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Subject: Poetry of the Silver Age.
The main trends and views on them
Type of work: Essay
Subject: Literature All essays on literature Download Read the text online
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POETRY OF THE "SILVER AGE" THE MAIN TRENDS AND VIEWS ON THEM.
Russian Russian poetry "Silver Age" - this name has become a stable designation for Russian poetry of the late XIX early XX century.
It was given by analogy with the golden age — the so called beginning of the XIX century, Pushkin's time.
There is an extensive literature about Russian poetry of the “silver age” — both domestic and foreign researchers have written a lot about it, including such major scientists as V. M. Zhirmunsky, V. Orlov, L. K. Dolgopolov , M. L. Gasparov, R. D. Timenchik, N. A. Bogomolov and many others continue to write.
Numerous memoirs have been published about this era — for example, V.
Mayakovsky ("On the Parnassus of the Silver Age”), And Odoevtseva ("On the shores
The Neva River”), three volume memoirs of A. Bely; the book “Memories of the Silver Age”was published.
Russian poetry of the "silver age" was created in the atmosphere of a general cultural upsurge as its most significant part .
It is characteristic that at the same time in one country could create such brightest talents as
A. Blok and V. Mayakovsky, A. Bely and V. Khodasevich.
This list goes on and on.
This phenomenon was unique in the history of world literature.
The end of the XIX — beginning of the XX century in Russia is a time of change, uncertainty and gloomy omens, it is a time of disappointment and a sense of approaching the death of the existing socio political system.
All this could not but touch Russian poetry.
This is the reason for the emergence of symbolism.
Symbolism was a heterogeneous phenomenon, uniting poets who held the most contradictory views in their ranks.
Some of the symbolists, such as N. Minsky, D. Merezhkovsky, began their creative path as representatives of civic poetry, and then began to focus on ideas
"god building" and "religious community".
“Elder symbolists” strongly denied the reality, said the world no, I really donot see our I donot know of our century... (V. Y. Bryusov) mortality only “sleep”, the ” shadow” of Reality opposed to the world of dreams and creativity — a world where a person acquires full freedom: There is only one eternal commandment to live.
In beauty, in beauty no matter what. (D. Merezhkovsky )
Real life is portrayed as ugly, evil, boring and meaningless.
Symbolists paid special attention to artistic innovation — the transformation of the meanings of a poetic word, the development of rhythm, rhyme, etc “ "senior symbolists" do not yet create a system of symbols
They are impressionists who strive to convey the most subtle shades of moods and impressions.
The word as such has lost its value for symbolists.
It has become valuable only as a sound, a musical note, as a link in the general melodic construction of the poem.
A new period in the history of Russian symbolism (1901-1904) coincided with the beginning of a new revolutionary upsurge in Russia.
Pessimistic moods, inspired by the era of reaction of the 1980s early 1890s and the philosophy of A. Schopenhauer, give way to premonitions of “unheard of changes”.
The “younger symbolists” — followers of the idealist philosopher and poet Vlad are entering the literary arena.
Solovyov., who imagined that the old world was on the verge of complete destruction, that the divine was entering the world
Beauty (Eternal Femininity, the Soul of the World), which should " save the world” by combining the heavenly (divine)the beginning of life with the earthly, material, to create the " kingdom of God on earth”: Know this: Eternal Femininity is now going to earth In an incorruptible body.
In the unfading light of the new goddess, the sky merged with the abyss of waters. (Vl. Solovyov)
Especially love is attracted — eroticism in all its manifestations, starting with purely earthly voluptuousness and ending with a romantic longing for
A beautiful Lady, a Mistress, Eternal Femininity, a Stranger ...
Eroticism is inevitably intertwined with mystical experiences.
Symbolist poets also love the landscape, but not as such, but again as a means, as a means to reveal their mood .
That is why so often in their poems there is a Russian, painfully sad autumn, when there is no sun, and if there is, then with sad faded rays, falling leaves rustle softly, everything is shrouded in a haze of a slightly waving fog.
The favorite motif of the “junior symbolists” is the city.
A city is a living being with a special form, a special character, often it is a "Vampire city”," Octopus”, a satanic obsession, a place of madness, horror
the city is a symbol of callousness and vice.
(Blok, Sologub, Bely, S. Solovyov, to a large extent Bryusov) .
Russian Russian Revolution (1905-1907) again significantly changed the face of Russian symbolism.
Most poets respond to revolutionary events.
The unit creates the images of new people, people of the world.
V. Y. Bryusov wrote a famous poem, “the Coming of the Huns”, where glorifies the inevitable end of the old world, to which, however, classifies himself and all the people of the old, dying culture.
F. K. Sologub creates during the revolution the book of poems “Homeland” (1906), K. D. Balmont collection
Songs of the Avenger(1907), published in Paris and banned in Russia, etc.
Even more importantly, the years of the revolution have rebuilt the symbolic artistic worldview.
If earlier Beauty was understood as harmony, now it is associated with the chaos of struggle, with the national elements.
Individualism is replaced by the search for a new personality, in which the flowering of the “I” is connected with the life of the people.
The symbolism is also changing: previously associated mainly with the Christian, ancient, medieval and romantic tradition, now it turns to the heritage of the ancient” national " myth ( V. I. Ivanov), to Russian folklore and Slavic mythology (A. Blok, M. M. Gorodetsky), the mood of the symbol also becomes different.
Its earthly meanings play an increasingly important role in it: social, political, historical.
By the end of the first decade of the XX century ,symbolism, as a school, is in decline.
Some works of symbolist poets appear, but its influence, as a school, has been lost.
Everything young, viable, vigorous is already out of it.
Symbolism no longer gives new names.
Symbolism has outlived itself, and this obsolescence has gone in two directions.
On the one hand, the requirement of mandatory " mysticism”,
the "disclosure of the mystery”, the" comprehension” of the infinite in the finite led to the loss of the authenticity of poetry; the " religious and mystical pathos “of the luminaries of symbolism turned out to be replaced by a kind of mystical template, a template.
With another
- the passion for the” musical basis " of the verse led to the creation of poetry devoid of any logical meaning, in which the word is reduced to the role of no longer a musical sound, but a tin, ringing trinket.
Accordingly, the reaction against symbolism, and subsequently the struggle against it, followed the same two main lines.
On the one hand, the “acmeists " opposed the ideology of symbolism .
On the other hand, the “futurists”, who are also hostile to symbolism by ideology, came out in defense of the word as such.
In 1912, among the many poems published in St. Petersburg magazines, the reader could not help but pay attention to such, for example, lines: I will find a different soul, I will catch everything that teased.
I will bless the golden Road to the sun from the worm. (N. S. Gumilev)
And the cuckoo clock of the night is happy, Their clear conversation is becoming more and more audible.
I look through the crack: horse thieves are lighting a bonfire under the hill. (A. A. Akhmatova)
But I love the casino on the dunes, the wide view through the foggy window And the thin ray on the crumpled tablecloth.
Mandelstam) These three poets, as well as S. M. Gorodetsky, M. A. Zenkevich, V. I. Naburt, in the same year called themselves acmeists (from the Greek akme — the highest degree of anything, blooming time).
The acceptance of the earthly world in its visible concreteness, a sharp look at the details of existence, a lively and direct sense of nature, culture, the universe and the material world, the idea of the equality of all things — that was what united all six at that time.
Almost all of them had previously been trained by the masters of symbolism, but at some point they decided to reject the symbolists ' tendency to “other worlds” and disregard for earthly, objective reality.
A distinctive feature of the poetry of acmeism is its material reality, objectivity.
Acmeism loved things with the same passionate, selfless love as symbolism loved " correspondences”, mysticism, mystery,
For him, everything in life was clear.
To a large extent, it was the same aestheticism as symbolism, and in this respect it is undoubtedly in a continuous relationship with it, but the aestheticism of acmeism is already of a different order than the aestheticism of symbolism.
The Acmeists liked to derive their genealogy from the symbolist In.
And in this they are undoubtedly right.
In.
Annensky stood apart among the symbolists.
Paying tribute to early decadence and its moods, he almost did not reflect it at all in his in the creative work of the ideology of late Moscow symbolism, and at a time when Balmont, and many other symbolist poets after him, got lost in "verbal balancing act" — according to an apt expression
A. Bely, drowned in the flow of formlessness and the "spirit of music" that flooded symbolic poetry, he found the strength to take a different path.
Poetry
Annensky's book marked a revolution from the spirit of music and aesthetic mysticism to the simplicity, conciseness and clarity of verse, to the earthly reality of themes and some kind of amistic heaviness of the mood.
The clarity and simplicity of the construction of the verse in.
Annensky was well understood by the Acmeists.
Their verse has acquired clarity of outline, logical force and material weight.
Acmeism was a sharp and definite turn of Russian poetry of the twentieth century to classicism.
But it is only by turning, and not by completing — this must be kept in mind all the time, since acmeism still carried many features of romantic symbolism that had not yet been completely outlived.
In general, the poetry of the Acmeists was a model in most cases inferior to symbolism, but still very high skill.
This skill, in contrast to the ardor and expression of the best achievements of symbolism, carried a touch of some kind of self contained, refined aristocracy, most often ( with the exception of Akhmatova's poetry,
Narbut and Gorodetsky) cold, calm and dispassionate.
Among the acmeists, the cult of Theophile Gautier was especially developed, and his poem "Art”, beginning with the words" Art is more beautiful than the material taken is more dispassionate”, sounded like a kind of poetic program for the older generation of the “Poets 'Workshop".
Just like symbolism, acmeism has absorbed many diverse influences and various groupings have emerged in its environment.
All acmeists were united in one thing by their love for the objective, real world — not for life and its manifestations, but for objects, for things.
This love was manifested in various acmeists in different ways.
First of all, we see among the acmeists poets whose attitude to the objects around them and admiring them bears the stamp of the same romanticism.
This romanticism , however, is not mystical, but objective, and this is its fundamental difference from symbolism.
This is the exotic position of Gumilev with
Africa, the Niger, the Suez Canal, marble grottoes, giraffes and elephants, Persian miniatures and the Parthenon, bathed in the rays of the setting sun...
Gumilev is in love with these exotic objects of the surrounding world from the ground up, but this love is thoroughly romantic.
Objectivity took the place of the mysticism of symbolism in his work.
It is characteristic that in the last period of his work, in such things as "A Lost Tram", "A Drunken dervish", " The Sixth Sense” it becomes close to symbolism again.
Russian Russian futurism has something in its external fate that resembles the fate of Russian symbolism .
The same fierce non recognition at the first steps, the noise at birth (for futurists, only much stronger, turning into a scandal).
The rapid recognition of the advanced layers of literary criticism, a triumph, and great hopes followed this.
A sudden breakdown and a fall into the abyss at a time when it seemed that hitherto unprecedented in Russian poetry opportunities and horizons.
That Futurism is a significant and deep current is beyond doubt.
There is also no doubt that he had a significant external influence (in particular, Mayakovsky) on the form of proletarian poetry in the first years of its existence.
But there is also no doubt that Futurism could not bear the weight of the tasks assigned to it and completely collapsed under the blows of the revolution.
The fact that the work of several futurists Mayakovsky, Aseev and Tretyakov has been imbued with revolutionary ideology in recent years only speaks of the revolutionary nature of these individual poets: having become singers of the revolution, these poets have lost their futuristic essence to a large extent, and Futurism as a whole has not become closer to the revolution, just as symbolism and acmeism have not become revolutionary because they became members of the RCP and singers of the revolution
Bryusov, Sergey Gorodetsky and Vladimir Narbut, or because almost every symbolist poet wrote one or more revolutionary poems.
Basically, Russian futurism was a purely poetic current.
In this sense, he is a logical link in the chain of those currents of poetry of the XX century, which put purely aesthetic problems at the head of their theory and poetic creativity.
There was a strong rebellious Formally revolutionary element in futurism, which caused a storm of indignation and "shocked the bourgeoisie".
But this
"shocking" was a phenomenon of the same order as the" shocking " that decadents caused at one time.
In the "rebellion" itself, in
"shocking the bourgeois," in the scandalous cries of the futurists there were more aesthetic emotions than revolutionary emotions."
The starting point of the futurists ' technical searches is the dynamics of modern life, its rapid pace, the desire for maximum savings,
"aversion to a curved line, to a spiral, to a turnstile, a tendency to a straight line.
Aversion to slowness, to trifles, to verbose analyses and explanations.
Love for speed, for reduction, for summarizing and for synthesis:
Hence the destruction of the generally accepted syntax, the introduction of "wireless imagination", that is, "absolute freedom of images or analogies expressed in liberated words, without syntax wires and without any punctuation marks", "condensed metaphors", "telegraphic images", "movements in two, three, four and five tempos", the destruction of qualitative adjectives, the use of verbs in the indefinite mood, the omission of conjunctions, and so on in a word, everything aimed at conciseness and an increase in the "speed of style".
The main aspiration of Russian "cubo futurism – is a reaction against the" music of verse " of symbolism in the name of the self worth of the word, but the word is not as a weapon for expressing a certain logical thought, as it was with classical poets and acmeists, but the word as such, as an end in itself.
Combined with the recognition of the poet's absolute individualism (the futurists attached great importance even to the poet's handwriting and produced handwritten lithographic books and with the recognition of the role of the "creator of the myth" for the word), this aspiration gave rise to an unprecedented word making, which ultimately led to the theory of "abstruse language".
An example is the sensational poem of the Twisted Ones: Holes, bul, schyl, ubeschur skum you with bu, r l ez.
Word making was the biggest achievement of Russian futurism, its central moment.
In contrast to Marinetti's futurism, Russian "cubofuturism" in the person of its most prominent representatives was little connected with the city and modernity.
The same romantic element was very strong in him.
It was also reflected in the sweet, half childish, gentle grumbling of Elena Guro, who is so little suited by the "terrible" word "kubo futurist", and in the early things of N.
Aseyev, and in the rollicking Volga prowess and ringing sunshine of V.
Kamensky, and Churilin's gloomy "spring after death", but especially strongly at
V. Khlebnikova.
It is even difficult to put Khlebnikov in connection with Western futurism.
He himself stubbornly replaced the word " futurism "with the word"budetlans".
Russian Russian symbolists, he (as well as Kamensky, Churilin and Bozhidar) absorbed the influence of the previous Russian poetry, but not the mystical poetry of Tyutchev and Vl.
Solovyov, and the poetry "Words about Igor's regiment" and the Russian epic epic.
Even the events of the most immediate, close modernity
- war and NEP are reflected in Khlebnikov's work not in futuristic poems, as in Aseev's "1915", but in the romantically civilized in the Old Russian spirit of the wonderful "Fighting" and "Eh, young fellows, merchants".
However, Russian futurism was not limited to one "word making".
Along with the current created by Khlebnikov, there were other elements in it.
More suitable for the concept of "futurism", which are related to Russian futurism with its Western counterpart.
Before we talk about this trend, it is necessary to single out another kind of Russian futurism in a special group – the "Ego of the Futurists" who performed in
In St. Petersburg, a little earlier than the Moscow "kubo futurists".
At the head of this trend were I. Severyanin, V. Gnedov, I. Ignatieva, K. Olympov, G. Ivnov (later an acmeist) and the future founder of "imaginism" V. Shershenevich.
"Ego futurism" had essentially very little in common with futurism.
This current was some kind of mixture of the epigonism of the early Petersburg decadence, bringing the" songiness "and" musicality " of the verse to the limitless limits
Balmont (as you know, the Northerner did not recite, but sang on
"poezokontsertah" his poems), some kind of salon perfume eroticism, turning into light cynicism, and statements of extreme solipsism extreme egocentrism ("Egoism is individualization, awareness, worship and praise of the" I " ...
"Ego futurism is the incessant aspiration of every egoist to achieve the future in the present").
This was combined with the borrowed from
Marinettiproslavlenim of the modern city, electricity, railway, airplanes, factories, cars (at the Northerner and especially at Shershenevich).
In this way, egofuturism had everything: echoes of modernity, and a new, though timid, word making ("poetry"," fool around"," incompetent"," olilien", and so on), and successfully found new rhythms for transmitting the measured swaying of car springs ("Elegant carriage"by Severyanin), and a strange for a futurist worship of the salon poems of M. Lokhvitskaya and K. Fofanov, but most of all, love for restaurants, boudoirs of dubious growth, cafes, which have become a native element for the Northerner.
Except for Igor Severyanin
(soon, however, he abandoned the ego of futurism) this current has not produced a single bright poet.
Much closer to the West than Khlebnikov's futurism and "ego futurism"
Severyanin, there was a bias of Russian futurism, which was revealed in his work
Mayakovsky, the last period of Aseev and Sergei Tretyakov.
Taking a free form of verse in the field of technology, a new syntax and bold assonances instead of Khlebnikov's strict rhymes, paying a well known, sometimes significant tribute to word making, this group of poets gave in their work some elements of a truly new ideology.
Their work reflects the dynamics, the huge scope and titanic power of the modern industrial city with its noises, noises, noises, glowing lights of factories, street bustle, restaurants, crowds of moving masses.
In recent years, Mayakovsky and some other futurists have been freed from hysteria and anguish.
Mayakovsky writes his "orders", in which everything is cheerfulness, strength, calls to fight, reaching aggressiveness.
This mood is expressed in 1923 in the declaration of the newly organized group
"Lef" ("The Left front of Art").
Not only ideologically, but also technically, all of Mayakovsky's work (with the exception of his first years), as well as the last period of his work
Aseev and Tretyakov, is already a way out of futurism, an entry into the path of a kind of neo realism.
Mayakovsky, who began under the undoubted influence of
In the last period, he develops very special techniques, creating a kind of poster hyperbolic style, restless, shouting a short verse, sloppy, "torn lines", very successfully found to convey the rhythm and the huge scope of the modern city, the war, the movement of the multi million revolutionary masses.
This is a great achievement of Mayakovsky, who outgrown futurism, and it is quite natural that the proletarian poetry of the first years of its existence, that is, precisely the period when proletarian poets fixed their attention on the motives of the revolutionary struggle, Mayakovsky's techniques had a significant influence.
The last school that was noticeably sensational in Russian poetry of the twentieth century was imagism.
This direction was created in 1919 (the first
The" declaration " of imagism is dated January 30), therefore, two years after the revolution, but according to all ideology, this current had nothing to do with the revolution.
The head of the "imagists" was Vadim Shershenevich a poet who began with symbolism, with poems imitating Balmont, Kuzmin and Blok, who in 1912 acted as one of the leaders of the ego of futurism and wrote "poetry" in the spirit of a Northerner and only in the post revolutionary years created his "imagist" poetry.
Just like symbolism and futurism, imagism originated in the West and was only transplanted by Shershenevich to Russian soil from there.
And just like symbolism and futurism, it was significantly different from the imagism of Western poets.
Imagism was a reaction, both against the musicality of the poetry of symbolism, and against the materiality of acmeism and the word making of futurism.
He rejected all content and ideology in poetry, putting the image at the forefront.
He was proud of the fact that he "has no philosophy" and "logic of thoughts".
The imagists also put their apology of the image in connection with the speed of the pace of modern life.
In their opinion, the image is the clearest, most concise, most appropriate for the age of cars, radio telegraphs, airplanes.
"What is an image ? - the shortest distance with the highest speed."
In the name of the "speed" of the transfer of artistic emotions, imagists, following the Futurists, break the syntax – throw out epithets, definitions, predicate prepositions, put verbs in an indefinite direction.
In fact, there was nothing particularly new in the techniques, as well as in their "imagery".
"Imagism", as one of the methods of artistic creativity, was widely used not only by futurism, but also by symbolism ( for example, in Innokenty Annensky: "Spring does not rule yet, but the snow cup is drunk by the sun" or in Mayakovsky: "A bald lantern voluptuously took off a black stocking from the street").
What was new was the persistence with which the imagists brought the image to the fore and reduced everything in poetry – both content and form to it.
Along with poets associated with certain schools, Russian poetry of the twentieth century gave a significant number of poets who did not join them or were adjacent for some time, but did not merge with them and eventually went their own way.
The passion for Russian symbolism of the past the XVIII century – and the love of stylization was reflected in the work of M. Kuzmin, the passion for romantic 20 and 30 years – in the sweet intimacy and coziness of samovars and old corners of Boris Sadovsky.
The same passion for" stylization "is at the heart of the eastern poetry of Konstantin Lipskerov, Marieta Shaginyan and in the biblical sonnets of George Shengeli, in the safic stanzas of Sofia Parnok and the subtle stylized sonnets from the cycle" Pleiades " by Leonid Grossman.
Passion for Slavonisms and the Old Russian song warehouse, craving for
the "artistic folklore" mentioned above as a characteristic moment of Russian symbolism, which is reflected in the sectarian motives of A.
Dobrolyubov and Balmont, in the splints of Sologub and in the ditties of V. Bryusov, in the Old Slavic stylizations of V. Ivanov and throughout the first period of S. Gorodetsky's work, fill the poetry of Lyubov Stolitsa, Marina Tsvetaeva and Pimen Karpov.
It is also easy to catch the echo of the symbolist poetry in hysterically expressive, nervous and sloppily, but strongly made lines
Ilya Ehrenburg a poet who also belonged to the ranks of symbolists in the first period of his work.
A special place in the Russian lyrics of the twentieth century is occupied by the poetry of I. Bunin.
Starting with lyrical poems written under the influence of Fet, which are the only examples of a realistic representation of a Russian village and a poor landowner's estate, in the later period of his work Bunin became a great master of verse and created beautiful in form, classically clear, but somewhat cold poems that resemble, as he himself characterizes his work, a sonnet carved on a snow peak with a steel blade.
V. Komarovsky, who died early, is close to Bunin in restraint, clarity and some coldness.
The work of this poet, whose first performances belong to a much later period – to 1912, bears on itself in a certain part the features of both acmeism.
So it began to play a fairly prominent role in the poetry of classicism since about 1910, or, as it is commonly called
"pushkinism".
Around 1910, when the bankruptcy of the symbolist school was discovered, there was, as noted above, a reaction against symbolism.
Above, two lines were outlined along which the main forces of this reaction were directed – acmeism and futurism.
However, the protest against symbolism was not limited to this.
It found its expression in the works of poets who do not adhere to either acmeism or futurism, but who defended the clarity, simplicity and strength of the poetic style with their creativity.
Despite the contradictory views of many critics, each of these trends has produced many excellent poems that will forever remain in the treasury of Russian poetry and will find their admirers among future generations.
LIST OF USED LITERATURE
1.
"Anthology of Russian lyrics of the first quarter of the twentieth century".
I. S. Yezhov, E. I. Shamurin .
"Amirus", 1991.
2. "Russian poetry of the 19th early 20th centuries."
P. Nikolaev, A. Ovcharenko ...
Publishing house "Fiction", 1987.
3. "Encyclopedic dictionary of a young literary critic".
Pedagogika Publishing House, 1987.
4. "Methodical manual on literature for entering universities".
I. V. Velikanova, N. E. Tropkina.
Publishing house "Teacher"
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