The Silver Age - shine, explosion, brightness, unusualness! Criteria for comparison. Symbolists. Acmeists. Futurists. 1. The purpose of creativity. Deciphering the cryptography embodied in the word. The return of the poetry of clarity, materiality. Challenge of tradition. 2. Attitude towards the world. The desire to create a picture of an ideal world. Understanding the world as a collection of simple objects. Obsession with the idea of destroying the old world. 3. Attitude to the word. Understanding the word as a message, an element of cryptography. The desire to give the word a specific, precise meaning. Interest in verbal deformations, neologisms. 4. Features of the form. The dominance of hints and allegory, musicality. Concrete Imagery, excellent clarity Colloquial intonation, outrageous pathos.
The sound appearance of these words creates a special world in our imagination, sets us up to talk about something beautiful, sublime. However, in art and literary criticism, this phrase has acquired a terminological meaning. For the first time this name was proposed by the philosopher N. Berdyaev, but it was clearly assigned to the new Russian poetry after the publication of the article by Nikolai Otsup “The Silver Age” of Russian Poetry (1933).
The Silver Age of Russian culture is a historically short period at the turn of the century, marked by an extraordinary creative upsurge in the field of poetry, painting, music, and theatrical art.
Mass creation of political parties - Russo-Japanese War - First Russian Revolution - First World War - February Revolution, the overthrow of the autocracy, the October Revolution Civil War
(from French modern-newest, modern) - the general name of non-realistic trends in literature and art of the early 20th century, which are characterized by the denial of the aesthetics of the past, as well as new approach to the image of the world and man. Modernism united a number of currents and directions.
Symbolism (symbolo-sign) The poetry of shades as opposed to the poetry of colors. (V. Bryusov). Senior Symbolists: V. Bryusov, Z. Gippius, D. Merezhkovsky, K. Balmont, F. Sologub. Young Symbolists: A. Bely, Vyach. Ivanov, A. Blok, S. Solovyov. Above the human creature, Which he drove into the ground, Above the stench, death and suffering They ring to the point of loss of strength ... A. Blok.
Acmeism (akme-clarity) Acmeists: S. Gorodetsky, N. Gumilyov, O. Mandelstam Sun in the sky. The sun shines brightly. Go to the wave to whisper about the pain. Oh, she will probably answer, Or maybe she will kiss. A. Akhmatova.
Futurism (futurum-future) Futurists: V. Mayakovsky D. Burliuk V. Khlebnikov I. Severyanin. Bobeobi lips sang. Veomi's eyes sang. Lideei sang a look. Gzi-gzi-gzeo sang a chain of Tak on a canvas of some correspondences. Outside the extension lived the Face.
1. Using the reference notes and previously acquired knowledge, fill in the table. 2. Present your work in the form of a story using the completed table (1 student per group). Literary movement Representatives and literary manifestos The purpose of creativity Attitude to the world Attitude to the word SYMBOLISM AKMEISM FUTURISM
Literary movement Representatives and literary manifestos Purpose of creativity Attitude towards the world Attitude towards the word SYMBOLISM D.. Merezhkovsky, Z. Gippius, A. Blok, K. Balmont and others. Manifesto: D. Merezhkovsky “On the causes of decline and new trends in modern literature” ( 1912) - creating a picture of an ideal world that exists according to the laws of beauty. Escape from reality. The idea of two worlds: The real world, primitive and false; unreal world, perfect and eternal. The use of symbolic words. Symbol - "window to infinity". ACMEISM N. Gumilyov, S. Gorodetsky, A. Akhmatova, O. Mandelstam and others. Manifesto: Art. N. Gumilyov "The legacy of symbolism and acmeism" (1913) - creativity; - to sing the beauty of the earthly world, to return the taste for life; Proclaimed self-worth real life, urged to "love the earth." They returned the word to its original, original meaning. FUTURISM V. Mayakovsky, V. Khlebnikov, I. Severyanin, D. Burliuk Manifestos: "A slap in the face of public taste", "Dead Moon". - the creation of a super-art that can transform and renew the world. They declared war on gray, everyday life. They called for the destruction of the old world in the name of the renewal of life. Hatred for the language that existed before them; vocabulary and vocabulary. "Intelligent Language".
Symbolism - a literary trend, one of the characteristic phenomena of the transitional era from the 19th to the 20th century, the general state of culture of which is defined by the concept of "decadence". There were two streams in Russian symbolism. In the 1890s, the so-called "senior symbolists" declared themselves: Minsky, Merezhkovsky, Gippius, Bryusov, Balmont, Sologub. Their ideologist was Merezhkovsky, the master was Bryusov. In the 1900s, the Young Symbolists entered the literary arena: Bely, Blok, Solovyov, Vyach. Ivanov, Ellis and others. Andrei Bely became the theorist of this group.
Russian symbolism declares itself in the first half of the 1890s. Several publications are usually cited as the starting points of his story; first of all, these are: “On the causes of the decline ...”, the literary-critical work of D. Merezhkovsky and the almanacs “Russian Symbolists”, published at his own expense by student Valery Bryusov in 1894. These three pamphlets (the last book was published in 1895) were created by two authors (often acting as translators within the framework of this publication): Valery Bryusov (as the editor-in-chief and author of manifestations and under the masks of several pseudonyms) and his student friend - A.L. Miropolsky.
In Russia, junior symbolists are mainly called writers who published their first publications in the 1900s. Among them were really very young authors, like Sergei Solovyov, A. Bely, A. Blok, Ellis, and very respectable people, like the director of the gymnasium I. Annensky, scientist Vyacheslav Ivanov, musician and composer M. Kuzmin. In the first years of the century, representatives of the young generation of symbolists create a romantically colored circle, where the skill of future classics matures, which became known as the Argonauts, or Argonautism.
In St. Petersburg at the beginning of the century, the “tower” of Vyach is most of all suitable for the title of “center of symbolism”. Ivanov, - the famous apartment on the corner of Tavricheskaya Street, among the inhabitants of which at different times were Andrei Bely, M. Kuzmin, V. Khlebnikov, A.R. Mintslov, which was visited by A.A. Block, N.A. Berdyaev, A.V. Lunacharsky, A.A. Akhmatova, "World of Art" and spiritualists, anarchists and philosophers. The famous and mysterious apartment: legends are told about it, researchers study the meetings of secret communities that took place here (Hafizites, Theosophists, etc.), gendarmes organized searches and surveillance here, most of the famous poets of the era read their poems in this apartment for the first time, here for several For years, three completely unique writers lived at the same time, whose works often present fascinating riddles for commentators and offer readers unexpected language models - this is the constant "Diotima" of the salon, Ivanov's wife, L.D. Zinoviev-Annibal, composer Kuzmin (the author of romances at first, later - novels and poetry books), and, of course, the owner. The owner of the apartment himself, the author of the book "Dionysus and Dionysianism", was called the "Russian Nietzsche". With the undoubted significance and depth of influence in culture, Vyach. Ivanov remains "a semi-familiar continent"; this is partly due to his long stays abroad, and partly to the complexity of his poetic texts, which, in addition to everything, require rare erudition from the reader.
In Moscow in the 1900s, the editorial office of the Scorpion publishing house, where Valery Bryusov became the permanent editor-in-chief, was without hesitation called the authoritative center of symbolism. This publishing house prepared issues of the most famous symbolist periodical - "Scales". Among the permanent employees of the Libra were Andrey Bely, K. Balmont, Jurgis Baltrushaitis; other authors regularly collaborated - Fedor Sologub, A. Remizov, M. Voloshin, A. Blok, etc., many translations from the literature of Western modernism were published.
Symbolism was a multifaceted cultural phenomenon, and embraced not only literature but also music, theater, and visual arts. The main motifs of this trend can be seen in the works of such outstanding composers as Alexander Skryabin, Igor Stravinsky and others. Diaghilev is becoming not only the brightest art magazine in Russia, but also the most powerful tool for promoting Russian culture in Europe through the organization of international exhibitions and the publication of reproductions of works of Russian art in the European press. This magazine was based on the work of the founders - a group of young artists: A. Benois, L. Bakst, M. Dobuzhinsky. In addition to those mentioned, V. Borisov-Musatov, M. Vrubel and others collaborated with this journal at different times.
Acmeism (from Greek - a point, a peak, the highest degree of something, flourishing) - a literary movement of the 1910s that arose in response to the crisis of symbolism as its “overcoming” and as an alternative to contemporary futurism (later comprehension repeatedly combined these two movements in the concept of post-symbolism). The emergence of post-symbolism marks the onset in Russian poetry (to paraphrase Akhmatova) of "not a calendar, real 20th century." The historical and literary paradox of acmeism (including in comparison with futurism) is the short duration of existence (a year or two) and the almost initial quarrel between its leaders, Gumilyov and Gorodetsky. Attempts at a later revival undertaken by Gumilyov (the "second" and "third" "Workshop of Poets") were unproductive. At the same time, acmeism, unlike other currents, had only 6 participants: N.S. Gumilyov, S.M. Gorodetsky, A.A. Akhmatova, O.E. Mandelstam, M.A. Zenkevich, I.I. Narbut. The “Workshop of Poets” and the magazines “Hyperborea” and “Apollo” were the breeding ground and sympathetic environment for the acmeists, but none of the other participants in the “Workshop” and magazines was an acmeist, just as such students as G. Ivanov or G. Adamovich were not. .
Theoretically, A. declared himself in the declarations of 1913 in the "Apollo": "The Heritage of Symbolism and Acmeism" by Gumilyov and "Some Trends in Modern Russian Poetry" by Gorodetsky. The term itself also appears in the earlier correspondence of the acmeists (1912), its origin is surrounded by legends and hoaxes, but less known. term "Adamism".
The pathos of acmeism consisted in the "secularization" of poetry, the return to the proper poetic tasks of literature, hence the declarative pathos of craftsmanship, the doneness of things and in the orientation towards the guild tradition of the Middle Ages. Acmeism did not deny the "extra-literary" aspirations of the Symbolists ("The Beautiful Lady theology", religion, the highest meaning hidden behind the world of phenomena), but argued that comprehending them is not a matter of poetry. Hence the rejection of a direct “breakthrough” into the unearthly, demonstrative acceptance of the world, with all the awareness of its tragedy, attention to the forms of things and poems, harmony in the world and in poetry, interest in details, everyday life, things. Here, the forerunner of acmeism is Kuzmin with his cult of everyday life and “beautiful clarity” (acmeists willingly used his term “clarism”), and in the field of “sharpness” of emotion and its analysis, which avoids “metaphysical hints,” John. Annensky. The foregoing led to the important theme of Adam and the secondary motif of "primitiveness".
Futurism (lat. futurum - future)- the general name of the artistic avant-garde movements of the 1910s - early 1920s, primarily in Italy and Russia.
The author of the word and the founder of the direction is the Italian poet Filippo Marinetti (the poem "Red Sugar"). The name itself implies a cult of the future and discrimination of the past along with the present. On February 20, 1909, Marinetti published the "Manifesto of Futurism" in the newspaper Le Figaro. It was written for young Italian artists. Marinetti wrote: “The oldest among us are thirty years old, in 10 years we must complete our task until a new generation comes and throws us into the wastebasket ...”). Marinetti's manifesto proclaims the "telegraphic style", which, in particular, marked the beginning of minimalism. In 1912, the first exhibition of futurist artists took place in Paris.
Futurism is characterized by the rejection of traditional grammar, the poet's right to his own spelling, word creation. They dedicated their paintings to trains, cars, airplanes. In a word, all the momentary achievements of a civilization intoxicated with technological progress. The motorcycle was declared a more perfect creation than the sculptures of Michelangelo. Marinetti said: "The heat emanating from a piece of wood or iron excites us more than the smile and tears of a woman", "New art can only be violence, cruelty."
The pathos of destruction and explosion is proclaimed. Wars and revolutions are sung as the rejuvenating power of the decrepit world. Futurism can be viewed as a kind of fusion of Nietzscheanism and the manifesto of the communist party. The dynamics of movement should replace the static of posing sculptures, paintings and portraits. The camera and the movie camera will replace the imperfection of painting and the eye.
In the visual arts, Futurism repelled from Fauvism, borrowing color finds from it, and from Cubism, from which it adopted artistic forms, but rejected cubic analysis (decomposition) as an expression of the essence of the phenomenon and strove for a direct emotional expression of the dynamics of the modern world.
The main artistic principles are speed, movement, energy, which some futurists tried to convey with fairly simple techniques. Their painting is characterized by energetic compositions, where the figures are fragmented into fragments and intersect sharp corners, where flickering shapes, zigzags, spirals, beveled cones predominate, where movement is transmitted by superimposing successive phases on one image - the so-called principle of simultaneity.
In Russia, the first futurists were the artists brothers Burliuks. David Burliuk is the founder of the futurist colony "Gilea" in his estate. He manages to rally around himself the most diverse, bright, unique personalities. Mayakovsky, Khlebnikov, Kruchenykh, Benedikt Livshits, Elena Guro are the most famous names.
Futurism is one of the currents of avant-gardism, which gave rise to many other trends and schools: Yesenin and Mariengof's imaginism, Selvinsky's and Lugovskoy's constructivism, Severyanin's ego-futurism, Khlebnikov's, OBERIU Kharms's, Vvedensky's, Zabolotsky's, Oleinikov's, and, finally, the Nichevokov.
Symbolism- a non-realistic trend in art and literature of the 1870-1920s, focused mainly on artistic expression with the help of a symbol of intuitively comprehended entities and ideas. Symbolism made itself known in France in the 1860s-1870s in the poetic works of A. Rimbaud, P. Verlaine, S. Mallarme. Then, through poetry, symbolism connected itself not only with prose and dramaturgy, but also with other forms of art. The French writer C. Baudelaire is considered the ancestor, founder, "father" of symbolism.
At the heart of the worldview of symbolist artists lies the idea of the unknowability of the world and its laws. They considered the spiritual experience of a person and the creative intuition of the artist to be the only "tool" for understanding the world.
Symbolism was the first to put forward the idea of creating art free from the task of depicting reality. Symbolists argued that the purpose of art is not to depict the real world, which they considered secondary, but to convey a "higher reality". They intended to achieve this with the help of a symbol. A symbol is an expression of the poet's supersensible intuition, to whom, in moments of insight, the true essence of things is revealed. The Symbolists developed a new poetic language that does not directly name the subject, but hints at its content through allegory, musicality, colors, free verse.
Symbolism- the first and most significant of the modernist movements that arose in Russia. The first manifesto of Russian symbolism was the article by D. S. Merezhkovsky “On the Causes of the Decline and New Trends in Modern Russian Literature”, published in 1893. It identified three main elements of the "new art": mystical content, symbolization and "expansion of artistic impressionability."
Symbolists are usually divided into two groups, or currents:
1) "senior" symbolists (V. Bryusov, K. Balmont, D. Merezhkovsky, Z. Gippius, F. Sologub
and others), who debuted in the 1890s;
2) "younger" symbolists who began their creative activity in the 1900s and significantly updated the appearance of the current (A. Blok, A. Bely, V. Ivanov and others).
It should be noted that the "senior" and "junior" symbolists were separated not so much by age as by the difference in attitudes and the direction of creativity.
The Symbolists believed that art is, first of all, “comprehension of the world in other, non-rational ways” (Bryusov). After all, only phenomena that are subject to the law of linear causality can be rationally comprehended, and such causality operates only in the lower forms of life (empirical reality, everyday life). The Symbolists were interested in the higher spheres of life (the area of "absolute ideas" in Plato's terms or "world soul", according to V. Solovyov), not subject to rational knowledge. It is art that has the ability to penetrate into these spheres, and the images-symbols with their infinite ambiguity are able to reflect the entire complexity of the world universe. The Symbolists believed that the ability to comprehend the true, higher reality was given only to the elect, who, in moments of inspired insights, were able to comprehend the “higher” truth, absolute truth.
The image-symbol was considered by the symbolists as more effective than an artistic image, a tool that helps to “break through” through the cover of everyday life (lower life) to a higher reality. The symbol differs from the realistic image in that it conveys not the objective essence of the phenomenon, but the poet's own, individual idea of the world. In addition, the symbol, as the Russian symbolists understood it, is not an allegory, but, first of all, an image that requires the reader to respond creatively. The symbol, as it were, connects the author and the reader - this is the revolution produced by symbolism in art.
The image-symbol is fundamentally polysemantic and contains the prospect of an unlimited deployment of meanings. This trait of his was repeatedly emphasized by the symbolists themselves: “A symbol is only a true symbol when it is inexhaustible in its meaning” (Vyach. Ivanov); “A symbol is a window to infinity” (F. Sologub).
Acmeism(from the Greek act - the highest degree of something, flowering power, peak) - a modernist literary trend in Russian poetry of the 1910s.
Representatives: S. Gorodetsky, early A. Akhmatova, L. Gumilyov, O. Mandelstam. The term "acmeism" belongs to Gumilyov. The aesthetic program was formulated in Gumilyov's articles "The Legacy of Symbolism and Acmeism", Gorodetsky's "Some Currents in Modern Russian Poetry" and Mandelstam's "Morning of Acmeism".
Acmeism stood out from symbolism, criticizing its mystical aspirations for the “unknowable”: “Among the Acmeists, the rose again became good in itself, with its petals, smell and color, and not with its conceivable similarities with mystical love or anything else” (Gorodetsky) . Acmeists proclaimed the liberation of poetry from symbolist impulses to the ideal, from the ambiguity and fluidity of images, complicated metaphor; talked about the need to return to the material world, the subject, the exact meaning of the word. Symbolism is based on the rejection of reality, and the acmeists believed that one should not abandon this world, one should look for some values in it and capture them in their works, and do this with the help of accurate and understandable images, and not vague symbols.
Actually, the acmeist current was small, did not last long - about two years (1913-1914) - and was associated with the "Workshop of Poets". The "Poets Workshop" was established in 1911 and at first united quite a few a large number of people (not all of them later turned out to be involved in acmeism). This organization was much more cohesive than the disparate symbolist groups. At the meetings of the "Workshop" poems were analyzed, problems of poetic mastery were solved, and methods for analyzing works were substantiated. The idea of a new direction in poetry was first expressed by Kuzmin, although he himself did not enter the "Workshop". In his article “On Beautiful Clarity”, Kuzmin anticipated many declarations of acmeism. In January 1913, the first manifestos of acmeism appeared. From this moment, the existence of a new direction begins.
Acmeism proclaimed “beautiful clarity” as the task of literature, or clarism (from Latin clarus - clear). Acmeists called their current Adamism, linking the idea of a clear and direct view of the world with the biblical Adam. Acmeism preached a clear, “simple” poetic language, where words would directly name objects, declare their love for objectivity. So, Gumilyov urged to look not for “unsteady words”, but for words “with a more stable content”. This principle was most consistently realized in Akhmatova's lyrics.
Futurism- one of the main avant-garde trends (avant-garde is an extreme manifestation of modernism) in European art of the early 20th century, which was most developed in Italy and Russia.
In 1909, in Italy, the poet F. Marinetti published the Futurist Manifesto. The main provisions of this manifesto: the rejection of traditional aesthetic values and the experience of all previous literature, bold experiments in the field of literature and art. As the main elements of futuristic poetry, Marinetti calls "courage, audacity, rebellion." In 1912, the Russian futurists V. Mayakovsky, A. Kruchenykh, V. Khlebnikov created their manifesto "Slap in the face of public taste". They also sought to break with traditional culture, welcomed literary experiments, sought to find new means of speech expression (proclaiming a new free rhythm, loosening syntax, eliminating punctuation marks). At the same time, Russian futurists rejected fascism and anarchism, which Marinetti declared in his manifestos, and turned mainly to aesthetic problems. They proclaimed a revolution of form, its independence from content (“what is important is not what, but how”) and the absolute freedom of poetic speech.
Futurism was a heterogeneous direction. Within its framework, four main groups or currents can be distinguished:
1) "Hilea", which united cubo-futurists (V. Khlebnikov, V. Mayakovsky, A. Kruchenykh
other);
2) "Association of Egofuturists" (I. Severyanin, I. Ignatiev and others);
3) "Mezzanine of poetry" (V. Shershenevich, R. Ivnev);
4) "Centrifuge" (S. Bobrov, N. Aseev, B. Pasternak).
The most significant and influential group was the "Gilea": in fact, it was she who determined the face of Russian futurism. Its participants released many collections: "The Garden of Judges" (1910), "Slap in the Face of Public Taste" (1912), "Dead Moon * (1913)," Took "(1915).
The Futurists wrote in the name of the man of the crowd. At the heart of this movement was the feeling of "the inevitability of the collapse of the old" (Mayakovsky), the awareness of the birth of a "new humanity". Artistic creativity, according to the futurists, should not be an imitation, but a continuation of nature, which creates through the creative will of man " new world, today, iron ... "(Malevich). This is the reason for the desire to destroy the "old" form, the desire for contrasts, the attraction to colloquial speech. Based on a living colloquial language, the futurists were engaged in "word-creation" (created neologisms). Their works were distinguished by complex semantic and compositional shifts - a contrast between the comic and the tragic, fantasy and lyrics.
Futurism began to disintegrate already in 1915-1916.
Ticket number 16
1. Comparison, epithet, metaphor.
2. Narrative and artistic time in a literary work.
3. Literary trends and creative method. Symbolism.
1. Comparison, epithet, metaphor.
In vocabulary, the main means of expression are tropes (translated from Greek - turn, turnover, image) - special figurative and expressive means of the language based on the use of words in a figurative sense.
The main types of trails are : epithet, comparison, metaphor, personification, metonymy, synecdoche, paraphrase (paraphrase), hyperbole, litote, irony.
Comparison- This is a visual technique based on the comparison of one phenomenon or concept with another.
Unlike metaphor, comparison is always binomial: it names both compared objects (phenomena, features, actions).
For example: Villages are burning, they have no protection. The sons of the fatherland are defeated by the enemy, And the glow, like an eternal meteor, Playing in the clouds, frightens the eye. (M. Yu. Lermontov)
Comparisons are expressed in various ways:
Form of the instrumental case of nouns.
For example: Nightingale stray Youth flew by, Wave in bad weather Joy subsided. (A. V. Koltsov) The moon slides like a pancake in sour cream. (B. Pasternak) Foliage flew like a starfall. (D. Samoilov) In the sun flying rain sparkles with gold. (V. Nabokov) Icicles hang like a glass fringe. (I. Shmelev) A rainbow hangs from birch trees like a patterned clean towel. (N. Rubtsov)
The form of the comparative degree of an adjective or adverb.
For example: These eyes are greener than the sea and our cypresses are darker. (A. Akhmatova) Girl's eyes are brighter than roses. (A. S. Pushkin) But the eyes are bluer than the day. (S. Yesenin) Bushes of mountain ash are more foggy than depth. (S. Yesenin) Youth is more free. (A. S. Pushkin) Truth is more precious than gold. (Proverb) Lighter than the sun is the throne room. M. Tsvetaeva)
Comparative turnovers with unions like, as if, as if, as if, etc.
For example: Like a predatory beast, the winner bursts into a humble abode with bayonets ... (M. Yu. Lermontov) April looks at a bird's flight With blue eyes like ice. (D. Samoilov) Here, every village is so loving, As if it contains the beauty of the whole universe. (A. Yashin) And they stand behind the oak nets Like forest evil spirits, hemp. (S. Yesenin) Like a bird in a cage, the heart will jump. (M. Yu. Lermontov) My poems, like precious wines, Will have their turn. (M. I. Tsvetaeva) Noon is near. The fire is burning. Like a plowman, the battle rests. (A. S. Pushkin) The past, like the bottom of the sea, Spreads like a pattern in the distance. (V. Bryusov)
Beyond the river in restlessness
cherry blossomed,
Like snow across the river
Filled the stitch.
Like light blizzards
Rushed with all their might
Like swans were flying
Dropped fluff. (A. Prokofiev)
With the help of words similar, similar, this.
For example: Your eyes look like the eyes of a cautious cat (A. Akhmatova);
With the help of comparative clauses.
For example: Golden foliage swirled In pinkish water on a pond, Like butterflies, a light flock With fading flies to a star. (S. A. Yesenin) The rain sows, sows, sows, It has been drizzling since midnight, Like a muslin curtain Hanging behind the windows. (V. Tushnova) Heavy snow, spinning, covered the Sunless heights, As if hundreds of white wings rushed silently. (V. Tushnova) As a tree quietly drops leaves, So I drop sad words. (S. Yesenin) As the tsar loved rich palaces, So I fell in love with ancient roads And blue eyes of eternity! (N. Rubtsov)
Acmeism and Futurism: Modernist Movement in Russian Poetry
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In the literature of the 19th century, the dominant role was played by realism- an artistic method, which is characterized by the desire for direct reliability of the image, the creation of the most truthful image of reality. Realism involves a detailed and clear description of persons and objects, the image of a certain real scene, the reproduction of the features of life and customs.
On the turn of XIX-XX realism is still popular, in line with the realistic method, such well-known and recognized authors as Leo Tolstoy, Anton Chekhov, Vladimir Korolenko and young writers Ivan Bunin and Alexander Kuprin. However, in the realism of that time there are also new trends, named neo-romantic. Neo-romantic writers rejected the "prosaic existence" of the townsfolk and sang of courage, exploits and heroic adventures in extraordinary, often exotic settings. It was the neo-romantic works created in the 90s that brought fame to the young Maxim Gorky, although his later works were written more within the framework of traditional realism.
At the same time, sentiments began to spread in society, which received the name decadence(from French decadence - decomposition): hopelessness, a sense of decline, longing, a premonition of the end, admiring the beauty of withering and death. These sentiments had a great influence on many poets and prose writers.
The influence of decadence is noticeable in the writer's work Leonida Andreeva, in whose realistic works pessimistic motives began to sound stronger and stronger, disbelief in the human mind, in the possibility of reorganizing life for the better, a refutation of everything that people hope for and believe.
The basis of aesthetic doctrine symbolism there was a conviction that the essence of the world, supertemporal and ideal, is beyond the limits of human sensory perception. According to the symbolists, the images of the true world, comprehended intuitively, could not be transmitted except through symbols. Symbolists tend to turn to religious and mystical ideas, to the images of ancient and medieval art. They also sought to highlight the image of the individual hidden life of the human soul with its vague impulses, indefinite longings, fears and worries. Symbolist poets enriched the poetic language with many new bright and bold images, expressive and beautiful combinations of words and expanded the field of art by depicting the subtlest shades of feelings, fleeting impressions, moods and experiences.
It is customary to distinguish "senior" and "junior" symbolists. "Seniors" ( Valery Bryusov, Konstantin Balmont, Fedor Sologub, Dmitry Merezhkovsky, Zinaida Gippius), who came to literature in the 90s, being more under the influence of decadence, preached intimacy, the cult of the beauty of the passing time, and the poet’s free self-expression. "Younger" Symbolists ( Alexander Blok, Andrey Bely, Vyacheslav Ivanov) brought to the fore philosophical and religious quests; they painfully experienced the problem of personality and history in their mysterious connection with the essence of the universal world process. The inner world of the individual was conceived by them as an indicator of the general tragic state of the world, doomed to death, and at the same time a receptacle for prophetic feelings of imminent renewal.
As they comprehended the experience of the Revolution of 1905-07, in which the Symbolists saw the beginning of the realization of their catastrophic forebodings, dissimilarity was revealed in the concepts of the historical development of Russia and in the ideological sympathies of different Symbolist poets. This predetermined the crisis and, subsequently, the collapse of the symbolist movement.
In 1911, a new literary trend arose, called acmeism. The name was formed from the Greek word "acme" (the highest degree of something, color, blooming power), since the acmeist poets considered their work the highest point in achieving artistic truth. The early group of acmeists, united in the "Poets' Workshop" circle, consisted of Sergei Gorodetsky, Nikolai Gumilyov, Osip Mandelstam, Vladimir Narbut, Anna Akhmatova and others. During the heyday of the group, its literary organ was the Apollo magazine; they also published the almanacs "Workshops of Poets" and (in 1912-13) - the journal "Hyperborea".
Respecting all the achievements of symbolism, the acmeists nevertheless objected to the saturation of literature with mysticism, theosophy and occultism; they sought to free poetry from these incomprehensibility and restore its clarity and accessibility. They declared a concrete-sensual perception of the "material world" and in their poems described the sounds, forms, colors of objects and natural phenomena, the vicissitudes of human relations. At the same time, the acmeists did not at all try to recreate reality - they simply admired things as such, without criticizing them and without thinking about their essence. Hence the tendency of acmeists to aestheticism and their denial of any kind of social ideology.
Almost simultaneously with acmeism, another literary movement appeared - futurism(from lat. futurum - future), almost immediately split into several groups. The general basis of the Futurist movement was a spontaneous feeling of the inevitability of the collapse of the old world and the desire to anticipate and realize through art the birth of a new world. The Futurists destroyed the existing system of genres and literary styles, developed their own system of versification, insisted on unlimited word-creation up to the invention of new dialects. Futurist literature was also associated with the visual arts: joint performances of poets and painters of the new formation were often organized.
The leading group of Russian futurists was called " Gilea"; however, its members Velimir Khlebnikov, David Burliuk, Vladimir Mayakovsky, Alexei Kruchenykh- also called themselves "budetlyans" and "cubo-futurists". Their principles were announced in the manifesto Slap in the Face of Public Taste (1912). The manifesto was deliberately outrageous; in particular, the demand expressed there to “throw Pushkin, Dostoevsky, Tolstoy off the Steamboat of Modernity” received notoriety. The Cubo-Futurists proposed a remake of the world, which should have begun with a remake of the language. This led to word formation, bordering on abstraction, to onomatopoeia, to the neglect of grammatical laws. In addition, the Cubo-Futurists drastically changed the subject of poetry and began to sing what was previously considered anti-aesthetic, anti-poetic - and this introduced vulgar vocabulary, prosaisms of urban life, professional jargon, the language of a document, poster and poster, circus and cinema techniques into poetry.
Another group, called the Association of Egofuturists, was founded by the poets Igor Severyanin and Georgy Ivanov. In addition to the general futuristic writing, egofuturism is characterized by the cultivation of refined sensations, the use of new foreign words, and ostentatious selfishness.
Futurism also included groups such as "Mezzanine of Poetry"(which included Boris Lavrenev), Centrifuge (Nikolai Aseev, Boris Pasternak) and a number of futurist groups in Odessa, Kharkov, Kyiv, Tbilisi.
A special place in the literature of the turn of the century was occupied by peasant poets (Nikolay Klyuev, Petr Oreshin). Peasants by origin, they devoted their creativity to sketching pictures of village life, poetizing peasant life and traditions.
In the poetry of that time there were also bright individualities that cannot be attributed to a particular trend, for example, Maximilian Voloshin, Marina Tsvetaeva.