Symbolism is a literary direction, which originated at the end of the 19th century in France and spread in many European countries. However, it was in Russia that symbolism became the most significant and large-scale phenomenon. Russian poets symbolists brought something new to this direction, what their French predecessors had. Simultaneously with the appearance of symbolism, the silver age of Russian literature begins. But I must say that in Russia there was no uniform school of this modernist destination, there was no unity of concepts, one style. The creativity of symbolist poets united one thing: distrust of the usual word, the desire to be expressed by symbols and allegories.

Flow symbolism

This on the ideological position and time of formation is classified into two stages. The poetic symbolists appeared in the 1890s, the list of which includes such shapes like Balmont, Hippius, Bryusov, Sologub, Merezhkovsky, are called "seniors". The direction was replenished with new forces, significantly changed his appearance. Debuted "younger" poets symbolists, such as Ivanov, block, white. The second wave of the flow is called a brotherlyvism.

"Senior" symbolists

In Russia, this literary direction stated itself in the late 1890s. In Moscow, the origin of the symbolism was stood by Valery Bryusov, and in St. Petersburg - Dmitry Merezhkovsky. However, Alexander Dobrolyubov was the most bright and radical representative of the early school of symbolism in the city. A mansion and separately from all the modernist groups created his poetic world another Russian poet symbolist - Fyodor Sologub.

But perhaps the most readable, musical and doubling at the time were the poems of Konstantin Balmont. At the end of the 19th century, he clearly declared the "search for compliance" between the meaning, color and sound. Similar ideas were met in Rembo and Baudelaire, and later in many Russian poems, such as block, Brucery, Khusers, Kuzmin. Balmont This search for correspondence has seen mainly in creating sound-semantic text - music that gives birth. The poet was carried away by sound pain, began to use colorful adjectives instead of verbs in the works, as a result of which he created, as she believed unfriendly, almost deprived of the meaning of poems. At the same time, this phenomenon in poetry led over time to the formation of new poetic concepts, among whom melodiclamation, waum, sounding.

"Junior" poets symbolists

The second generation of symbolists include the versemen who first started published in the 1900s. Among them were like a very young authors, for example, Andrei White, Sergey Blok, and solid people, for example, scientist Vyacheslav Ivanov, director of the gymnasium Innocent Annensky.

In St. Petersburg, at that period, the "center" symbolism was an apartment at the corner of the Tavrician street, in which M. Kuzmin, A. White, A. Minthold, V. Kichnikov lived in due time, was N. Berdyaev, A. Akhmatova, A. Block , A. Lunacharsky. In Moscow, poets symbolists were gathered in the editorial office of Scorpio Publishing House, whose chief editor was V. Bryusov. Here they prepared the issues of the most famous symbolist publication - "Scales". Employees of "Scorpion" were the authors such as K. Balmont, A. White, Y. Baltrushattys, A. Remizov, F. Sologub, A. Block, M. Voloshin and others.

Features of early symbolism

In Russia, the end of the 19th and beginning of the 20th century. It became time for change, disappointments, gloomy omen and unknown. During this period, it was impossible to brightly felt the approach of the death of an emerging social and political system. Such trends could not not affect Russian poetry. The poems of symbolist poets were inhomogeneous, since the poetmen adhered to the disgraceful views. For example, the authors such as D. Merezhkovsky and N. Minsk, initially were representatives of civilian poetry, and later began to focus on the ideas of the "religious public" and "Godorse." The "senior" symbolists did not recognize the surrounding reality and said the world "no". So, Bryusov wrote: "I don't see our reality, I don't know our century ..." Early representatives of the reality flow opposed the world of creativity and dreams, in which the personality becomes completely free, and the reality they portrayed boring, evil and meaningless.

The artistic innovation was of great importance for the poems - the transformation of words, the development of rhyme, rhythm and the like. The "older" symbolists were impressionists seeking to transfer subtle shades of impressions, sentiment. They have not yet used the symbol system, but the word as such has already lost the price and has become significant only as sound, musical notes, link in the general construction of the poem.

New trends

In 1901-1904 A new stage began in the history of symbolism, and he coincided with the revolutionary rise in Russia. In the 1890s, the pessimistic moods in the 1890s were replaced by the premonition of "unheard of change". At this time, young libers appeared on the literary arena, who are followers of the poet Vladimir Solovyov, who saw the old world on the verge of death and said that the "save the world" should be divine beauty by connecting the heavenly start of life with material, earthly. In the works of poets, symbolists often began to figure landscapes, but not as such, but as a means to identify the mood. So, in verses there is always a description of the volatile-sad Russian autumn, when the sun does not shine or throws only faded sad rays to the ground, fall and quietly rustle leaves, and everything around the shut-haired foggy haze.

Also the favorite motive of the "younger" symbolists was the city. They showed him as a living being with their own character, with their shape. Often the city appeared as a horror place, madness, a symbol of vice and silent.

Symbols and revolution

In 1905-1907, when the revolution began, the symbolism has again changed. Many poets responded to events. So, Brucers wrote a well-known poem "Fogany", in which he glorified the end of the old world, but ranked himself and all people living in the period of dying, old culture. The block in his works created images of people of the new world. In 1906, Sologub released the book of poems "Motherland", and in 1907 Balmont wrote a series of poems "Avenger's songs" - the collection was published in Paris and prohibited in Russia.

Decline symbolism

At this time, the artistic world of symbolists changed. If earlier they perceived the beauty of both harmony, now for them she gained contact with folk elements, with chaos struggle. At the end of the first decade of the 20th century, symbolism came into decline and no longer gave new names. All viable, vigorous, young was already out of him, although some works still created poets symbolists.

List of basic poets representing symbolism in literature

The term "symbolism" comes from the Greek word "sign" and denotes the aesthetic flow, which was formed in France at the end of the 19th century and had an impact on all spheres of art: literature, music, painting and theater. Especially widespread

the wound got a symbolism in the literature.

Appearance

As noted above, symbolism in literature is associated primarily with France: a group of young poets, including Mallarm, Sea and Gil, De Reno, Valerie and Claudel, announced the creation of a new direction in art. Then in the magazine "Figaro" published "Manifesto Symbolism", who came out of the semi's feather - he described the main aesthetic principles based on the views of Bodler, Vilna and Henri. In particular, the author of "Manifesta" determined the nature and function of the symbol: on sea, he pushed out the traditional artistic image and embodied the idea.

Essence of the symbol

To argue about what symbolism in the literature should, first of all, determine what is a symbol. His main distinguishing feature is multi-consciousness, so it is impossible to be decrepided. The most, perhaps, successful interpretation of this concept belongs to the Russian writer Fyodor Sologububa: he called the window symbol in infinity. The symbol contains a number of values, while the image is a single phenomenon.

Symbolism in literature

If we talk about the French literature, you need to call the names of Bodler, Vilan and Mallarm. Charle Bodler belongs to a kind of poetic motto of symbolism - Sonnet "Compliance"; The search for the correspondences lay the basis of the symbolist principle of synthesis, the desire to combine all arts. In the work of Bodler, duality motives are dominated: love and death, genius and illness, external and internal. Stephen Mallarm claimed that the appointment of the writer was not to describe things, but to transmit his impressions from them. His poem "Good luck will never abolish the case", consisting of a single phrase scored without a single punctuation mark, acquired a special popularity. Paul Vellen in his verses also manifest symbolism. Literature, on the thought of the poet, should be musical, because it is the music that is on top of all arts.

Symbolism in B.

yelgia

With the words "Belgian symbolism" comes to mind, first of all, the creativity of Maurice Meterlinka, the author of the most famous plays, like a "blue bird", "blind", "there, inside." Heroes exist in a semi-infantastic setting, the action of the plays is saturated with mysticism, magic, hidden meanings. Meterlink himself completely in the spirit of symbolism insisted that the Creator should not transmit actions, but a state.

Russian symbolism in literature

In Russia, this direction was broken into two branches - "Starosimvolistov" and "Young Besimvolimists". By the beginning of the 20th century, it was reached by a genuine heyday, but Tyutchev and Fet were considered to be pretentients of symbolism in Russia. Also on the maintenance and philosophical base of Russian symbolism influenced the views of Vladimir Solovyov, in particular, his images of the world soul and eternal femininity. These ideas were subsequently transformed in the original way in the poetry of the White, Blok, Gumilev.

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Silver Age. Symbolism

Symbolism (OT. greek. Simbolon - sign, symbol) - direction in European art 1870 - 1910s; One of the modernist trends in Russian poetry at the turn of the XIX - XX centuries. Focused mainly on expression through symbolintuitively comprehended entities and ideas, vague, often sophisticated feelings and visions.

Word itself "symbol" In the traditional poetics, meaning "multi-valued allegory", that is, a poetic image that expresses the essence of any phenomenon; In poetry symbolism, it transmits individual, often momentous ideas of the poet.

For poetics, symbolism is characteristic:

• transmission of the finest movements of the soul;
• maximum use of sound and rhythmic drugs;
• exquisite imagery, musicality and ease of the syllable;
• poetics of hint and allegory;
• signal filling of everyday words;
• attitude by the word, as a cipher of some spiritual secretion;
• inexpensive, conceitness of meaning;
• the desire to create a picture of the ideal world;
• aesthetization of death as a fortunate principle;
• eltitory, orientation on the customer reader, the Creator.

Theoretical, philosophical and aesthetic roots and sources of creativity of symbolist writers were very diverse. So V. Bryusov considered symbolism to a purely artistic direction, Merezhkovsky relied on the Christian teaching, Vyach. Ivanov was looking for the theoretical support in philosophy and aesthetics of the ancient world, refracted through the philosophy of Nietzsche; A. White was fond of ll. Solovyov, Schopenhawer, Kant, Nietzsche.

The artistic and journalistic organ of symbolists was the magazine "Scales". "For us, representatives of the symbolism, as a slender world, - wrote Ellis," there is nothing more alien to the subordination of the idea of \u200b\u200blife, the inner path of the individual is an external improvement of the forms of the hostel. For us there can be no question of reconciling the path of a separate heroic individual with instinctive behavior movements, always subordinate narrow-human, material motivations. "

These plants have identified the struggle of symbolists against democratic literature and art, which was expressed in a systematic slander on Gorky, in the desire to prove that, becoming in the ranks of the proletarian writers, he ended as an artist, in attempts to discredit revolutionary-democratic criticism and aesthetics, her great creators - Belinsky, Dobrolyubova, Chernyshevsky. Symbolists were trying in every way to make "their" Pushkin, Gogol, called Vyach. Ivanov "frightened to the life of life", Lermontov, who, according to the same Vyach. Ivanova, the first fucked "foreboding the symbol symbol - eternal femininity" in.

With these installations, a sharp oppression of symbolism and realism is connected. "While poets-realists - K. Balmont writes, - consider the world naive, as simple observers, symbolist poets rule over the world and penetrate into his mystery." "Symbolists tend to oppose the mind and intuition." ... Art There is a comprehension of the world by other, not rational ways, "says V. Bryusov and calls the works of symbols" mystical keys of secrets ", which help a person to go to freedom."

The legacy of symbolists is represented by poetry, and prose, and drama. However, the most characteristic poetry.

D. Merezhkovsky, F. Sologub, 3. Hippius, V. Bryusov, K. Balmont, and others. - This is a group of "senior" symbolists who appeared the direction of the direction. At the beginning of the 900s, a group of "younger" symbolists - A. White, S. Solovyev, Vyach. Ivanov, "A. Block and others.

The basis of the "younger" platform of symbolists is idealistic philosophy of VL. Solovyov with his idea of \u200b\u200bthe Third Testament and the coming of eternal femininity. Vl. Solovyov argued that the highest task of art is "... the creation of an universal spiritual organism" that the artwork is an image of the subject and phenomenon "in the light of the future world", with which the understanding of the role of the poet as the theurg, the clergyman. This is concluded, by explaining A. White, "the connection of the vertices of symbolism as art with mysticism."

Recognition that there are "worlds other" that art should strive to express them, defines the artistic practice of symbolism as a whole, the three principles of which are proclaimed in the work of D. Merezhkovsky "On the reasons for decline and new currents of modern Russian literature". It is "... mystical content, symbols and expansion of artistic impressionability."

Based on the idealistic parcel of the primacy of consciousness, the symbolists claim that reality, reality is the creation of an artist: my dream - and all the spaces, and all the twreads, the whole world is one of my decoration, my traces (F. Sologub) "breaking the shackles of thought, To be a dream, "calls C. Balmont. The vocation of the poet is to associate the world real with the world foreclomed.

The poetic declaration of symbolism is clearly pronounced in the Vycch poem. Ivanova "Mountain Mountains Deaf": And I thought: "About genius! As this horn, sing the song of the earth you should, so that in the hearts to wake a different song. Blessed who hears. "

And because of the mountains, a response voice sounded: "Nature is a symbol, like this horn. It sounds for echo. And Otzvuk - God.

Blessed who hears the song and hears szvuk ".

The poetry of symbolists is poetry for chosen, for the Aristocrats of the Spirit.

The symbol is an echo, a hint, an indication, it transmits the intimate meaning.

Symbolists strive to create a complex, associative metaphor, abstract and irrational. This is the "ring-sonic silence" in V. Brysov, "and light eyes are dark insurgery" Vyach. Ivanova, "Dry Desert Shame" at A. White and he also: "Day - Matte pearl - a tear - flowing from sunrise to sunset." Extremely, this technique is disclosed in the poem 3. Hippius "seamstress".

All phenomena lies with printing.

One with another seems to be merged.

Having accepted one thing - I try to guess something else, - what is hidden. "

Very great importance in the poetry of symbolists acquired the sound expressiveness of the verse, for example, by F. Sologuba: and two deep glasses from thin-ring glasses you substituted a sweet lila foam, Lila, Lila, Lila, drank two dark scarlet glasses.

White, Lily, Alee Dala Bela was you and Ala ... "Revolution of 1905 found a kind of refraction in the work of symbols.

With horror, he met 1905 Merezhkovsky, who was convinced of the coming of the "coming Hama predicted by him. Emotion, with an acute desire to understand the blocks of the block approached the events. Greetings to the cleansing thunderstorm V. Bryusov.

By the tenth years of the twentieth century, symbolism needed to be updated. "In the depths of the symbol himself," wrote V. Bryusov in the article "The meaning of modern poetry", "new currents have arose, trying to pour new forces into a dyeing organism. But these attempts were too partial, they are too imbued with the same traditions of the school, so that the update could be much significant. "

The last foreflower decade was marked by quest in modernist art. In 1910, the controversy around the symbolism revealed its crisis in 1910 in 1910. As N. S. Gumilev expressed in one of his articles, "symbolism finished its development range and now falls." He came to replace the aqmesl ~ (from Greek. "Akme" - the highest degree of something, the blooming time). N. S. Gumilyov (1886 - 1921) and S. M. Gorodetsky (1884 - 1967) are considered to be the founders of aqmeism. A. A. Akhmatova, O. E. Mandelshtam, M. A. Zenkevich, M. A. Kuzmin, and others entered the new poetic group.

About the poetic course:

Symbolism is the first and most significant of the modernist trends in Russia. According to the formation time and according to the peculiarities of the worldview position in Russian symbolism, it is customary to allocate two main stages. The poets debuting in the 1890s are called "senior symbols" (V. Bryusov, K. Balmont, D. Merezhkovsky, 3. Hippius, F. Sologub, etc.). In the 1900s, new forces were joined in symbolism, significantly updated the appearance of the flow (A. Block, A. White, V. Ivanov, etc.). The adopted designation of the "second wave" of symbolism - "Young-loving". "Senior" and "younger" symbolists divided not so much age as the difference in the maidos and the direction of creativity.

Philosophy and aesthetics of symbolism was under the influence of various teachings - from the views of the ancient philosopher of Plato to modern symbols of philosophical systems V. Solovyov, F. Nietzsche, A. Bergson. The traditional idea of \u200b\u200bthe knowledge of the world in art, symbolists opposed the idea of \u200b\u200bconstructing peace in the process of creativity. Creativity in understanding symbols - the subconscious and intuitive contemplation of secret meanings, affordable only by the artist-Creator. Moreover, rationally transfer contemplated "secrets" is impossible. According to the largest symbolists of the theorist Vyach. Ivanova, Poetry is "Tyline's ineverance." The artist requires not only superational sensitivity, but the finest ownership of the art of a hint: the value of the poetic speech is in "inexpensive", "utinization of meaning." The main means to convey contemplated secret meanings and was called upon to have a symbol.

The category of music is the second most important (after the symbol) in the aesthetics and the poetic practice of the new flow. This concept was used by symbols in two different aspects - globular and technical. In the first, general philosophical meaning, music for them is not a sound rhythmically organized sequence, but a universal metaphysical energy, and the first priority of all creativity. In the second, technical meaning, the music is significant for symbols as permeated by sound and rhythmic combinations of verbal texture of verse, i.e., as the maximum use of musical compositional principles in poetry. The poems of symbolists are sometimes built as a fascinating stream of verbal and musical consonance and conversion.

Symbolism enriched Russian poetic culture with many discoveries. Symbols gave the poetic word to the unknown mobility and ambiguity, taught Russian poetry to open additional shades and the verge of meaning in the Word. Their searches were fruitful in the sphere of poetic phonetics: Masters of an expressive association and spectacular alliteration were K. Balmont, V. Bryusov, I. Annensky, A. Blok, A. White. The rhythmic possibilities of the Russian verse have expanded, a variety of stored stored. However, the main merit of this literary flow is not connected with formal innovations.

Symbolism tried to create a new philosophy of culture, sought, having passed the painful period of reassessment of values, to develop a new universal worldview. Overcoming the extremes of individualism and subjectivism, the symbolists at the dawn of the new century were in a new way about the public role of the artist, began to move to the creation of such forms of art, the experience of which could again unite people. With external manifestations of elitism and formalism, symbolism managed to fill the work with the artistic form of new meaning and, most importantly, make art more personal, personalistic.

Russian symbolism as a modernist destination in Russian literature

Symbolism was the first strength of modernism arising in Russian soil. Term "symbolism" In art, first was put into appeal to the French poet Jean Sea Majas.

Background of the occurrence of symbolism - in the crisis, hitting Europe in the second half of the 19th century. The reassessment of the values \u200b\u200bof the recent past was expressed in a rope against narrow materialism and naturalism, in great freedom of religious and philosophical quest. Symbolism was one of the forms of overcoming positivism and the reaction to the "Faith of Faith". "Matter disappeared", "God died" - two postulates, stacked on the symbolism symbolisms. The system of Christian values, on which European civilization rested, was loosened, but also a new "God" - faith in the mind, in science - turned out to be unreliable. Loss of landmarks gave birth a feeling of lack of supports, left under the feet of the soil.

The traditional knowledge of the world symbolists opposed the idea of \u200b\u200bconstructing peace in the process of creativity. Creativity in the understanding of symbols - the subconscious and intuitive contemplation of secret meanings, affordable only by the artist - Creator. "In obviousness", "concealation of meaning" - the symbol is the main means of transmitting a contemplated secret meaning. The symbol is the central aesthetic category of the new flow.

"The symbol is only then a true symbol when he is inexhaustible in his meaning," said the theoretical symbolism Vyacheslav Ivanov.

"The symbol is a window in infinity," Fedor Sologub ends him.

Symbolism in Russia absorbed two streams - "senior symbols" (I. Annensky, V. Brysov, K. Balmont, Z.Gippiius, D. Mezhkovsky, N. Minsky, F.Sologub (F.Thetynikov) and "Young Besimvolists" (and . White (B.Bugaev), A.Blok, Vyach.Ivanov, S.Solovyev.

In their works, the symbolists tried to display the lives of each soul - complete experiences, unclear, vague sentiment, thin feelings, mumbling impressions. The symbolist poets were innovators of the poetic verse, filling it with new, bright and expressive images, and sometimes, trying to achieve the original form, they went to those considered critics a meaningless game of words and sounds. Crubble, it can be said that symbolism distinguishes two worlds: the world of things and the world of ideas. The symbol becomes a kind of conditional sign that connects these worlds in the sense, they generate. In any symbol there are two sides - meant and meaning. The second one side is turned to the surreal world. Art is the key to the mystery.

Unlike other directions in art using elements characteristic of themselves, symbolism, symbolism believes the expression of "unattainable", sometimes mystical, ideas, images of eternity and beauty targets and content of their art, and the symbol fixed in the element of artistic speech and in its image is relying The multivalued poetic word is the main, and sometimes the only possible artistic agent.

One of the foundations of the Russian poetry of the XX century was Innocent Annensky. A little known in life, aronsed in a relatively small circle of poets, he was then devoted to oblivion. Even widely extended lines "among the worlds, in the flicker shining ..." was publicly announced by nameless. But his poetry, his sound symbolism turned out to be an inexhaustible treasure. The world of poems Innocent Annena gave the literature of Nikolai Gumileva, Anna Akhmatov, Osipa Mandelstam, Boris Pasternak, Velimira Khlebnikov, Vladimir Mayakovsky. Not because Annensky was imitated, but because they were kept in it. The word it was directly sharp, but in advance is considered and suspended, it opened not the process of thinking, but a figurative result of thought. The thought of him sounded like good music. Innocent Annensky, who belongs to his spiritual appearance of the nineties, opens the XX century, - where the stars of poetry flare up, they disappear, disappear, reappear the sky ...

Among the most readable poets - Konstantin Balmont - "Genius of singement dreams"; Ivan Bunin, whose talent was compared with matte silver - his brilliant craftsmanship seemed to be cold, but called him already in the life of the "last classic of Russian literature"; Valery Bryusov, who had a reputation as a matre; Dmitry Merezhkovsky - the first European writer in Russia; The most philosophical of the poets of the Silver Age - Vyacheslav Ivanov ...

The poets of the Silver Century, not even the first row, were major personalities. On the fashionable bohemian question - a genius or persecuted? - As a rule, the answer was given: both genius, and crazy.

Andrei White produced the impression of the prophet on the surrounding impression ...

All of them passionate about symbolism became prominent representatives of this most influential school.

On the fracture of the centuries, national thinking was particularly intensified. Interest in history, mythology, folklore seized philosophers (V. Solovyov, N. Berdyaev, P. Florensky, etc.), musicians (S. Rakhmaninov, V. Kalinnikov, A. Scriabin), painters (M. Nesterov, V.M. . Vasnetsov, A.M. Vasnetsov, N.K. Roerich), Writers and poets. "Back to national origins!" - read the cry of these years.

Since ancient times, native land, her troubles and victories, anxiety and joy were the main theme of domestic culture. Russia, Russia dedicated their work of art. The first debt for us - the debt of self-knowledge - stubborn work on the study and understanding of our past. The past, the history of Russia, its morals and customs are clean keys to quench the thirst for creativity. Reflections on the past, present and future countries are becoming the main motive in the activities of poets, writers, musicians and artists.

"It is in front of me my topic, the topic of Russia. I consciously and irrevocably dedicated to life, "Alexander Block wrote.

"The art outside the symbolism in our days does not exist. The symbolism is synonymous with the artist, "said Alexander Block in those years, which was already more than a poet for many in Russia.

Nikolai Kupyanov. This name is the artistic criticism of the beginning of the twentieth century put in one row with such names as V. Favorsky, A. Kravchenko, A. Ostrumova - Lebedev. For the twenties, the flourishing of Russian engravings fell. Engraving - craft built into the rank of art. The revival of engravings, the oldest of the arts, began with the renewal of forms, with the acquisition of a new building, the symbols belonging to the epoch. For Dakreyanov, a person who has formed in the 10ths, brought up in block poetry, symbolism was not just a literary direction, but with the conclusion, the mood of the mind - the conversational language of the era, time, the language on which they expressed and in the circle of gravyphic images. And the engraving is already a certain variant of symbolic art. Even in the youthful years, running on the old Russian cities, except for sketches of ancient frescoes and iconopisses, he fucked by the village folk ritual, which was later connected in his work. With the same romantic delight, he fucked by the convention of the "world of art". "I hardly like Somov and Icon," he confessed in a letter to the block. This duality of consciousness is two elements - religious and symbolic - put the seal for Creurian's work. Already earlier, its engravings in force symbols have not only the first, but also the background, conclude a hidden meaning. It was not by chance that the apricots in the engraving began with the most intimate, from the most intricate genre of the book sign - exlebris. Its first exjibrises are encrypted "for seven seals" signs, to the meaning of which it is impossible to make sure without knowing the Bible or a heraldic dictionary. His engraving addiction to the lives of Nikola can be considered as a special interest in the one for him - Nikolai Kurayanov - the image of the saint. The artist looked in the engraving, as if in the mirror, she gave his art to the certificate, feelings of completion.

Themes of the first engravings were the motives that initially lay in the icon or in Stary Lubke: "King Guidon", "Tsar David", "On Beauvai Korolevich", "Riders" (on the themes of the Apocalypse) - these are the names of his first works. Later - engraved books, like block books - "Childhood about Egorie by Herbrom", "Life Nikola", "ABC" ...

Much on Earth is hidden from us, but instead of being given to us secret
The innermost feeling of our live communication with the world is different,
And the roots of our thoughts and feelings are not here, but in other worlds. FM Dostoevsky

The origins of Russian symbolism

Charles Baudelaire - French Poet, Forerunner Symbolism, author of the poetic cycle "Flowers evil"

The grand building of Russian symbolism occurred not from scratch. As an artistic system, symbolism has developed in France in the 1870s. In the work of poets Fields of Veline, Artur Rembo, Stefan Mallarm They were followers of Charles Bodler (the author of the famous cycle "Evil flowers"), who had learned to see the beautiful in the ugly and claimed that every person and every earthly subject exists simultaneously in the real world and "other being". Put this "other being", to penetrate the secret essence of things and a new poetry was called upon.

Vladimir Solovyov - Russian religious philosopher and poet, whose doctrine has formed the basis of symbolism

Philosophical and aesthetic installations Russian symbolism borrowed from French, Premoviv, however, Western ideas through the teachings of the philosopher Vladimir Sergeevich Solovyova (1856-1900)

The literary predecessor of Russian symbolistic poetry appeared F.I. Tyutchev - the first poet philosopher in Russia, who has tried to express in his work intuitive, subconscious globility.

The emergence of Russian symbolism

The history of Russian literary symbolism began with almost simultaneous appearance in Moscow and St. Petersburg of literary circles, united decadent poets , or senior symbols . (The word "decadence" originating from the French Decadence - decline denotes not only direction in art, but also a certain worldview, which is based on the thesis of the unrecognizability of the world, disbelief in progress and by virtue of the human mind, the thought of the relativity of all moral concepts).

AT 1892 The year of the young poets Valery Yakovlevich Bryusov (in Moscow) and Dmitry Sergeevich Meriarykovsky (in St. Petersburg) declared the creation of a new literary direction.

Valery Yakovlevich Bryusov

Brucers, who fond of the poetry of the French symbolists and the philosophy of Arthur Schopenhauer, published three collection of poems "Russian symbolists" and declared themselves the leader of a new direction.

Merezhkovsky in 1892 made a lecture "On the reasons for decline and about new currents of modern Russian literature", where he indicated that domestic literature, many decades were influenced by the ideas of Chernyshevsky, Dobrolyubov and Pisarev, went to a dead end, since too fascinated by social ideas. Main principles of new literature , according to Merezhkovsky, should become

1) mysticism;

2) symbolization;

3) expansion of artistic impressionability.

At the same time, he publishes the poetic collection "Symbols", from which, in fact, the history of Russian symbolism began.

To the group of senior symbols treated V.Ya. Bruce, k.d. Balmont, Yu.K. Baltrushetis, Z.N. Hippius, D.S. Merezhkovsky, N.M. Minsk, F.K. Sologoub.. In 1899, Moscow and St. Petersburg symbolists united and founded their scorpion publisher, which was published by the publication of Almanac "Northern Flowers" and the magazine "Scales", promoting the art of modernism.

Andrei White (Boris Bugaev) - a poet symbolist, the novelist, the author of the book "Symbolism as a world-uponym"

In the early 1900s. Symbolism is experiencing a new development stage associated with creativity young browsing – IN AND. Ivanova, A. Whor, A.A. Blok, Ellis (L. Kobylinsky). Young brothers sought to overcome extreme individualism, abstract aesthethiness, characteristic of the work of senior symbols, so in the works of "younger" there is an interest in the problems of modernity, especially the question of the fate of Russia.

It was connected first of all with the concept of historical development V.S. Solovyovawhich argued that the historical mission of Russia is to build a society based on economic or political principles, but on the principles of spiritual. Such a public ideal was called "Ecumenical Theocracy". Solovyov also argued that the universe and humanity protects Sofia - Wisdom of God. She is the soul of the Universe, she is eternal femininity, the embodiment of power and beauty. Understanding Sofia is based, according to Solovyov's teaching, on a mystical world, which is peculiar to the Russian people, because the truth about the wisdom opened Rusichs in the eleventh century in the form of Sofia in the Novgorod Cathedral. With these prophecies of Solovyov, the main motives of the poetry of Alexander Blok and Andrei White are connected. The opposition of earthly and heavenly, symbolic images of fogs, blizzard, bunk, color symbolism - all this is borrowed from the philosophical poems. Solovyov (in particular, "three dates" and "three conversations"). ESChatological directions, premonition of the end of the story, worship of eternal femininity, the struggle of the East and the West - these are the main topics of young poetry.

By the beginning of the 1910s. Symbolism is experiencing a crisis and as a holistic direction no longer exists. This was due, firstly, with the fact that the most talented poets found their creative path and did not need to be "binding" to a certain direction; Secondly, the symbolists did not work out a single look at the essence and purpose of art. The block in 1910 made a report on the current state of Russian symbolism. " Attempt by Vyacheslav Ivanov to justify symbolism as a holistic direction (in the report "Covenants of Symbolism") turned out to be unsuccessful.

Artistic principles of symbolism

The essence of symbolism is the establishment of accurate correspondences between visible and invisible worlds.
Ellis Everything in the world is full of hidden values. We are on earth - as if in someone else's country K.D. Balmont

1) Symbol formula. The central concept of aesthetic symbolism system is symbol (from Greek Symbolon - a conditional sign) - the image containing an infinite set of meanings. The perception of the symbol is based on the associativity of human thinking. The symbol allows you to comprehend what it is impossible to express in words, which is outside the feelings. Andrey White brought the three-shaped symbol formula:

Symbol \u003d a * b * c

where

a - symbol as an image of visibility (form);

b - symbol as an allegory (content);

c is a symbol as an image of eternity and a sign of "other world" (form-producing).

2) Intuitivity. The art of symbolism is designed intuitively comprehend the worldTherefore, the works of symbolists are not amenable to rational analysis.

3) MUSICALITY. The poems of symbolists are distinguished by musicality, as they considered the music of praosna life and art. Music of verses is achieved through the frequency use of associations, alliterations, repetitions.

4) Dvueli. As in romanticism, the idea of \u200b\u200bdvoemirine is dominated in the symbolism: the world of the earth, the world's real "real", eternal, is opposed to the world. According to the teachings V.S. Solovyov, the earthly world is only a shadow, a reflection of the highest, invisible world. Like romantics, symbols are peculiar longing to ideal and rejection of the imperfect world:

I created in secret dreams

The world of perfect nature.

That in front of him this dust:

Steppes, and rocks, and water!

5) mysticism. The poetry of symbolists is emphasized focused on the inner world of the lyrical hero, on its multifaceted experiences associated with the tragic state of the world, with a mysterious relationship of man and eternity, with the prophetic monasters of the universal update. The poet symbolist is understood as a link between the earth and heaven, so his insight and revelations are understood by the expression of Valery Brysov, as the "mystical keys of secrets", allowing the reader to imagine other worlds.

6) Mythological multi-consciousness. Word in the works of symbolism multival aboutwhat is reflected in the formula N + 1., That is, a set of values \u200b\u200bthat the word posses is always possible to add another value. The meaningful of the Word is determined not only by those meanings that the author puts into it, but also the context of the work, the context of the writer's creativity, the correlation of a symbol word and myth (for example, a car's siren in the poem of the block resembles Siren, nearly destroyed Homerovsky Odyssey).

Russian symbolistic novel

I take a piece of life, rough and poor, and I have a sweet legend from him, for I am a poet.
F.K. Sologoub.

Stepan Petrovich Ilyover (1937 - 1994), doctor of philological sciences, professor of Odessa University, the world's largest researcher of the Russian symbolist novel

A special phenomenon in world literature is a Russian symbolistic novel, to the analysis of which the principles of realistic criticism are not applicable. Leading symbolist poets V.Ya. Bruce, F.K. Sologub, D.S. Merezhkovsky, A. White became the authors of the original, complex in the form and content of novels, posted on aesthetics of symbolism.

The greatest fame as a novelist among poets-symbolists acquired Fedor Kuzmich Sologub (supernants) . In 1895, he published a novel "Silent dreams" , The plot scheme of which at first glance repeats the Fabul Roman Dostoevsky "Crime and Punishment": Provincial Teacher Vasily Markovich Login decides to fight with world evil and, seeing the center of the latter in the director of the gymnasium, kills him. However, if the Hero of Dostoevsky comes to repentance through moral search, the hero of Sologub, on the contrary, comes to the negation of any moral criteria.

Realistic, written backdrop of the actions of the novel is combined with the dream elements of the psyche of the main character. Eroticism and fears - this is what owns and manages login. His subconscious is allowed to look half-half-half. The hero sometimes it seems that he goes on the bridge across the river and fails. It is significant that the city in which the login lives is really divided into two parts by the river (just as its consciousness is forked), and the banks of the river connects the shaky bridge. At the same time, the login itself lives "on the edge of the city, in a small house." Claudia, which is one of the items of his love experiences, also lives as if at the edge - namely by the river. The space of the novel is closed, limited, the impression is created that besides the city where the login lives, there is nothing more in the world. The closure of the chronotop is the hell inherent in the novels of Dostoevsky (Petersburg in the "Crime and Punishment", a scotoponevsk in the "Brothers of Karamazov"), - acquires a special meaning in the context of poetics of symbolism. The hero of the novel exists in a terrible closed, and therefore self-disperse (like any closed system) of the world, in which there is no place to be good and justice, and his crime ultimately turned out to be meaningless, because the initial goal of the hero is unattainable.

The biggest luck in the work of Sologuk was a brilliant novel "Small demon" (1902). The central figure of the novel is a provincial teacher in advance, combining the features of Chekhov BELIKOVA and the Shchedrian Jewish. The plot of the novel is based on the desire of the hero to receive the position of the School Inspector and marry. However, the proud and suspicious proud, and the whole move of the novel is determined by the gradual decomposition of his personality and psyche. In each village of Town, he sees something vile, malicious, lowland: "Everything that reaches his consciousness to the abrasion and dirt". The alone was in the power of evil illusions: not only people, but also objects in the great consciousness of the hero become his enemies. The card kings, ladies and vattles, he pumps his eyes to do not follow him. The front seems to be a challenge, spooking him with his gray and eforming, and in the end it becomes a symbol of the essence of the world. The whole world turns out materialized nonsenseAnd everything is completed by the fact that the leading kills Volodin. However, the Sologuba murder is presented as a sacrifice: the leaders kills the garden knife. Based on the traditions of Gogol, Sologub depicts the world of "dead shower", whose being illusory. All residents of the town - masks, puppets, not aware of the meaning of their lives.

As the novelist received European fame and Dmitry Sergeevich Meriarykovsky , whose lyrics did not have a big artistic value, but the novels were the embodiment of his philosophical views. On Merezhkovsky, in global life two truths are fighting - heaven and earthly, spirit and flesh, Christ and Antichrist. The first truth is embodied in the desire of a person to self-denial and merger with God. The second is in the desire for self-affirmation and deification of his own "I". The tragedy of history - in the separation of two truth, the goal is in their merger.

The historical and philosophical concept of Merezhkovsky determines the structure trilogy "Christ and Antichrist" in which he considers the turning points of the development of human history, when the collision of the two truth is manifested with the greatest force:
1) late antiquity (novel "Death of the Gods");
2) Renaissance Epoch (Roman "Resurrected gods");
3) Petrovskaya Epoch (Roman "Antichrist").

In the first novel, Emperor Julian seeks to stop the course of history, save from the death of ancient gods, culture of perfection of the human spirit. But Ellade dies, the Olympic gods died, their temples were destroyed, triumph "Cherni" and vulgarity. In the final of the novel, the talking Arsiki prophesies about the revival of the spirit of Eldla, and the second novel begins with this revival. The spirit of antiquity is resurrected, the gods of Eldlats are resurrected, and the person synthesizing both life truths in itself, Leonardo da Vinci becomes. In the third novel, Peter I and Son, Alexey are presented as carriers of two historical principles - individualistic and popular. Collision of Peter and Alexey - the clash of the flesh and spirit. Peter is stronger - he wins, Alexey prefers the coming fusion of two truths in the kingdom of the Third Testament, when the tragedy of splitting will be removed.

One of the best modern novels in European literature is considered Petersburg Andrei White (1916). Developing in it the topic of the city, scheduled back in the collection "ashes", white creates a world, full of fantastic nightmares, perverted-direct prospects, dewndown ghost people.

In a conversation with Irina, the Odoer White emphasized: "Nowhere in the world I was not so unhappy as in St. Petersburg. I have always stretched to St. Petersburg and pushed out of him ... My Petersburg is a ghost, a vampire materialized from yellow, rotten, feverish fogs, cited by me in the system of squares, parallelepipeds, cubes and trapecies. I have populated my Petersburg with machine guns, alive dead. I myself then seemed to myself the alive dead. "

The novel consists of eight chapters, prologue and epiraloga. Epigraph from the works of Pushkin was presented to each of the chapters, and all epigraphs are somehow connected with the theme of St. Petersburg, the city in which everything is subordinated to the numbering and regulatory. Tsarist Sanovnik Apollo Apolloovich Abbeukhov seeks to make sure, freeze the living life. For him, as for the characters, Shchedrin and Chekhov, only bureaucratic prescriptions have clear sense. Therefore, the space of the novel develops from the representations and fantasies of heroes: the father and son of Ableukhov are afraid of open spaces, and all the volume prefer to perceive as a regulated combination of planes. Blow up flat space wants a terrorist dudkin (parody image of the revolutionary) with a clockwork bomb - this is a symbol of time striving for self-destruction. The image of the denunciation, grotesque choosing the features of the terrorists from the novel of Dostoevsky "Demons", is associated with the idea of \u200b\u200bopposing the "revolution in the spirit" and the revolution of social. The latter repeatedly spoke about the latter, having put forward the theory of "White Domino" - the theory of the spiritual transformation of man and humanity under the influence of mystical experiences.

In the novel "Petersburg", the writer emphasizes that Abbelukhov, and Dudkin are instruments of the so-called Mongolian nihilism, destruction without creation.
Roman "Petersburg" turned out to be the last in a number of Russian symbolistic novels, in which one way or another was challenged the aesthetic and social views of symbolist poets.