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Russian Russian poetry / Essays / Miscellaneous / The Silver Age of Russian Poetry / The Silver Age of Russian Poetry
The Silver Age of Russian Poetry
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Type: Review topic (based on the works of several authors)
The beginning of the XX century entered the history of literature under the beautiful name of the "silver age".
This period marked the great rise of Russian culture, which enriched poetry with new names.
The beginning of the "silver age" was in the 90s of the XIX century, it is associated with the appearance of such wonderful poets as V. Bryusov, I. Annensky, K. Balmont.
The heyday of this period in Russian culture is considered to be 1915 — the time of its highest rise.
We are aware of the disturbing historical events of this time.
Poets, like politicians, tried to discover something new for themselves.
Politicians sought social changes, poets sought new forms of artistic representation of the world.
The classics of the XIX century are replaced by new literary trends: symbolism, acmeism, futurism.
One of the first alternative literary trends was symbolism, which united such poets as K. Balmont, V. Bryusov, A. Bely and others.
Symbolists believed that the new art should convey the moods, feelings and thoughts of the poet with the help of images of symbols.
At the same time, the artist learns the world around him not as a result of reflection, but in the process of literary creativity — at the moment of creative ecstasy sent down to him from above.
The Shadow of Uncreated Creatures
Swaying in a dream,
Like the blades of patching
On the enamel wall...
They draw sounds half asleep
In the sonorous silence…
This is how the most prominent representative of symbolism, V. Bryusov, described the feeling of the birth of a creative idea.
He formulated the ideas of this literary direction in his work.
In the poem " To the Young Poet” we find the following lines:
The young man is pale with a burning eye,
Now I give you three covenants.
First accept: donot live in the present,
Only the future is the poet's domain.
Remember the second: do not sympathize with anyone,
Love yourself infinitely.
The third keep: worship art,
Only to him, completely, aimlessly.
But these precepts do not mean that a poet should not see life, create art for the sake of art.
This is proved by the multifaceted poetry of Bryusov himself, reflecting life in all its diversity.
The poet finds a successful combination of form and content.
He's writing:
And I want all my dreams,
Those who have reached the word and the light,
They found the desired features for themselves.
For symbolists, it is characteristic to focus on the inner world of the poet.
For K. Balmont, for example, the external world existed only so that the poet could express his own experiences in it:
I hate humanity,
I'm running away from him, in a hurry.
My united Fatherland —
My desolate soul.
This can be seen in the example of the following lines, where Balmont's appeal to the inner world is reflected not only by the content, but also by the form (frequent use of the pronoun "I"):
I was dreaming of catching the departing shadows,
The fading shadows of the fading day,
I went up to the tower, and the steps trembled,
And the steps trembled under my foot.
In the poetry of K. Balmont, you can find a reflection of all his spiritual experiences.
They, according to the symbolists, deserved special attention.
Balmont tried to capture in the image, in words, any, even fleeting, feeling.
The poet writes:
I do not know the wisdom that is suitable for others,
Only fleeting moments I put into verse.
In every fleeting moment I see worlds,
Full of a changeable rainbow game.
In the dispute with symbolism, a new literary trend of the “silver age” was born — acmeism.
Poets of this direction N. Gumilev, A. Akhmatova, O. Mandelstam rejected the attraction of symbolism to the unknown, the poet's excessive concentration on the inner world.
They preached the idea of displaying real life, the poet's appeal to what can be known.
And through the representation of reality, the acmeist artist becomes involved in it.
And indeed, in the work of Nikolai Gumilev, we find first of all a reflection of the surrounding world in all its colors.
In his poetry we find exotic landscapes and customs of Africa.
The poet penetrates deeply into the world of legends and legends of Abyssinia, Rome, Egypt.
This is indicated by the following lines:
I know funny fairy tales of mysterious countries
About the black maiden, about the passion of the young leader,
But you've been inhaling the heavy fog for too long,
You donot want to believe in anything but rain.
And how can I tell you about the tropical garden,
About slender palm trees, about the smell of unthinkable herbs.
Are you crying?
Listen... far away, on the lake
Chad is an Exquisite wandering giraffe.
Each poem by Gumilev opens a new facet of the poet's views, his moods, and vision of the world.
For example, in the poem “Captains” he appears to us as a singer of courage, risk, courage.
The poet sings a hymn to people who defy fate and the elements:
The fast winged ones are led by captains —
Discoverers of new lands,
Who is not afraid of hurricanes,
Who has experienced the maelstroms and the shoal.
Whose not the dust of lost charters —
The solto of the sea is soaked in the chest,
Who is the needle on the torn card
Marks his audacious path.
The content and refined style of Gumilev's poems help us to feel the fullness of life.
They are a confirmation that a person can create a bright, colorful world by himself, leaving the gray everyday life.
The poetry of Anna Akhmatova also introduces us to the world of beauty.
Her poems amaze with the inner strength of feeling.
Akhmatova's poetry is both a confession of a woman's soul in love, and the feelings of a person who lives with all the passions of the XX century.
Russian Russian poetry, according to O. Mandelstam, Akhmatova “brought to the Russian lyrics all the enormous complexity and psychological richness of the Russian novel of the XIX century.”
And indeed, Akhmatova's love lyrics are perceived as a huge novel in which many human destinies are intertwined.
But most often we meet the image of a woman who is hungry for love, happiness:
You canot confuse real tenderness
With nothing, and she's quiet.
You needlessly carefully wrap it up
My shoulders and chest are covered in furs.
And in vain the words are submissive
You're talking about your first love.
As I know these stubborn
Your unwashed looks!
The new literary trend of the “silver age” that replaced acmeism — futurism — was distinguished by its aggressive opposition to the traditional poems of classical poets.
The first collection of futurists was called "A Slap in the Face to Public Taste".
The early work of Vladimir Mayakovsky was associated with futurism.
In the poet's early poems, there is a desire to impress the reader with the unusual nature of his vision of the world.
For example, in the poem “Night” Mayakovsky uses an unexpected comparison.
For the poet, the illuminated windows of the night city evoke an association with a fan of cards.
The image of the player's city appears in the reader's mind:
Crimson and white discarded and crumpled,
Handfuls of ducats were thrown into the green,
And the black palms of the runaway windows
They handed out burning yellow cards.
The futurist poets V. Mayakovsky, V. Khlebnikov, V. Kamensky opposed themselves to classical poetry, they tried to find new poetic rhythms and images, to create the poetry of the future.
The poetry of the” silver age " opens up to us a unique and wonderful world of beauty and harmony.
It teaches us to see the beautiful in the ordinary, to understand the inner world of a person more deeply.
And the search by the poets of the” silver age " for new poetic forms, their rethinking of the role of creativity gives us a deeper understanding of poetry.
I'll take it!
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Russian Russian poetry / Essays / Miscellaneous / The Silver Age of Russian Poetry / The Silver Age of Russian Poetry
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