Presentation on the topic "Russian symbolism". Presentation on the topic “Russian symbolism” The philosophy and aesthetics of symbolism were influenced by various theories - from the views of Plato to F. Nietzsche and V. Solovyov

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Russian symbolism and its origins

Lesson objectives:

Educational:

consolidate the concept of “Silver Age”;

give an idea of ​​symbolism;

briefly characterize the works of the founders of Russian symbolism;

identify the origins of Russian symbolism;

show the connection between symbolism and other forms of art;

Educational:

improve the skills of systematically complex analysis of a lyrical work;

develop skills in independently searching for information on this topic;

Educational

to cultivate a culture of mental work among students based on such mental operations as analysis, synthesis, grouping, and comparison.

Equipment: collections of Silver Age poets, handouts with texts of poems by symbolist poets, reproductions of paintings “Unknown” by I. Kramskov, “Demon”, “Swan Princess” by M. Vrubel, portraits of symbolist poets,
CD with music by A.N. Scriabin (Etude No. 8).

Lesson Plan

I. Teacher's opening speech.
II. Repetition of the concept “Silver Age”.
III. Studying new material about symbolism as a literary movement:

familiarization with the concept of “symbolism”;

acquaintance with the works of the founders of Russian symbolism;

drawing up a diagram (stages and representatives of symbolism);

identifying the philosophical origins of Russian symbolism;

comparative analysis of poems by Vl. Solovyova and Z. Gippius;

familiarization with the concept of symbol;

the connection between symbolism and music;

connection between symbolism and painting.

IV. Summing up the lesson.
V. Explanation of homework.

DURING THE CLASSES

Teacher activities

Student activities

I. Hello guys! Today in class we will begin our acquaintance with the poetry of the Silver Age.

II. But first, remember what the meaning of the expression “Silver Age” is?

The concept of “Silver Age” refers primarily to poetry. During the period under study, interest in poetry increased again, as in the time of A.S. Pushkin and M.Yu. Lermontov, “The Golden Age”.

As you remember, the Silver Age of Russian poetry is associated with the most complex spiritual quest of humanity at the turn of the 19th and 20th centuries, with the flourishing of national culture, and at the same time, in the poetry of modernism there is a premonition of an impending catastrophe. Never before has there been such a rapid and stunning growth of the planet's population and at the same time new useful, but soulless things. The old educational institutions did not have time to adequately educate people. New things were not warmed by poetry. Social and political foundations were breaking down, and people were looking for spiritual support. This period was called the Russian Renaissance: like the European Renaissance, the culture of this time contained elements of “breakdown” and crisis. The art of the Silver Age became a philosophy, a universal, synthetic view of the world.

III. And the first movement of modernism that arose on Russian soil,there was symbolism.
Open your notebooks and write down the topic of the lesson “Symbolism”.
Let us give a written definition of this direction:"Symbolism - this is a literary and artistic movement that considered the goal of art to be an intuitive comprehension of world unity through symbols.”
What do you think, if this is a direction, did it have any theoretical basis or provisions?
That’s right, and the beginning of the theoretical self-determination of the symbolists was the lecture by D.S. Merezhkovsky “On the causes of the decline and new trends in modern Russian literature”, read in 1892. In his opinion, new trends had to revive literature, having completed “enormous transitional and preparatory work.” And he called its main elements “mystical content, symbols and the expansion of artistic impressionability.”
In addition, in 1894, three collections of poems “Russian Symbolists” were published in Moscow, where most of the poems belonged to V.Ya. Bryusov. Social and civic themes were pushed aside by symbolism. Existential themes came to the fore: Life, Death, God.
Symbolism from the very beginning turned out to be a heterogeneous movement. Therefore, based on external signs, it is customary to distinguish two main stages in Russian symbolism.

Let's make a diagram:

Write this diagram down in your notebooks. What differences existed between the older and younger Symbolists?

You're right. And already in 1910, a crisis of symbolism occurred.
Symbolism was closely associated with decadence. Are you familiar with the meaning of this term?

A decadent worldview was characteristic of almost all symbolists at various stages.
Look at the diagram again, pay attention to the connection between symbolism and decadence. Do you think the Symbolists accepted the world around them? What feature of symbolism would you highlight in this regard?
Well done. To understand the point of view of the symbolists, we need to find out what influenced them, what are the sources of symbolism.
The philosophy and aesthetics of symbolism developed under the influence of various theories - from the views of Plato, for whom the highest sphere of life was the area of ​​ideas, to F. Nietzsche and Vl. Solovyov.
Let's listen to a message about the philosophy of F. Nietzsche.

Yes, the opinion of the German philosopher really had an impact on the symbolists. The views of Vladimir Solovyov influenced the symbolists even more.

To confirm the opinion about the influence of these philosophers on the work of symbolist poets, let’s conduct a small literary experiment. Here are two texts of poems by Vl. Solovyov and Z. Gippius. I will read you the first poem, “Dear friend, don’t you see...” Listen to it.
Can we say that for the poet there are two worlds that he outlined in his poem?

Let's differentiate them. What is the first world like?
Name the features of this world. What characterization does the poet give him?
Write these definitions in a column.

What is the second world like? What is said about him?
Write the definitions in the second column.

Draw a conclusion about the attitude of Vl. Solovyov to these worlds.

Let us compare with this poem the second, written by Z. Gippius.
Can we say that here too there are two worlds opposed to each other? Prove it.

What phenomenon is poeticized by the lyrical heroine? Is it fleeting?
Which world do you prefer?

That is, we can conclude that the symbolists treated the word as a cipher of some kind of spiritual secret writing, they valued the moment, fleetingness. This is another characteristic feature of symbolism.
Look at one more feature that we did not note: from what person were the poems written? What traits does the person who wrote them have?

How does Vladimir Solovyov’s lyrical hero address his reader? Why?

But in order for the reader to understand the secret meaning, it was necessary to express it somehow. Look at the name of the direction, what word is it derived from?

It was the symbol that provided such a means. Let us define a symbol: “A symbol is a polysemantic image that expresses the essence of a phenomenon.” Write this definition down in your notebooks.
Symbolism, as we have already seen, was closely connected not only with philosophy, but also with music, which the Symbolists considered the highest form of art.
Now the music of composer A. Scriabin “Etude” op.8 No. 2 will be played. Listen to her carefully.

How many parts does this work consist of?
Let's listen to the sketch again and characterize each of the parts.

What is the mood of the first part? What world is recreated in it?

Does the second part of the etude differ from the first, what moods are heard in it?

You noted all the features very correctly. Returning to the Symbolists’ statement about music as the highest form of art, tell me, do you agree with this statement?

What does music convey?
Are words used?

The symbolists, knowing this dignity of music, knowing its charm, sought to enrich poetic phonetics. Listen, for example, to F. Sologub’s poem.

Leela, Leela, Leela, rocked
Two dark scarlet glasses,
Whiter than lily, whiter than lala
You were white and ala.

What gives this poem its musicality?

Also, the musicality of the verse made it possible to sharpen the perception of the reader, whom the symbolists considered their co-author.

Just as strongly as with music, symbolism was associated with painting.

Let's listen to a report on the connection between symbolism and music; it will also serve as a kind of commentary on the reproductions of paintings that you see on the board.

Pay also attention to other paintings by M. Vrubel “The Swan Princess”, “Pan”. What do you know about these creatures? What other features of the paintings did you notice?

True, but not only artists, but also symbolist poets were interested in mythology. They especially valued Greek and Roman mythology, the plots of which symbolists could borrow and remake. You will see this when you get acquainted with the lyrics of the early A. Blok, F. Sologub.
Like painters, color symbolism played an important role in the work of symbolist poets. Listen to I. Annensky’s poem “Amethysts”.

Remember what amethyst looks like. What colour is he?

Which artist's paintings can you see a connection with?

Purple combines two colors: blue – heavenly and red – the color of blood, earthly suffering.

See if these colors are in the poem? What sound do they give to the poem?

Does the mood change in the second stanza? If so, how?

What is the ending of the poem?

Remember again what the sparkle of an amethyst is likened to?
And a candle has a symbolic meaning in Christian culture. That is, amethyst becomes the same symbol.
In addition to color, sound design also plays a big role in the poem. What sounds are dominant?
SoundWith gives the sound a muffled quality, and, on the contrary, overcomes space, like the burning of a candle.

In addition, the size of the poem is also important. What size is this?
That's right, this is a traditional meter for Russian meditative lyrics.
So, the examples considered convince us that never before in secular Russian culture has a word been so closely connected with music and painting as in symbolism.

IV. Summing up the lesson, let’s remember again and write it down in our notebooksmain features of symbolism :

poetics of allusion and allegory;

attitude to the word as a cipher of some spiritual secret writing, symbolic content of everyday words;

apology (praise) of the moment in which Eternity is reflected;

the desire to create a picture of an ideal world that exists according to the laws of Eternal Beauty;

deep historicism, from the perspective of which modern events are seen;

The difference between the older and younger Symbolists was in the time of their appearance and in their views.

Decadence is a type of consciousness, an attitude towards the world in an era of crisis, a feeling of despondency, anxiety, fear of life, disbelief in a person’s ability to know the world, change it and change himself.

The symbolists did not accept the surrounding world and sought to create a picture of the ideal world.

The German philosopher F. Nietzsche was one of the founders of the “philosophy of life”. He opposed rationalism, appealing to the irrational in the human psyche. Nietzsche focused on criticizing Christianity and rationalism, which “oppress the will to live.” He proposed to overcome this oppressive influence by freeing the “vital forces” of man in order to open the way to the “superman” who stands “beyond good and evil.” The artistic intelligentsia of the early 20th century was attracted by this special imagery, unique artistic form, aphorism and mystery.

Vladimir Solovyov (01/16/1853 - 07/31/1900) - poet, critic, publicist, philosopher. His most famous works: “Theoretical Philosophy” (1897–1899), “Justification of Good” (1897–1899), “Spiritual Foundations of Life” (1882–1884), etc.
Solovyov proceeded from the fact that in addition to present reality, there is a sphere of the divine, i.e. absolute, unconditional principles that have a positive impact on humanity.
The peculiarity of his idealism is in his desire to express in the language of philosophical concepts man’s belonging to two worlds - the material and the ideal.
According to Solovyov, goodness, truth and beauty are three hypostases of ideal existence, the most important categories expressing its unity.
True art, according to Solovyov, should be distinguished by a synthesis of vital content and the idea of ​​the need to recreate reality in such a way that it combines divine, human and natural elements.
The poetic expression of the idea of ​​unity are the symbols of “eternal femininity”, “soul of the world”, “golden azure”, “unearthly light” and “consonance of the universe”.

Yes.

This is the real world.
Visible
Reflection, shadows
Do you hear
Everyday noise is crackling
The reflection is distorted
Can you smell it?
The whole world

The world is perfect
Invisible
I will convene the triumphant ones -
chiya
one
Only that

The first world can be known with the help of sight, hearing, etc., and the ideal world is something higher and mysterious.

Yes, in the poem by Z. Gippius “The abstract is sweet to me...” there is also a real world and an ideal world, which she contrasts. The ideal world cannot always be seen (“I love the implicit…”).
The realm of dreams, which are fleeting, is poeticized.
The lyrical heroine is closer to the ideal world. This is proven by the statements “I love the abstract,” “I love the implicit,” “I am a slave to my mysterious, extraordinary dreams.” She believes that “here words” cannot always convey the meaning of “the only speeches.”

The poems are written in the first person. They belong to the pen of an extraordinary person; most likely, he is a man of art, an artist, a creator, connected to a higher reality.
“Dear friend,” that is, he sees his like-minded person in the reader, wants to introduce him to the higher world of secrets.

From the word "symbol".

The music consists of two parts.

The first part of the etude is very lyrical, it sounds quiet. This is the world of the ideal, the world of harmony.

If we talk about the second part, then this is a world of catastrophes with screaming and tragedy. The alarming notes are especially intensified at the end of the work.

Yes.

Music conveys emotions and feelings.
No, in music, even without words, everything becomes clear. Different people can understand each other without words.

Soundl , repeated in the poem,
gives it a very melodious, musical quality.

Description of the presentation by individual slides:

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At the turn of the nineteenth and twentieth centuries. Russian poetry, like Western poetry, is also experiencing rapid development. It is dominated by avant-garde and modernist trends. The modernist period of development of Russian poetry at the end of the 19th – beginning of the 20th centuries. called the “Silver Age”, the Russian poetic renaissance.

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The ideological basis for the development of new Russian poetry was the flowering of religious and philosophical thought, which occurred in Russia at the turn of the 19th and 20th centuries. The new philosophy appears as a critical reaction to the positivism of the second half of the 19th century. with his rational attitude to life as a fact of exclusively material existence. New Russian philosophy, on the contrary, was idealistic, turned to the irrational aspects of human existence and tried to synthesize the experience of science, philosophy and religion.

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Russian symbolism Concept Symbolism is a literary and artistic movement that considered the goal of art to be an intuitive comprehension of world unity through symbols. Originated in the 60s and 70s. XIX century in France In Russia it became widespread in the 80s - 90s. 19th century

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Prerequisites Philosophy of Nietzsche, V. Solovyova Modernism in European art Revival of old artistic systems (antiquity, the Middle Ages)

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The philosophy and aesthetics of symbolism developed under the influence of various theories - from the views of Plato to F. Nietzsche and V. Solovyov Platon F. Nietzsche V. Solovyov

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The Origins of Symbolism Many artistic discoveries and philosophical ideas of symbolism were predicted by the outstanding philosopher, poet, and translator V. Solovyov (1853 - 1900). He believed in the saving mission of Beauty; art was called upon to become a mediator in achieving “all-unity”; the appearance of “all-unity” is a mystical image of the Soul of the World; Eternal Femininity is an object of platonic cult and admiration. V. Solovyov (1853 – 1900)

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Crisis of faith in the rational structure of the world. The new picture of the world (experiments on nuclear fission, the emergence of the theory of relativity, the development of psychoanalysis) did not arm, but disarmed man, sharply increasing in his understanding the share of irrational factors that rule the world and underlie the existing one. The habitual experiences of “structured stories” began to seem like a top layer, masking reality instead of revealing it. Precisely drawn characters in the tradition of the old novel were no longer able to absorb reality. The psychological element, like the pictorial element, was imperceptibly liberated from the object with which it was inseparably fused, and in the art of modernism strived for self-sufficiency, to do as much as possible without relying on external objectivity. The artistic practice of modernism gave rise to ideas about “the need for art to remain in slavery to reality.” The artist’s new position was generated by the need not to mystify the public, but to find a replacement for tired art techniques that were not adequate to the spirit of the time and the new sense of life. Something vague and elusive began to dominate the new art. These are no longer defined characters, but some illusions.

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Theoretical self-determination 1892 – lecture by D. Merezhkovsky “On the causes of the decline and new trends in modern Russian literature” 1894 – three collections “Russian Symbolists”, the leading author of which was V. Bryusov.

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Perception of reality as a given, once and for all established; a penchant for complex formal experimentation; attention not so much to the contradictions of society, but to the reflection of these contradictions in human consciousness; the idea that a person’s destiny is shaped by insurmountable circumstances.

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A reflection of the life of every soul - full of experiences, unclear, vague moods, subtle feelings, fleeting impressions. Innovation of poetic verse, new, bright and expressive images. Attempts to achieve an original form, leaving in a meaningless play on words and sounds. Symbolism distinguishes two worlds: the world of things and the world of ideas. The symbol becomes a kind of conventional sign that connects these worlds in the meaning generated by it. There are two sides to any symbol - the signified and the signifier. This second side is turned towards the unreal world. Art is the key to the mystery.

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Extreme individualism (increased interest in the problem of personality); The contrast between the social and the individual; Affirmation of the equivalence of the real and the ideal; Cult of the mysterious; the idea of ​​the unknowability of the world; Affirmation of the intuitiveness of comprehending the world through mystical insights and revelations; Poetics of conventions and allegories; Isolation of irrational sound in a word, rhythm should replace the meaning.

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Charles Baudelaire Paul Verlaine Arthur Rimbaud Symbolism (from the French simbolism, from the Greek simbolon - sign, symbol) is an artistic movement that appeared in France in the late 60s - early 70s. 19th century (initially in literature, and then in other types of art - fine, musical, theatrical) and soon included other cultural phenomena - philosophy, religion, mythology. The favorite themes that the symbolists addressed were death, love, suffering, and anticipation of certain events. The subjects were dominated by scenes from gospel history, semi-mythical and semi-historical events of the Middle Ages, and ancient mythology.

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The Art of Poetry About music comes first! Prefer a size that is unsteady, soluble and together does not oppress with strict fullness. Appreciating words as strictly as possible, Love the strange features in them. Ah, drunken songs are more precious, Where precision and uncertainty are fused! Now - a beautiful gaze behind a veil, Now - a trembling light at noon, Now - in the autumn, over the blue distance, The evening, clear shine of the planets. The shades alone captivate us, not the colors: their color is too strict! Ah, only shades combine Dream with dream and with a flute horn. Fear ridicule, mortal furies, And too witty words (They bring tears to the eyes of Lazuri!), And all the seasonings of bad tables! Break the neck of rhetoric! Don't value rhyme too much. If you don’t look after it, tell me where it leads! Oh, who will tell the rhymes of lies? Who, a drunken black man, or who, a deaf one, gave us a penny-worth of beauty, a hoarse and empty toy! About music always and again! Let your winged poems seek, beyond the earthly boundaries, Other heavens, another love! Let at an hour when the whole sky is gloomy, Your poem rushes along the meadows, And drunk with mint and caraway... Everything else is literature! P. Verlaine, in his famous poem The Art of Poetry, defined commitment to musicality as the main sign of true poetic creativity: “Musicality comes first.” In Verlaine's view, poetry, like music, strives for a non-verbal reproduction of reality. So in the 1870s, Verlaine created a cycle of poems called “Songs without Words.” Like a musician, the symbolist poet rushes towards the spontaneous flow of the beyond, the energy of sounds. Verlaine's poetry amazed with its musicality and elusive emotions. Following Verlaine, the idea of ​​music was used by many symbolists to symbolize creative mystery.

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The poetry of the brilliant young man A. Rimbaud, who first used free verse (free verse), embodied the idea adopted by the Symbolists of abandoning “eloquence” and finding a crossing point between poetry and prose. Invading any, even the most unpoetic, spheres of life, Rimbaud achieved the effect of “natural supernaturalism” in the depiction of reality. A young soldier, with his mouth open, without a cap, plunged his whole head into the green ringing of spring. He is fast asleep. Above him there is a white cloud in the sky. Light flows like rain. His features are pale. Chilled, tiny, as if half asleep. The ailing child smiles slightly. Nature, please the soldier's pigeon, don't wake him up! Doesn't hear odors and doesn't look up. And in the elbow with a bent hand he pinches two red holes between the ribs on his chest

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The forerunner of symbolism in France is Charles Baudelaire, who published the book Flowers of Evil in 1857. In search of ways to the “unspeakable,” many symbolists took up Baudelaire’s idea of ​​“correspondences” between colors, smells and sounds. The proximity of various experiences should, according to symbolists, be expressed in a symbol. The motto of the symbolist quest was Baudelaire's sonnet Correspondence with the famous phrase: Sound, smell, shape, color echo. Baudelaire's theory was later illustrated by A. Rimbaud's sonnet Vowels: “A” black, white “E”, “I” red, “U” green, “O” blue - the colors of a bizarre riddle... The search for correspondences is the basis of the symbolist principle of synthesis, unification arts The motifs of the interpenetration of love and death, genius and illness, the tragic gap between appearance and essence, contained in Baudelaire’s book, became dominant in the poetry of the Symbolists.

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The main property is the mastery of “things in themselves” and ideas that are beyond sensory perception. The basis of aesthetics is a symbol (it must replace a specific image). It was believed that the hundred symbol connects the earthly with the other, spiritual world. The main thing in artistic creativity was the individual.

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Increased attention to the problem of personality and history, to the inner world of the individual; heroic-tragic experience of social and spiritual conflicts at the turn of the century; combination of contradictory trends; numerous discoveries in poetics (renewal of lyric genres, new principles of cyclization, semantic polyphony); the idea of ​​the intrinsic value of art.

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Senior Symbolists Understood symbolism as a literary school. Senior Symbolists of the St. Petersburg wing considered religious and philosophical searches important. In their poetry they developed motifs of loneliness, hopelessness, the fatal duality of man and irrational premonitions. INSCRIPTION ON THE BOOK The abstract is sweet to me: I create life with it... I love everything solitary, I love the implicit. I am a slave to my mysterious, extraordinary dreams... But for the only speeches I don’t know the local words... Z. Gippius 1896

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The senior symbolists of the Moscow wing preached “art for art’s sake.” Much attention was paid to formal experimentation and improvement of technical techniques of versification. CREATIVITY The shadow of uncreated creatures sways in a dream, Like patching blades On an enamel wall. Violet hands On the enamel wall Half-asleeply they draw sounds In the ringing silence. And transparent kiosks, In the ringing silence, Grow like sparkles, Under the azure moon. The naked month rises Under the azure moon... Sounds soar half asleep, Sounds caress me. The secrets of created creatures caress me with affection, And the shadow of patches trembles on the enamel wall. V. Bryusov March 1, 1895

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Young Symbolists 1900 – turn of the century V. Ivanov A. Bely A. Blok I. Annensky “Apocalyptic” sentiments are paradoxically combined with faith in the coming of the “kingdom of Sophia” - the era of eternal wisdom

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Young Symbolists A holistic worldview, a form of life behavior, a method of creative restructuring of life. Only what is on the other side of life matters. The real world is secondary, but bears the imprints of eternal ideas, eternal essences. Creativity and life were understood as an element of a grandiose work of art, a cosmic process.

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Alexander Alexandrovich Blok (1880-1921) most clearly expressed the ideas of the “Young Symbolists”

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Andrei Bely (Boris Nikolaevich Bugaev) (1880-1934) Theorist of the “Young Symbolists”. Organizes the literary circle "Argonauts". In the article “On Religious Experiences” (1903), he asserted “the mutual contact of art and religion”, the desire to “get closer to the World Soul”

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Meaning Symbolism has enriched Russian poetic culture with many discoveries. Symbolists gave the word unprecedented polysemy and discovered many additional shades and meanings in it. The poetry of symbolism is unusually musical, rich in assonance and alliteration. But most importantly, symbolism tried to create a new philosophy of culture, develop a new worldview, make art more personal, fill it with new content - to make art a principle that unites people.

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Acmeism Acmeism (from the Greek akme - the highest degree of something, flourishing, maturity, peak, edge) is one of the modernist movements in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism. Acmeists united in the group "Workshop of Poets" in 1912-1913. published the magazine "Hyperborea".

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The main ideas of Acmeism were set out in the programmatic articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Currents in Modern Russian Poetry”, published in 1913 in No. 1 of the magazine “Apollo” (the literary organ of the group during its heyday) , published under the editorship of S. Makovsky.

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Basic principles of Acmeism: liberation of poetry from symbolist appeals to the ideal, returning it to clarity; rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; the desire to give a word a certain, precise meaning; objectivity and clarity of images, precision of details; appeal to a person, to the “authenticity” of his feelings; poeticization of the world, primordial emotions, primitive biological natural principles; echoes of past literary eras, broad aesthetic associations, “longing for world culture.”

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Sergey Gorodetsky I lie down and don’t let me breathe This evil, dark night. I can’t drive her away from the ground or from the heights, I can’t steal her, I’m not a bastard. There are a couple of copper pennies for the eyes, A chill dances dashingly through the body. A frozen coffin rushes past the windows on the wings of bats. Ringing with golden scales and hissing with a dying mouth, the firebrand goes out in the wet stove, the cold master enters my house. You can’t pull off your damp boots and you can’t warm your bones with a coat. But the growing horn of spring trumpets me that I cannot die. 1919

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Nikolai Gumilyov Sonnet I'm probably sick: there's fog in my heart, I'm bored with everything - both people and stories, I dream of royal diamonds and a wide scimitar covered in blood. It seems to me (and this is not a hoax), My ancestor was a cross-eyed Tatar, a ferocious Hun... I am overwhelmed by the spirit of the infection, which has come through centuries. I am silent, I languish, and the walls recede: Here is the ocean, all in shreds of white foam. Granite bathed in the setting sun And a city with blue domes. With blooming jasmine gardens, We fought there... Oh, yes! I was killed. 1912

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Vladimir Narbut I forgot about meeting you... And how you passed before me then, When towards the evening peace The darkness descended on the domes?.. In the flat mouth Shameful years flowed endlessly. I thought: I, of course, will never meet you... But how unexpectedly I was deceived: Watching the glass of the night mirrors, I noticed a silver-woven profile And a lily - crystal clearer than ice! And now - you are standing before me in the fog, just like the first time: With your gaze drooping in the deception of Amber-black mournful eyes...

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Anna Akhmatova Clasped her hands under a dark veil... “Why are you pale today?” - Because I made him drunk with tart sadness. How can I forget? He came out staggering, his mouth twisted painfully... I ran away, without touching the railing, I ran after him to the gate. Gasping, I shouted: “A joke That’s all that happened. If you leave, I’ll die.” He smiled calmly and terribly and told me: “Don’t stand in the wind.” January 8, 1911 (collection "Evening")

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Osip Mandelstam On pale blue enamel, Which is conceivable in April, Birch branches raised And imperceptibly grew dark. The pattern is sharpened and small, A thin mesh has frozen, Like on a porcelain plate. A pattern drawn accurately, - When the dear artist draws it on the glassy surface, In the consciousness of momentary power, In the oblivion of sad death. 1909

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Futurism Futurism (from Latin futurum - future) is the general name of artistic avant-garde movements in Russia (cubo-futurism, ego-futurism, "Mezzanine of Poetry", "Centrifuge") of the 1910s - early 1920s. XX century.

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The main features of futurism: rebellion, anarchic worldview, expression of the mass mood of the crowd; denial of cultural traditions, an attempt to create art aimed at the future; rebellion against the usual norms of poetic speech, experimentation in the field of rhythm, rhyme, focus on the spoken verse, slogan, poster; the search for a liberated “autonomous” word, experiments to create an “abstruse” language; cult of technology, industrial cities; shocking pathos.

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Futurists preached the destruction of the forms and conventions of art in order to merge it with the accelerated life process of the twentieth century. They are characterized by a reverence for action, movement, speed, strength and aggression; exaltation of oneself and contempt for the weak; the priority of force, the rapture of war and destruction were asserted. In this regard, futurism in its ideology was very close to both right-wing and left-wing radicals: anarchists, fascists, communists, focused on the revolutionary overthrow of the past.

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Here is one of the points of Marinetti’s program: “A man completely spoiled by the library and museum<...>is no longer of absolutely any interest... We are interested in the hardness of a steel plate in itself, that is, in the incomprehensible and inhuman union of its molecules and electrons... The warmth of a piece of iron or wood now excites us more than the smile or tear of a woman.”

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Russian avant-garde artists of the beginning of the century entered the history of culture as innovators who made a revolution in world art - both in poetry and in other areas of creativity. In addition, many became famous as great brawler. At its core, Russian futurism was still a predominantly poetic movement: the futurists’ manifestos spoke about the reform of speech, poetry, and culture. And in the rebellion itself, in shocking the public, in the scandalous cries of the futurists, there were more aesthetic emotions than revolutionary ones.

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The poetry of Russian futurism was closely connected with avant-garde art. It is no coincidence that many futurist poets were good artists - V. Khlebnikov, V. Kamensky, Elena Guro, V. Mayakovsky, A. Kruchenykh, the Burliuk brothers. At the same time, many avant-garde artists wrote poetry and prose and participated in futurist publications not only as designers, but also as writers. Painting greatly enriched futurism. K. Malevich, P. Filonov, N. Goncharova, M. Larionov almost created what the futurists were striving for.

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Cubo-futurism A movement in the art of the 1910s, most characteristic of the Russian artistic avant-garde of those years, which sought to combine the principles of cubism (the decomposition of an object into its component structures) and futurism (the development of an object in the “fourth dimension”, i.e. in time).

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"Gilea"* is the first futuristic group. They also called themselves “Cubo-Futurists” or “Budetlyans” (this name was proposed by V. Khlebnikov). The year of its foundation is considered to be 1908, although the main composition was formed in 1909 - 1910. At the beginning of 1910, in St. Petersburg, “Gilea” announced its existence consisting of D. and N. Burlyuk, V. Khlebnikov, V. Mayakovsky, V. Kamensky, E. Guro, A. Kruchenykh and B. Livshits.

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The first joint appearance of the Cubo-Futurists in print was the poetry collection “The Judges’ Fishing Tank.” The idea of ​​the exhaustion of the cultural tradition of previous centuries was the starting point of the aesthetic platform of the Cubo-Futurists. Their manifesto, which bore the deliberately scandalous title “A Slap in the Face of Public Taste,” became the programmatic one. It declared a rejection of the art of the past, and there were calls to “throw Pushkin, Dostoevsky, Tolstoy, etc., etc. off the ship of modernity.”

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One of the founders of the movement, V. Khlebnikov was actively involved in revolutionary changes in the field of the Russian language. He wrote: “To find, without breaking the circle of roots, the magic stone of transforming all Slavic words into one another, to freely melt Slavic words - this is my first attitude towards the word.”

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They attached particular importance to word creation, “the word itself.” In the program article “The Word as Such” the following abstruse lines were given:

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David Burliuk Summer The lazy doe caresses the petals Love the rays of the onion The leaf flies lilac lyagunov The azure is light The flying leaf wings are breaking The LOPARI CELEBRAL MOONS are babbling The lilies are deceitful leilas The lazy liar is babbling Lebanon the baldest summer chest breaking Timpani with vines pouring paws leftism Log lexicon varnish people barking Love avalanches = flax armor. 1911

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Velimir Khlebnikov The spell of laughter Oh, laugh, laughers! Oh, laugh, you laughers! That they laugh with laughter, that they laugh with laughter, Oh, laugh with laughter! Oh, the laughter of the laughing ones - the laughter of the clever laughing ones! Oh, laugh with laughter, the laughter of the laughing ones! Laugh, laugh, laugh, laugh, laugh, laugh, Laugh, laugh, Oh, laugh, laugh! Oh, laugh, you laughers! 1908 -1909

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Egofuturism Egofuturism (translated from Latin as “I am the future”) was another variety of Russian futurism, but apart from the consonance of names it had very little in common with it. The history of egofuturism as an organized movement was too short (from 1911 to early 1914).

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Unlike the Cubo-Futurists, who had clear goals (an attack on the positions of symbolism) and sought to substantiate them in their manifestos, Severyanin did not have a specific creative program or did not want to make it public. He himself later recalled: “Unlike Marinetti’s school, I added to this word [futurism] the prefix “ego” and in brackets “universal”... The slogans of my ego-futurism were: 1. The soul is the only truth. 2. Self-affirmation of the individual. 3. Search for the new without rejecting the old. 4. Meaningful neologisms. 5. Bold images, epithets, assonances and dissonances. 6. The fight against “stereotypes” and “screensavers”. 7. Variety of metres."

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Northerner remained the only ego-futurist to go down in the history of Russian poetry. His poems were distinguished by their unconditional melodiousness, sonority and lightness. His rhymes were unusually fresh, bold and surprisingly harmonious: “in the evening air - there is a perfume of delicate roses in it!”, “on the waves of the lake - like life without roses is sulfur,” etc.

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Imagism Imagism (from French and English image - image) is a literary and artistic movement that arose in Russia in the first post-revolutionary years on the basis of the literary practice of futurism.

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The main features of imagism: the primacy of the “image as such”; image is the most general category that replaces the evaluative concept of artistry; poetic creativity is the process of language development through metaphor; an epithet is the sum of metaphors, comparisons and oppositions of any subject; poetic content is the evolution of the image and epithet as the most primitive image; a text that has a certain coherent content cannot be classified as poetry, since it rather performs an ideological function; the poem should be a “catalogue of images”, read equally from the beginning and from the end.

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One of the organizers and recognized ideological leader of the Imagists in Russia was V. Shershenevich. Known as a theorist and propagandist of imagism, a fierce critic and subverter of futurism, he began as a futurist. The association included quite different and dissimilar poets.

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At different times, the Imagists had several publishing houses at their disposal: "Imagists", "Chihi-Pikhi" and "Sandro", the famous literary cafe "Pegasus Stall" (closed in 1922), as well as the magazine "Hotel for Travelers in Beauty" ( in total, during its existence, 1922 - 1924, 4 issues were published). Over the course of 5 years of active activity, the Imagists were able to gain great, albeit scandalous, fame.

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The creative differences of the Imagists led to a division into the right (Yesenin, Ivnev, Kusikov, Gruzinov, Roizman) and the left wing (Shershenevich, Mariengof, N. Erdman) with opposing views on the tasks of poetry, its content, form, image. In 1924, S. Yesenin published a letter in the newspaper (Pravda, August 31), in which he announced his withdrawal from the Imagist group. With Yesenin’s departure, the official organ of the Imagists, “Hotel for Travelers in Beauty,” came to an end.

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Vadim Shershenevich (1893 - 1942) Shershenevich’s work is characterized by the intensification of urban metaphors, the theme of tragic sensual love, shocking, based, like the early futurists, on the aestheticization of the ugly and god-fighting motives, burlesque images (interest in clownery, “gayism” is stable for him biography), deliberately experimental “Bryusov” development of techniques (emphasized by the titles of poems from the book “A Horse Like a Horse” like “The Principle of Sound Minus Image” or “Parallelism of Themes”), the fundamentally declared apolitism of art (in 1919 he was arrested for contacts with the anarchist party).

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He developed accent verse in parallel with Mayakovsky. Author of a theoretical work on imagism “2x2=5” (1920) and a collection of essays about the work of his groupmates “Whom I Shake Hands” (1921).

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Toast to all of us, as if in the videos with Fall lightly now rushing and having fun How many ladies are Lorning about us Our ger Decorated with liquors and we are sharp souls ASHIPROM looking for the South of July The whole shape of the race The power of the open Toklipper sultry we know that All the young men and Everyone is almost arrogant Mustached Affirming this is Ashkupunsha p Let's meet with joyZabryusov

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Anatoly Mariengof A speck like a crushed cranberry, Hush. Don't slam the door. Man... Simple four letters: – died. 1918 In memory of my father With a sharp cold keel I will cut through the heavy wave of salty days - It doesn’t matter whether they are friends or enemies They will lie as swollen corpses on the yellow bottom. I will not pay with a tear of wormwood With bullets of a kissed father - Let the rusty blood flow in And the one-year-old brother will choke in it. And even poems, I will paint the silver scales crimson, - And when everyone starts crying, I will calmly comb the sleek hair on my all-knowing head. 1919

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Nichevoki One of the four most significant recent modernist associations of the 20s is Nichevoki. This literary group was considered one of the most scandalous, surpassing in this regard even the Imagists and early Cubo-Futurists. It took shape in Moscow at the beginning of 1920 and finally took shape in August of the same year at the Union of Poets in Rostov-on-Don. Members of the Nichevok group were Rurik Rock (R.Yu. Goering), Sergei Sadikov, Boris Zemenkov, Aetsiy Ranov, Lazar Sukharebsky, Elena Nikolaeva, Denis Umansky, Susanna Mar (Chalkhushyan) Const. Erberg.

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Assessing the state of literature, no one recognized only imagism as a vital direction of creativity; about themselves in the first decree they declared: "... 4. The focus of the modern crisis of world phenomena and worldviews has been clarified by Nichevok: the crisis is in us, in our spirit. In poetic works, this crisis is resolved by the thinning of the image, meter, rhythm, instrumentation, ending. Thinning will reduce art to nothing, will destroy it: will lead to nothing and to Nothing. Hence: 5. In poetry there is nothing; only - Nothing. 6. Life is moving towards the implementation of our slogans: Write nothing! Read nothing! Say nothing! Nothing don't print!" - and pointed out their blood relationship with the Dadaists.

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Dadaism (French dadaisme from dada - incoherent baby talk) is an avant-garde movement in Western European, mainly French and German art, expressed in irrationalism, nihilistic anti-aestheticism, and artistic shocking. Since the Dada movement was born during the First World War (Switzerland, 1916), its main idea was to respond to the absurdity of war with the same absurdity of art.

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In 1921, the Moscow Declaration of Nichevok was issued. They proclaimed the “separation of art from the state,” and put forward their creative bureau as an apparatus for the management of art. The Nichevoks are known for their constant attacks on Mayakovsky; they subjected him to trial in absentia by their “Revolutionary Tribunal” and banned him from writing. This “Resolution of the Revolutionary Tribunal of Nichevok” was published in the free supplement to the 2nd edition of “Dog Box”.

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In poetry, the Nichevoki did not leave a noticeable mark, because even the most capable of them (S. Mar, K. Erberg, R. Rock), thanks to the position they took, were engaged in imitating imagism. Only the names of Boris Zemenkov, who later became a famous Moscow scholar, and Susanna Mar, who created a large number of poetic translations from English, Polish and other languages, remained in the literature.

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Const. Erberg is the pseudonym of Kostantin Aleksandrovich Sunnenberg, a poet, philosopher, and art theorist, known for his work on the theory of creativity (“The Purpose of Creativity,” 1913). Sparks The fire hums, the wood hisses, And sparks curl in the haze, And incomprehensible words The invisible people whisper again. - Even though the smoke is black, even though the smoke is stifling, We are still flying in smoky whirlwinds, We are flying, we are flying to the planets. We are so pale, barely visible, We are doomed to death here, But there we will be light! The fire went out. The end of the dream. The mourning of fine soot lay down. Who's that crying in the dark? Who moves the flap?

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SUSANNA MAR (1890 – 1965) Poet and translator Susanna Georgievna Chalkhushyan, writing under the pseudonym Susanna Mar, was the legendary “nichevochka”, the wife of the group leader, Rurik Rock, and a friend of Mariengof (the only collection of her poems “Aben” (1922) is an abbreviation of the initials Mariengof). Dreaming of becoming an “imagist Anna Akhmatova” (as Shershnevich put it), Susanna Mar stubbornly adhered to the principles of imagist poetics in her poems. Subsequently, she worked a lot in the field of poetic translation, where she achieved some success. A kind nanny cradles the pendulum of Time's insinuating run; I spilled the last night about you with a ladle from my memory. And no longer see, no longer hear White hands and silver lines, Only rhymes will soar higher, Like birds over a stuffy threshold. For love, for caresses, for smiles In the joyful binding of sin, I will pay for all my mistakes With the ringing coin of verse. August 1920

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Rurik Rock (pseudonym of Rurik Yuryevich Goering) - the leader of the literary group "Nichevoki", was one of the most prominent and prominent figures of this movement. In 1919, together with S. Yesenin, Y. Baltrushaitis, A. Bely, P. Kogan, A. Kusikov, V. Shershenevich and others, he was elected to the Presidium of the All-Russian Union of Poets. In 1921 he emigrated to Western Europe and from the second half of the 1920s lived in Germany. Reading 1st 1. The eyebrow does not tremble and the lips grow cold. I draw circles. And more and more clearly in the spaces the lid of the coffin flutters slightly like a large bird. 2. Now, in the kingdom of Antichrist, in the years of dog love, I do not thrust words into the winds like a wolf howl, I call on the Mother of God to the Machine. 3. And to You, and to You, Trojan's offspring, with weights of poppy braids, to You, who straightened up like cigarette butts, blowing away the manure from their bast shoes; to you, who does not know bro. Alshvang of tablets, no queue at Vandrag: appear from afar with the beeps of a storm, appear, oh appear, Cassandra. In the music of the airplane, in the heavy gait of the guns, in the death of Lieutenant Glan, in a woman’s tickled chest, and in the minarets of the poet’s words, I feel, Cassandra, I feel You: the hands broken by the sunset, your red banner...

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"Centrifuge" One of the poetic movements of the Silver Age is the Moscow futurist group "Centrifuge", formed in January 1914 from the left wing of poets previously associated with the Lyrica publishing house. The main participants of the future group - S. Bobrov, B. Pasternak and N. Aseev - knew each other long before its founding. Sergei Bobrov, a poet, painter and literary critic, was perhaps the most significant figure among them at that time. His essay “Russian Purism” caused great resonance, in which the ideas of purism* were preached as a response to the complexity of social life. “Now the foundations of Russian purism,” said Bobrov, “are in Russian archaism: ancient icons, popular prints, embroideries, stone women, bas-reliefs, like seals, prosphora and gingerbread, where everything is so simple and characteristic, full of enormous pictorial value.”

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The main feature in the theory and artistic practice of the participants in “Centrifuge” was that when constructing a lyrical work, the center of attention shifted from the word as such to intonation-rhythmic and syntactic structures. Their work organically combined futuristic experimentation and reliance on tradition.

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Nikolai Aseev Phantasmagoria by N.S. Goncharova With the lethargy of a boulevard waltz, the lulled faces were swayed, and the turned millstone of the sun swayed in the electric sky; the mannequins nodded their heads sadly at the secret guards; the walls overturned in clouds, the stars began to moan into the stained glass windows; above the yearning stone flesh, having directed the earthly whirling, oblivion thundered like a highway into the irrevocable clouds; under the scourge of the shaking cold the pale sign of Fahrenheit was numb, and the midnight flute played the same crazy song. 1913

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Boris Pasternak Improvisation I used the keyboard to feed the flock by hand Under the flapping of wings, splashing and squealing. I stretched out my arms, I stood on my toes, my sleeve rolled up, the night rubbed against my elbow. And it was dark. And it was a pond. And waves. - And I love you birds of the breed, It seemed that they would rather be killed than die, Loud, black, strong beaks. And it was a pond. And it was dark. Eggs filled with midnight tar were burning. And the bottom of the boat was gnawed by the wave. And the birds squabbled at my elbow. And the night rinsed in the throats of the dams. It seemed that while the chick was not fed, And the females would rather kill than die, Rulads in a screaming, twisted throat

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"Mezzanine of Poetry" Another variety of Russian futurism is the poetic association "Mezzanine of Poetry", created in 1913 by Moscow ego-futurists. It included V. Shershenevich, R. Ivnev (M. Kovalev), L. Zak (pseudonyms - Khrisanf and M. Rossiyansky), S. Tretyakov, K. Bolshakov, B. Lavrenev and a number of other young poets.

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This group tried to repeat the success of the Hyleia and contrast itself with it in literature. But in the “Mezzanine of Poetry” there were no such large poetic values ​​comparable to Mayakovsky or Khlebnikov, so it was quite difficult for its participants to develop some kind of independent theoretical basis for their group. They strongly emphasized their kinship with the St. Petersburg egofuturists, often published in their publications, but at the same time took a rather vague position.

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Rurik Ivnev I’ll put on a fool’s cap and go travel around Rus', Inhaling the smell of the tavern... It will drizzle in the field. There will be damp nights, like barges, Lost in the river. So we could go further and further. Even forget about the bread in the bundle. I won't hear loud laughter. Oh! How sweet is the sound of branches and grass, Hungry wolves will howl, devouring all their prey. And along a clumsy and terrible road I will continue to walk and walk... Many sweet joys, many can be found in bitter wandering. 1914

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Sergey Tretyakov Elevator You read the smallest font in the dark like a cat. Our common path is vertical, the Singer Elevator. There are two of us here in a mobile closet. Let's play flirt! Don't be afraid of looking offended at the myrtle wreath. After all, you know, children play in love! Oh my god! I completely forgot that your floor is the third, and mine is the eighth. 1913

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Konstantin Bolshakov Autumn night The wind, pushing over the sky, slobbered on the glass with a wet kiss. Tearing off the rain cloak, the blue horror tears the blindingly faded lantern. The telegraph wires of all the violins were broken by the fingers of the night on the moon. Lanterns, on the elevator of a fatal mistake, lifting the ballot box of the street, laugh. With a copper step through the bell towers, the years stepped heavily on their heels, Where, with a tired fraction of tribute, the slave tram, beating, gave languid seconds. 1914

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"Lyrical Circle" In the 1920s, a new proletarian culture began to take shape in Russia, which did not need class-alien - even talented - poets, writers, and playwrights. In this situation, a group of writers and poets created the Lyrical Circle association in order to resist attempts to destroy the old culture.

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Goals:

• introduce students to the philosophical and aesthetic prerequisites for the emergence of symbolism;
• reveal the history of the origin of the concept of “symbolism”, its content, main groups;
• show the importance of symbolism for the development of Russian literature of the 20th century.

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