first of all, the aesthetic-hedonistic function of art, avoiding social problems in their poetry. In the aesthetics of Acmeism, decadent tendencies were clearly expressed, and philosophical idealism remained its theoretical basis. However, among the acmeists there were poets who, in their work, were able to get out of the framework of this “platform” and acquire new ideological and artistic qualities (A. A. Akhmatova, S. M. Gorodetsky, M. A. Zenkevich).
In 1912, a new literary movement, which took the name Acmeism (from Greek akme, which means the highest degree of something, the time of prosperity). The "workshop of poets", as its representatives called themselves, included N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, G. Ivanov, M. Zenkevich and others. M. Kuzmin, M. Voloshin also joined this trend , V. Khodasevich and others.
Acmeists considered themselves the heirs of a "worthy father" - symbolism, which, in the words of N. Gumilyov, "... has completed its development circle and is now falling." Asserting the bestial, primitive principle (they also called themselves the Adamists), the Acmeists continued to “remember the unknowable” and in its name proclaimed any refusal to fight for life change. “To rebel in the name of other conditions of being here, where there is death,” writes N. Gumilev in his work “The Heritage of Symbolism and Acmeism,” “as strange as it is for a prisoner to break a wall when there is an open door in front of him.”
S. Gorodetsky also asserts this: “After all the“ rejection ”, the world is irrevocably accepted by Acmeism, in all its beauty and ugliness.” Modern man felt like a beast, “deprived of both claws and hair” (M. Zenkevich “Wild Porphyry”), Adam, who “... looked around with the same clear, keen eye, accepted everything that he saw, and sang hallelujah to life and the world ”.
And then the same time the acmeists constantly sound notes of doom and melancholy. The work of A. A. Akhmatova (A. A. Gorenko, 1889 - 1966) occupies a special place in the poetry of acmeism. Her first poetry collection "Evening" was published in 1912. Critics immediately noted the distinctive features of her poetry: the restraint of intonation, the emphasized intimacy of the subject, psychologism. Akhmatova's early poetry is deeply lyrical and emotional. With her love for man, faith in his spiritual powers and capabilities, she clearly departed from the Acmeist idea of \u200b\u200bthe “primordial Adam”. The main part of A. A. Akhmatova's work falls on the Soviet period.
The first collections of A. Akhmatova "Evening" (1912) and "Rosary" (1914) brought her great fame. A closed, narrow intimate world is displayed in her work, painted in tones of sadness and sadness:
I am not asking for wisdom or strength.
Oh, just let me bask by the fire!
I'm cold ... winged il wingless,
The merry god will not visit me. "
The theme of love, the main and only one, is directly related to suffering (which is due to the facts of the biography of the pettess):
Let the tombstone lie
Love is on my life. "
Describing the early work of A. Akhmatova, Al. Surkov says that she appears "... as a poet of a sharply outlined poetic personality and strong lyrical talent ... emphatically" feminine "intimate lyrical experiences ...".
A. Akhmatova understands that “we live solemnly and hard”, that “somewhere there is a simple life and light”, but she does not want to give up this life:
Yes, I loved them those night gatherings -
Ice glasses on a small table
Smelling, thin steam over black coffee,
Fireplace red heavy, winter heat,
The gaiety of a caustic literary joke
And a friend's first sight, helpless and creepy. "
The Acmeists strove to return the image to its living concreteness, objectivity, to free it from mystical encryption, which O. Mandelstam spoke very evilly about, assuring that the Russian Symbolists “... printed all words, all images, intended them exclusively for liturgical use. It turned out extremely inconvenient - neither walk, nor stand, nor sit. You cannot have lunch on the table, because it is not just a table. I’m not kind to light the fire, because it may mean that you yourself will not be happy afterwards ”.
And at the same time, the Acmeists claim that their images are sharply different from the realistic ones, because, in the words of S. Gorodetsky, they “... are born for the first time” “as hitherto unseen, but now real phenomena”. This determines the sophistication and peculiar mannerism of the acmeistic image, in whatever deliberate bestial savagery it appears. For example, Voloshin has:
People are animals, people are reptiles,
Like a hundred-eyed evil spider
Braid their looks. "
The circle of these images is narrowed, which is why extreme beauty is achieved, and what allows us to achieve more and more sophistication when describing it:
Slower than the snow hive
Crystal is more transparent than a window,
And a turquoise veil
Thrown casually in a chair.
Self-intoxicated fabric
Pampered by the caress of light
She's experiencing summer
As if not touched in winter.
And if in ice diamonds
Frost flows for eternity
Here - flutter dragonflies
Fast-living blue-eyed ".
(O. Mandelstam)
The literary heritage of N. S. Gumilyov is significant in its artistic value. His work was dominated by exotic and historical themes, he was a singer of a “strong personality”. Gumilev played an important role in the development of the form of verse, which was distinguished by its chasing and accuracy.
In vain did the Acmeists dissociate themselves so sharply from the Symbolists. The same "different worlds" and the longing for them we meet in their poetry. Thus, N. Gumilev, who welcomed the imperialist war as a "holy" cause, asserting that "seraphim, are clear and winged, behind the shoulders of the soldiers are visible", a year later writes poems about the end of the world, about the death of civilization:
Peaceful roars of monsters are heard,
Suddenly it rains madly
And everybody pulls the fat
Light green horsetails.
Once a proud and brave conqueror understands the destructive
the destructiveness of the enmity that gripped humanity:
Not all equally? Let the time roll by
we understood you, land:
You are only a gloomy gatekeeper
At the entrance to God's fields.
This explains their rejection of the Great October Socialist Revolution. But their fate was not uniform. Some of them emigrated; N. Gumilev allegedly “took an active part in the counter-revolutionary conspiracy” and was shot. In the poem "Worker", he predicted his end at the hand of a proletarian who had cast a bullet, "that would separate me from the earth."
And the Lord will repay me in full measure
For my short and short century.
Made it in a light gray blouse
Low an old man.
Poets such as S. Gorodetsky, A. Akhmatova, V. Narbut, M. Zenkevich could not emigrate.
For example, A. Akhmatova, who did not understand and did not accept the revolution, refused to leave her homeland:
He said: “Come here,
Leave your land deaf and sinful
Leave Russia forever.
I will wash the blood from your hands,
I will take out the black shame from my heart
I will cover with a new name
The pain of defeats and resentments ”.
But indifferent and calm
I closed my ears with my hands
She did not immediately return to creativity. But the Great Patriotic War again awakened in her a poet, a poet-patriot, confident in the victory of his Motherland (“My-zest”, “Oath”, etc.). A. Akhmatova wrote in her autobiography that for her in verse "... my connection with time, with the new life of my people."
FUTURISM
Simultaneously with acmeism in 1910 - 1912. arose futurism. Like other modernist movements, he was self-contradictory. The most significant of the futuristic groups, which later received the name of cubo-futurism, united such poets as D. D. Burliuk, V. V. Khlebnikov, A. Kruchenykh, V. V. Kamensky, V. V. Mayakovsky, and some others. A variety of futurism was I. Severyanin's ego-futurism (I. V. Lotarev, 1887 - 1941). Soviet poets NN Aseev and BL Pasternak began their creative career in a group of futurists called "Centrifuge".
Futurism proclaimed a revolution of form, independent of content, absolute freedom of poetic speech. Futurists abandoned literary traditions. In their manifesto with the shocking title "Slap in the Face to Public Taste", published in a collection of the same name in 1912, they called to throw Pushkin, Dostoevsky, Tolstoy from the "Steamer of Modernity". A. Kruchenykh defended the poet's right to create a “abstruse” language that has no definite meaning. In his writings, Russian speech was really replaced by a meaningless set of words. However, V. Khlebnikov (1885 - 1922), V.V. Kamensky (1884 - 1961) managed in their creative practice to carry out interesting experiments in the field of words, which had a beneficial effect on Russian and Soviet poetry.
Among the futurist poets, V.V. Mayakovsky's career began (1893 - 1930). His first poems appeared in print in 1912. From the very beginning, Mayakovsky stood out in the poetry of futurism, introducing his own theme into it. He always spoke out not only against “all sorts of old things,” but also for the creation of something new in public life.
In the years preceding the Great October, Mayakovsky was a passionate revolutionary romantic, an exposer of the kingdom of the “fat”, anticipating a revolutionary storm. The pathos of denial of the entire system of capitalist relations, humanistic faith in man sounded with great force in his poems "A Cloud in Trousers", "Spine Flute", "War and Peace", "Man". The theme of the poem "A Cloud in Trousers", published in 1915 in a cut by the censorship, Mayakovsky subsequently defined as four shouts "down with": "Down with your love!", "Down with your art!", "Down with your system!" , "Down with your religion!" He was the first of the poets to show in his works the truth of the new society.
In the Russian poetry of the pre-revolutionary years there were bright individuals that are difficult to attribute to a specific literary trend. Such are M. A. Voloshin (1877 - 1932) and M. I. Tsvetaeva (1892 - 1941).
After 1910, another trend emerged - Futurism, which sharply opposed itself not only to the literature of the past, but also to the literature of the present, which entered the world with a desire to overthrow everything and everyone. This nihilism manifested itself in the external design of futuristic collections, which were printed on brown paper or the back of wallpaper, and in the titles - "Milk of mares", "Dead Moon", etc.
In the first collection "Slap in the face to public taste" (1912), a declaration was published, signed by D. Burliuk, A. Kruchenykh, V. Khlebnikov, V. Mayakovsky. In it, the futurists asserted themselves and only themselves as the only spokesmen of their era. They demanded “Throw Pushkin, Dostoevsky, Tolstoy and others. and so on. from the Steamer of Modernity ”, they denied at the same time“ Balmont's perfume fornication ”, repeated about“ the dirty slime of books written by the endless Leonids Andreevs ”, indiscriminately discarded Gorky, Kuprin, Blok, etc.
Rejecting everything, they affirmed "Zarnitsa of the new forthcoming Beauty of the Self-valuable (self-made) Word." Unlike Mayakovsky, they did not try to overthrow the existing system, but only sought to renew the forms of reproduction of modern life.
The basis of Italian futurism with him was weakened by the slogan “war is the only hygiene of the world” in the Russian version, but, as V. Bryusov notes in his article “The Meaning of Modern Poetry,” this ideology “... appeared between the lines, and the masses of readers instinctively avoided this poetry”.
“For the first time, the Futurists raised the form to the proper height,” says V. Shershenevich, “giving it the meaning of a self-directed, main element of a poetic work. They completely rejected poetry that is written for an idea. " This explains the emergence of a huge number of declared formal principles, such as: “In the name of freedom of personal chance, we deny the spelling” or “We have eliminated punctuation marks - which is how the role of the verbal mass was first put forward and realized” (“The Trap of Judges”).
The theorist of futurism V. Khlebnikov proclaims that the language of the world to come “will be the language of“ abstruse ”. The word loses its semantic meaning, acquiring a subjective coloring: “We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell”. V. Khlebnikov, striving to expand the boundaries of the language and its possibilities, proposes the creation of new words on the basis of the root, for example:
(roots: chur ... and char ...)
We are enamored and shy.
There, enchanting, shunning here, Now churakhar, then charakhar, Here churil, there charil.
From the churyn gaze of the sorceress.
There is a churavel, there is a charavel.
Charari! Churari!
Churel! Charel!
Chares and Chures.
And shy away and be enchanted. "
The emphasized aestheticism of the poetry of the Symbolists and especially the Acmeists is opposed by the Futurists with intentional de-aesthetization. So, in D. Burliuk's “poetry is a frayed girl”, “soul is a tavern, and the sky is a rag,” in V. Shershenevich “in a spit-out square” a naked woman wants to “squeeze milk out of her saggy breasts”. In his review "Year of Russian Poetry" (1914), V. Bryusov, noting the deliberate rudeness of the futurists' poems, rightly notes: "It is not enough to vilify everything that was and everything that is outside your circle in order to find something new."
He points out that all their innovations are imaginary, for we met with some among the poets of the 18th century, with others in Pushkin and Virgil, that the theory of sounds - colors was developed by T. Gaultier.
It is curious that with all the denials of other trends in art, futurists feel their continuity from symbolism.
It is curious that A. Blok, who followed Severyanin's work with interest, says with concern: “He has no theme,” and V. Bryusov, in an article dedicated to Severyanin in 1915, points out: “Lack of knowledge and inability to think belittle the poetry of Igor Severyanin and extremely narrow its horizon ”. He reproaches the poet for bad taste, vulgarity, and especially sharply criticizes his military poems, which produce a "painful impression", "ripping off cheap applause from the public."
A. Blok as early as 1912 doubted: “I am afraid of the modernists that they no rod, but only - talented curls around, emptiness ”.
Russian culture on the eve of the Great October Revolution was the result of a difficult and enormous path. Distinctive features it has always remained democratism, high humanism and genuine nationality, despite periods of brutal government reaction, when progressive thought and advanced culture were suppressed in every possible way.
Richest cultural heritage pre-revolutionary times, cultural values \u200b\u200bcreated for centuries make up the golden fund of our national culture
Velimir Khlebnikov
(Victor Vladimirovich Khlebnikov)
October 28 (09.XI.) 1885-28.VI.1922
Khlebnikov attracted attention and aroused interest by his original personality, amazed by his worldview and independence of views, rare for his age. He gets acquainted with the circle of the capital's modernist poets (including Gumilev and Kuzmin, whom he calls “his teacher”), visits the “bathhouse” Vyach, famous in the artistic life of St. Petersburg of those years. Ivanov, where writers, philosophers, painters, musicians and actors gathered.
In 1910-1914 his poems, poems, dramas, prose were published, including such famous ones as the poem "The Crane", the poem "Maria Vechora", the play "The Marquise Dezes". The first brochure of the poet with mathematical and linguistic experiments “Teacher and student” was published in Kherson. Scientist and science fiction writer, poet and publicist, he is completely absorbed in creative work. The poems "Rural charm", "Horror of the forest" and others, the play "The mistake of death" were written. The books “Roar! Gloves. 1908 - 1914 "," Creations "(Volume 1). In 1916, together with N. Aseev, he issued a declaration entitled "Pipe of the Martians", in which Khlebnikov's division of humanity into "inventors" and "acquirers" was formulated. The main heroes of his poetry were Time and the Word, precisely through the Time fixed by the Word and turned into a spatial fragment, the philosophical unity of "space-time" was realized for him. O. Mandelstam wrote: "Khlebnikov fiddles with words like a mole, meanwhile he dug holes in the ground for the future for a whole century ..." In 1920 he lives in Kharkov, writes a lot: "War in a mousetrap", "Ladomir", " Three Sisters "," A Scratch in the Sky "and others. In the city theater of Kharkov, Khlebnikov's" buffoonish "election as the" Chairman of the Globe "with the participation of Yesenin and Mariengof takes place.
V. Khlebnikov's work is divided into three parts: theoretical studies in the field of style and illustrations to them, poetry and comic poetry. Unfortunately, the boundaries between them are drawn extremely carelessly, and often a beautiful poem is spoiled by an admixture of an unexpected and awkward joke or by far from thought-out word formations.
Feeling very much the roots of words, Viktor Khlebnikov deliberately neglects inflections, sometimes discarding them altogether, sometimes changing them beyond recognition. He believes that each vowel contains not only an action, but also its direction: thus, the bull is the one who strikes, the side is what is struck; a beaver is what they hunt for, a babr (tiger) is the one who hunts, etc.
Taking the root of a word and adding arbitrary inflections to it, he creates new words. So, from the root "sme" he produces "laughs", "laughs", "laughs-ki", "laughs", etc.
As a poet, Viktor Khlebnikov enchantingly loves - nature. He is never happy with what he has. His deer turns into a carnivore, he sees how dead birds come to life on the ladies' hats at the opening day, how clothes fall off people and turn - woolen into sheep, linen into blue flax flowers.
Osip Mandelstam was born in 1891 into a Jewish family. From his mother, Mandelstam inherited, along with a predisposition to heart disease and musicality, a heightened sense of the sounds of the Russian language.
Mandelstam, being a Jew, chooses to be a Russian poet - not just a “Russian-speaking”, but Russian poet. And this decision is not so self-evident: the beginning of the century in Russia is a time of rapid development of Jewish literature, both in Hebrew and Yiddish, and, in part, in Russian. Combining Jewry and Russia, Mandelstam's poetry bears in itself universalism, combining the national Russian Orthodoxy and the national practicalism of the Jews.
My staff, my freedom -
The core of being
Soon will the truth of the people
Will my truth become?
I did not bow to the ground
Before I found myself;
He took the staff, amused
And he went to distant Rome.
And the snow on the black arable land
Never melt
And the sadness of my household
Still alien to me.
The first Russian revolution and the events accompanying it, for the Mandelstam generation, coincided with the beginning of life. During this period, Mandelstam was interested in politics, but then, at the turning point from adolescence to youth, he left politics for the sake of poetry.
Mandelstam avoids words that are too conspicuous: he does not have a revelry of refined archaisms, like in Vyacheslav Ivanov, or an escalation of vulgarisms, like in Mayakovsky, or an abundance of neologisms, like in Tsvetaeva, or an influx of everyday expressions and words, like Pasternak.
There is a chaste spell -
High fret, deep peace,
Far from ethereal lyres
I have installed lars.
At carefully washed niches
In the hours of attentive sunsets
I listen to my penates
Always enthusiastic silence.
The beginning of the First World War is a turn of times:
My age, my beast, who can
Look into your pupils
And glue with his blood
Two centuries old vertebrae?
Mandelstam notes that the time has passed for the final farewell to Russia of Alexander (Alexander Sh and Alexander Pushkin), European Russia, classical, architectural. But before its end, it is precisely the doomed “greatness”, precisely “historical forms and ideas” that surround the poet's mind. He must be convinced of their inner emptiness - not from external events, but from the internal experience of efforts to sympathize with the "world of the great powers", to feel into its system. He says goodbye to him in his own way, sorting through the old motives, putting them in order, making up a catalog for them by means of poetry. In Mandelstam's cipher system, doomed Petersburg, precisely in its capacity as an imperial capital, is equivalent to that Judea, about which it is said that she, having crucified Christ, “turned to stone” and is associated with the holy apostate and perishing Jerusalem. The colors that characterize the basis of blessed Judaism are black and yellow. So these are the colors that characterize the “sovereign world” of St. Petersburg (the colors of the Russian imperial standard).
The most significant of Mandelstam's responses to the 1917 revolution was the poem "The Twilight of Freedom." It is very difficult to bring it under the rubric of “accepting” or “not accepting” the revolution in a trivial sense, but the theme of despair sounds very loud in it:
Let us glorify, brothers, the twilight of freedom,
Great twilight year!
Into the boiling waters of the night
The heavy forest of snares is lowered.
You rise in the dead years, -
Oh, sun, judge, people.
Let's glorify the fatal burden
Which the people's leader takes in tears.
Let us glorify the dark burden of the authorities,
Her unbearable oppression.
Whoever has a heart - he must hear, time,
How your ship goes to the bottom.
We are fighting legions
They tied up the swallows - and now
The sun is not visible; the whole element
Chirps, moves, lives;
Through the nets - thick twilight -
The sun is not visible and the earth is floating.
Well, let's try: huge, awkward,
Squeaky steering wheel.
The earth is floating. Take courage, men.
Like a plow dividing the ocean,
We will remember in the summer cold,
That the earth cost us ten heavens
In this report I tried to tell about the most interesting writers and their works. I deliberately chose writers not as famous as, for example: I. Bunin and N. Gumilyov, A. Blok and V. Mayakovsky, S. Yesenin and A. Akhmatova, A. Kuprin. But not a little less brilliant and famous in their time.
Poets of the "Silver Age" (Nikolai Gumilev)
The "Silver Age" in Russian literature is the period of creativity of the main representatives of modernism, the period of the appearance of many talented authors. Conventionally, the beginning of the "Silver Ieka" is considered 1892, but its actual end came with the October Revolution.
Modernist poets denied social values \u200b\u200band tried to create poetry designed to contribute to the spiritual development of man. One of the most famous trends in modernist literature was acmeism. Acmeists proclaimed the liberation of poetry from symbolist impulses to the "ideal" and called for a return from the polysemy of images to the material world, subject, "nature." But their poetry also had a tendency towards aestheticism, towards the poetry of feelings. This is clearly seen in the example of the work of a prominent representative of Acmeism, one of the best Russian poets of the early XX century, Nikolai Gumilyov, whose poems amaze us with the beauty of the word, the sublimity of the images created.
Gumilyov himself called his poetry the muse of distant wanderings, the poet was faithful to her until the end of his days. The famous ballad "Captains" from the collection of poems "Pearls", which brought Gumilyov wide popularity, is a hymn to people who challenge fate and the elements. The poet appears before us as a singer of the romance of distant wanderings, courage, risk, courage:
The captains lead the swift-wings -
Discoverers of new lands
For whom hurricanes are not afraid
Who tasted malstroms and stranded.
Whose is not the dust of lost charters
--
The chest is soaked with the salt of the sea,
Who's a needle on a torn card
Celebrates his daring path.
Even in the military lyrics of Nikolai Gumilyov, one can find romantic motives. Here is an excerpt from a poem that was included in the collection "Quiver":
And bloody weeks
Dazzling and light
Shrapnel torn above me
The blades fly faster than birds.
I scream and my voice is wild
This copper strikes copper
I, the bearer of great thoughts,
I can’t, I can’t die.
Like thunder hammers
Or waters of angry seas,
Golden heart of Russia
Beats rhythmically in my chest.
The romanticization of battle and feat was a feature of Gumilyov - a poet and a man with a pronounced rare knightly principle both in poetry and in life. Contemporaries called Gumilyov a poet-warrior. One of them wrote: "He accepted the war with simplicity ... with straightforward fervor. He was perhaps one of those few people in Russia whose soul the war found in the greatest combat readiness." As you know, during the First World War, Nikolai Gumilyov volunteered for the front. From his prose and poetry, we can judge that the poet not only romanticized the military feat, but also saw and realized the entire horror of the war.
In the collection "Quiver" a new topic for Gumilyov begins to appear - the topic of Russia. Here completely new motives sound - creations and genius of Andrei Rublev and a bloody bunch of mountain ash, ice drift on the Neva and ancient Russia... He gradually broadens his themes, and in some poems he reaches the deepest insight, as if predicting his own fate:
He stands before a red-hot mountain,
A short old man.
A calm look seems submissive
From the blinking of reddish eyelids.
All his comrades fell asleep,
Only he alone is still awake:
He's all busy casting a bullet
That will separate me from the earth.
The last lifetime collections of N. Gumilyov's poems were published in 1921 - "Tent" (African poetry) and "Pillar of Fire". In them we see the new Gumilyov, whose poetic art was enriched by the simplicity of high wisdom, pure colors, masterful use of prosaic everyday and fantastic details. In the work of Nikolai Gumilyov, we find a reflection of the world around us in all its colors. In his poetry - exotic landscapes and customs of Africa. The poet penetrates deeply into the world of legends and traditions of Abyssinia, Rome, Egypt:
I know funny mysterious tales strings
About black maiden, about the passion of the young leader,
You don't want to believe in anything but rain.
You cry? Listen ... far away on Lake Chad
An exquisite giraffe wanders.
Gumilev Nikolay 
Stepanovich
NS Gumilev was born in the city of Kronstadt in the family of a military doctor. In 1906 he received a certificate of graduation from the Nikolaev Tsarkoselskaya gymnasium, the director of which was I.F. In 1905, the poet's first collection, The Way of the Conquistadors, was published, which attracted the attention of V. Ya. Bryusov. The characters in the collection seem to have come from the pages of adventure novels from the era of the conquest of America, which the poet read in adolescence. With them and identifies himself lyric hero - "a conquistador in an iron shell". The originality of the collection, saturated with common literary passages and poetic conventions, was given by the features that prevailed in Gumilyov's life behavior: love of exoticism, romance of heroism, will to live and work.
In 1907, Gumilyov left for Paris to continue his education at the Sorbonne, where he listened to lectures on French literature. He follows with interest the artistic life of France, establishes correspondence with V. Ya. Bryusov, publishes the magazine "Sirius". In 1908, Gumilyov's second collection, Romantic Flowers, was published in Paris, where the reader was again expected to meet with literary and historical exoticism, but the subtle irony that touched individual poems translates the conventional techniques of romanticism into a game plan and thereby outlines the contours of the author's position. Gumilyov is working hard on the verse, achieving its "flexibility", "confident severity", as he wrote in his program poem "To the Poet" , considering this path "salvation" from symbolist "nebulae". According to IF Annensky, this "book reflected not only the search for beauty, but also the beauty of the search."
In the fall of 1908 Gumilyov made his first trip to Africa, to Egypt. The African continent captivated the poet: he became the discoverer of the African theme in Russian poetry. Acquaintance with Africa "from the inside" turned out to be especially fruitful during the following travels, in the winter of 1909-1910 and 1910-1911. in Abyssinia, the impressions of which were reflected in the cycle "Abyssinian songs" (collection "Alien Sky").
Since September 1909 Gumilev became a student of the Faculty of History and Philology of St. Petersburg University. In 1910 the collection "Pearls" was published with a dedication to the "teacher" - V. Ya. Bryusov. The venerable poet responded with a review, where he noticed that Gumilev "lives in an imaginary and almost ghostly world ... he himself creates countries for himself and inhabits them with creatures he himself created: people, animals, demons." Gumilyov does not leave the heroes of his early books, but they have changed markedly. In his poetry, psychologism intensifies, instead of "masks" people with their own characters and passions appear. Attention was also drawn to the confidence with which the poet went to master the poetic skill.
In the early 1910s, Gumilev was already a prominent figure in St. Petersburg literary circles. He is a member of the "young" editorial office of the journal Apollo, where he regularly publishes Letters on Russian Poetry, literary-critical studies that represent a new type of "objective" review. At the end of 1911 he headed the "Workshop of Poets", around which a group of like-minded people had formed, and acted as the ideological inspirer of a new literary trend - acmeism, the main principles of which were proclaimed by him in the article-manifesto "The Heritage of Symbolism and Acmeism". His collection "Alien Sky" (1912) - the pinnacle of Gumilyov's "objective" lyrics, became a poetic illustration of theoretical calculations. According to MA Kuzmin, the most important thing in the collection is the identification of the lyric hero with Adam, the first person. The Acmeist poet is like Adam, the discoverer of the world of things. He gives things "virgin names", fresh in their primordiality, freed from the previous poetic contexts. Gumilev formulated not only a new concept of the poetic word, but also his understanding of man as a being who is aware of his natural givenness, "wise physiology" and accepts in himself the entire completeness of being around him.
With the outbreak of the First World War, Gumilyov volunteered for the front. In the newspaper "Birzhevye vedomosti", he publishes chronicles "Notes of a cavalryman". In 1916, the book "The Quiver" was published, which differs from the previous ones primarily in the expansion of the thematic range. Italian travel sketches side by side with meditative poems of philosophical and existential content. Here, for the first time, the Russian theme begins to sound, the poet's soul responds to the pains of his native country, ravaged by the war. His gaze, turned to reality, acquires the ability to see through it. The poems included in the collection "Bonfire" (1918) reflected the intensity of the poet's spiritual searches. As the philosophical nature of Gumilyov's poetry deepens, the world in his poems appears more and more as a divine cosmos ("Trees", "Nature"). He is disturbed by "eternal" themes: life and death, perishability of the body and immortality of the spirit, the otherness of the soul.
Gumilyov was not an eyewitness to the revolutionary events of 1917. At that time he was in the Russian expeditionary corps abroad: in Paris, then in London. His creative quest of this period is marked by an interest in oriental culture. His collection "Porcelain Pavilion" (1918) Gumilev compiled from free transcriptions of French translations of Chinese classical poetry (Li Bo, Du Fu, etc.). The "oriental" style was perceived by Gumilev as a kind of school of "verbal economy", poetic "simplicity, clarity and reliability," which corresponded to his aesthetic guidelines.
Returning to Russia in 1918, Gumilev immediately, with his characteristic energy, was included in the literary life of Petrograd. He is a member of the editorial board of the publishing house "World Literature", under his editorship and in his translation the Babylonian epic "Gilgamesh", works by R. Southey, G. Heine, S. T. Coleridge are published. He lectures on the theory of verse and translation in various institutions, runs the studio of young poets "The Sounding Shell". According to one of the poet's contemporaries, critic A. Ya. Levinson, "young people were drawn to him from all sides, admirably submitting to the despotism of the young master who owns the philosophical stone of poetry ..."
In January 1921, Gumilyov was elected chairman of the Petrograd branch of the Union of Poets. In the same year, last book - "Pillar of Fire". Now the poet delves into a philosophical understanding of the problems of memory, creative immortality, the fate of the poetic word. The individual vitality that fed Gumilyov's poetic energy earlier merges with the supra-individual. The hero of his lyrics reflects on the unknowable and, enriched with inner spiritual experience, rushes to the "India of the Spirit". This was not a return to the circles of symbolism, but it is clear that Gumilyov found in his worldview a place for those achievements of symbolism, which, as it seemed to him at the time of the Acmeist "Sturm und Drang" a ", were taken" into the realm of the unknown. " , which sounds in the last poems of Gumilyov, strengthens the motives of empathy and compassion and gives them a universal and at the same time deeply personal meaning.
Gumilyov's life was tragically interrupted: he was executed as a participant in a counter-revolutionary conspiracy, which, as it now became known, was fabricated. In the minds of Gumilyov's contemporaries, his fate evoked associations with the fate of a poet of another era - Andre Chénier, who was executed by the Jacobins during the Great French Revolution.
"Silver Age" of Russian literature
| The writing V. Bryusov, N. Gumilev, V. Mayakovsky The 19th century, the "golden age" of Russian literature, ended, the 20th century began. This crucial time went down in history under the beautiful name of the "Silver Age". It gave birth to the great rise of Russian culture and was the beginning of its tragic fall. The beginning of the "Silver Age" is usually attributed to the 90s of the 19th century, when poems by V. Bryusov, I. Annensky, K. Balmont and other remarkable poets appeared. The heyday of the "Silver Age" is considered 1915 - the time of its highest rise and end. The socio-political situation of that time was characterized by a deep crisis of the existing government, a turbulent, turbulent atmosphere in the country, requiring decisive changes. Perhaps that is why the paths of art and politics crossed. Just as society was intensely looking for ways to a new social order, writers and poets strove to master new art forms, put forward bold experimental ideas. The realistic depiction of reality ceased to satisfy the artists, and in the polemic with the classics of the 19th century, new literary movements were established: symbolism, acmeism, futurism. They offered different ways comprehension of life, but each of them was distinguished by the extraordinary music of the verse, the original expression of the feelings and experiences of the lyric hero, aspiration for the future. One of the first literary movements was symbolism, which united such different poets as K. Balmont, V. Bryusov, A. Bely and others. express the mood, feelings and thoughts of the poet. Moreover, the truth, insight can appear in the artist not as a result of reflection, but at the moment of creative ecstasy, as if sent down to him from above. Symbolist poets were carried away with a dream upward, asking global questions about how to save humanity, how to return faith in God, to achieve harmony, merging with the Soul of the World, Eternal femininity, Beauty and Love. V. Bryusov became a recognized meter of symbolism, who embodied in his poems not only the formal innovative achievements of this trend, but also its ideas. A kind of creative manifesto of Bryusov was a small poem "To the Young Poet", which was perceived by his contemporaries as a program of symbolism. A pale youth with a burning gaze, Remember the second: don't sympathize with anyone, Of course, the creative declaration proclaimed by the poet is not limited to the content of this poem. Bryusov's poetry is multifaceted, multifaceted and polyphonic, like the life that it displays. He possessed a rare gift to accurately convey every mood, every movement of the soul. Perhaps the main feature of his poetry lies in the precisely found combination of form and content. And I want all my dreams, The difficult goal expressed by Bryusov in "Sonnet to Form", I think, has been achieved. And this is confirmed by his amazing poetry. In the poem "Creativity" Bryusov was able to convey the feeling of the first, still semi-conscious stage of creativity, when the future work is still vaguely looming "through the magic crystal." Shadow of uncreated creatures Purple hands The Symbolists viewed life as the life of the Poet. Self-focus is characteristic of the work of the remarkable symbolist poet K. Balmont. He himself was the meaning, theme, image and purpose of his poems. I. Ehrenburg very accurately noticed this feature of his poetry: "Balmont noticed nothing in the world except his own soul." Indeed, the outside world existed for him only so that he could express his poetic "I". I hate humanity The poet did not tire of following the unexpected turns of his soul, his changeable impressions. Balmont tried to capture in the image, in words, fleeting moments, flying time, raising fleetingness into a philosophical principle. I do not know wisdom fit for others, The meaning of these lines, probably, is that a person should live every moment in which the fullness of his being is revealed. And the artist's task is to wrest this moment from eternity and capture it in the word. Symbolist poets were able to express their era in verse with its instability, instability, transience. Just as the rejection of realism gave birth to symbolism, a new literary trend - acmeism - arose in the course of a polemic with symbolism. He rejected the craving of symbolism for the unknown, the focus on the world of his own soul. Acmeism, according to Gumilyov, should not strive for the unknowable, but refer to what can be understood, that is, to reality, trying to embrace the diversity of the world as fully as possible. With such a view, the acmeist artist, in contrast to the Symbolists, becomes involved in the world rhythm, although he evaluates the phenomena depicted. In general, when you try to grasp the essence of the Acmeism program, you come across obvious contradictions and inconsistencies. In my opinion, Bryusov is right, who advised Gumilyov, Gorodetsky and Akhmatova "to abandon the fruitless claim to form some kind of school of Acmeism," and instead write good poetry. Indeed, now, at the end of the 20th century, the name of Acmeism has survived only because the work of such outstanding poets as N. Gumilyov, A. Akhmatova, O. Mandelstam is associated with it. Gumilyov's early poems are striking with romantic masculinity, energy of rhythm, and emotional tension. In his famous "Captains" the whole world appears as an arena of struggle, constant risk, the highest tensions of forces on the verge of life and death. Let the sea go mad and whip In these lines, one can hear a bold challenge to the elements and fate, they are opposed by a willingness to take risks, courage and fearlessness. Exotic landscapes and customs of Africa, jungles, deserts, wild animals, the mysterious Lake Chad - all this wonderful world embodied in the collection "Romantic Flowers". No, this is not book romance. One gets the impression that the poet himself is invisibly present and involved in the verses. So deep is his penetration into the world of legends and traditions of Abyssinia, Rome, Egypt and other countries exotic for a European. But for all the virtuosity of depicting reality, social motives are extremely rare in Gumilyov and other acmeist poets. Acmeism was characterized by extreme apoliticality, complete indifference to the pressing problems of our time. This is probably why Acmeism had to give way to a new literary movement - Futurism, which was distinguished by revolutionary rebellion, oppositional attitude against bourgeois society, its morality, aesthetic tastes, and the entire system of social relations. It is not without reason that the first collection of futurists who consider themselves poets of the future bore the obviously defiant title "Slap in the face to public taste." Mayakovsky's early work was associated with futurism. In his youthful poems, one can feel the desire of the aspiring poet to amaze the reader with the novelty, unusualness of his vision of the world. And Mayakovsky really succeeded. For example, in the poem Night, he uses an unexpected comparison, likening the illuminated windows to a player's hand holding a fan of cards. Therefore, in the reader's mind, an image of a player-city appears, obsessed with temptations, hopes, and a thirst for pleasure. But the dawn, extinguishing the lanterns, "kings in the crown of gas", dispels the night mirage. Crimson and white thrown back and crumpled Yes, these lines are in no way similar to the poems of classical poets. They clearly show the creative declaration of the futurists who reject the art of the past. Poets such as V. Mayakovsky, V. Khlebnikov, V. Kamensky guessed in the union of poetry and struggle a special spiritual state of their time and tried to find new rhythms and images for the poetic embodiment of the seething revolutionary life. The fates of the remarkable poets of the "Silver Age" developed differently. Someone could not endure life in an inhospitable homeland, someone, like Gumilyov, was shot without guilt, someone, like Akhmatova, remained on his native land until his last days, having experienced all the troubles and sorrows with it, someone put a "bullet point at its end", like Mayakovsky. But all of them created a real miracle at the beginning of the 20th century - the "Silver Age" of Russian poetry. |
Analysis of N. Gumilyov's poem "Giraffe"
Nikolay Gumilyov combined courage, courage, poetic ability to predict the future, childish curiosity for the world and a passion for travel. The poet managed to put these qualities and abilities into a poetic form.
Gumilyov has always been attracted by exotic places and beautiful, music-sounding names, bright, almost shadeless painting. It was the collection "Romantic Flowers" that included the poem "Giraffe" (1907), which for a long time became Gumilyov's "calling card" in Russian literature.
Nikolai Gumilyov from early youth attached exceptional importance to the composition of the work, its plot completeness. The poet called himself a "master of fairy tales", combining in his poems dazzlingly bright, rapidly changing pictures with extraordinary melodic, musical narrative.
An exquisite giraffe wanders.
The reader is transported to the most exotic continent - Africa. Gumilyov writes seemingly absolutely unreal pictures:
In his fairytale poem, the poet compares two spaces that are distant on the scale of human consciousness and very close on the scale of the Earth. The poet says almost nothing about the space that is "here", and this is not necessary. There is only a "heavy fog" that we breathe in every minute. In the world where we live, there are only sadness and tears. This leads us to believe that heaven on earth is impossible. Nikolay Gumilyov tries to prove the opposite: "... far, far, on Lake Chad // An exquisite giraffe wanders." Usually the expression "far, far away" is written with a hyphen and refers to something completely unattainable. However, the poet, perhaps with some degree of irony, draws the reader's attention to whether this continent is really so far away. It is known that Gumilev had a chance to visit Africa, to see with his own eyes the beauties he described (the poem "Giraffe" was written before Gumilev's first trip to Africa).
The world in which the reader lives is completely colorless; life here seems to flow in gray tones. On Lake Chad, like a precious diamond, the world shines and shimmers. Nikolai Gumilyov, like other acmeist poets, uses in his works not specific colors, but objects, giving the reader the opportunity in his imagination to imagine this or that shade: the skin of a giraffe, which is decorated with a magical pattern, seems to me bright orange with red-brown spots , the dark blue color of the water surface, on which moon reflections spread like a golden fan, the bright orange sails of a ship sailing during sunset. Unlike the world to which we are accustomed, the air in this space is fresh and clean, it absorbs the fumes from Lake Chad, "the smell of unthinkable herbs" ...
It was not by chance that Nikolai Gumilyov chose the giraffe in this poem. Standing firmly on its feet, with a long neck and a "magic pattern" on its skin, the giraffe became the hero of many songs and poems. Perhaps you can draw a parallel between this exotic animal and man: he is just as calm, stately and gracefully slender. It is also common for man to exalt himself above all living beings. However, if peacefulness, "graceful harmony and bliss" are given to a giraffe by nature, then a person by nature was created to fight primarily with his own kind.
Analysis of the poem by N.S. Gumilyov "Giraffe"
In 1908, Nikolai Gumilyov's second book, Romantic Flowers, was published in Paris, which was favorably appreciated by Valery Bryusov. It was in this book that the poem "Giraffe" was first published.
The poem consists of five quatrains (twenty lines). The idea behind the poem is to describe the beauties and wonders of Africa. Gumilyov tells about the landscapes of the hot country in great detail, in many colors and visibly. Nikolai Stepanovich actually observed this splendor, because he has been to Africa three times!
In his poem, the author uses the method of antithesis, but not specific, but implied. A man whose eyes are accustomed to the Russian landscape paints so visibly a picture of an exotic country.
The story is about an "exquisite giraffe". The giraffe is the embodiment of beautiful reality. Gumilev uses vivid epithets to emphasize the unusualness of the African landscape: an exquisite giraffe, graceful harmony, a magical pattern, a marble grotto, mysterious countries, and unthinkable herbs. Comparison is also used:
“In the distance, he is like the colored sails of a ship,
And his run is smooth, like a joyful bird flight. "
The author addresses the entire poem to his beloved in order to raise her mood, to distract from sad thoughts in rainy weather. But it doesn't work. It not only does not distract, but, on the contrary, intensifies sadness precisely from the feeling of the opposite. The tale aggravates the loneliness of the heroes.
This is especially emphasized by the last stanza. The placement of punctuation marks indicates that the author did not manage to cheer up the girl:
“Listen: Far, far away on Lake Chad
An exquisite giraffe wanders. "
"You cry? Listen ... far away on Lake Chad
An exquisite giraffe wanders. "
The person makes an unjustified pause. This suggests that he no longer has the mood to talk.
Creativity of Nikolai Stepanovich Gumilyov.
NS Gumilyov was born in 1886 in the city of Kronstadt in the family of a military doctor. At the age of twenty, he received a certificate (three in all exact sciences, four in the humanities, five only in logic) about the end of the Nikolayev Tsarskoye Selo gymnasium, the director of which was Innokenty Fedorovich Annensky. At the insistence of his father and at his own request, he entered the Marine Corps.
While still a schoolboy, Gumilev published his first collection of poems - "The Way of the Conquistadors" in 1905. But he preferred not to remember it, never republished it and even dropped it when counting his own collections. In this book, traces of a wide variety of influences are visible: from Nietzsche, who glorified a strong man, a creator who proudly accepts a tragic fate, to a contemporary of Gumilev french writer André Gide, whose words “I became a nomad in order to voluptuously touch everything that roams!” taken as an epigraph.
Critics believed that there are many poetic clichés in The Way of the Conquistadors. However, behind the most diverse influences - Western aesthetes and Russian Symbolists - we can distinguish our own author's voice. Already in this first book, Gumilyov's constant lyrical hero appears - a conqueror, a wanderer, a sage, a soldier who trustingly and joyfully learns the world. This hero opposes both modernity with its everyday life, and the hero of decadent poems.
Innokenty Annensky greeted this book with joy (“... my sunset is cold smoky / Looks at the dawn with joy”). Bryusov, whose influence on the aspiring poet was undoubtedly, although he noted in his review “rehash and imitations, which are far from always successful,” wrote the author an encouraging letter.
However, a year later he left the naval school and went to study in Paris, at the Sorbonne University. Such an act at that time is difficult to explain. The son of a ship doctor, who always dreamed of long sea voyages, suddenly abandons his dream, leaves a military career, although in spirit and disposition of his character, habits and family tradition, Nikolai is a military man, a campaigner, in the best sense of the word, a man of honor and duty ... Of course, studying in Paris is prestigious and honorable, but not for a military officer, in whose family people in civilian clothes were treated condescendingly. In Paris, Gumilyov did not show any particular diligence or interest in science; subsequently, for this reason, he was expelled from a prestigious educational institution.
At the Sorbonne, Nicholas wrote a lot, studied poetry technique, trying to develop his own style. The young Gumilyov's requirements for verse are energy, clarity and clarity of expression, the return of the original meaning and brilliance to such concepts as duty, honor and heroism.
The collection, published in Paris in 1908, Gumilev called "Romantic Flowers". According to many literary scholars, most of the landscapes in poetry are books, the motives are borrowed. But love for exotic places and beautiful, music-sounding names, bright, almost shadeless painting is immense. It was in "Romantic Flowers" - that is, before Gumilev's first travels to Africa - that the poem "Giraffe" (1907) was included, which for a long time became Gumilev's "calling card" in Russian literature.
A certain fabulousness in the poem "Giraffe" appears from the first lines:
Listen: far, far, on Lake Chad
An exquisite giraffe wanders.
The reader is transported to the most exotic continent - Africa. Gumilyov writes seemingly absolutely unreal pictures:
In the distance he is like the colored sails of a ship
And his run is smooth, like a joyful bird flight ...
The human imagination simply does not fit the possibility of the existence of such beauties on Earth. The poet invites the reader to look at the world in a different way, to understand that "the earth sees many wonderful things," and a person, if desired, is able to see the same. The poet invites us to cleanse ourselves of the "heavy fog" that we have inhaled for so long, and to realize that the world is huge and that there are still paradises on Earth.
Addressing a mysterious woman, about whom we can only judge from the position of the author, the lyric hero carries on a dialogue with the reader, one of the listeners of his exotic tale. A woman immersed in her worries, sad, does not want to believe in anything - why not a reader? Reading this or that poem, we willy-nilly express our opinion about the work, criticize it in one way or another, do not always agree with the poet's opinion, and sometimes do not understand it at all. Nikolai Gumilyov gives the reader the opportunity to observe the dialogue between the poet and the reader (listener of his poems) from the outside.
A ring frame is typical for any fairy tale. As a rule, where the action began, there it ends. However, in this case, it seems that the poet can talk about this exotic continent again and again, draw lush, bright pictures sunny country, revealing in its inhabitants more and more new, previously unseen features. The ring frame demonstrates the poet's desire to talk about "heaven on earth" over and over again in order to make the reader look at the world in a different way.
In his fairytale poem, the poet compares two spaces that are distant on the scale of human consciousness and very close on the scale of the Earth. The poet says almost nothing about the space that is "here", and this is not necessary. There is only a "heavy fog" that we breathe in every minute. In the world where we live, there are only sadness and tears. This leads us to believe that heaven on earth is impossible. Nikolai Gumilyov is trying to prove the opposite: "... far, far away, on Lake Chad / Exquisite giraffe wanders." Usually the expression "far, far away" is written with a hyphen and refers to something completely unattainable. However, the poet, perhaps with some degree of irony, draws the reader's attention to whether this continent is really so far away. It is known that Gumilev had a chance to visit Africa, to see with his own eyes the beauty he described (the poem "Giraffe" was written before Gumilev's first trip to Africa).
The world in which the reader lives is completely colorless, life here seems to flow in gray tones. On Lake Chad, like a precious diamond, the world sparkles and shimmers. Nikolai Gumilyov, like other acmeist poets, uses in his works not specific colors, but objects, giving the reader the opportunity to imagine one shade or another in his imagination: the skin of a giraffe, which is decorated with a magical pattern, appears bright orange with red-brown spots, the dark blue color of the water surface, on which the moon flares spread like a golden fan, the bright orange sails of a ship sailing during sunset. Unlike the world to which we are accustomed, the air in this space is fresh and clean, it absorbs the fumes from Lake Chad, "the smell of unthinkable herbs" ...
The lyrical hero seems to be so passionate about this world, its rich color palette, exotic smells and sounds, which is ready to tirelessly talk about the vast expanses of the earth. This unquenchable enthusiasm is sure to pass on to the reader.
Nikolai Gumilyov not accidentally chose the giraffe in this poem. Standing firmly on its feet, with a long neck and a "magic pattern" on its skin, the giraffe became the hero of many songs and poems. Perhaps one can draw a parallel between this exotic animal and man: he is just as calm, stately and gracefully slender. It is also common for man to exalt himself above all living beings. However, if peacefulness, "graceful harmony and bliss" are given to a giraffe by nature, then a person by nature was created to fight, first of all, with his own kind.
The exoticism inherent in the giraffe fits very organically into the context of a fairy tale about a distant land. One of the most remarkable means of creating the image of this exotic animal is a comparison method: the magical pattern of the giraffe's skin is compared with the brilliance of the night star, "in the distance it is like the colored sails of a ship", "and its run is smooth, like a joyful flight of birds."
The melody of the poem is akin to the calmness and grace of a giraffe. The sounds are unnaturally lingering, melodious, complement the fabulous description, give the narration a touch of magic. Rhythmically, Gumilev uses a five-foot amphibrach, rhyming lines with masculine rhymes (with an emphasis on the last syllable). This, combined with voiced consonants, allows the author to describe the exquisite world of an African fairy tale more colorfully.
Another feature of Gumilyov's poetry manifested itself in “Romantic Flowers” \u200b\u200b- his love for rapidly developing heroic or adventurous subjects. Gumilyov is a master of fairy tales, short stories, he is attracted by famous historical plots, violent passions, spectacular and sudden endings. From an early age, he attached exceptional importance to the composition of the poem, its plot completion. Finally, already in this collection, Gumilev developed his own methods of poetic writing. For example, he fell in love with female rhyme. Usually Russian poems are based on the alternation of male and female rhymes. Gumilev in many poems uses only the female. This is how the melodious monotony, musicality of the narration, smoothness is achieved:
Following Sinbad the Sailor
In foreign countries, I collected chervonets
And wandered through unfamiliar waters
Where, crushing, the glare of the sun blazed [“Eagle of Sinbad”, 1907]
It is not without reason that V. Bryusov wrote about “Romantic Flowers” \u200b\u200bthat Gumilyov's poems “are now beautiful, graceful and, for the most part, interesting in form”.
On his first visit to Paris, Gumilev sent poetry to Moscow, to the main magazine of the Symbolists "Libra". At the same time, he began to publish his own magazine, Sirius, promoting "new values \u200b\u200bfor a refined understanding of the world and old values \u200b\u200bin a new aspect."
It is also curious that he became interested in travel, but not abstract trips over distant seas, but travel to a specific country - Abyssinia (Ethiopia). A country that is unremarkable, impoverished and with a very tense military-political situation. Then this piece of the black continent was torn apart by England, France and Italy. In a word, the background was not the most suitable for a romantic trip. But the explanation can be several reasons: Abyssinia is the country of the ancestors of the great Pushkin, and the black Abyssinians were then mostly Orthodox. Although his father refused to provide the money, Nikolai made several trips to Abyssinia.
Leaving the Sorbonne in 1908, Gumilev returned to St. Petersburg and completely devoted himself to creativity, actively communicating in the literary environment. In 1908 he started his own magazine - "The Island". It can be assumed that the title should have emphasized the remoteness of Gumilyov and other authors of the journal from contemporary writers. On the second issue, the magazine burst. But later Gumilev met the critic Sergei Makovsky, whom he managed to spark with the idea of \u200b\u200bcreating a new magazine. This is how Apollo appeared - one of the most interesting Russian literary magazines of the beginning of the century, in which the declarations of the Acmeists were soon published. He publishes in it not only his poems, but also acts as a literary critic. From the pen of Gumilev, excellent analytical articles are published about the work of his contemporaries: A. Blok, I. Bunin, V. Bryusov, K. Balmont, A. Bel, N. Klyuev, O. Mandelstam, M. Tsvetaeva.
In 1910, after returning from Africa, Nikolay publishes the book "Pearls". The poem, as is usually the case with the Symbolists (and in "Pearls" he still follows the poetics of Symbolism), has many meanings. We can say that it is about the inaccessibility of a harsh and proud life for those who are used to bliss and luxury, or about the impossibility of any dream. It can also be interpreted as an eternal conflict between the masculine and feminine principles: the feminine is wrong and changeable, the masculine is free and lonely. It can be assumed that in the image of a queen calling for heroes, Gumilev symbolically depicted modern poetry, which is tired of decadent passions and wants something alive, even if it is rough and barbaric.
Gumilyov is categorically not satisfied with the shrinking, meager Russian and even European reality of the beginning of the century. He is not interested in everyday life (everyday plots are rare and are taken more from books than from life), love is most often painful. A journey is another matter, in which there is always a place for the sudden and mysterious. The true manifesto of the mature Gumilev is "Journey to China" (1910):
Why does longing gnaw at our hearts,
That we are torturing being?
The best girl can't give
More than she has.
We all knew wicked grief
They threw all the cherished paradise
We all, comrades, believe in the sea,
We can sail to distant China.
The main thing for Gumilev is a deadly craving for danger and novelty, an eternal delight before the unknown.
Starting with "Pearls", Gumilev's poetry is an attempt to break through the visible and the material. The flesh for the lyrical hero Gumilyov is a prison. He proudly says: "I am not chained to our century, / If I see through the abyss of times." The visible world is just a screen for another reality. That is why Akhmatova called Gumilyov a “visionary” (contemplator of the secret essence of things). The country referred to in "Travel to China" is least of all literal China, rather a symbol of mystery, dissimilarity from what surrounds the heroes of the poem.
His favorite hunters for the unknown have learned to recognize the limit of their capabilities, their powerlessness. They are ready to admit that
... there are other areas in the world,
Moon of agonizing languor.
For higher power, higher valor
They are forever unattainable. [“Captain”, 1909]
In the same year, Anna Akhmatova and Nikolai Gumilyov entered into a marriage alliance, they were familiar since Tsarskoe Selo, and their fates intersected more than once, for example, in Paris, where Gumilyov, being a student at the Sorbonne, managed to publish a small magazine Sirius. Anna Akhmatova was published in it, although she was very skeptical about the idea of \u200b\u200bher close friend. The magazine soon fell apart. But this episode from the life of Gumilev characterizes him not only as a poet, dreamer, traveler, but also as a person who wants to do business.
Immediately after the wedding, the young people went on a trip to Paris and returned to Russia only in the fall, almost six months later. And no matter how strange it may seem, almost immediately upon returning to the capital, Gumilev, completely unexpectedly, leaving his young wife at home, leaves again for distant Abyssinia. This country mysteriously strangely attracts the poet, thereby giving rise to various rumors and interpretations.
In St. Petersburg, Gumilyov often visited Vyacheslav Ivanov's "Tower", read his poems there. Ivanov, the theorist of symbolism, took care of young writers, but at the same time imposed his own tastes on them. In 1911, Gumilev broke with Ivanov, for symbolism, in his conviction, has outlived its usefulness.
In the same year, Gumilyov, together with the poet Sergei Gorodetsky, created a new literary group - the "Workshop of Poets". In its very name, Gumilev's inherent approach to poetry manifested itself. According to Gumilev, a poet must be a professional, an artisan and a chaser of poetry.
In February 1912, in the editorial office of Apollo, Gumilyov announced the birth of a new literary movement, which, after rather stormy disputes, was given the name “Acmeism”. In his work “The Heritage of Symbolism and Acmeism,” Gumilev spoke about the fundamental difference between this trend and Symbolism: “Russian Symbolism directed its main forces into the unknown.” Angels, demons, spirits, wrote Gumilev, should not "outweigh other ... images." It is with the Acmeists that the rapture of the real landscape, architecture, taste, and smell returns to Russian verse. No matter how dissimilar the Acmeists were, they were all united by the desire to return the word to its original meaning, to saturate it with concrete content, blurred by the symbolist poets.
In the first collections of Gumilev, there are very few external signs of the years when they were written. There is almost no social issue, there is not even a hint of events that worried contemporaries ... And at the same time, his poems add a lot to the palette of the Russian "Silver Age" - they are saturated with the same expectation of great changes, the same tiredness from the old, a presentiment of the arrival of some then a new, unprecedented, harsh and pure life.
The first acmeistic book by Gumilev is “Alien Sky” (1912). Its author is a strict, wise poet, who has abandoned many illusions, whose Africa acquires quite specific and even everyday features. But the main thing is that the book called “Alien Sky” actually speaks not so much about Africa or Europe, but about Russia, which was rarely present in his poems before.
I'm sad from the book, I'm yearning from the moon
Maybe I don't need a hero at all
They walk along the alley, so strangely tender,
High school boy with high school girl like Daphnis and Chloe. ["Modernity", 1911-1912]
His subsequent collections (“The Quiver”, 1915; “The Fiery Pillar”, 1921) cannot do without poems about Russia. If for Blok the holiness and brutality in russian life were inseparable, mutually conditioned, then Gumilyov, with his sober, purely rational mind, could in his mind separate rebellious, spontaneous Russia from the rich, powerful and patriarchal Russian state.
Russia raves with God, red flame,
Where angels can be seen through the smoke ...
They obediently believe the signs,
Loving yours, living yours. [“Old estates”, 1913]
“They” are the inhabitants of deep Russia, who are remembered by the poet on the estate of the Gumilevs in Slepnevo. No less sincere admiration for the old, grandfather Russia and in the poem "Gorodok" (1916):
The cross is raised over the church,
A symbol of clear, Patriotic power,
And ruins the crimson ringing
With wise, human speech.
The savagery and selflessness, the spontaneity of Russian life seem to Gumilev to be the demonic face of his Motherland.
This path is light and darkness,
A robber whistle in the fields
Quarrels, bloody fights
In dreadful taverns like dreams. ["The Man", 1917]
This demonic face of Russia sometimes makes Gumilyov poetically admire him (as in the poem "The Man", which is clearly inspired by the image of Grigory Rasputin, permeated with a premonition of a great storm). However, more often such Russia - wild, brutal - causes rejection and rejection in him:
Forgive us, stinking and blind,
Until the end humiliated forgive!
We lie on the pus and cry
Unwilling God's way.
…………………………………………….....
Here you call: “Where is sister Russia,
Where is she, always beloved? ”.
Look up: in the constellation Serpent
A new star has lit up. [“France”, 1918]
But Gumilev also saw another, angelic face - monarchical Russia, a stronghold of Orthodoxy and, in general, a stronghold of the spirit, steadily and widely moving towards the light. Gumilev believed that his homeland could, after passing through a cleansing storm, shine with a new light.
I know, in this town -
Human life is real
Like a boat on the river
Leaving to the goal of the follower. [“Town”, 1916]
Such a cleansing storm seemed to Gumilev the First World War. Hence the conviction that he should be in the army. However, the poet was prepared for such a step with his whole life, with all his views. And Nikolai, who fell ill on every trip, already in August 1914 went to the front line as a volunteer. Adventurism, the desire to test himself near danger, longing for serving a high ideal (this time for Russia), for the proud and joyful challenge that a warrior throws down to death - everything pushed him to war. He ended up in a cavalry reconnaissance platoon, where, at a constant risk to his life, raids were made behind enemy lines. I managed to perceive trench everyday life romantically:
And it's so sweet to dress up Victory,
Like a girl in pearls
Following a smoky trail
The retreating enemy. [“Offensive”, 1914]
However, the war paid him back: he was never wounded (although he often caught a cold), his comrades adored him, the command celebrated with awards and new ranks, and women - friends and admirers - recalled that the uniform suited him more than a civilian suit.
Gumilyov was a brave fighter - at the very end of 1914 he received the St. George Cross of the IV degree and the rank of corporal for his courage and courage shown in intelligence. In 1915, for his distinction, he was awarded the St. George Cross of the III degree, and he became a non-commissioned officer. Nikolay wrote actively at the front, in 1916 friends helped him to publish a new collection "Quiver".
In May 1917, Gumilyov was assigned to a special expeditionary corps of the Russian army, stationed in Paris. It is here, in the military attaché, that Gumilyov will carry out a number of special assignments not only of the Russian command, but also prepare documents for the mobilization department of the joint headquarters of the allied forces in Paris. You can find many documents of that time, similar in style of writing to that of Gumilyov, but they all stand under the heading of the mysterious “4 sections”.
In the summer of the same year, on the way to one of the European fronts, Gumilev got stuck in Paris, and then left for London, where he was actively involved in creativity. In 1918 he returned to Petrograd.
Craving for the old way of life, order, loyalty to the laws of noble honor and service to the Fatherland - this is what distinguished Gumilev in the troubled times of the seventeenth year and the Civil War. Speaking to the revolutionary sailors, he defiantly read: "I gave him a Belgian pistol and a portrait of my sovereign" - one of his African poems. But the general upsurge took hold of him, and scorched him too. Gumilyov did not accept Bolshevism - for the poet he was just the embodiment of the demonic face of Russia. A consistent aristocrat in everything (however, he was more likely to play aristocracy - but his whole life was built according to the laws of art!), Gumilev hated the “Russian revolt”. But he understood in many ways the reasons for the uprising and hoped that Russia would eventually take its original, broad and clear path. And therefore, Gumilyov believed, it is necessary to serve any Russia - he considered emigration a shame.
And Gumilyov read lectures to workers, gathered a circle "Sounding Shell", where he taught young people to write and understand poetry, translated for the publishing house "World Literature", published book after book. Friends and disciples of Gumilev - K. Chukovsky, V. Khodasevich, A. Akhmatova, G. Ivanov, O. Mandelstam and his other contemporaries - are unanimous: the poet has never been so free and at the same time harmonious, polysemantic and clear.
At the end of the epochs, life, as never before, is mysterious: everything is permeated with mysticism. The theme of the mature Gumilev is the clash of reason, duty and honor with the elements of fire and death, which endlessly attracted him - the poet, but also promised death to him - the soldier. This attitude to modernity - love-hate, glee-rejection - was akin to his attitude towards a woman (“And it's sweet to me - don't cry, dear - / Know that you poisoned me”).
The collections of poems “Bonfire”, “Pillar of Fire”, “Towards the Blue Star” (1923; prepared and published by friends posthumously) are full of masterpieces that mark a completely new stage in Gumilev's work. Anna Akhmatova did not call Gumilyov a "prophet" for nothing. He predicted his own execution:
In a red shirt, with a face like an udder,
The executioner cut off my head too,
She lay with others
Here, in a slippery box, at the very bottom. ["The Lost Tram", 1919 (?)]
This is one of the favorite poems of Gumilyov himself. For the first time here, the hero of Gumilev is not a conqueror-traveler, not a winner, and not even a philosopher, steadfastly accepting the misfortunes that are pouring on him, but a person shocked by the abundance of deaths, exhausted, who has lost all support. He seemed to have lost his way in the “abyss of times”, in the labyrinth of crimes and atrocities - and each coup turns into the loss of his beloved. Never before had Gumilev had such a helpless, humanly simple intonation:
Masha, you lived and sang here,
I, the groom, weaved a carpet,
Where is your voice and body now
Could it be that you died!
The lyrical hero of Gumilyov is served by the image of sovereign Petersburg with the “stronghold of Orthodoxy” - Isaac and the monument to Peter. But what can become a support for a thinker and a poet does not comfort a person:
And yet the heart is gloomy forever
And it's hard to breathe, and it hurts to live ...
Masha, I never thought
That you can love and be so sad.
The late Gumilyov is full of love and compassion, the shocking and audacity of youth are in the past. But there is no need to talk about peace. The poet felt that a great coup was brewing, that humanity was on the threshold of a new era, and painfully experienced the invasion of this unknown:
As once in the overgrown horsetails
Roared from the consciousness of powerlessness
Slippery creature, feeling on your shoulders
Wings that have not yet appeared, -
So century after century - how soon, Lord? -
Under the scalpel of nature and art
Our spirit screams, flesh is exhausted,
By giving birth to an organ for the sixth sense. [The Sixth Sense, 1919 (?)]
This feeling of a great promise, a certain threshold, leaves the reader with Gumilev's entire life, suddenly cut short.
On August 3, 1921, Gumilyov was arrested on suspicion of a conspiracy in the Tagantsev Case, and on August 24, by the decision of Petgubchek, he was sentenced to capital punishment - execution.
Then in August 1921, Gumilyov was defended by famous people of their time, who wrote a letter to the Petrograd Extraordinary Commission, in which they petitioned for the release of N. S. Gumilyov under their guarantee. But this letter could not change anything, since it was received only on September 4, and Petrgubchek's decision took place on August 24.
For seven decades, his poems were distributed in Russia in copies, and were published only abroad. But Gumilev nourished Russian poetry with his cheerfulness, the power of passions, and his readiness for trials. For many years he taught his readers to maintain their dignity in all circumstances, to remain themselves regardless of the outcome of the battle, and to face life directly:
But when bullets are flying around
When the waves break the sides
I teach them how not to be afraid
Don't be afraid and do what you need to do.
…………………………………………...........
And when their last hour comes
A steady red fog will cover your eyes,
I will teach them to remember right away
All cruel, sweet life
All native, strange land
And, before the face of God
With simple and wise words,
Wait quietly for His judgment. [“My Readers”, 1921]
GIRAFFE
Today, I see, your look is especially sad
And the arms are especially thin, hugging the knees.
Listen: far, far, on Lake Chad
An exquisite giraffe wanders.
He was given graceful harmony and bliss,
And his skin is adorned with a magic pattern,
With which only the moon will dare to equal
Crushing and swaying on the moisture of wide lakes.
In the distance he is like the colored sails of a ship
And his run is smooth, like a joyful bird flight.
I know that the earth sees many wonderful things,
When at sunset he hides in a marble grotto.
I know funny tales of mysterious countries
About the black maiden, about the passion of the young leader,
But you've been breathing the heavy mist for too long
You don't want to believe in anything but rain.
And how can I tell you about the tropical garden,
About slender palms, about the smell of unthinkable herbs.
You cry? Listen ... far away on Lake Chad
An exquisite giraffe wanders.
Each poem by Gumilyov opens up a new facet of the poet's views, his moods, vision of the world. The content and refined style of Gumilyov's poems help us to feel the fullness of life. They are confirmation that a person himself can create a bright, colorful world, leaving the gray everyday life. An excellent artist, Nikolai Gumilev left an interesting legacy, had a significant impact on the development of Russian poetry.
the first lines of the poem, a rather bleak picture opens before us. We see a sad girl, she is probably sitting by the window, pulling her knees to her chest, and through a veil of tears she looks at the street. Nearby is a lyrical hero who, trying to console and entertain her, tells a story about distant Africa, about Lake Chad. This is how adults, trying to comfort the child, tell about wonderful lands ...
Nikolai Stepanovich Gumilev was born on April 15 (3, old style), 1886 in Kronstadt in the family of a ship doctor. He spent his childhood in Tsarskoe Selo, here in 1903 he entered a gymnasium, the director of which was the famous poet Innokenty Annensky. After graduating from high school, Gumilev went to Paris, to the Sorbonne. By this time he was already the author of the book "The Way of the Conquistadors", noticed by one of the legislators of Russian Symbolism, Valery Bryusov. In Paris he published the magazine "Sirius", actively communicated with French and Russian writers, was in intensive correspondence with Bryusov, to whom he sent his poems, articles, stories. During these years, he twice visited Africa.
In 1908, Gumilyov's second poetic book, Romantic Flowers, was published with a dedication to his future wife Anna Gorenko (who later became poetess Anna Akhmatova).
Returning to Russia, Gumilyov lives in Tsarskoe Selo, studies at the law, then at the history and philology faculty of St. Petersburg University, but never completes the course. It is included in the literary life of the capital and is published in various magazines. Since 1909, Gumilev has become one of the main employees of the Apollo magazine, where he maintains the section “Letters on Russian Poetry”.
He went on a long journey across Africa, returned to Russia in 1910, published the collection Pearls, which made him a famous poet, and married Anna Gorenko. Soon Gumilev again went to Africa, in Abyssinia he recorded local folklore, communicated with local residents, got acquainted with life and art.
In 1911-1912. Gumilyov departs from symbolism. Together with the poet Sergei Gorodetsky, he organized the "Workshop of Poets", in the depths of which the program of a new literary movement - acmeism - was born. The collection "Alien Sky", which many considered the best in Gumilyov's work, became a poetic illustration of theoretical calculations.
In 1912, a son, Lev, was born to Gumilyov and Akhmatova.
In 1914, in the very first days of the World War, the poet volunteered for the front, despite the fact that he was completely released from military service. By the beginning of 1915, Gumilyov had already been awarded two St. George crosses. In 1917 he found himself in Paris, then in London, in the military attaché of the special expeditionary corps of the Russian army, which was part of the united command of the Entente. Here, according to some biographers, Gumilev performed some special tasks. During the war years, he did not stop his literary activity: the collection "The Quiver" was published, the plays "Gondla" and "The Poisoned Tunic", a cycle of essays "Notes of a Cavalryman" and other works were written.
In 1918 Gumilev returned to Russia and became one of the prominent figures in the literary life of Petrograd. He publishes a lot, works in the publishing house "World Literature", gives lectures, heads the Petrograd branch of the Union of Poets, works with young poets in the studio "Sounding Shell".
In 1918 Gumilyov divorced Akhmatova, and in 1919 he married a second time, to Anna Nikolaevna Engelhardt. They have a daughter, Elena. The collection of poems "The Pillar of Fire" is dedicated to Anna Engelgardt-Gumileva, the release of which appeared after the poet's death.
On August 3, 1921, Gumilyov was arrested on charges of participating in the anti-Soviet conspiracy of Professor Tagantsev (this case, according to most researchers today, was fabricated). By the verdict of the court, he was shot. The exact date of the execution is not known. According to Akhmatova, the execution took place near Berngardovka near Petrograd. The poet's grave has not been found.
Gumilyov died in the prime of his creative powers. In the minds of his contemporaries, his fate evoked associations with the fate of a poet of another era - Andre Chénier, who was executed by the Jacobins during the French Revolution. For sixty-five years the name of Gumilyov remained under the strictest official ban.
20th century literature
"Our time is difficult for the pen ..."
V.V. Mayakovsky
"Not a single world literature of the 20th century, except for Russian, did not know such an extensive list of untimely, early deceased masters of culture ..."
V.A. Chalmaev
"The XX century broke all of us ..."
M.I. Tsvetaeva
Historical situation in Russia at the beginning of the 20th century
The last years of the 19th century were turning points for Russian and Western cultures ... Since the 1890s. and up to the October Revolution of 1917 literally all aspects of Russian life have changed ranging from economics, politics and science to technology, culture and art.
The new stage of historical and cultural development was incredible dynamic and, at the same time, extremely dramatic ... We can say that At a crucial time for her, Russia was ahead of other countries in the pace and depth of change, as well as in the colossal nature of internal conflicts.
Revolution
- Historical upheavals in Russia at the beginning of the 20th century (apart from world ones)
- The first Russian revolution
- February bourgeois-democratic revolution
- October socialist revolution
Nikolay Berdyaev (Russian religious and political philosopher)
"This was the era of the awakening of independent philosophical thought in Russia, the flowering of poetry and the exacerbation of aesthetic sensitivity, religious anxiety and quest, interest in mysticism and occultism."
Nineteenth century
Fragments of superstition fell to dust,
Science turned the dream into truth:
Steam, telegraph, phonograph, telephone,
Having learned the compositions of stars and the life of bacteria.
The ancient world led a thread to eternal secrets;
The new world gave the mind power over nature;
The ages of struggle have crowned everyone with freedom.
It remains: to combine knowledge with secret.
We're nearing the end and a new era
Do not drown out the striving for a higher sphere .
(V. Brusov)
Russian literature at the turn of the 19th and 20th centuries is called Silver age .
(1895 - 1920)
"Beginning" of the Silver Age
- The beginning of the "Silver Age" of Russian poetry is considered article by D. Merezhkovsky "Symbols".
- The father of the "term" is a Russian philosopher Nikolay Berdyaev who called the "Silver Age" reflection, revival of the "golden age ».
- One of the most likely reasons is crisis of the era, tense historical situation.
Modernism is the general name for different trends in art of the late 19th - early 20th centuries, which proclaimed a break with realism, the rejection of old forms and the search for new aesthetic principles.
At this time, the realistic era of Russian culture is replaced modernist .
Modernism - the general name of different trends in art of the late 19th - early 20th centuries., Proclaiming a break with realism, rejection of old forms and the search for new aesthetic principles.
All modernist trends are very different, have different ideals, pursue different goals, but they agree on one : work on the rhythm, in a word, to bring the playing of sounds to perfection.
Literature of the early XX century
modernism
imagism
symbolism
futurism
acmeism
Silver Age table
Name + yy
Representatives
Characteristics, traits
Symbolism
from gr. symbolon - "sign, symbol".
1870-1920s
Symbolism as a current was born in France in the 60-70s. 19th century .
The origins of Russian symbolism
France 1860-70s.
Charles Baudelaire
Arthur Rimbaud
Paul Verlaine
Stephan Mallarmé
Founder of Symbolism - Charles Baudelaire
Representatives
France 1860-70s.
F. Sologub
Z. Gippius
D. Merezhkovsky
K. Balmont
V. Bryusov
V. Ivanov
A. Bely
A. Block
Traits of symbolism
- Symbol - an image that has an unlimited number of meanings, it conveys not the objective essence of the phenomenon, but the poet's individual idea of \u200b\u200bthe world; image demanding from the reader co-creation .
- Art Is not an image of reality, but “ comprehension of the world by other, not rational ways " (V.Ya.Bryusov) – through spiritual experience a person and the artist's creative intuition.
- The world is unknowable ... It is possible to rationally comprehend only the lower forms of life, and not the “higher reality” (the area “ absolute ideas "," world soul ")
- Antithesis of two worlds - real and ideal *
- Sound writing .
- Poetry gravitates to music . Musicality - the highest form of sound manifestation.
- Color significance ... Each color is meaning.
- Questions about the fate of Russia.
- Ideal Eternal Femininity (philosophy of V. Soloviev).
- Love is an unearthly feeling it cannot be experienced bodily.
- Genres: sonnet, rondo
Acmeism
( from the Greek. akme - "the highest degree",
"Top", "bloom", "blooming time")
Acmeism arose in Russia in the 1910s.
Representatives of Acmeism
N. Gumilyov
A. Akhmatova
O. Mandelstam
S. Gorodetsky
Acmeism traits
- Acmeism stood out from symbolism and was his " opposition »
- Criticism of the nebulous language of the Symbolists. Return to material the world, the subject, the exact meaning of the word.
- Refusal of mystery , nebula, ambiguity.
- The world is material , subject, you need to look for values \u200b\u200bin the world and capture them with accurate and understandable images .
- Cult " perfect clarity »: poetry must be understood , the images are clear.
- The refinement of the details that create a specific picture, the words " with more stable content »
- The main genre is madrigal - a small piece of music and poetry, usually love-lyrical content .
- Love is an earthly feeling rather than "the insight of other worlds."
Futurism
(from lat.futurum - future)
1912-1916 years
Futurism was born in italy
in the 1910-1915s.
Representatives of futurism
V. Mayakovsky
V. Kamensky
V. Khlebnikov
D. Burliuk
I. Severyanin
Traits of futurism
- Rejection of traditional literature (" Throw Pushkin, Dostoevsky, Tolstoy and so on. from the Steamer of Modernity ").
- Denying the past in the name of the present and the present - in the name of the future.
- Motive - striving for the future , the destruction of "old fetters" and standards, poetic clichés.
- Chanting technological progress , at urbanization
- Rebel poet , creator new reality ... Courage, audacity.
- "Impatience" with the existing language, word creation, creation of your own language. Sound matters. The word turns into a sign.
- A sharp rejection of the ordinary , as well as the "ordinary subordination" of other poets.
- Literary experiments with genres, forms, poetic dimensions, etc.
- Metaphorization of reality. Outrageous as a kind of creativity.
Worldview of the futurists
- World of the future ("Willlyane") - the purpose of life today.
- Chanting technological progress , an industrial city
- Admiration for action, movement, speed, strength and aggression
- Poet - creator of the world, language .
K. Malevich. Grinder
From the manifesto:
We gave a sample of a different sound and phrase: Hole, bul, shyly, ubischur skoom you boo rl ez (By the way, this five verses are more Russian national than in all of Pushkin's poetry).
A. Kruchenykh's poem is the first example of new poetry
Imagism
from English and fr. image - "image"
Image rev arose in England, in the USA
(i.e. English speaking countries).
* Image inism – in Russia .
Representatives of Imagism
V. Shershenevich
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